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

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

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Speaker 1: Lamb and this is Joe McCormick. Our miniaturization theme continues

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Speaker 1: from last week with Weird House Cinema's third miniaturization film,

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Speaker 1: following Doctor Cyclops from nineteen forty nineteen fifty seven's The

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Speaker 1: Incredible Shrinking Man, which we talked about last week, and

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Speaker 1: now we're going to go just one year ahead into

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Speaker 1: nineteen fifty eight with Bert Eye Gordon's Attack of the

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Speaker 1: Puppet People. I think a pretty obvious cash in on

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Speaker 1: the popularity of The Incredible Shrinking Man, but it's not

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Speaker 1: like a Shrinking Man Incredible Shrinking Man rip off. There

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Speaker 1: are other also elements of Doctor Cyclops in there. There

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Speaker 1: are also some I think some clear there's a clear

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Speaker 1: homage to nineteen thirty five's Bride of Frankenstein. It's certainly

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Speaker 1: not a rip off of The Incredible Shrinking Man in

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Speaker 1: that it doesn't have any real similarity to the story,

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Speaker 1: but I would say probably is in that they are

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Speaker 1: trying to make a quick book on the idea of

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Speaker 1: shrink movies right after there had just been a really

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Speaker 1: big one on the other hand, Oh no, no pun intended.

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Speaker 1: On the other hand, Bertie Gordon, I think it was

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Speaker 1: a perennial fascination of his to make movies about big

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Speaker 1: things getting small or small things getting big, Yeah, which

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Speaker 1: are essentially the same exercise. Like there's when you get

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Speaker 1: down to it, you know, what's the difference between a

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Speaker 1: movie in which a man fights a giant crab or

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Speaker 1: a movie in which a wait, let me now, I've

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Speaker 1: lost my own train of thought in this What is

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Speaker 1: the difference between a movie in which a normal size

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Speaker 1: crab fights a tiny man or a normal sized man

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Speaker 1: fights a giant crab. You have just discovered a Galilean relativity,

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Speaker 1: that magnitude really only means something in the context of

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Speaker 1: a frame of reference. Yeah, yeah, so yeah. There's a

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Speaker 1: kind of baseline physical profundity to a lot of these

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Speaker 1: blow up movies and shrink movies. But that is the

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Speaker 1: element brought over from The Incredible Shrinking Man. What is

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Speaker 1: not brought over is the sort of the character complexity

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Speaker 1: and the the I don't know all the wisdom and

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Speaker 1: insights of the Incredible Shrinking Man, which, if you haven't

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Speaker 1: heard last week's episode. I do recommend you go back

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Speaker 1: and listen to that one, because I think Rob, you

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Speaker 1: and I were both It's fair to say shocked by

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Speaker 1: how interesting and thoughtful The Incredible Shrinking Man was as

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Speaker 1: a story. Absolutely yeah, yeah, just just really solid and thoughtful.

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Speaker 1: Yeah yeah, far more thoughtful movie than anticipated. I would

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Speaker 1: say that this movie as well, was more thoughtful than anticipated.

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Speaker 1: I had a much lower bar for this one. I

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Speaker 1: was expecting just pure spectacle, pure cash in, and I

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Speaker 1: mean that would have been fine. I was looking forward

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Speaker 1: to that experience. It is more thoughtful than I expected,

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Speaker 1: but not necessarily in ultimately constructive ways. No, I'd say

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Speaker 1: the thoughts here do not really seem to build on

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Speaker 1: one another as they did an Incredible Shrinking Man. It's

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Speaker 1: more like it's a shrink movie. And occasionally there are

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Speaker 1: some thoughts, yes, but I know what you mean. Also

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Speaker 1: by comparing this to James Whale's Bride of Frankenstein, one

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Speaker 1: of the great monster movies of all time, because you

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Speaker 1: know the universal Frankenstein series. With each movie it has

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Speaker 1: to one up the Mad Scientists. So the original Frankenstein

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Speaker 1: has the titular Frankenstein, the mad scientist who makes the creature,

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Speaker 1: and they got to get an even more mad scientist

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Speaker 1: for the sequel. So they come up with doctor Septimus Praetorious,

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Speaker 1: a fantastic villain, and his hobby is making homunculi. So

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Speaker 1: he has these little jars with tiny people in them,

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Speaker 1: including like a little like king and a little queen,

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Speaker 1: and I think the little king is always trying to

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Speaker 1: get out of his jar into the little Queen's jar. Yeah,

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Speaker 1: so we wacky sequence, and I like, is that a

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Speaker 1: great classic monster movie. But another strange alleged fact about

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Speaker 1: Attack of the Puppet People is that, if reports are

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Speaker 1: to be believed, this film played an unintentional role in

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Speaker 1: American history. And the role is this, Okay, it is

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Speaker 1: June seventeenth, nineteen seventy two, the night of the Watergate

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Speaker 1: break in, So agents of the Nixon White House have

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Speaker 1: sent out burglars to break into the headquarters of the

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Speaker 1: Democratic National Committee at the in the Watergate Complex in Washington,

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Speaker 1: d C. They're they're trying to do some espionage. They

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Speaker 1: were there to I think like photographed documents and maybe

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Speaker 1: plant bugs and stuff. So that's the famous burglary that

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Speaker 1: kicks off Watergate. But the thing that was the sort

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Speaker 1: of like set the fuse burning on everybody finding out

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Speaker 1: about the Watergate break in was that the burglars caught

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Speaker 1: that night, and the burglars had a spotter who was

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Speaker 1: supposed to radio them on their walkie talkies and let

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Speaker 1: them know if the police showed up so they could

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Speaker 1: get out of there. But according to an article called

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Speaker 1: the Bartender's Tale, How the Watergate Burglars Got Caught by

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Speaker 1: Craig Shirley, published in June twenty twelve in The Washingtonian,

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Speaker 1: this spotter, who was across the street at the Howard

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Speaker 1: Johnson's Motor Lodge. His name was Alfred C. Baldwin the Third,

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Speaker 1: did not notice the arrival of police because he was

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Speaker 1: too absorbed in watching a movie on TV. And that

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Speaker 1: movie was Bert Eye Gordon's Attack of the Puppet People. So,

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Speaker 1: if this is to be believed, if Attack of the

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Speaker 1: Puppet People had been even slightly less amusing of a film,

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Speaker 1: the Watergate burglars might not have been caught and American

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Speaker 1: history could have unraveled in a very different way. Yeah.

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Speaker 1: What a strange place for alternate universe is to split

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Speaker 1: around Burt Eye Gordon's Attack of the Puppet People. What

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Speaker 1: scene do you think it was that when the police

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Speaker 1: showed up and this guy could not be bothered to

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Speaker 1: look out the window. Oh well, there plenty of candidates

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Speaker 1: for scenes that couldn't have been at It had to

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Speaker 1: have been, in my mind, it had to have been

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Speaker 1: the various special effects sequences or various scenes in which

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Speaker 1: miniature people are averting about. You don't think he was

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Speaker 1: glued to the TV during one of the many elevator

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Speaker 1: scenes or the scenes of mister Franz receiving a phone

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Speaker 1: call saying that he should come out to the lobby

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Speaker 1: to meet someone. Yeah, yeah, probably not one of those scenes,

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Speaker 1: but it's worth noting on that. Yeah, the Attack of

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Speaker 1: the Puppet People is a movie that you don't expect

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Speaker 1: it to necessarily grab you right away. You gotta let

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Speaker 1: it set in, you gotta let it get through. It

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Speaker 1: needs to travel to another location before it it kicks

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Speaker 1: in with the spectacle. Okay, I got another beef with

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Speaker 1: this movie, and this is not going to turn into

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Speaker 1: just right on Attack of the Puppet People because highly

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Speaker 1: amusing film. I'm gonna say overall, this is what I

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Speaker 1: do recommend for be cinema purposes. But this is one

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Speaker 1: where the title and the poster just lie. They just

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Speaker 1: lie to you. The title is attack of the puppet People.

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Speaker 1: The only plausible candidates for the titular puppet people are

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Speaker 1: not puppets. They're people who have been shrunken to the

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Speaker 1: size of dolls. And these doll people do not attack

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Speaker 1: anyone except in one instance where the thing they attack

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Speaker 1: is a puppet. So the title would only make sense

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Speaker 1: if it was attack of the puppet by people. Yeah,

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Speaker 1: and the poster, to your point, shows multiple little people

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Speaker 1: wielding a knife like it's a medieval battering ram against what.

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Speaker 1: I guess we were talking about this before we recorded.

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Speaker 1: We're not sure that we assume this is supposed to

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Speaker 1: be a dog, but it looks kind of like a

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Speaker 1: Tasmanian devil, yeah, or like a like a wolverine or something.

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Speaker 1: I don't know what this animal is. And the poster

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Speaker 1: tagline is doll dwarves versus the crushing giant beasts. Again

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Speaker 1: highly inaccurate, completely misleading. There is a There are brief

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Speaker 1: scenes towards the end, this is not even a major

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Speaker 1: part of the movie, fleeting moments of the puppet people

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Speaker 1: being threatened by animals, including a rat and a dog,

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Speaker 1: but they're never like in the same shot, and they're

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Speaker 1: over in a few seconds. Yeah, it's not like I mean,

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Speaker 1: I guess what they were going for is like, hey,

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Speaker 1: do you remember those great sequences in The Incredible Shrinking

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Speaker 1: Man where he fights a spider or a housecat? Will

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Speaker 1: prepare for more of that in Attack of the Puppet People.

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Speaker 1: I guess they figure by the time you get to

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Speaker 1: those scenes. Most theaters have a policy where it's too

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Speaker 1: late to get the money for your ticket back. Yeah. Well, well,

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Speaker 1: let's let's let the people know what's in store for them. Here, Joe,

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Speaker 1: what's your elevator pitch for Attack of the Puppet People?

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Speaker 1: All right, people keep disappearing at the offices of Dolls Incorporated,

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Speaker 1: a small company run by the eccentric old mister Franz.

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Speaker 1: The mailman vanishes without a trace. His former secretary was

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Speaker 1: never heard from again. Also, you are not allowed to

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Speaker 1: play with the freakishly lifelike dolls in glass tubes over

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Speaker 1: in the corner display case. That's it, all right, Let's

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Speaker 1: listen to the trailer idea. John agar is the nice

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Speaker 1: looking young man introduced by John Whyte to pretty June Kenny,

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Speaker 1: and when boy meets girl, well they do what comes naturally.

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Speaker 1: But the loss of love has made this mild mannered

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Speaker 1: man into a maniac. A maniac who wants to make

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Speaker 1: you a plaything, and the fear awsome fact is he

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Speaker 1: knows how to do it. Why I'm your friend? All right? Well,

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Speaker 1: if you want to watch this one before proceeding with

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Speaker 1: the rest of the episode, it's widely available for digital

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Speaker 1: purchase in streaming. You can also pick it up on

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Speaker 1: DVD as part of the MGM Midnight Movie series as

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Speaker 1: a two pac with Village of the Giants, and I

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Speaker 1: think it's also available as a straight up blue ray.

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Speaker 1: I would also add that, as of today, I think

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Speaker 1: watching this movie is the best way to see unedited

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Speaker 1: scenes from the amazing Colossal Man. Yeah, Yeah, it's it's again.

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Speaker 1: Kind of a kind of a shame. I'm gonna be

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Speaker 1: optimistic though, and hope that the reason for this is

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Speaker 1: because somebody's just about to put it out in some

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Speaker 1: sort of restored special edition blue ray, especially since to

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Speaker 1: get into the connections here on this one, the director

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Speaker 1: the producer story credit as well goes to Bert Eye Gordon,

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Speaker 1: who lived nineteen twenty two through twenty twenty three. He

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Speaker 1: passed away earlier this month at the age of one

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Speaker 1: hundred years old. Right, So we sort of ended up

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Speaker 1: here by saying we wanted to do a Bert Eye

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Speaker 1: Gordon movie, and we were originally going to do The

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Speaker 1: Amazing Colossal Man, but as you noted, that's like it's

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Speaker 1: not on disc and then that led us to The

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Speaker 1: Incredible Shrinking Man, and then somehow we ended up back

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Speaker 1: with Bert Eye Gordon for the rip off of The

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Speaker 1: Incredible Shrinking Man. Right, so we've come back around to

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Speaker 1: Burt Eye Gordon before the month is out, Bert Eye Gordon,

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Speaker 1: b Ig, Mister Big. Those were his initials. That was

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Speaker 1: his nickname because he did a number of films involving

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Speaker 1: big bugs, big humans, or humans so small that everything

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Speaker 1: else seems big. In the case of this picture. He

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Speaker 1: was an icon of nineteen fifties beast cinema. His earliest

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Speaker 1: credit is producer on nineteen fifty four Serpent Island, but

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Speaker 1: he moved into directing and fighting with the follow up

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Speaker 1: nineteen fifty five King Dinosaur, and then in nineteen fifty

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Speaker 1: seven he began busting out his Giant Man movies. The

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Speaker 1: first Giant man movie did was nineteen fifty seven's The Cyclops,

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Speaker 1: about an area of Mexico where giant radiated animals and

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Speaker 1: a twenty five foot tall man with a disfigured face,

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Speaker 1: one eye and savage instincts, you know, rule the countryside. Okay,

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Speaker 1: I don't know that I've ever watched The Cyclops in

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Speaker 1: its entirety, but that one has Lon Cheney Junior in it.

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Speaker 1: The same year he also gave us The Amazing Colossal Man.

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Speaker 1: This is another atomic enlargement tale, but one that explores

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Speaker 1: the emotions of a rational human being at the center

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Speaker 1: of the change, played by Glenn Langan in a role

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Speaker 1: that I always liked. Again, would love to come back

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Speaker 1: and do this film when we have a better way

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Speaker 1: to watch it. It's maybe we'll discuss this a little

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Speaker 1: bit when we get to the part in this movie

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Speaker 1: where they're watching The Amazing Colossal Man. In nineteen fifty eight,

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Speaker 1: he followed this film up with a sequel, War of

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Speaker 1: the Colossal Beast, in which they say that Glenn survived,

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Speaker 1: but he's now disfigured and savage, played by a different actor,

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Speaker 1: and they dress him up in the same Cyclops mask.

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Speaker 1: From the earlier picture, so that kind of completes his

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Speaker 1: Giant Man trilogy. But then he did a Giant Spider

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Speaker 1: picture titled Spider or Earth Versus the Spider, and then

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Speaker 1: this movie Attack of the Puppet People. Wait, so you

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Speaker 1: could say that in fifty eight he may have had

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Speaker 1: two different movies, both inspired by the incredible Shrinking Man,

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Speaker 1: this one where it shrinks humans, but also maybe Earth

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Speaker 1: Versus the Spider because it involves humans fighting a giant

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Speaker 1: spider puppet. I suppose, so, though I guess Giant Spider.

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Speaker 1: I mean, when you start thinking of like a full

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Speaker 1: list of Giant Spider movies, they're quite a number of them.

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Speaker 1: Gordon remained active throughout the sixties, seventies, and eighties, and

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Speaker 1: even came back to direct twenty fifteen Secret of a

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Speaker 1: Psychopath while in his nineties. Of his post Puppet People films,

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Speaker 1: I'd say some of the more notable ones include nineteen

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Speaker 1: sixties Tormented. This one was featured on MST. It has

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Speaker 1: Joe Turkle in it. Nineteen sixty two is the Magic Sword,

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Speaker 1: also an MST three K classic. This one starred Basil Rathbone,

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Speaker 1: Estelle Wynwood and Gary Lockwood. Very fun sword and sorcery

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Speaker 1: sort of movie, you know, very much for the kids.

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Speaker 1: I've never seen it, but this one does look fun.

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Speaker 1: I considered it for the show. Oh yeah, we could

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Speaker 1: totally do magic swords someday. It's it's it's a lot

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Speaker 1: of fun. And the MST three K episode was was

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Speaker 1: great fun as well. Nineteen sixty five Village of the

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Speaker 1: Giants also an MST three K episode. This one had

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Speaker 1: Tommy Kirk, bow Bridges, Ron Howard and more Joe Turkle.

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Speaker 1: This one kind of attack of the Killer Teenagers. They're

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Speaker 1: like giants, sort of sacop teens in it. Yeah, yeah,

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Speaker 1: I believe so, and I yeah. And this one if

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Speaker 1: I didn't mention already, this one was also a future

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Speaker 1: in an MST three K. But I have a less

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Speaker 1: clear picture of this one. It may be only solid ones.

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Speaker 1: Nineteen sixty six is Picture Mommy Dead. This had Don

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Speaker 1: Amici Jajaga Boor in it. And this is an evil

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Speaker 1: Stepmon film. Nineteen seventy two is Necromancy starring Orson Wells.

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Speaker 1: Orson Wells, Yeah, Orson Wells with for a quick payday

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Speaker 1: on this one, and it's not supposed to be very good.

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Speaker 1: Every July, Peas grow there and then seventy six Food

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Speaker 1: of the Gods, a giant killer animal film based on

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Speaker 1: a work by H. G. Wells in the nineteen seventy

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Speaker 1: seven Empire of the Ants, A pretty late in the

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Speaker 1: game giant Ants film based on Wells, starring Joan Collins.

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Speaker 1: Haven't seen it, heard very conflicting reviews. Some say it's

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Speaker 1: a hoot, others say it is a it is a

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Speaker 1: kind of gross bore. It's certainly no Phase four, all right.

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Speaker 1: George Worthing Yates screenplay credit on this so of nineteen

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Speaker 1: oh one through nineteen seventy five, So it may have

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Speaker 1: been Gordon's story, but someone had to put it together

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Speaker 1: into a screenplay, and I suppose that's where Yates comes in.

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Speaker 1: His writing credits go back to the twenties and thirties,

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Speaker 1: with a bunch of the adventure films, including a nineteen

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Speaker 1: thirty eight Lone Ranger film and a nineteen forty seven

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Speaker 1: Sindbad the Sailor film starring Douglas Fairbanks, Junior, Marine O'Hara,

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Speaker 1: and Anthony Quinn. But in nineteen fifty four you see

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Speaker 1: his credits take a sharp turn down the atomic turn

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Speaker 1: Bike with the Giant Ant movie Them. Afterwards, he worked

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Speaker 1: on fifty five Conquest of Space and it came from

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Speaker 1: Beneath the Sea, fifty sixes Earth Versus the Flying Saucers,

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Speaker 1: and he did some uncredited work apparently on the amazing

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Speaker 1: Colossal Man. Oh, these are some respected sci fi movies

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Speaker 1: them and Earth Versus Flying Saucers and stuff. Yeah, along

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Speaker 1: with puppet People. He worked on War of the Colossal Beast,

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Speaker 1: followed by fifty eight Spacemaster X seven and Gordon's The

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Speaker 1: Spider and Tormented. I'm also very intrigued. I haven't seen this,

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Speaker 1: but I'm intrigued by this nineteen fifty eighth film that

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Speaker 1: he was a writer on Frankenstein nineteen seventy, which indeed

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Speaker 1: is supposed to take place in nineteen seventy and stars

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Speaker 1: Boris Karloff as Baron Frankenstein. I would love to know

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Speaker 1: what writers in nineteen fifty eight thought nineteen seventy would

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Speaker 1: be like. I think I read that they originally were

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Speaker 1: thinking it was not quite nineteen seventy, it was just

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Speaker 1: a few years into the future. But they're like, nope,

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Speaker 1: this is two futurists. We got to bump it up

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Speaker 1: even more. By nineteen seventy, every family will own a

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Speaker 1: car the size of a battleship. All right, let's get

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Speaker 1: into the cast here. John Agar is back. This, of course,

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Speaker 1: was the star of Tarantula, which we've covered not too

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Speaker 1: long ago. He plays Bob Wesley. Agar lived nineteen twenty

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Speaker 1: one through two thousand and two. Longtime American actor who

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Speaker 1: appeared in a bunch of films from forty eight through

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Speaker 1: two thousand and one. You can basically divide his work

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Speaker 1: into two categories, the war movies in the Westerns, and

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Speaker 1: then on the other side, the B movies, as we

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Speaker 1: talked about in our Tarantula episode and Who. When it

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Speaker 1: comes to the war movies and the West Arns, he

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Speaker 1: worked with folks like John Wayne. But in the B

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Speaker 1: movie category he's in stuff like The Mole People from

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Speaker 1: fifty six, Revenge of the Creature from fifty five, and

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Speaker 1: Hand of Death from sixty two. It's John Agar. I mean,

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Speaker 1: it's exactly what you would expect. He's total cornball in this,

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Speaker 1: but I would not change it for anything. It's got

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Speaker 1: to be John Agar. Yeah, I mean he's the dependable lead.

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Speaker 1: You know. I can imagine if you're a director. Not

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Speaker 1: only were would you be happy to have him, you'd

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Speaker 1: wish you had a whole suitcase full of them. Oh

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Speaker 1: I see what you did there. Yeah, all right. We

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Speaker 1: also have our our villainous character here, or evil dollmaker

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Speaker 1: slash puppetmaster slash shrinkinader. This is mister Franz, played by

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Speaker 1: John Hoyt, who Lift nineteen oh five through nineteen ninety one.

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Speaker 1: You know, I have some questions about how this character

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Speaker 1: is written, but I think John Hoyt is actually much

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Speaker 1: better than the part deserves. Really, he brings an interesting

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Speaker 1: take on the role. I mean, so, this is an

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Speaker 1: inherently a creepy villain, a guy who shrinks people down

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Speaker 1: into dolls and wants to control their every move. But

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Speaker 1: John Hoyt, I think, makes the interesting decision of making

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Speaker 1: him ultimately even creepier by giving him very gentle, mild

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Speaker 1: mannerisms and making it seem like, oh, how could this

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Speaker 1: guy hurt anyone? Yeah, I know exactly what you mean. Like,

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Speaker 1: it's the kind of role that, by all rights, should

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Speaker 1: have gone to somebody like John Carradine, who, okay, would

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Speaker 1: have physically had a similar presence on the screen and

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Speaker 1: would have seemed a nice, nice and tall looking or

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Speaker 1: at least thin enough that he looks tall in comparison

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Speaker 1: to our shrunk characters. But this generally does not come

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Speaker 1: off as lovable. But yeah, Hoyt's take on this character

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Speaker 1: like you can't help but buy into the heart of

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Speaker 1: the character at times and ways. And I'm not sure

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Speaker 1: how much of this is his performance and how much

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Speaker 1: of it is the script. At times it feels like

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Speaker 1: too much effort is made to make you feel for

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Speaker 1: this guy who is a kidnapping and human experimenting villain.

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Speaker 1: Yes so. Hoyt was an American actor best known for

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Speaker 1: When Worlds Collide from fifty one, Spartacus from nineteen sixty,

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Speaker 1: and Brute Force from forty seven. He has a lot

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Speaker 1: of credits going back to in the nineteen forties lots

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Speaker 1: of TV. He acted in such films The sixty three'es X,

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Speaker 1: The Man with the X ray I's nineteen sixty fourth,

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Speaker 1: The Time Travelers, and nineteen seventy four's Flesh Gordon. His

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Speaker 1: many TV roles include bits On at the original Battlestar Galactica,

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Speaker 1: The Six Million Dollars Man, Koltchak, The Knights Stalker, Planet

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Speaker 1: to the Apes, the TV series Hogan's Heroes Get Smart,

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Speaker 1: The Monkeys, the Original Outer Limits, and much more. This

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Speaker 1: is not really a one to one comparison, but I

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Speaker 1: kept thinking about Annie Wilkes from Stephen King's Misery with

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Speaker 1: this guy. You know, the way that he's without you know,

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Speaker 1: the overt violence and aggression you see from Annie and

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Speaker 1: Wilkes and Misery, but you know he's he's that kind

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Speaker 1: of like I love you and therefore I must keep you.

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Speaker 1: I'm doing this for you. I'm I'm I'm saving you

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Speaker 1: from the world, that sort of thing. Yeah. He at

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Speaker 1: one point he gives a speech about how, look, you'll

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Speaker 1: never have to pay taxes again now that I've made

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Speaker 1: you into a doll. But as sure, he never has

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Speaker 1: to break out the sledgehammer. Um, he just sort of

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Speaker 1: his worst threat really is like, well, I'll just put

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Speaker 1: you back in the tube for a long time. Yeah, yeah,

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Speaker 1: it's And in fact, I kept thinking that he would

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Speaker 1: have to squash somebody to make an example out of them,

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Speaker 1: and that would you know, up the antie for making

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Speaker 1: him a believable villain, but they never did. Still, really

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Speaker 1: really good performance. Yeah, kudos, Yeah, thumbs up. John Hoyt. Now,

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Speaker 1: really our main character in this outside of the evil

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Speaker 1: puppet Master here is Sally Reynolds played by June Kinney

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Speaker 1: who lived nineteen thirty three through twenty twenty one. I

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Speaker 1: think if you look up on Jenue in the dictionary,

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Speaker 1: you would get a picture of this character. The character

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Speaker 1: is someone who are Rives sort of like bride eyed

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Speaker 1: and innocent and unsuspecting of anyone and then is confronted

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Speaker 1: with a sinister plot of shrink Nation. Yeah, given the

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Speaker 1: limits of this role, I think she's She's really good

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Speaker 1: in it, you know, she's especially when she's up there

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Speaker 1: with John Agar and Jagar you know, again solid dependable,

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Speaker 1: but his character as well discuss as we get into

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Speaker 1: the plot there's not a lot really to latch onto

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Speaker 1: there either. And I don't know, you can see she's

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Speaker 1: one of thos, one of those those performances with Jim

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Speaker 1: Kinney where I feel like you see the wheels the

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Speaker 1: gears turning in her head even when you wouldn't have

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Speaker 1: to for a film like this anyway. She was a

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Speaker 1: fifties B movie starlet that was active from the early

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Speaker 1: fifties to the early to mid sixties. Her films include

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Speaker 1: fifty eight The Spider, nineteen sixty one Bloodlust, and nineteen

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Speaker 1: fifty seven's Teenage Doll. Ironically enough, does she play a

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Speaker 1: doll in that too? I don't think so. I forget

395
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Speaker 1: exactly what the ride up on Team n Doll was,

396
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Speaker 1: but I don't think it's the Shrink film all right,

397
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Speaker 1: Just a few other players have none. I'm not going

398
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Speaker 1: to go through all the Shrink characters and the side characters,

399
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Speaker 1: but there's a character named Stan. He's one of the

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Speaker 1: belief the newlyweds that have been shrunk, played by Ken Miller,

401
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Speaker 1: who lived nineteen thirty one through twenty seventeen. A notable

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Speaker 1: youth actor of the day, his credits include fifty seven's

403
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Speaker 1: I Was a Teenage Werewolf in nineteen sixty four Surf Party.

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Speaker 1: Then we have a character by the name of Georgia

405
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Speaker 1: Lane played by Laurie Mitchell, who lived nineteen twenty eight

406
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Speaker 1: through twenty eighteen. Model turned actor, best remembered as Queen

407
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Speaker 1: Yelana from nineteen fifty eight's Queen of Outer Space, which

408
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Speaker 1: also starred Jean Jacoboor with a screenplayed by Charles Beaumont,

409
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Speaker 1: who we've talked about before a lot of connection to

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Speaker 1: the classic Twilight Zone. All right, we have a little

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Speaker 1: girl wander into We have multiple little children wandering and

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Speaker 1: ask questions about the dolls, which is not surprising most

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Speaker 1: of the movie takes place at a doll shop. But

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Speaker 1: one of these little girls is played by Susan Gordon,

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Speaker 1: who plays a little girl named Agnes. This was Bert's daughter,

416
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Speaker 1: lived nineteen forty nine through twenty eleven. She was apparently

417
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Speaker 1: a last minute replacement for another child and this was

418
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Speaker 1: their first acting gig. Apparently her this is one of

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Speaker 1: those situations where her parents didn't really want her to

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Speaker 1: get into acting, but you know, she kept she kept

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Speaker 1: at it, and she ended up acting into the late

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Speaker 1: nineteen sixties, with appearances and such titles as Tormented, Alfred

423
00:24:21,560 --> 00:24:25,520
Speaker 1: Hitchcock Presents, Gunsmoke, The Original Twilight Zone, Alfred Hitchcock Hour,

424
00:24:25,600 --> 00:24:28,399
Speaker 1: and My Three Sons And finally, the music on this

425
00:24:28,480 --> 00:24:31,040
Speaker 1: picture is by Albert Glasser, who lived nineteen sixteen through

426
00:24:31,119 --> 00:24:33,520
Speaker 1: nineteen ninety eight, film composer who worked in the forty

427
00:24:33,560 --> 00:24:37,240
Speaker 1: fifties and sixties mostly. He apparently started off as a

428
00:24:37,280 --> 00:24:40,920
Speaker 1: Warner Brothers music department copyist, but moved up and made

429
00:24:40,920 --> 00:24:43,600
Speaker 1: a name for himself mostly in B movies, and he

430
00:24:43,640 --> 00:24:47,000
Speaker 1: worked for Burt Iye Gordon several times. Well. Speaking of

431
00:24:47,040 --> 00:24:49,280
Speaker 1: the music, one of the first thing when we were

432
00:24:49,280 --> 00:24:53,040
Speaker 1: watching this, first thing that made my eyes light up

433
00:24:53,080 --> 00:24:56,680
Speaker 1: with joy was when in the credits you realized that

434
00:24:56,720 --> 00:25:00,240
Speaker 1: this movie has a theme song like a song, a

435
00:25:00,359 --> 00:25:04,520
Speaker 1: song popular music song written for the film. The title

436
00:25:04,600 --> 00:25:08,520
Speaker 1: song is called Your My Living Doll, music by Albert Glasser,

437
00:25:08,920 --> 00:25:12,120
Speaker 1: who you just mentioned in Don Ferris, lyrics by Henry

438
00:25:12,320 --> 00:25:16,320
Speaker 1: Shrage Shrage, I don't know how you say that, and

439
00:25:16,359 --> 00:25:20,840
Speaker 1: then sun by cast member Marlene Willis. That's right. She

440
00:25:20,920 --> 00:25:23,560
Speaker 1: lived nineteen forty two to nineteen eighty two. She's yeah,

441
00:25:23,560 --> 00:25:26,760
Speaker 1: she's she's in the film playing Laurie, one of the

442
00:25:27,600 --> 00:25:30,560
Speaker 1: shrunk people. This is only one of I think two

443
00:25:30,600 --> 00:25:32,520
Speaker 1: different film roles that she did. But she has a

444
00:25:32,560 --> 00:25:35,480
Speaker 1: lot of variety show appearances from from back in the day.

445
00:25:35,480 --> 00:25:37,600
Speaker 1: So you show up on variety show. So I guess

446
00:25:37,600 --> 00:25:40,720
Speaker 1: we would think of her primarily as a as a

447
00:25:40,800 --> 00:25:43,720
Speaker 1: musician who also did some acting gigs here and there.

448
00:25:44,000 --> 00:25:47,280
Speaker 1: So we're talking about a shrink movie that has a

449
00:25:47,400 --> 00:25:51,040
Speaker 1: song with lyrics about being a doll. It's called your

450
00:25:51,119 --> 00:25:54,440
Speaker 1: my living doll, and they sing it in the movie. Yes,

451
00:25:54,920 --> 00:25:58,119
Speaker 1: that's classy. Attack of the doll people would would have

452
00:25:58,160 --> 00:26:00,280
Speaker 1: been far more fitting, right, It would have matched up

453
00:26:00,280 --> 00:26:02,000
Speaker 1: with the song, and yeah, it would have been a

454
00:26:02,040 --> 00:26:04,680
Speaker 1: little more honest. Where does the puppet thing come from?

455
00:26:04,920 --> 00:26:07,240
Speaker 1: Well as well, discott. I mean, they do share the

456
00:26:07,280 --> 00:26:09,959
Speaker 1: stage with some puppets, and puppets are part of the plot.

457
00:26:10,000 --> 00:26:12,200
Speaker 1: But yeah, all right, we can get to that. Oh

458
00:26:12,200 --> 00:26:15,560
Speaker 1: but another thing I wanted to note is there are

459
00:26:15,600 --> 00:26:18,639
Speaker 1: there are puppet people who we never meet in the film.

460
00:26:18,880 --> 00:26:21,919
Speaker 1: We see them in a glass display case in the office.

461
00:26:21,920 --> 00:26:23,639
Speaker 1: We also see them in the credits. So as the

462
00:26:23,640 --> 00:26:27,720
Speaker 1: credits are rolling, we see people in glass tubes appearing

463
00:26:27,760 --> 00:26:31,240
Speaker 1: across the screen, and I think only of a couple

464
00:26:31,320 --> 00:26:33,760
Speaker 1: of the ones in the credits ever show up in

465
00:26:33,800 --> 00:26:36,159
Speaker 1: the film. Now, are the ones in the credits refresh

466
00:26:36,240 --> 00:26:38,520
Speaker 1: my memory? Are they moving at all? Or is it

467
00:26:38,560 --> 00:26:41,600
Speaker 1: seemingly the same special effect that they use for the

468
00:26:42,359 --> 00:26:45,280
Speaker 1: people in the actual film? They they are not moving.

469
00:26:45,320 --> 00:26:48,040
Speaker 1: I think there's it's the same effect. I think, yeah,

470
00:26:48,040 --> 00:26:52,119
Speaker 1: which I took to be just two D paper cutouts

471
00:26:51,960 --> 00:26:54,600
Speaker 1: of the people that were carefully held in such a

472
00:26:54,640 --> 00:26:57,160
Speaker 1: way that you would not reveal that they were two

473
00:26:57,240 --> 00:27:00,240
Speaker 1: d to the camera, yes, which sometimes made for like

474
00:27:00,320 --> 00:27:04,760
Speaker 1: awkward hand posture with respect to the camera, like you're

475
00:27:04,920 --> 00:27:07,840
Speaker 1: you're holding this tube of John Agar and you're staring

476
00:27:07,880 --> 00:27:13,199
Speaker 1: directly at his ear and realizing that it's really yeah. Okay.

477
00:27:13,640 --> 00:27:17,720
Speaker 1: So we open on a shot of a tall office building.

478
00:27:17,760 --> 00:27:19,320
Speaker 1: I don't know what city this is supposed to be in,

479
00:27:19,359 --> 00:27:22,000
Speaker 1: maybe New York, but we learned this is the Tilford

480
00:27:22,080 --> 00:27:25,680
Speaker 1: Building and inside there is a Brownie troop. So girl

481
00:27:25,760 --> 00:27:29,159
Speaker 1: Scout troop is getting off the elevator and they're headed

482
00:27:29,160 --> 00:27:33,920
Speaker 1: for a visit to an office called Dolls Incorporated. Inside there,

483
00:27:33,960 --> 00:27:36,720
Speaker 1: the troop leader meets with the secretary. He was a

484
00:27:36,840 --> 00:27:40,800
Speaker 1: very friendly and professional young woman. And the secretary calls

485
00:27:40,840 --> 00:27:43,560
Speaker 1: on the phone to let mister Frans know they're here

486
00:27:43,640 --> 00:27:45,880
Speaker 1: and then tells them they are welcome to go check

487
00:27:45,920 --> 00:27:49,000
Speaker 1: out the dolls on the wall display, and they do that,

488
00:27:49,080 --> 00:27:52,080
Speaker 1: and then she's like, oh, but excuse me, not those

489
00:27:52,280 --> 00:27:55,119
Speaker 1: dolls right next to the other dolls in the hermetically

490
00:27:55,160 --> 00:27:59,520
Speaker 1: sealed glass tubes with the suspiciously human looking flesh. I

491
00:27:59,520 --> 00:28:02,480
Speaker 1: did not mean you could play with those dolls because

492
00:28:02,520 --> 00:28:05,240
Speaker 1: mister Franz is very particular about them. Let's go look

493
00:28:05,240 --> 00:28:07,920
Speaker 1: at the other ones. He is big about just having

494
00:28:07,920 --> 00:28:10,879
Speaker 1: his dark secrets just open for display for anyone that

495
00:28:11,080 --> 00:28:14,040
Speaker 1: happens to wander into his business. Yeah, so you're like

496
00:28:14,080 --> 00:28:17,480
Speaker 1: shrinking people into dolls. And why would you have them

497
00:28:17,520 --> 00:28:19,680
Speaker 1: in the front room of your office. He doesn't even

498
00:28:19,720 --> 00:28:22,000
Speaker 1: have them in a vault or anything. Well, I'm at

499
00:28:22,040 --> 00:28:23,879
Speaker 1: His response would be, how could I keep them in

500
00:28:23,920 --> 00:28:26,400
Speaker 1: the back room? I get lonely. I need to look

501
00:28:26,400 --> 00:28:29,640
Speaker 1: at them. But he's always in the back rooms. He's

502
00:28:29,640 --> 00:28:32,560
Speaker 1: having his visitors and secretary look at them. But what

503
00:28:32,600 --> 00:28:34,360
Speaker 1: do I do when I come into the front room.

504
00:28:34,400 --> 00:28:36,560
Speaker 1: I would get lonely if I couldn't see them. I

505
00:28:36,720 --> 00:28:39,360
Speaker 1: keep one tube of John Agar in the bathroom just

506
00:28:39,400 --> 00:28:45,680
Speaker 1: so I have some company. Yeah, so we zoom in

507
00:28:45,720 --> 00:28:49,400
Speaker 1: on the tube dolls while we get a horrible dramatic

508
00:28:49,480 --> 00:28:53,560
Speaker 1: music sting. Duh, And of course we see the very

509
00:28:53,640 --> 00:28:56,520
Speaker 1: realistic looking people, except they do look kind of flat

510
00:28:56,560 --> 00:29:00,080
Speaker 1: and I think they are paper cutouts. Anyway, So we

511
00:29:00,160 --> 00:29:03,720
Speaker 1: cut to some time later and a different young woman

512
00:29:03,800 --> 00:29:06,560
Speaker 1: is wandering the holes of the building. She consults a

513
00:29:06,640 --> 00:29:09,960
Speaker 1: classified ad that she's cut out from the newspaper. It's

514
00:29:09,960 --> 00:29:13,280
Speaker 1: in her hand and it says that says general office

515
00:29:13,320 --> 00:29:17,080
Speaker 1: girl wanted easy work, good pay. Apply to mister Franz

516
00:29:17,160 --> 00:29:21,480
Speaker 1: Dolls Incorporated, Tilford Building, fifth floor. And this is June

517
00:29:21,560 --> 00:29:25,160
Speaker 1: Kenny as Sally Reynolds. So she lets herself into the

518
00:29:25,200 --> 00:29:28,440
Speaker 1: office and then wanders around looking at things, and ends

519
00:29:28,520 --> 00:29:31,400
Speaker 1: up picking up a figurine from the desk to examine it.

520
00:29:31,640 --> 00:29:34,320
Speaker 1: And then suddenly there's a hand on her shoulder from behind,

521
00:29:34,400 --> 00:29:37,600
Speaker 1: and she whirls around and here is John Hoyt as

522
00:29:37,680 --> 00:29:40,840
Speaker 1: mister Franz. What would you guess? Is the first thing

523
00:29:40,920 --> 00:29:44,000
Speaker 1: he says to her, like hello, or are you here

524
00:29:44,040 --> 00:29:47,720
Speaker 1: about the job? The first thing he says is, young lady,

525
00:29:48,040 --> 00:29:52,400
Speaker 1: do you like my dolls? She says, oh, yes, I

526
00:29:52,440 --> 00:29:55,840
Speaker 1: think they're lovely. And then he takes around to meet

527
00:29:55,920 --> 00:29:58,400
Speaker 1: some of them. So he shows off. Oh here's a bride,

528
00:29:58,520 --> 00:30:03,040
Speaker 1: isn't she lovely? Here's a housewife going shopping. Oh here

529
00:30:03,160 --> 00:30:06,120
Speaker 1: she's very important. This is my nurse. She helps keep

530
00:30:06,160 --> 00:30:09,800
Speaker 1: my little people well. So he's already like taken the dolls,

531
00:30:10,320 --> 00:30:15,040
Speaker 1: taken them all serious, and Sally notices this. She's like, oh,

532
00:30:15,160 --> 00:30:17,320
Speaker 1: you treat them like real people. And he says, but

533
00:30:17,400 --> 00:30:21,440
Speaker 1: of course they're my friends. My name is mister Franz.

534
00:30:22,120 --> 00:30:25,840
Speaker 1: And she is creeped out, as many people would be,

535
00:30:25,880 --> 00:30:28,360
Speaker 1: so she tries to leave, but mister Franz runs to

536
00:30:28,400 --> 00:30:31,760
Speaker 1: the door to stop her. Good move, and he starts

537
00:30:31,760 --> 00:30:34,320
Speaker 1: giving her a job interview there while he's preventing her

538
00:30:34,360 --> 00:30:37,480
Speaker 1: from leaving. The main thrust of the job interview is

539
00:30:37,640 --> 00:30:40,840
Speaker 1: are you married? Answer is no? Do you live with

540
00:30:40,880 --> 00:30:44,560
Speaker 1: any family or roommates? Answer is no? And he's like, Oh,

541
00:30:44,600 --> 00:30:47,320
Speaker 1: you're perfect, You're exactly what I need for this job.

542
00:30:48,360 --> 00:30:52,280
Speaker 1: You're hired next victim. Yeah, And I guess the I

543
00:30:52,320 --> 00:30:54,920
Speaker 1: don't know. I guess it's just that, like Sally is,

544
00:30:55,120 --> 00:30:59,560
Speaker 1: so is so goodhearted and innocent, she doesn't notice. Maybe

545
00:30:59,600 --> 00:31:02,280
Speaker 1: that the that The entire thrust of the job interview

546
00:31:02,360 --> 00:31:06,240
Speaker 1: is would anybody notice if you went missing? Yeah? Even

547
00:31:06,280 --> 00:31:09,000
Speaker 1: in this interview, though, Franz is constantly doing this, he's

548
00:31:09,080 --> 00:31:12,479
Speaker 1: always playing the pity card, a self pity card. You know.

549
00:31:13,000 --> 00:31:15,360
Speaker 1: There's the loneliness thing, but also the well, I and

550
00:31:15,640 --> 00:31:18,800
Speaker 1: I'll pay you a standard rate, maybe even a little more,

551
00:31:18,840 --> 00:31:21,000
Speaker 1: though it'll be difficult, you know, He were something to

552
00:31:21,000 --> 00:31:24,560
Speaker 1: that effect, where he's he's like, it's always about what

553
00:31:24,680 --> 00:31:27,920
Speaker 1: a bad time mister Franz is having. If you've seen

554
00:31:28,080 --> 00:31:30,400
Speaker 1: what we do in the Shadows, mister Franz is kind

555
00:31:30,440 --> 00:31:35,240
Speaker 1: of an emotional vampire. Yeah, he's always just like, oh

556
00:31:35,280 --> 00:31:37,840
Speaker 1: so lonely, I couldn't I don't know what I would

557
00:31:37,880 --> 00:31:42,840
Speaker 1: do without you. Yeah, it's very lonely and controlling, and

558
00:31:42,880 --> 00:31:45,560
Speaker 1: it is all about putting the blame for his loneliness

559
00:31:45,640 --> 00:31:48,480
Speaker 1: on anyone in his vicinity, and in this case they're

560
00:31:48,520 --> 00:31:53,160
Speaker 1: mostly people he's kidnapped and and experimented on. Right, So

561
00:31:53,400 --> 00:31:59,800
Speaker 1: he eventually pressures her into consenting to answer a ringing telephone,

562
00:32:00,680 --> 00:32:02,480
Speaker 1: and then he goes back to take the call in

563
00:32:02,520 --> 00:32:04,239
Speaker 1: the rear. So here we get a good look at

564
00:32:04,240 --> 00:32:07,640
Speaker 1: the layout of the office which will spend most of

565
00:32:07,680 --> 00:32:09,720
Speaker 1: the movie in. There's sort of a front room where

566
00:32:09,760 --> 00:32:12,360
Speaker 1: like there's the secretary's desk in a waiting area and

567
00:32:12,560 --> 00:32:15,880
Speaker 1: dolls in display cases on the walls, and then there's

568
00:32:15,920 --> 00:32:18,640
Speaker 1: a middle room, which is the factory. This is equipment

569
00:32:18,680 --> 00:32:22,520
Speaker 1: for making dolls. You get like plastic injection molding and

570
00:32:22,640 --> 00:32:26,120
Speaker 1: conveyor belt for dollheads, and then these tables covered in

571
00:32:26,600 --> 00:32:29,440
Speaker 1: parts arms and legs and stuff. And then there's a

572
00:32:29,440 --> 00:32:32,520
Speaker 1: back room behind a door that says no admittance, and

573
00:32:32,600 --> 00:32:34,720
Speaker 1: beyond that door there's a room that has a desk

574
00:32:34,760 --> 00:32:37,480
Speaker 1: and a telephone, as well as a couple of operating

575
00:32:37,520 --> 00:32:41,720
Speaker 1: tables with some big ray gun aimed at them. Anyway,

576
00:32:41,760 --> 00:32:43,600
Speaker 1: he goes, he takes the phone call and it's from

577
00:32:43,680 --> 00:32:46,440
Speaker 1: a mister Grant who's like, hey, do you know somebody

578
00:32:46,520 --> 00:32:49,120
Speaker 1: named Janet Hall. She was supposed to start work with

579
00:32:49,200 --> 00:32:53,680
Speaker 1: us this week, but she never showed up. And we

580
00:32:53,680 --> 00:32:56,040
Speaker 1: find out, of course, that was the previous secretary who

581
00:32:56,120 --> 00:32:58,400
Speaker 1: mister Brand says he doesn't know where she went, but

582
00:32:58,520 --> 00:33:01,480
Speaker 1: he again begs for pity. He's like, oh, you know,

583
00:33:01,520 --> 00:33:03,880
Speaker 1: miss Reynolds, Janet took such good care of things. I

584
00:33:03,960 --> 00:33:08,160
Speaker 1: don't even know where the cash register is. But then oh,

585
00:33:08,240 --> 00:33:11,920
Speaker 1: and then so Sally goes out to start doing her job,

586
00:33:11,960 --> 00:33:15,840
Speaker 1: I guess, and we get the music swelling ferociously with

587
00:33:15,920 --> 00:33:18,680
Speaker 1: a dun dune done as it zooms in on the

588
00:33:18,840 --> 00:33:23,640
Speaker 1: tube in his arm, and it's obviously Janet damn it. Yeah, yeah,

589
00:33:23,680 --> 00:33:27,840
Speaker 1: there she is tubed up, shrunk and tubed. Okay, so

590
00:33:28,000 --> 00:33:32,600
Speaker 1: some time passes. Miss Reynolds is apparently settling into her

591
00:33:32,600 --> 00:33:35,200
Speaker 1: new duties. Everything seems to be going all right, But

592
00:33:35,400 --> 00:33:39,600
Speaker 1: sometimes life throws a curveball at you. Sometimes you're just

593
00:33:39,600 --> 00:33:42,440
Speaker 1: sitting there punching the keys on a typewriter and a

594
00:33:42,520 --> 00:33:46,160
Speaker 1: room full of dolls and in walks John Agar. He's

595
00:33:46,200 --> 00:33:48,600
Speaker 1: ready to sweep you off your feet to Saint Louis,

596
00:33:48,640 --> 00:33:52,840
Speaker 1: Missouri and a whirlwind of arrows. And that is at

597
00:33:52,840 --> 00:33:56,320
Speaker 1: this moment, I've realized exactly what this movie needed. So

598
00:33:56,600 --> 00:34:00,520
Speaker 1: it's a late fifties b horror film. So in the orcast,

599
00:34:00,720 --> 00:34:03,560
Speaker 1: you need three figures. Really, you need the sparkly eyed

600
00:34:03,640 --> 00:34:06,280
Speaker 1: on Junue. You need a creepy old man with a

601
00:34:06,400 --> 00:34:11,040
Speaker 1: science or dull related secret. And to make the triad complete,

602
00:34:11,080 --> 00:34:16,280
Speaker 1: you need a grass fed USDA Prime rectangle. And John

603
00:34:16,360 --> 00:34:20,200
Speaker 1: Agar is exactly what the doctor ordered. He's uh oh,

604
00:34:20,239 --> 00:34:24,120
Speaker 1: and his character just sucks. He's he's a salesman named

605
00:34:24,200 --> 00:34:27,040
Speaker 1: Bob Weslie, and as soon as he comes in and

606
00:34:27,120 --> 00:34:30,680
Speaker 1: starts talking to her, he is a pushy jerk, Like

607
00:34:30,719 --> 00:34:32,719
Speaker 1: you get the feeling this is. This is a salesman

608
00:34:32,719 --> 00:34:35,560
Speaker 1: who makes his employees asked permission every time they want

609
00:34:35,560 --> 00:34:39,319
Speaker 1: to drink from the water cooler. Uh and uh you know.

610
00:34:39,440 --> 00:34:41,480
Speaker 1: So the first thing he does is he's like, I

611
00:34:41,560 --> 00:34:44,719
Speaker 1: need to see mister Franz, and Sally tells him mister

612
00:34:44,760 --> 00:34:48,000
Speaker 1: Franz is busy, can't be disturbed, so he just ignores her,

613
00:34:48,080 --> 00:34:52,120
Speaker 1: like barges right past her to throw open the door

614
00:34:52,160 --> 00:34:54,880
Speaker 1: and look in the back. Yeah. Yeah, he this is

615
00:34:54,880 --> 00:34:56,960
Speaker 1: a This is a character that I got the impression

616
00:34:57,000 --> 00:34:59,080
Speaker 1: that he needed to be shrunk down to size, you

617
00:34:59,120 --> 00:35:01,879
Speaker 1: know that. Yes, he this probably did him some good

618
00:35:01,960 --> 00:35:05,359
Speaker 1: character wise. Oh. He introduces himself as he says, I'm

619
00:35:05,400 --> 00:35:10,560
Speaker 1: Bob Wesley, the best salesman in Saint Louis. So maybe

620
00:35:10,560 --> 00:35:13,640
Speaker 1: that says it. Maybe this is supposed to be Saint

621
00:35:13,680 --> 00:35:16,520
Speaker 1: Louis or maybe what if not? What's he doing in

622
00:35:16,520 --> 00:35:19,760
Speaker 1: New York or wherever? Right, No, he's from Saint Louis

623
00:35:19,800 --> 00:35:21,759
Speaker 1: because at one point he talks about taking her back

624
00:35:21,800 --> 00:35:25,080
Speaker 1: to Saint Louis with him. Oh okay, yeah, why does

625
00:35:25,120 --> 00:35:29,120
Speaker 1: it seems like a weird brag a strange flex if

626
00:35:29,200 --> 00:35:31,960
Speaker 1: you're in the big city, in the big Apple. You know,

627
00:35:32,760 --> 00:35:36,800
Speaker 1: But despite how impressive and important John Agar is, he

628
00:35:37,200 --> 00:35:40,160
Speaker 1: still can't see mister Franz, because Sally explains, he's in

629
00:35:40,200 --> 00:35:43,319
Speaker 1: the back back room, the one labeled no admittance, and

630
00:35:43,760 --> 00:35:46,719
Speaker 1: he cannot be disturbed while he's in there. She can't

631
00:35:46,719 --> 00:35:49,239
Speaker 1: even call him on the phone. He'd be furious. And

632
00:35:49,280 --> 00:35:51,000
Speaker 1: I think once you've seen the whole movie, you can

633
00:35:51,080 --> 00:35:54,040
Speaker 1: probably assume. Oh, in the scene he's back there playing

634
00:35:54,080 --> 00:35:57,919
Speaker 1: with his shrunken humans. Yeah, he's he's having key time

635
00:35:58,000 --> 00:36:00,839
Speaker 1: for them or something. But John Agar's confused by this.

636
00:36:00,880 --> 00:36:03,240
Speaker 1: He's like, mister Franz, how could he ever be furious

637
00:36:03,239 --> 00:36:05,839
Speaker 1: at you? He's as mild mannered as a kitten. How

638
00:36:05,920 --> 00:36:09,959
Speaker 1: is that even possible? And so they start to talk,

639
00:36:10,000 --> 00:36:13,279
Speaker 1: and Sally admits that she's a little bit uneasy about

640
00:36:13,320 --> 00:36:17,000
Speaker 1: mister Franz, but she hesitates to say why, and John

641
00:36:17,000 --> 00:36:21,000
Speaker 1: Agar turns on the charm. He apologizes for his earlier behavior,

642
00:36:21,120 --> 00:36:24,640
Speaker 1: and he says, I want to be friends, okay, and

643
00:36:24,840 --> 00:36:27,520
Speaker 1: the charm seems to work. She agrees to be friends,

644
00:36:28,120 --> 00:36:30,720
Speaker 1: and she starts to explain she gets a little weirded

645
00:36:30,719 --> 00:36:34,240
Speaker 1: out when mister Franz gets into one of his peculiar moods.

646
00:36:34,640 --> 00:36:38,640
Speaker 1: When he quote talks to them, he seems so serious,

647
00:36:38,760 --> 00:36:41,719
Speaker 1: almost as if he expected them to talk back, and

648
00:36:41,840 --> 00:36:44,560
Speaker 1: John Agar asks, what do you mean talks to who?

649
00:36:44,880 --> 00:36:50,000
Speaker 1: And she says his dolls, to which John Egar responds

650
00:36:50,040 --> 00:36:53,320
Speaker 1: by just laughing in her face. I'm not sure why

651
00:36:53,880 --> 00:36:58,400
Speaker 1: is he mocking her for believing, he assumes incorrectly that

652
00:36:58,560 --> 00:37:02,280
Speaker 1: mister Franz talks to his dolls. This reaction, it doesn't

653
00:37:02,280 --> 00:37:04,720
Speaker 1: make any sense that it might just be bad writing.

654
00:37:04,760 --> 00:37:06,440
Speaker 1: I don't know. I don't know he comes He does

655
00:37:06,480 --> 00:37:09,560
Speaker 1: come off incredibly unlikable because it feels like he's laughing

656
00:37:09,600 --> 00:37:12,920
Speaker 1: at her, even if he's supposedly laughing at mister Frantz.

657
00:37:13,239 --> 00:37:15,680
Speaker 1: I think he is laughing at her. I think the

658
00:37:15,760 --> 00:37:18,080
Speaker 1: point is he's like, of course he's not talking to

659
00:37:18,239 --> 00:37:21,719
Speaker 1: his dolls. You are silly for thinking he does that.

660
00:37:23,600 --> 00:37:25,879
Speaker 1: I don't know. Well, you know, The Incredible Shrinking Man

661
00:37:26,000 --> 00:37:28,280
Speaker 1: was all about a guy who became more self aware

662
00:37:28,360 --> 00:37:32,160
Speaker 1: the smaller he'd got. So maybe some positive change is

663
00:37:32,200 --> 00:37:36,160
Speaker 1: in store for John Agar. Yeah. So we cut to

664
00:37:36,200 --> 00:37:39,359
Speaker 1: the next morning or some other day, and there's an

665
00:37:39,400 --> 00:37:43,680
Speaker 1: elevator scene. John Agar is back. He's pestering Sally in

666
00:37:43,719 --> 00:37:47,440
Speaker 1: the elevator on the way up to their office. Good lord,

667
00:37:47,520 --> 00:37:49,560
Speaker 1: how many people are in this elevator. This is not

668
00:37:49,640 --> 00:37:54,080
Speaker 1: an elevator, this is a room. Yeah. I was taken

669
00:37:54,080 --> 00:37:57,040
Speaker 1: aback by this as well, because if my count is correct,

670
00:37:57,040 --> 00:38:00,759
Speaker 1: they're like fourteen people in this elevator scene. And I

671
00:38:00,840 --> 00:38:03,440
Speaker 1: just did I didn't do extensive research, but I glanced

672
00:38:03,440 --> 00:38:07,520
Speaker 1: around at some stills from famous cinematic elevator sequences, and

673
00:38:07,560 --> 00:38:09,600
Speaker 1: I feel like you're generally looking at eight to ten

674
00:38:09,640 --> 00:38:13,480
Speaker 1: people tops, but fourteen. This is incredible. This is like

675
00:38:13,480 --> 00:38:16,279
Speaker 1: a freight elevator. You would think buildings would have a

676
00:38:16,320 --> 00:38:20,279
Speaker 1: dedicated elevator for John A. Gar Alone. Yeah, I mean,

677
00:38:20,760 --> 00:38:24,320
Speaker 1: given his sales credentials. Okay, But also here in this scene,

678
00:38:25,480 --> 00:38:28,719
Speaker 1: there's a whole thing about the mail carrier bringing a

679
00:38:28,840 --> 00:38:32,640
Speaker 1: letter for Janet Hall, the previous secretary, and it has

680
00:38:32,680 --> 00:38:35,080
Speaker 1: to be signed by her, but she's not there. So

681
00:38:35,120 --> 00:38:38,920
Speaker 1: Sally Reynolds offers to take the letter, and then mister

682
00:38:39,000 --> 00:38:41,520
Speaker 1: Franz says he'll take it because he expects to see

683
00:38:41,520 --> 00:38:43,719
Speaker 1: it or see her again. The point is Janet Hall

684
00:38:43,800 --> 00:38:46,600
Speaker 1: is missing, and mister Franz takes the letter. He promises

685
00:38:46,640 --> 00:38:48,840
Speaker 1: to give it to her, but later Sally finds the

686
00:38:48,920 --> 00:38:52,680
Speaker 1: letter in the garbage, and this raises her suspicions. Also,

687
00:38:52,760 --> 00:38:55,520
Speaker 1: we learned that the mailman is new because the old

688
00:38:55,640 --> 00:39:00,480
Speaker 1: mailman quote old Ernie, who used to deliver to the building,

689
00:39:00,520 --> 00:39:04,520
Speaker 1: mysteriously went missing two days before his retirement, right around

690
00:39:04,560 --> 00:39:08,319
Speaker 1: the time mister Franz made that incredibly realistic mailman doll

691
00:39:08,440 --> 00:39:11,360
Speaker 1: that no one is allowed to touch. And oh, and

692
00:39:11,400 --> 00:39:13,920
Speaker 1: then also we get a scene later where mister Franz

693
00:39:13,960 --> 00:39:16,160
Speaker 1: like closes the door and hanging on the back of

694
00:39:16,200 --> 00:39:19,080
Speaker 1: the door is just a mail carrier's satchel. This is

695
00:39:19,200 --> 00:39:21,399
Speaker 1: just adding to his crimes. He's interviewing with the post

696
00:39:21,400 --> 00:39:24,040
Speaker 1: office at this point. Yeah, oh man, you don't want

697
00:39:24,040 --> 00:39:35,480
Speaker 1: to mess with that, so you know, much like mini

698
00:39:35,520 --> 00:39:39,280
Speaker 1: movies are padded out with extraneous scenes of people driving

699
00:39:39,320 --> 00:39:42,560
Speaker 1: to the next location or parking cars when they arrive,

700
00:39:43,000 --> 00:39:45,400
Speaker 1: this movie is padded out with a lot of scenes

701
00:39:45,400 --> 00:39:48,319
Speaker 1: of people arriving at the office, calling in to say

702
00:39:48,360 --> 00:39:51,360
Speaker 1: they've arrived, walking back and forth between the rooms and

703
00:39:51,400 --> 00:39:54,960
Speaker 1: the office and so forth. And to be clear about

704
00:39:55,040 --> 00:39:58,120
Speaker 1: driving scenes, not all driving scenes and movies are extraneous.

705
00:39:58,160 --> 00:40:01,520
Speaker 1: Sometimes filmmakers use them for a good stylistic reason, maybe

706
00:40:01,520 --> 00:40:04,480
Speaker 1: to establish a tone or a mood. But a lot

707
00:40:04,560 --> 00:40:07,440
Speaker 1: of B movies, you know, they don't accomplish much in

708
00:40:07,520 --> 00:40:10,320
Speaker 1: terms of style. The driving scenes are just some filler

709
00:40:10,680 --> 00:40:12,640
Speaker 1: to get you to the target run time of eighty

710
00:40:12,640 --> 00:40:15,919
Speaker 1: two minutes. And I think a lot of the sort

711
00:40:15,920 --> 00:40:18,480
Speaker 1: of like human padding scenes in this are the same

712
00:40:18,480 --> 00:40:21,920
Speaker 1: way as just people arriving in places saying they've arrived

713
00:40:22,000 --> 00:40:24,839
Speaker 1: and so forth. Not much is really getting done there

714
00:40:24,920 --> 00:40:28,200
Speaker 1: in terms of plot or mood. Yeah, I'm reminded of

715
00:40:28,920 --> 00:40:31,000
Speaker 1: there was at least one essay from emberto Echo where

716
00:40:31,000 --> 00:40:32,719
Speaker 1: he gets into this, or maybe more than one where

717
00:40:32,719 --> 00:40:35,120
Speaker 1: he's talking about movies where he was talking about literature,

718
00:40:35,880 --> 00:40:38,719
Speaker 1: like what happens when you have like dead time in

719
00:40:38,800 --> 00:40:41,759
Speaker 1: movies dedicated to characters moving from point A to point B.

720
00:40:42,280 --> 00:40:44,600
Speaker 1: Writing in elevators. I think there was one who is

721
00:40:44,640 --> 00:40:47,359
Speaker 1: also talking about what, like what does it mean when say,

722
00:40:47,440 --> 00:40:50,320
Speaker 1: James Bond spends a lot of time pouring his coffee?

723
00:40:50,960 --> 00:40:54,640
Speaker 1: You know, James Bond book and so on one level,

724
00:40:55,000 --> 00:40:58,480
Speaker 1: having these kinds of moments in your film or just

725
00:40:58,520 --> 00:41:02,800
Speaker 1: your general storytelling, you can highlight the mundane to either

726
00:41:03,239 --> 00:41:10,400
Speaker 1: intentionally or accidentally, then highlight some sort of supernatural or

727
00:41:10,719 --> 00:41:12,920
Speaker 1: element that will present itself or some sort of supernatural

728
00:41:13,080 --> 00:41:17,600
Speaker 1: or not supernatural, but some sort of supernormal stimuli. But

729
00:41:17,800 --> 00:41:20,200
Speaker 1: it also is the sort of thing that clearly occurs

730
00:41:20,360 --> 00:41:25,400
Speaker 1: in motion pictures just by virtue of amateur filmmakers or

731
00:41:25,440 --> 00:41:28,480
Speaker 1: filmmakers that are just kind of cranking it out. And

732
00:41:28,560 --> 00:41:30,120
Speaker 1: I tend to think that this picture is more of

733
00:41:30,120 --> 00:41:33,240
Speaker 1: the latter, as opposed to some sort of pointed attempt

734
00:41:33,440 --> 00:41:38,000
Speaker 1: to make the shrunk scenes feel more amazing. It's interesting

735
00:41:38,000 --> 00:41:40,800
Speaker 1: though you raise the case of James Bond pouring his

736
00:41:40,920 --> 00:41:43,919
Speaker 1: coffee and stuff. I do think specifically in the case

737
00:41:43,960 --> 00:41:46,759
Speaker 1: of James Bond, a big part of the esthetic of

738
00:41:46,840 --> 00:41:51,000
Speaker 1: the Bond books and the Bond films is the stereo

739
00:41:51,080 --> 00:41:55,000
Speaker 1: feeling that emerges between like sex and death on one hand,

740
00:41:55,120 --> 00:42:00,759
Speaker 1: and consumption of luxury food and drink items and use

741
00:42:00,840 --> 00:42:05,640
Speaker 1: of like luxury hotel and automobile facilities on the other end.

742
00:42:05,680 --> 00:42:08,440
Speaker 1: You know, it's like, exactly what the James Bond feeling

743
00:42:08,560 --> 00:42:14,080
Speaker 1: is is it's danger. It's like erotic and life and

744
00:42:14,160 --> 00:42:20,120
Speaker 1: death thrills alongside luxury goods. Yeah, I mean, it's just

745
00:42:20,160 --> 00:42:22,120
Speaker 1: a basic too. When there's food in a movie, if

746
00:42:22,120 --> 00:42:24,080
Speaker 1: someone orders a meal, you want to see that meal.

747
00:42:24,440 --> 00:42:26,200
Speaker 1: I'd forget what I was watching the other day. I

748
00:42:26,200 --> 00:42:28,000
Speaker 1: was watching something with my wife, I think some TV

749
00:42:28,120 --> 00:42:31,160
Speaker 1: show and a character ordered some meal or some dish

750
00:42:31,200 --> 00:42:34,000
Speaker 1: and we never got to see it, and that kind

751
00:42:34,000 --> 00:42:36,120
Speaker 1: of made me mad on some level, like, like, no,

752
00:42:36,320 --> 00:42:38,640
Speaker 1: I want to see what they ordered, Like, show me

753
00:42:38,680 --> 00:42:41,600
Speaker 1: the food. I think that's something most good directors understand.

754
00:42:41,680 --> 00:42:45,480
Speaker 1: Showing food and drink is an important part of setting. Yeah,

755
00:42:45,520 --> 00:42:47,960
Speaker 1: and we do have some food and drink sequences coming up. Yes,

756
00:42:48,000 --> 00:42:50,440
Speaker 1: that's right. Oh. We do get a scene with a

757
00:42:50,880 --> 00:42:55,080
Speaker 1: like a doll clothing vendor where mister Franz is asking

758
00:42:55,120 --> 00:42:58,600
Speaker 1: Sally which article of doll clothing she likes best, and

759
00:42:58,960 --> 00:43:02,120
Speaker 1: she picks out, oh, white organdy with blue ribbons, and

760
00:43:02,880 --> 00:43:05,400
Speaker 1: he says, oh, it's a pity you can't model it

761
00:43:05,480 --> 00:43:12,439
Speaker 1: for us. So he's still being a creep. And then oh,

762
00:43:12,520 --> 00:43:15,160
Speaker 1: and this is also the scene where Sally discovers the

763
00:43:15,280 --> 00:43:17,879
Speaker 1: letter to Janet Hall torn up in the trash Dun

764
00:43:18,000 --> 00:43:23,280
Speaker 1: dun dune. Yeah. Oh, also here we introduce a new character.

765
00:43:23,440 --> 00:43:26,879
Speaker 1: This is mister Franz's old friend, a Meal, and it

766
00:43:26,960 --> 00:43:29,719
Speaker 1: is through a meal that we learn a lot of backstory,

767
00:43:29,880 --> 00:43:33,759
Speaker 1: So I think they knew each other from back in

768
00:43:33,760 --> 00:43:37,440
Speaker 1: the day when they were both in the puppet show business.

769
00:43:37,680 --> 00:43:42,000
Speaker 1: So mister Friends was once a puppeteer a performer, and

770
00:43:42,360 --> 00:43:44,560
Speaker 1: Amiel is in town to do a string of big

771
00:43:44,560 --> 00:43:46,640
Speaker 1: puppet shows at the theater. It seems like he is

772
00:43:46,640 --> 00:43:49,719
Speaker 1: still a world class puppeteer. And we learned later that

773
00:43:49,840 --> 00:43:53,440
Speaker 1: he's doing some kind of puppet adaptation of Doctor Jekyl

774
00:43:53,480 --> 00:43:56,000
Speaker 1: and mister Hyde. Now I should throw in here. I

775
00:43:56,000 --> 00:43:58,920
Speaker 1: didn't cover Michael Mark earlier. He's the actor playing Emil

776
00:43:58,960 --> 00:44:02,200
Speaker 1: who lived eighteen eighty through nineteen seventy five. Some of

777
00:44:02,239 --> 00:44:05,759
Speaker 1: his uh bigger films were Son of Frankenstein from thirty nine,

778
00:44:05,840 --> 00:44:10,280
Speaker 1: The Waspwoman from fifty nine, and a slew of other pictures.

779
00:44:10,600 --> 00:44:12,759
Speaker 1: He was also in Return of the Fly from fifty nine.

780
00:44:13,280 --> 00:44:15,279
Speaker 1: But yeah, in this, in this picture, it's kind of

781
00:44:15,520 --> 00:44:18,680
Speaker 1: it's it's a fun little role. He's also the character

782
00:44:18,719 --> 00:44:23,320
Speaker 1: who frequently has has shown up to to greet mister Friends.

783
00:44:23,320 --> 00:44:25,560
Speaker 1: Mister Friends, it's like, oh, I have all my only

784
00:44:25,600 --> 00:44:28,319
Speaker 1: friends are the dolls? What will I do without them?

785
00:44:28,520 --> 00:44:31,000
Speaker 1: And like here's an actual, like real life friend. He's

786
00:44:31,040 --> 00:44:33,319
Speaker 1: like Hey, buddy, can we hang out? And he's like, oh, well,

787
00:44:33,600 --> 00:44:35,200
Speaker 1: if I must, if I must, but I really need

788
00:44:35,239 --> 00:44:37,759
Speaker 1: to get back to my dolls. Yeah. He's constantly trying

789
00:44:37,760 --> 00:44:40,160
Speaker 1: to get Emil out of his office so that he

790
00:44:40,200 --> 00:44:45,680
Speaker 1: can go shrink people some more. You know, Emil as

791
00:44:45,760 --> 00:44:47,799
Speaker 1: like the guy who shows up from you know, the

792
00:44:47,880 --> 00:44:50,200
Speaker 1: Life before to talk to the villain. He kind of

793
00:44:50,200 --> 00:44:53,560
Speaker 1: reminds me of like Doctor Strowski and Bride of the Monster,

794
00:44:55,440 --> 00:44:57,759
Speaker 1: because he's like generally concerned about his old friends, like

795
00:44:57,760 --> 00:45:01,359
Speaker 1: asking about him, like, you know, how, how's your wife? Oh?

796
00:45:01,480 --> 00:45:04,960
Speaker 1: That's right. So here is another thing we get from

797
00:45:04,960 --> 00:45:07,680
Speaker 1: mister Friends as emotional history. So we learned he was

798
00:45:07,719 --> 00:45:11,240
Speaker 1: once married to a beautiful, golden haired woman named Emma,

799
00:45:11,320 --> 00:45:15,080
Speaker 1: but she left him. Mister Friends says, my Marionettes were

800
00:45:15,080 --> 00:45:18,359
Speaker 1: playing in Luxembourg and she ran away with someone she

801
00:45:18,440 --> 00:45:22,800
Speaker 1: liked better, an acrobat, And I was thinking, what's what's

802
00:45:22,800 --> 00:45:26,080
Speaker 1: the story? Is Luxembourg significant? Is that a place where

803
00:45:26,120 --> 00:45:31,480
Speaker 1: people run away? Maybe that's just incidental. Yeah, I'm not

804
00:45:31,520 --> 00:45:33,960
Speaker 1: sure where the connection would be there other than she

805
00:45:34,160 --> 00:45:38,360
Speaker 1: had enough of mister Friends if he found somebody better,

806
00:45:38,800 --> 00:45:42,600
Speaker 1: and he has never let it go and refuses to

807
00:45:42,600 --> 00:45:45,719
Speaker 1: take a chance on any new human beings in his

808
00:45:45,840 --> 00:45:50,080
Speaker 1: life that have not been completely managed, shrunken down, and

809
00:45:50,239 --> 00:45:53,719
Speaker 1: completely controlled by him. She left him for an acrobat

810
00:45:53,760 --> 00:45:58,080
Speaker 1: who promised never to shrink her. Yeah, but anyway, he says,

811
00:45:58,120 --> 00:45:59,960
Speaker 1: you know what, I'm happy now because I have my daughter.

812
00:46:00,320 --> 00:46:02,520
Speaker 1: That's what I'm into. I don't want to come back

813
00:46:02,560 --> 00:46:05,960
Speaker 1: to show business. His friend tries to get him to,

814
00:46:06,440 --> 00:46:08,839
Speaker 1: you know, yeah, come come, come do show business again,

815
00:46:08,840 --> 00:46:11,120
Speaker 1: and he's like, I don't want it, but I will

816
00:46:11,160 --> 00:46:16,040
Speaker 1: repair your puppets for you, so that there's that. Oh.

817
00:46:16,120 --> 00:46:19,200
Speaker 1: Also we see he still knows how to operate puppets

818
00:46:19,200 --> 00:46:22,080
Speaker 1: because they go to the theater and he puts on

819
00:46:22,160 --> 00:46:27,239
Speaker 1: a little show for Emil, and I don't I'm confused

820
00:46:27,239 --> 00:46:30,600
Speaker 1: by this theater setup. So the people in this large

821
00:46:30,760 --> 00:46:35,480
Speaker 1: theater are all watching this tiny puppet show in a

822
00:46:35,560 --> 00:46:39,040
Speaker 1: box about three feet wide, Like it looks like a

823
00:46:39,160 --> 00:46:43,400
Speaker 1: normal size auditorium, so people might be seated like eighty

824
00:46:43,440 --> 00:46:46,320
Speaker 1: feet away, and these puppets are less than a foot tall,

825
00:46:46,520 --> 00:46:49,160
Speaker 1: and the action is taking place in this little three

826
00:46:49,160 --> 00:46:51,920
Speaker 1: foot space. Yeah, I don't know. I mean I've seen

827
00:46:51,960 --> 00:46:54,680
Speaker 1: a number of puppet shows over the years, and sometimes

828
00:46:54,680 --> 00:46:58,080
Speaker 1: they've I mean, it's it's certainly a medium where it's

829
00:46:58,120 --> 00:47:00,600
Speaker 1: better if you can be up close for it, especially

830
00:47:00,680 --> 00:47:04,480
Speaker 1: the smaller scale stuff. But I've also seen puppetry in

831
00:47:04,600 --> 00:47:08,160
Speaker 1: venues where my seating wasn't that good, and maybe it

832
00:47:08,200 --> 00:47:09,840
Speaker 1: was a little harder to make everything out, but it

833
00:47:09,920 --> 00:47:14,560
Speaker 1: was still pleasant and amusing, So I'm not sure. I

834
00:47:14,600 --> 00:47:16,760
Speaker 1: guess it could go either way. But if the scene

835
00:47:16,840 --> 00:47:19,080
Speaker 1: is making you doubt it, then I think the scene

836
00:47:19,120 --> 00:47:24,600
Speaker 1: has some shortcomings for sure. Yeah, once again, here Emil

837
00:47:24,719 --> 00:47:27,520
Speaker 1: tries to tempt mister Friends back into show business, but

838
00:47:27,800 --> 00:47:30,080
Speaker 1: he's content where he is in the doll business, and

839
00:47:30,080 --> 00:47:33,160
Speaker 1: he says, why must someone who is content have something

840
00:47:33,200 --> 00:47:37,600
Speaker 1: wrong with him? And Emil says a contentment is not natural,

841
00:47:37,840 --> 00:47:41,799
Speaker 1: but you know he's not going to budge him. So then, oh,

842
00:47:41,960 --> 00:47:44,240
Speaker 1: then we cut away to one of my favorite scenes

843
00:47:44,239 --> 00:47:46,480
Speaker 1: in the movie. That is the scene at the drive

844
00:47:46,560 --> 00:47:50,239
Speaker 1: in movie theater where John Agar and Sally are I

845
00:47:50,280 --> 00:47:52,600
Speaker 1: guess on a date for some reason, Why are they

846
00:47:52,640 --> 00:47:55,400
Speaker 1: on a date? Did we see any basis for like

847
00:47:55,440 --> 00:47:59,120
Speaker 1: a romance being established other than him nagging her and

848
00:47:59,280 --> 00:48:02,200
Speaker 1: saying he wanted to be friends? And then then that's right.

849
00:48:02,480 --> 00:48:05,799
Speaker 1: Next step today wanted to be friends? Okay, yeah, so yeah,

850
00:48:05,840 --> 00:48:07,759
Speaker 1: they go to the drive in and they watched The

851
00:48:07,760 --> 00:48:11,839
Speaker 1: Amazing Colossal Man on the big screen. But I love

852
00:48:11,920 --> 00:48:14,480
Speaker 1: this because Bert doesn't just casually drop it at It's

853
00:48:14,520 --> 00:48:16,200
Speaker 1: not one of those moments where it's like, hat, did

854
00:48:16,200 --> 00:48:18,680
Speaker 1: you notice that The Amazing Colossal Man is on in

855
00:48:18,719 --> 00:48:21,520
Speaker 1: the background? No, no, no, We watched several clips from

856
00:48:21,520 --> 00:48:25,480
Speaker 1: the film featuring big Glenn Manning freaking out over his size,

857
00:48:27,640 --> 00:48:31,799
Speaker 1: and yeah, it's it's wonderful. I like the idea too,

858
00:48:31,840 --> 00:48:35,319
Speaker 1: that drive in viewers were watching this movie and had

859
00:48:35,400 --> 00:48:38,680
Speaker 1: previously watched The Amazing Colossal Man, perhaps at the same

860
00:48:38,760 --> 00:48:41,399
Speaker 1: drive in, and now they're watching like drive in through

861
00:48:41,400 --> 00:48:44,680
Speaker 1: a drive in screen. Yes, there are also some time,

862
00:48:44,719 --> 00:48:47,720
Speaker 1: I think tongue in cheek comments from Agar's character about

863
00:48:47,920 --> 00:48:52,040
Speaker 1: you know, about trying something new, which felt like maybe

864
00:48:52,080 --> 00:48:54,200
Speaker 1: it's kind of a bird eye Gordon like, I usually

865
00:48:54,239 --> 00:48:56,759
Speaker 1: make movies about big things, now I'm making one about

866
00:48:56,800 --> 00:48:59,920
Speaker 1: small things. Haha, wink wink. But I may be over

867
00:49:00,000 --> 00:49:02,880
Speaker 1: analyzing the whole the whole sequel. Do you think he

868
00:49:02,880 --> 00:49:06,680
Speaker 1: had realized what his initials spelled by this point? Um?

869
00:49:07,200 --> 00:49:10,640
Speaker 1: You know, I'm not sure at what point because who

870
00:49:10,680 --> 00:49:12,680
Speaker 1: wasn't it gave him that nickname. I want to say

871
00:49:12,719 --> 00:49:15,759
Speaker 1: it was Forrest j Ackerman or somebody like that, so

872
00:49:16,600 --> 00:49:20,920
Speaker 1: that that nickname may have been bestowed pretty early on. Well, anyway,

873
00:49:21,000 --> 00:49:24,760
Speaker 1: this drive in date leads to some plot developments, because,

874
00:49:24,800 --> 00:49:27,760
Speaker 1: as is well known, if you watch a Birdeye Gordon

875
00:49:27,840 --> 00:49:30,920
Speaker 1: movie at the drive in on your first date, the

876
00:49:30,960 --> 00:49:35,400
Speaker 1: next step is immediate and irreversible progression to full wedlock.

877
00:49:35,560 --> 00:49:40,120
Speaker 1: So they decide to get married. And how seriously, how

878
00:49:40,239 --> 00:49:43,279
Speaker 1: bizarre is the proposal in the scene? How I don't

879
00:49:43,280 --> 00:49:46,920
Speaker 1: even how does it develop? These just like she's like, oh,

880
00:49:46,960 --> 00:49:48,759
Speaker 1: are you going to go back to Saint Louis And

881
00:49:48,800 --> 00:49:51,200
Speaker 1: he's like, you could come with me? And she says,

882
00:49:51,239 --> 00:49:55,439
Speaker 1: and do what he says, become missus. Bob Wesley. Well,

883
00:49:55,480 --> 00:49:58,239
Speaker 1: you have to remember that The Amazing Colossal Man is

884
00:49:58,840 --> 00:50:03,040
Speaker 1: a very stirring film about about the growing distance between

885
00:50:03,080 --> 00:50:05,920
Speaker 1: a man and his wife, and so it can it

886
00:50:05,960 --> 00:50:09,360
Speaker 1: can make one maybe even a little bit impulsive about

887
00:50:09,360 --> 00:50:12,640
Speaker 1: the need to hold on to people you're you've known

888
00:50:12,680 --> 00:50:16,520
Speaker 1: for like quite a week, and and and maybe want

889
00:50:16,520 --> 00:50:19,480
Speaker 1: to want to actually lock that down with a wedding ring. Yeah,

890
00:50:19,520 --> 00:50:23,839
Speaker 1: it makes you hold fast to the nearest pushy salesman. Uh.

891
00:50:23,960 --> 00:50:26,640
Speaker 1: So they're gonna, yeah, they make plans. They're gonna fly

892
00:50:26,840 --> 00:50:29,680
Speaker 1: to Las Vegas and get married the very next day,

893
00:50:29,719 --> 00:50:31,759
Speaker 1: and then they're gonna move to Saint Louis together. And

894
00:50:31,800 --> 00:50:34,319
Speaker 1: so Bob tells her, you know what, you don't even

895
00:50:34,320 --> 00:50:36,399
Speaker 1: have to tell have to tell mister Franz, I'll tell

896
00:50:36,440 --> 00:50:38,040
Speaker 1: him for you. I'm gonna go in in the morning

897
00:50:38,040 --> 00:50:40,680
Speaker 1: and tell him that that you're not coming back to work.

898
00:50:41,520 --> 00:50:45,400
Speaker 1: That's I guess that's how these dynamics worked in the fifties. Yeah, well,

899
00:50:45,440 --> 00:50:47,239
Speaker 1: I think she says she didn't want to face him

900
00:50:47,280 --> 00:50:49,960
Speaker 1: because she felt bad, because of course he'd he'd like

901
00:50:50,080 --> 00:50:52,000
Speaker 1: guilt tripper about it. We know what he would do.

902
00:50:52,200 --> 00:50:55,000
Speaker 1: He is a creek so and and can be very

903
00:50:55,040 --> 00:50:57,560
Speaker 1: forceful with his self pity. So yeah, get John Agar

904
00:50:57,680 --> 00:51:00,560
Speaker 1: in there. He's he's a cold hearted hunk. He can

905
00:51:00,880 --> 00:51:04,000
Speaker 1: exactly Yes, this pushy salesman will not be bothered by

906
00:51:04,040 --> 00:51:08,640
Speaker 1: his please for pity. But then back at home, it's

907
00:51:08,640 --> 00:51:11,640
Speaker 1: the next day and Sally, you know, where's where's Bob?

908
00:51:12,000 --> 00:51:15,080
Speaker 1: She receives a call from mister Franz. It seems Bob

909
00:51:15,239 --> 00:51:19,160
Speaker 1: has left town without her. How horrible, And so she

910
00:51:19,280 --> 00:51:21,880
Speaker 1: goes into the office and mister Franz is like, oh,

911
00:51:21,920 --> 00:51:27,200
Speaker 1: that wasn't very thoughtful of him. But Sally doesn't believe it.

912
00:51:27,560 --> 00:51:31,920
Speaker 1: Could John Agar possibly have treated her this thoughtlessly. Oh. Also,

913
00:51:32,239 --> 00:51:34,479
Speaker 1: now mister Franz has a tube with a tiny John

914
00:51:34,480 --> 00:51:37,240
Speaker 1: Agar in it, and she's like, wow, it really looks

915
00:51:37,239 --> 00:51:40,319
Speaker 1: like him. It could almost be him, except he wasn't

916
00:51:40,360 --> 00:51:43,640
Speaker 1: this small. And mister Franz gives a speech in response

917
00:51:43,719 --> 00:51:46,360
Speaker 1: to her, saying, you know, it really looks like him.

918
00:51:46,400 --> 00:51:48,680
Speaker 1: He says, thank you for the compliment. You know, it

919
00:51:48,840 --> 00:51:51,480
Speaker 1: is the aim of every composer to fit the world

920
00:51:51,600 --> 00:51:54,560
Speaker 1: within the limits of his symphony. A writer wants to

921
00:51:54,600 --> 00:51:58,080
Speaker 1: put all of life between the covers of his book. Well,

922
00:51:58,120 --> 00:52:00,239
Speaker 1: if I can make my dolls in the image of

923
00:52:00,280 --> 00:52:04,799
Speaker 1: those I know and love, I'm satisfied. You know, I'm

924
00:52:04,840 --> 00:52:07,400
Speaker 1: reminded for the first time here as we're recording it that,

925
00:52:07,480 --> 00:52:12,000
Speaker 1: even though last episode was our first shrink movie in

926
00:52:12,000 --> 00:52:15,480
Speaker 1: a while, the episode before that, if I'm remembering correctly,

927
00:52:15,520 --> 00:52:18,640
Speaker 1: Clash of the Titans, that of course, also has these

928
00:52:18,640 --> 00:52:21,960
Speaker 1: scenes where like Zeus is handling these miniature versions of

929
00:52:22,040 --> 00:52:27,000
Speaker 1: people and controlling and manipulating them. And that's basically what

930
00:52:27,080 --> 00:52:30,240
Speaker 1: mister Franz is creating for himself here. He's setting himself

931
00:52:30,320 --> 00:52:34,040
Speaker 1: up as the self obsessed god that treats everyone in

932
00:52:34,120 --> 00:52:37,040
Speaker 1: his life like they are little playthings that he has

933
00:52:37,120 --> 00:52:40,000
Speaker 1: complete control over. Well, he could have just taken a

934
00:52:40,000 --> 00:52:42,080
Speaker 1: page out of your book and got a miniature's hobby.

935
00:52:42,080 --> 00:52:45,200
Speaker 1: He didn't have to shrink all these salesmen and secretaries.

936
00:52:45,760 --> 00:52:48,520
Speaker 1: That's true. I was actually clipping out some minis while

937
00:52:48,719 --> 00:52:50,960
Speaker 1: watching the movie and didn't realize the irony of that

938
00:52:51,080 --> 00:52:52,799
Speaker 1: until it was a good ways. Then I have one

939
00:52:52,800 --> 00:52:58,600
Speaker 1: of you and JJ and everything. So Sally's I think

940
00:52:58,680 --> 00:53:00,839
Speaker 1: she's seen enough. She knows what's going on now, so

941
00:53:00,880 --> 00:53:03,000
Speaker 1: she goes straight to the cops. She says, please help,

942
00:53:03,160 --> 00:53:06,839
Speaker 1: my boss turned my fiance into a doll. And the

943
00:53:06,880 --> 00:53:10,040
Speaker 1: detective treats her like she's out of her mind until

944
00:53:10,840 --> 00:53:14,040
Speaker 1: she starts to mention other people to whom she thinks

945
00:53:14,040 --> 00:53:17,360
Speaker 1: the same thing has happened. There is Janet Hall, the

946
00:53:17,400 --> 00:53:20,960
Speaker 1: previous secretary. There's a maleman named Ernie and so forth,

947
00:53:21,320 --> 00:53:23,919
Speaker 1: and what do you know? The detective starts leafing through

948
00:53:23,960 --> 00:53:28,279
Speaker 1: his files and he finds that these are all missing persons.

949
00:53:28,800 --> 00:53:31,960
Speaker 1: But that makes me think, wait, the detective never put

950
00:53:32,000 --> 00:53:34,600
Speaker 1: it together that like half of the missing persons in

951
00:53:34,680 --> 00:53:37,640
Speaker 1: town all have a connection to the same doll company.

952
00:53:38,360 --> 00:53:40,800
Speaker 1: Oh well, Amy, we don't know that he's a good detective,

953
00:53:41,360 --> 00:53:44,520
Speaker 1: but he appears not to be. But I did ultimately

954
00:53:44,600 --> 00:53:46,839
Speaker 1: kind of like this see the sequence kind of got

955
00:53:46,880 --> 00:53:49,200
Speaker 1: it took sim me because it seems like he's just

956
00:53:49,200 --> 00:53:50,960
Speaker 1: gonna laugh her off. But then he's like, oh no,

957
00:53:51,040 --> 00:53:54,040
Speaker 1: actually these are all missing people's cases. And then he's like,

958
00:53:54,160 --> 00:53:56,439
Speaker 1: let's go check it out. And part of me gets

959
00:53:56,520 --> 00:53:59,600
Speaker 1: kind of wrapped up in the plot here, and I'm like, yeah, okay,

960
00:53:59,680 --> 00:54:02,680
Speaker 1: nail him. Get this guy that we're gonna actually arrest

961
00:54:02,760 --> 00:54:04,960
Speaker 1: him here. Yeah, I know what you're saying that there

962
00:54:05,080 --> 00:54:07,399
Speaker 1: was a nice plot movie. I think a lesser movie

963
00:54:07,440 --> 00:54:10,080
Speaker 1: would have just had him laugher off completely and then

964
00:54:10,360 --> 00:54:12,799
Speaker 1: move on to the next thing. But now she makes

965
00:54:12,800 --> 00:54:15,440
Speaker 1: a logical case. She's like, what about all these missing people?

966
00:54:15,880 --> 00:54:19,680
Speaker 1: Those are actually missing people. So we get further investigation.

967
00:54:20,520 --> 00:54:24,239
Speaker 1: So Sally and the detective go to Dolls Incorporated. The

968
00:54:24,320 --> 00:54:26,960
Speaker 1: cop is like, look, Friends. I hear you've been turning

969
00:54:26,960 --> 00:54:31,200
Speaker 1: people into dolls? Is that true? And he, you know,

970
00:54:31,280 --> 00:54:33,520
Speaker 1: Friends are sitting there with John Eggar in a tube

971
00:54:33,920 --> 00:54:36,960
Speaker 1: at a table, and he denies it. He's like, whoa,

972
00:54:37,120 --> 00:54:39,920
Speaker 1: that's silly. How could I turn people into dolls? And

973
00:54:40,000 --> 00:54:42,759
Speaker 1: the detective asks, how come that doll you're holding looks

974
00:54:42,760 --> 00:54:46,000
Speaker 1: exactly like her boyfriend because it's a little John Egar there,

975
00:54:46,400 --> 00:54:50,360
Speaker 1: And he replies by setting it on fire. Yeah, just

976
00:54:50,480 --> 00:54:54,279
Speaker 1: drop the match in there, and woof, John Agar goes

977
00:54:54,360 --> 00:54:57,880
Speaker 1: up in flames and it's just completely incenterated. Now. Of

978
00:54:57,880 --> 00:55:01,319
Speaker 1: course Sally is horrified, but then the leads to mister

979
00:55:01,440 --> 00:55:04,680
Speaker 1: Friends opening up maybe my favorite set piece in the film.

980
00:55:04,840 --> 00:55:08,080
Speaker 1: This is the best image from the movie. Yeah, opens

981
00:55:08,160 --> 00:55:11,520
Speaker 1: up the suitcase and what's in there but six tubes

982
00:55:11,560 --> 00:55:16,600
Speaker 1: of John Agar. A suitcase full of John Agars. Looks

983
00:55:16,640 --> 00:55:20,160
Speaker 1: like Santa came early this year. It's so many John Agars?

984
00:55:20,160 --> 00:55:22,560
Speaker 1: What would you do with them? All? Yeah? And I

985
00:55:22,560 --> 00:55:24,799
Speaker 1: mean I was trying to piece that together, like why, well,

986
00:55:24,840 --> 00:55:29,279
Speaker 1: first of all, how because we'll get into exactly how

987
00:55:29,480 --> 00:55:32,239
Speaker 1: Friends as miniaturization is supposed to work in a bit,

988
00:55:32,440 --> 00:55:36,080
Speaker 1: and he never it's never mentioned that he can create copies, Like,

989
00:55:36,120 --> 00:55:38,400
Speaker 1: I don't know why we have a plurality of Agars

990
00:55:38,719 --> 00:55:42,040
Speaker 1: in the picture. It's never explained in context with friends

991
00:55:42,120 --> 00:55:47,480
Speaker 1: his method of miniaturization, Like are these just mere backups

992
00:55:47,520 --> 00:55:49,759
Speaker 1: because he likes this guy so much, just in case

993
00:55:49,760 --> 00:55:52,600
Speaker 1: a friend gets smashed or eaten by a neighborhood cat

994
00:55:53,080 --> 00:55:55,880
Speaker 1: or I was wondering too, is this like a fuel

995
00:55:55,920 --> 00:55:58,440
Speaker 1: source because we see how quickly John Agar goes up

996
00:55:59,160 --> 00:56:02,279
Speaker 1: in flames. Perhaps a canister of this is enough to

997
00:56:02,360 --> 00:56:05,000
Speaker 1: like power an airplane to fly from New York to

998
00:56:05,040 --> 00:56:08,600
Speaker 1: London or something. Oh yeah, John Agar, the energy source

999
00:56:08,640 --> 00:56:11,239
Speaker 1: of the future. You can imagine something like this facility

1000
00:56:11,400 --> 00:56:16,040
Speaker 1: powered by one hundred percent clean burning John Agar. Yeah.

1001
00:56:16,080 --> 00:56:19,040
Speaker 1: I mean, I guess. The other less fun interpretation is

1002
00:56:19,360 --> 00:56:23,160
Speaker 1: he also makes super accurate dolls that can in this

1003
00:56:23,239 --> 00:56:26,240
Speaker 1: case serve as as as a decoy for his actual

1004
00:56:26,239 --> 00:56:29,239
Speaker 1: miniaturization efforts. But there's nothing else in the picture to

1005
00:56:29,280 --> 00:56:32,399
Speaker 1: back that idea up either, So it's but it's still

1006
00:56:32,440 --> 00:56:35,520
Speaker 1: such a delightful sequence. It's so weird and wacky when

1007
00:56:35,520 --> 00:56:37,319
Speaker 1: he opens that suitcase and there are all these John

1008
00:56:37,360 --> 00:56:40,360
Speaker 1: Agars in there all right, So after the suitcase of agars.

1009
00:56:40,440 --> 00:56:44,360
Speaker 1: The detective leaves, and obviously Sally is quite embarrassed. She

1010
00:56:44,400 --> 00:56:46,120
Speaker 1: wants to quit. She's like, how can we go on

1011
00:56:46,200 --> 00:56:48,600
Speaker 1: after this? I need to I need to leave. I'm

1012
00:56:48,640 --> 00:56:51,839
Speaker 1: never coming back. But then Friends locks the door. He

1013
00:56:51,840 --> 00:56:54,280
Speaker 1: gets even creepier. He says, how could I ever bear

1014
00:56:54,360 --> 00:56:57,319
Speaker 1: to let you go? And he approaches her and we

1015
00:56:57,400 --> 00:57:00,680
Speaker 1: see her her screaming, and then the lights go out.

1016
00:57:01,000 --> 00:57:03,960
Speaker 1: And what happened was she loses consciousness, and when she

1017
00:57:04,040 --> 00:57:07,680
Speaker 1: wakes up again, she is lying down on a strange

1018
00:57:07,719 --> 00:57:11,080
Speaker 1: surface with her head on some kind of rope or something.

1019
00:57:11,760 --> 00:57:15,400
Speaker 1: And then she sits up and she finds she's dressed strangely,

1020
00:57:15,840 --> 00:57:17,920
Speaker 1: and the rope her head was lying on was not

1021
00:57:17,960 --> 00:57:22,800
Speaker 1: a rope but a telephone chord of enormous proportions. And

1022
00:57:22,960 --> 00:57:26,920
Speaker 1: what she's wearing is a napkin. That's right. Miss Reynolds

1023
00:57:26,960 --> 00:57:32,280
Speaker 1: has been shrunken. So she's surrounded by all these huge objects, say,

1024
00:57:32,360 --> 00:57:36,080
Speaker 1: a rotary telephone bigger than she is, a big scaffolding

1025
00:57:36,120 --> 00:57:39,480
Speaker 1: of drawers and shelves with paint cans and stationary and

1026
00:57:39,600 --> 00:57:43,040
Speaker 1: chemistry equipment, all of monstrous size, and right off the

1027
00:57:43,080 --> 00:57:45,880
Speaker 1: bat here, I think we need to compare the shrink

1028
00:57:45,920 --> 00:57:49,520
Speaker 1: effects in this movie with last week's movie, The Incredible

1029
00:57:49,560 --> 00:57:55,880
Speaker 1: Shrinking Man. The Incredible Shrinking Man is wonderful in many ways,

1030
00:57:55,920 --> 00:57:58,320
Speaker 1: but with the effects, I think it really made you

1031
00:57:58,360 --> 00:58:03,000
Speaker 1: feel the alien horror of changes of scale. And so

1032
00:58:03,040 --> 00:58:07,080
Speaker 1: the gigantic sets representing matchboxes and sewing needles and everything,

1033
00:58:07,320 --> 00:58:12,000
Speaker 1: the mousetraps, they looked spectacular, but they also made you

1034
00:58:12,200 --> 00:58:15,520
Speaker 1: feel how truly frightening it would be to be in

1035
00:58:15,560 --> 00:58:18,120
Speaker 1: the same environment you live every day but a couple

1036
00:58:18,160 --> 00:58:23,080
Speaker 1: of inches tall. Oh yeah, absolutely. By comparison, the special

1037
00:58:23,080 --> 00:58:26,680
Speaker 1: effects and gigantic sets in this movie are not even

1038
00:58:26,720 --> 00:58:30,320
Speaker 1: close to as good. Now. They are quite amusing, I'm

1039
00:58:30,320 --> 00:58:32,320
Speaker 1: not gonna I mean, this movie is a lot of fun,

1040
00:58:32,840 --> 00:58:35,000
Speaker 1: but they do not at all make you feel that

1041
00:58:35,120 --> 00:58:38,520
Speaker 1: scale change as the kind of nausea or horror that

1042
00:58:39,080 --> 00:58:43,440
Speaker 1: Incredible Shrinking Man does. One way that puppet People really

1043
00:58:43,480 --> 00:58:47,360
Speaker 1: does not compare is that the scaled up stuff all

1044
00:58:47,400 --> 00:58:52,000
Speaker 1: around them feels totally inconsistent in respect to the size

1045
00:58:52,000 --> 00:58:55,960
Speaker 1: of their bodies. Like, are the puppet people bigger than

1046
00:58:56,000 --> 00:58:59,480
Speaker 1: a telephone or smaller than a door knob? Yeah, you

1047
00:58:59,520 --> 00:59:02,560
Speaker 1: get the fear that like Basically, Burt and his people

1048
00:59:02,560 --> 00:59:04,720
Speaker 1: were like, hey, you your team, or you're building a

1049
00:59:04,720 --> 00:59:08,400
Speaker 1: giant door knob. You you're building a giant telephone. And

1050
00:59:08,520 --> 00:59:11,520
Speaker 1: it wasn't really there weren't really any details about exactly

1051
00:59:11,560 --> 00:59:22,280
Speaker 1: how all these things should scale to each other. I

1052
00:59:22,320 --> 00:59:24,640
Speaker 1: will say this, this sequence where she wakes up and

1053
00:59:24,680 --> 00:59:27,800
Speaker 1: she's small, first of all, compared to Incredible Shrinking Man.

1054
00:59:27,800 --> 00:59:29,919
Speaker 1: Incredible Shrinking Man is is a lot of the film

1055
00:59:30,000 --> 00:59:34,720
Speaker 1: is about the dread and the gradual acceptance of becoming small,

1056
00:59:35,080 --> 00:59:38,440
Speaker 1: these changes in scale. Here she's just suddenly small, so

1057
00:59:38,480 --> 00:59:40,960
Speaker 1: it's shocking. And if nothing else, we do get a

1058
00:59:41,000 --> 00:59:43,880
Speaker 1: nice scream here from her, a nice scream face with

1059
00:59:43,960 --> 00:59:46,720
Speaker 1: hands on both sides of her face while she's looking

1060
00:59:46,720 --> 00:59:49,919
Speaker 1: at a giant rotary telephone. Yeah. I mean that's got

1061
00:59:49,920 --> 00:59:51,760
Speaker 1: to be if you woke up and saw that phone,

1062
00:59:51,800 --> 00:59:54,560
Speaker 1: wouldn't you scream? She's like, I have to answer this

1063
00:59:54,600 --> 01:00:01,640
Speaker 1: thing all day long? Yea. So, so mister Franz comes

1064
01:00:01,640 --> 01:00:04,640
Speaker 1: in and he starts giving his villain speech. He's like, well,

1065
01:00:04,760 --> 01:00:07,720
Speaker 1: surely you aren't afraid of me, are you? And he

1066
01:00:07,760 --> 01:00:12,040
Speaker 1: gives a long speech explaining his motives. What goes on

1067
01:00:12,160 --> 01:00:15,680
Speaker 1: with people now that they're shrunken. His methods. Oh, first

1068
01:00:15,720 --> 01:00:18,040
Speaker 1: of all, he like very creepily makes her dress up

1069
01:00:18,080 --> 01:00:22,720
Speaker 1: in doll clothes, and then he brings out tiny John Agar.

1070
01:00:22,800 --> 01:00:25,440
Speaker 1: He gets his two about and I guess this is

1071
01:00:25,480 --> 01:00:27,840
Speaker 1: the real one and the other ones that the one

1072
01:00:27,880 --> 01:00:30,720
Speaker 1: he burned was a decoy. But this raises the question

1073
01:00:30,720 --> 01:00:34,360
Speaker 1: again or did did he make multiple living John Agars.

1074
01:00:34,920 --> 01:00:36,440
Speaker 1: I mean, I've got to go in that direction that

1075
01:00:36,520 --> 01:00:39,080
Speaker 1: there's there's still a suitcase full of John Agars, maybe

1076
01:00:39,080 --> 01:00:41,240
Speaker 1: five John Agars. Anyway, he had to get one of

1077
01:00:41,240 --> 01:00:43,360
Speaker 1: them out. We never find out what happened to the

1078
01:00:43,400 --> 01:00:46,560
Speaker 1: other a Gars. I assume there's a scene later where

1079
01:00:46,560 --> 01:00:49,720
Speaker 1: the police come back. And I was imagining a scene

1080
01:00:49,760 --> 01:00:53,360
Speaker 1: where Friends is like, you know, hurriedly flushing extra John

1081
01:00:53,400 --> 01:00:57,960
Speaker 1: Agars down the toilet to destroy the evidence. It's like

1082
01:00:58,120 --> 01:01:02,720
Speaker 1: in Good Fellows. Some are going down the toilet. He's

1083
01:01:02,720 --> 01:01:10,320
Speaker 1: alway stuffing John Agar's in his underwear and stuff. Uh yeah,

1084
01:01:10,360 --> 01:01:12,960
Speaker 1: So Sally gets John Agar out of his tube and

1085
01:01:13,000 --> 01:01:15,840
Speaker 1: he wakes up, and John Agar's mad. He starts like

1086
01:01:16,000 --> 01:01:20,520
Speaker 1: throwing things at mister Franz, and you know, he's tiny.

1087
01:01:20,520 --> 01:01:24,280
Speaker 1: It doesn't really do anything But mister Franz explains his position.

1088
01:01:24,440 --> 01:01:27,560
Speaker 1: He's like, he says, why do my dull people always

1089
01:01:27,600 --> 01:01:29,800
Speaker 1: hate me? At first, you know, he says, I take

1090
01:01:29,840 --> 01:01:31,880
Speaker 1: care of your every need. You no longer have to

1091
01:01:31,880 --> 01:01:34,720
Speaker 1: worry about work, or paying the bills, or paying your

1092
01:01:34,760 --> 01:01:37,840
Speaker 1: taxes or taking care of a household. All you ever

1093
01:01:37,880 --> 01:01:40,680
Speaker 1: have to do is spend time with me and have fun.

1094
01:01:41,120 --> 01:01:43,560
Speaker 1: I never allow you to feel pain. I never let

1095
01:01:43,560 --> 01:01:46,720
Speaker 1: your needs go unmet. You sleep away the long boring

1096
01:01:46,760 --> 01:01:49,120
Speaker 1: hours and your tubes, and then you only wake up

1097
01:01:49,160 --> 01:01:52,160
Speaker 1: when it's time for a party. Isn't this the perfect life?

1098
01:01:52,880 --> 01:01:56,360
Speaker 1: And you know what, John Agar and Sally totally ungrateful

1099
01:01:56,440 --> 01:02:00,600
Speaker 1: for everything mister Franz is doing for them. John Agar,

1100
01:02:00,680 --> 01:02:04,160
Speaker 1: yell's change us back the way we were, But mister

1101
01:02:04,240 --> 01:02:06,720
Speaker 1: Franz says, no, I like you better the way you are.

1102
01:02:07,760 --> 01:02:12,600
Speaker 1: M Uh. Then we segue to mister Frands taking quite

1103
01:02:12,600 --> 01:02:17,000
Speaker 1: a while to explain how the shrinking works is in it?

1104
01:02:17,560 --> 01:02:21,000
Speaker 1: What exactly is the principle here? Hey, it's all based

1105
01:02:21,000 --> 01:02:25,280
Speaker 1: in the optics of projection, right. It's it's which feels

1106
01:02:25,280 --> 01:02:28,800
Speaker 1: like a very sort of like a v way of

1107
01:02:28,920 --> 01:02:33,040
Speaker 1: trying to understand scale. Uh, Yeah, there's not. It's like

1108
01:02:33,080 --> 01:02:35,200
Speaker 1: it's even the scene is even kind of light on

1109
01:02:35,240 --> 01:02:38,320
Speaker 1: techno babble um, Like there's not even any just techno

1110
01:02:38,320 --> 01:02:41,720
Speaker 1: babble to sort of make you feel like something high

1111
01:02:41,760 --> 01:02:44,080
Speaker 1: in science was going on. No, it's just like, well,

1112
01:02:44,120 --> 01:02:46,360
Speaker 1: you know how projector works, well like that except with

1113
01:02:46,400 --> 01:02:48,720
Speaker 1: your body. Yeah, so he can like move a projector

1114
01:02:48,800 --> 01:02:51,120
Speaker 1: farther away from the wall and the image gets bigger

1115
01:02:51,240 --> 01:02:53,760
Speaker 1: and vice versa. And at first I thought this was

1116
01:02:53,840 --> 01:02:56,840
Speaker 1: an analogy, but then it turns out that's just what

1117
01:02:56,880 --> 01:02:59,920
Speaker 1: he's doing. He's using like photo I don't know, yeah,

1118
01:03:00,240 --> 01:03:04,439
Speaker 1: like optics to I don't understand it. But another thing

1119
01:03:04,520 --> 01:03:07,200
Speaker 1: to note, did you notice the same thing when Franz

1120
01:03:07,200 --> 01:03:10,200
Speaker 1: actually goes over to the table where the machine shrinks people.

1121
01:03:10,880 --> 01:03:15,200
Speaker 1: He's trying to demonstrate for Bob and Sally by shrinking

1122
01:03:15,240 --> 01:03:18,720
Speaker 1: a cat. But then when we see where they are,

1123
01:03:18,720 --> 01:03:21,640
Speaker 1: like from their perspective, a shelf is blocking their views,

1124
01:03:21,720 --> 01:03:24,040
Speaker 1: so they would not actually be able to see the

1125
01:03:24,080 --> 01:03:27,320
Speaker 1: demonstration at all. I didn't notice those. I was just

1126
01:03:27,360 --> 01:03:29,640
Speaker 1: too distracted by the cat because I was thinking back

1127
01:03:29,640 --> 01:03:31,800
Speaker 1: to incredible shrinking man. I was like, are they gonna

1128
01:03:31,800 --> 01:03:34,680
Speaker 1: have to fight? That cat. What's gonna happen with the cat? No, Instead,

1129
01:03:34,720 --> 01:03:39,040
Speaker 1: he shrinks the cat and makes a super hute tiny kitten. Yeah. Yeah,

1130
01:03:39,080 --> 01:03:41,880
Speaker 1: the cat becomes a kitten that fits in a match box,

1131
01:03:41,920 --> 01:03:44,600
Speaker 1: which is adorable. And then they bring out a bunch

1132
01:03:44,640 --> 01:03:47,040
Speaker 1: of other two people. Mist Friends is like, well, let's

1133
01:03:47,080 --> 01:03:50,640
Speaker 1: have a little two people party. So they get a

1134
01:03:50,720 --> 01:03:53,720
Speaker 1: lady named George Elaine and a marine and a marine

1135
01:03:53,880 --> 01:03:57,720
Speaker 1: uniform named Mac and a couple of g willakers soakop

1136
01:03:57,760 --> 01:04:02,000
Speaker 1: teenagers named Stan and Laurie. And I guess that's the

1137
01:04:02,040 --> 01:04:04,520
Speaker 1: whole gang. There are other two people who we just

1138
01:04:04,600 --> 01:04:07,200
Speaker 1: never see woken up. Yeah, Like, I guess the nurse

1139
01:04:07,280 --> 01:04:11,680
Speaker 1: two person is only brought out when somebody needs medical attention. Maybe.

1140
01:04:12,040 --> 01:04:14,080
Speaker 1: Well know, the nurse he was talking about was just

1141
01:04:14,120 --> 01:04:16,040
Speaker 1: a straight up doll, so I don't know if he

1142
01:04:16,280 --> 01:04:19,400
Speaker 1: makes them. He's like, care, get get your healthcare from

1143
01:04:19,440 --> 01:04:22,200
Speaker 1: this doll, and they have to pretend. I don't understand.

1144
01:04:23,280 --> 01:04:25,919
Speaker 1: But so they have a party. Friends puts on a

1145
01:04:26,000 --> 01:04:29,560
Speaker 1: hip swing record and it's you know, playing playing hot music,

1146
01:04:29,600 --> 01:04:32,960
Speaker 1: and they get out tiny refreshments. There's like a flatter

1147
01:04:33,040 --> 01:04:35,920
Speaker 1: with a tiny champagne bottle and some kind of food

1148
01:04:36,000 --> 01:04:38,720
Speaker 1: on it. It looks weird. Yeah, so, I mean two

1149
01:04:38,800 --> 01:04:41,960
Speaker 1: friends his credit like he's trying in his own, you know,

1150
01:04:42,160 --> 01:04:44,880
Speaker 1: his warp perspective. He's trying to give them a good time,

1151
01:04:44,920 --> 01:04:46,560
Speaker 1: show him a good time. He's not making them run

1152
01:04:46,600 --> 01:04:49,920
Speaker 1: around and rat wheels or anything. Oh yeah. So Sally

1153
01:04:49,960 --> 01:04:52,280
Speaker 1: and Bob are like this is terrible, but the others

1154
01:04:52,320 --> 01:04:55,640
Speaker 1: are very complacent. Especially at first. Georgia Laine's like, I

1155
01:04:55,640 --> 01:05:00,520
Speaker 1: don't know, I like being a doll, and one of

1156
01:05:00,520 --> 01:05:03,160
Speaker 1: the I think it's Laurie, says, hey, are you too engaged?

1157
01:05:03,280 --> 01:05:05,960
Speaker 1: And then mister Franz implies that he will shrink a

1158
01:05:06,040 --> 01:05:09,080
Speaker 1: priest so that he can properly marry Bob and Sally.

1159
01:05:10,360 --> 01:05:12,480
Speaker 1: But then there's a weird line I didn't understand. So

1160
01:05:12,480 --> 01:05:14,800
Speaker 1: Sally does not like the fact that she has been shrunk,

1161
01:05:15,480 --> 01:05:19,680
Speaker 1: and then Laurie the teenager says, hey, look at it

1162
01:05:19,720 --> 01:05:22,160
Speaker 1: this way. We all sometimes have to do things we

1163
01:05:22,280 --> 01:05:24,919
Speaker 1: don't want to do just to have some freedom like this.

1164
01:05:25,640 --> 01:05:28,840
Speaker 1: M Yeah, it sounds like she's really stretching to normalize

1165
01:05:28,880 --> 01:05:32,600
Speaker 1: being kidnapped and shrunk by a mad dollmaker. Yeah. No,

1166
01:05:32,720 --> 01:05:34,920
Speaker 1: And here's the scene where like they dance to the

1167
01:05:34,960 --> 01:05:37,439
Speaker 1: record a little bit and then Laurie sings the song

1168
01:05:37,600 --> 01:05:40,320
Speaker 1: my Living Doll. This is this is good. This is

1169
01:05:40,320 --> 01:05:42,640
Speaker 1: a fun little song. But also I believe Franz is

1170
01:05:42,760 --> 01:05:45,760
Speaker 1: like mouthing the words along to him like he's really

1171
01:05:45,840 --> 01:05:48,560
Speaker 1: he's really into it. And again, the whole throughout the

1172
01:05:48,560 --> 01:05:53,160
Speaker 1: whole movie, you really buy into Franz. Uh. You feel

1173
01:05:53,160 --> 01:05:56,840
Speaker 1: that this is a guy who is uniquely lonely and

1174
01:05:57,440 --> 01:06:01,000
Speaker 1: his loneliness has been warped into this, uh, this level

1175
01:06:01,040 --> 01:06:06,040
Speaker 1: of control and manipulation. Yeah, there's a whole action sequence here,

1176
01:06:06,040 --> 01:06:08,600
Speaker 1: by the way, So the puppet people are partying and

1177
01:06:08,640 --> 01:06:11,720
Speaker 1: then Amiel shows up. He's oh, he's here to talk

1178
01:06:11,760 --> 01:06:13,800
Speaker 1: to friends about something. And this is one of those

1179
01:06:13,800 --> 01:06:16,120
Speaker 1: scenes where friends is like, oh, my human friend, I

1180
01:06:16,160 --> 01:06:21,000
Speaker 1: hate you. Be quiet. I must get back to my dolls. Yeah. Yeah,

1181
01:06:21,040 --> 01:06:24,440
Speaker 1: but but there is legitimate tension here because, yeah, they

1182
01:06:24,520 --> 01:06:28,120
Speaker 1: try and call some for some help. They get the telephone,

1183
01:06:28,160 --> 01:06:31,120
Speaker 1: they're yelling into the telephone. It takes, you know, all

1184
01:06:31,200 --> 01:06:34,640
Speaker 1: all of them working together to to do this physically,

1185
01:06:35,400 --> 01:06:38,080
Speaker 1: but they cannot be heard. The music is too loud,

1186
01:06:38,120 --> 01:06:41,280
Speaker 1: their voices are too small. But the whole time here

1187
01:06:41,360 --> 01:06:42,720
Speaker 1: is like, are they gonna be able to pull it off?

1188
01:06:42,800 --> 01:06:44,800
Speaker 1: Is is he going to come back into the room

1189
01:06:44,840 --> 01:06:47,560
Speaker 1: and catch them? Is he I was just expecting somebody

1190
01:06:47,600 --> 01:06:50,840
Speaker 1: to be squashed, to be made an example of, or

1191
01:06:50,840 --> 01:06:53,400
Speaker 1: he'd feed them to a you know, I don't know,

1192
01:06:53,520 --> 01:06:57,280
Speaker 1: an ape or something. Well, there's multiple attempts. They try

1193
01:06:57,280 --> 01:06:59,680
Speaker 1: to call somebody on the phone. Also, while he's distracted,

1194
01:07:00,160 --> 01:07:03,800
Speaker 1: they try to rebigulate themselves, like yeah, you remember they

1195
01:07:03,800 --> 01:07:05,680
Speaker 1: put the marine on the table and they're trying to

1196
01:07:05,680 --> 01:07:09,480
Speaker 1: operate the stuff on the controls on the machine, but

1197
01:07:09,560 --> 01:07:11,920
Speaker 1: they run out of time. It seems like it almost works,

1198
01:07:11,960 --> 01:07:14,080
Speaker 1: but mister Franz is coming back in, so they scamper

1199
01:07:14,120 --> 01:07:16,240
Speaker 1: back up to the table, and it seems like the

1200
01:07:16,320 --> 01:07:20,000
Speaker 1: props keep changing size in relationship to them throughout the sequence.

1201
01:07:20,840 --> 01:07:22,880
Speaker 1: But then Franz puts them all back in their tubes.

1202
01:07:23,920 --> 01:07:27,800
Speaker 1: So while our puppet people are asleep, the detective comes

1203
01:07:27,800 --> 01:07:30,800
Speaker 1: back to investigate Frans again. You know it's are you

1204
01:07:30,840 --> 01:07:34,600
Speaker 1: sure you aren't turning people into dolls? And meanwhile there

1205
01:07:34,800 --> 01:07:37,000
Speaker 1: is a kid in the office who wants to get

1206
01:07:37,000 --> 01:07:40,520
Speaker 1: her doll repaired. I think this might be Bertie Gordon's kid. Yeah.

1207
01:07:41,600 --> 01:07:44,280
Speaker 1: But in the meantime, this is when she oh, she

1208
01:07:44,480 --> 01:07:48,920
Speaker 1: discovers the miniature cat in the matchbox and starts playing

1209
01:07:48,960 --> 01:07:52,000
Speaker 1: with it, and yes, it is very cute. Yeah, And

1210
01:07:52,000 --> 01:07:54,200
Speaker 1: he's like, no, you can't play with that anymore right now,

1211
01:07:54,200 --> 01:07:55,560
Speaker 1: You've got to get it back, and she's like, no,

1212
01:07:55,640 --> 01:07:58,240
Speaker 1: I'm never giving this bag. This is a cat that

1213
01:07:58,320 --> 01:08:00,640
Speaker 1: fits in a matchbox, you crazy old man, and this

1214
01:08:00,720 --> 01:08:04,280
Speaker 1: is mine forever now. Yeah. So we're going into the

1215
01:08:04,360 --> 01:08:08,600
Speaker 1: third act. So Emil shows up and he needs friends

1216
01:08:08,640 --> 01:08:11,919
Speaker 1: to repair his Jekyl and Hide puppet, which by the way,

1217
01:08:12,080 --> 01:08:18,839
Speaker 1: looks exactly like Dracula. But Emil reveals that the police

1218
01:08:18,880 --> 01:08:22,160
Speaker 1: have been questioning him about friends, and this really gets

1219
01:08:22,160 --> 01:08:26,240
Speaker 1: Frands spooked and he decides like, okay, I got to

1220
01:08:26,280 --> 01:08:29,200
Speaker 1: destroy all my dolls, and Sally actually overhears him talking

1221
01:08:29,200 --> 01:08:31,559
Speaker 1: about this. He's got to destroy all the dolls because

1222
01:08:31,600 --> 01:08:34,559
Speaker 1: the police are onto him. But before he does that,

1223
01:08:34,960 --> 01:08:37,960
Speaker 1: he's going to go to the theater repair Emil's doll,

1224
01:08:38,160 --> 01:08:40,719
Speaker 1: and then he's going to take the shrink friends out

1225
01:08:40,720 --> 01:08:43,679
Speaker 1: of their tubes, take them to the theater with him

1226
01:08:43,720 --> 01:08:46,200
Speaker 1: in the suitcase, where he's going to give them a

1227
01:08:46,200 --> 01:08:48,880
Speaker 1: big going away party. Yeah, I mean it's even a

1228
01:08:48,920 --> 01:08:52,160
Speaker 1: little darker than that, Like it's pretty it's he's basically

1229
01:08:52,200 --> 01:08:55,520
Speaker 1: saying that it's going to be a total murder suicide situation,

1230
01:08:55,840 --> 01:08:59,600
Speaker 1: like I'm going to destroy you all and kill myself,

1231
01:09:00,200 --> 01:09:02,080
Speaker 1: but it's all right because we're all going to die

1232
01:09:02,080 --> 01:09:05,679
Speaker 1: together because you're my friends. And it's very creepy. It's

1233
01:09:05,680 --> 01:09:09,240
Speaker 1: like it the creepiness it seems intentional and definitely shines

1234
01:09:09,280 --> 01:09:13,040
Speaker 1: through Oh yes, yeah. But also Sally overhears this, and

1235
01:09:13,040 --> 01:09:16,000
Speaker 1: then she really does not show the appropriate level of

1236
01:09:16,120 --> 01:09:19,120
Speaker 1: urgency in telling all of the other people. Like, so

1237
01:09:19,160 --> 01:09:20,800
Speaker 1: they get taken out of the tubes and they're all

1238
01:09:20,840 --> 01:09:23,240
Speaker 1: getting ready for the party, you know, bathing and getting

1239
01:09:23,320 --> 01:09:25,880
Speaker 1: dressed and stuff, and then it's like, hey, Sally, what

1240
01:09:25,960 --> 01:09:28,120
Speaker 1: did you say about he's going to destroy us all?

1241
01:09:28,160 --> 01:09:32,639
Speaker 1: And then Sally's like, oh, yeah, that's right. Yeah. So

1242
01:09:32,760 --> 01:09:35,320
Speaker 1: he takes them to the theater. There's a whole sequence

1243
01:09:35,360 --> 01:09:38,240
Speaker 1: at the theater. Several things to discuss. One is he

1244
01:09:38,280 --> 01:09:41,200
Speaker 1: tries to make them act alongside the Jekyl and Hide

1245
01:09:41,240 --> 01:09:43,920
Speaker 1: slash Dracula puppet, and this is where we get the

1246
01:09:43,960 --> 01:09:47,360
Speaker 1: scene of the attack on the puppet. So he's making

1247
01:09:47,439 --> 01:09:50,960
Speaker 1: them go into the I don't know, the little playbox

1248
01:09:51,080 --> 01:09:53,640
Speaker 1: and act out the parts in the play that I

1249
01:09:53,640 --> 01:09:58,240
Speaker 1: guess in reality would be done by puppets. So but

1250
01:09:58,600 --> 01:10:02,280
Speaker 1: when he makes John Agar go in there, John Agar says,

1251
01:10:02,720 --> 01:10:06,200
Speaker 1: you know this Jekyl and Hide puppet. He is a monster,

1252
01:10:06,520 --> 01:10:09,920
Speaker 1: but he's not half the monster you are. And then

1253
01:10:09,920 --> 01:10:12,559
Speaker 1: he grabs the puppet and rips its head off and

1254
01:10:12,720 --> 01:10:16,000
Speaker 1: smashes it, which is kind of a ridiculous looking sequence,

1255
01:10:16,040 --> 01:10:18,639
Speaker 1: but it works on other levels because it's like puppets

1256
01:10:18,640 --> 01:10:22,599
Speaker 1: are another thing, these little things made via his craft

1257
01:10:22,760 --> 01:10:25,040
Speaker 1: or or tweaked via his craft, Like these are the

1258
01:10:25,080 --> 01:10:27,559
Speaker 1: things that Franz actually cares about, and this is like

1259
01:10:27,600 --> 01:10:30,080
Speaker 1: his one Agar's one chance to lash out at him.

1260
01:10:30,120 --> 01:10:33,800
Speaker 1: Oh and then Franza this line was hilarious. He goes, no,

1261
01:10:34,000 --> 01:10:39,040
Speaker 1: stop it, Bob the puppet. You're destroying the puppet. But

1262
01:10:40,240 --> 01:10:43,640
Speaker 1: I wish there was a term for that thing. You

1263
01:10:43,680 --> 01:10:48,040
Speaker 1: would call it, like absurd specificity in dialogue, or like

1264
01:10:48,280 --> 01:10:52,320
Speaker 1: a pronoun should be used, but instead people specify the

1265
01:10:52,439 --> 01:10:56,680
Speaker 1: noun in a way that sounds ludicrous. Another example I

1266
01:10:56,720 --> 01:10:59,360
Speaker 1: was thinking of is in m I feel like this

1267
01:10:59,479 --> 01:11:03,480
Speaker 1: is specially comes in scenes where the dialogue is accompanying

1268
01:11:03,560 --> 01:11:06,760
Speaker 1: special effects shots instead of just like normal people on

1269
01:11:06,800 --> 01:11:09,599
Speaker 1: a set. So one of the other examples that comes

1270
01:11:09,600 --> 01:11:13,479
Speaker 1: to my mind is in Superman for the Quest for Peace,

1271
01:11:14,080 --> 01:11:18,639
Speaker 1: where the evil villain Nuclear Man. I think it goes

1272
01:11:18,640 --> 01:11:21,519
Speaker 1: like this. At one point he says I will hurt people,

1273
01:11:22,120 --> 01:11:27,400
Speaker 1: and then Superman says, no, the people. How would you

1274
01:11:27,880 --> 01:11:31,760
Speaker 1: compare this to the line in trol Too where the

1275
01:11:31,800 --> 01:11:35,080
Speaker 1: guy yells they're eating her and then they're going to

1276
01:11:35,120 --> 01:11:41,360
Speaker 1: eat me. Slightly different? Maybe no, no, no, yes, that's

1277
01:11:41,360 --> 01:11:46,120
Speaker 1: actually similar, very related thing. Just the narrating of events

1278
01:11:46,200 --> 01:11:49,920
Speaker 1: that everybody in the room can see happening, that you

1279
01:11:49,960 --> 01:11:53,880
Speaker 1: would have no need to explain. Yeah, yeah, I mean,

1280
01:11:53,920 --> 01:11:56,519
Speaker 1: I guess it's different. Maybe it head writers and maybe

1281
01:11:56,520 --> 01:12:00,400
Speaker 1: not a troll too, but maybe writers who wrote for radio.

1282
01:12:00,479 --> 01:12:02,599
Speaker 1: I don't know, Yeah, because it would make sense if

1283
01:12:02,600 --> 01:12:04,640
Speaker 1: you did not have visuals, and you need to like

1284
01:12:04,920 --> 01:12:07,360
Speaker 1: establish blow for blow what is supposed to be happening,

1285
01:12:07,400 --> 01:12:11,439
Speaker 1: and right and so forth. But at any rate, the puppet,

1286
01:12:11,640 --> 01:12:17,040
Speaker 1: you're destroying the puppet. Well anyway, Franz here gets interrupted

1287
01:12:17,040 --> 01:12:19,760
Speaker 1: by a stage hand and in the meantime, the doll

1288
01:12:19,840 --> 01:12:23,240
Speaker 1: people all scatter and escape, and there's a big adventure

1289
01:12:23,280 --> 01:12:26,320
Speaker 1: sequence where Bob and Sally they run. They make it outside.

1290
01:12:26,520 --> 01:12:30,840
Speaker 1: They are briefly menaced by a rat, but then they're

1291
01:12:30,600 --> 01:12:35,200
Speaker 1: in a really shocking twist there's a cat that comes

1292
01:12:35,280 --> 01:12:39,680
Speaker 1: to the rescue by attacking the rat that's attacking them.

1293
01:12:39,720 --> 01:12:42,840
Speaker 1: Who would have expected it. That's a real twist. Bird.

1294
01:12:43,400 --> 01:12:45,479
Speaker 1: So I think they're playing is they got to get

1295
01:12:45,520 --> 01:12:49,400
Speaker 1: back to the building they came from and get back

1296
01:12:49,560 --> 01:12:53,960
Speaker 1: into mister Franz's office so they can rebigulate themselves in

1297
01:12:54,000 --> 01:12:58,160
Speaker 1: the machine, and along the way they get attacked by

1298
01:12:58,240 --> 01:13:01,679
Speaker 1: a dog, but then a liveryman chases the dog away.

1299
01:13:01,960 --> 01:13:05,800
Speaker 1: They reinfiltrate the office by getting inside a parcel. They

1300
01:13:05,840 --> 01:13:08,280
Speaker 1: like get inside a box that's addressed to the office.

1301
01:13:08,720 --> 01:13:12,160
Speaker 1: The mail carrier takes them to the office and then

1302
01:13:12,280 --> 01:13:15,960
Speaker 1: they rebigulate just before mister Franz arrives to stop them.

1303
01:13:16,920 --> 01:13:20,200
Speaker 1: And then so like they so, Bob and Sally are

1304
01:13:20,240 --> 01:13:25,479
Speaker 1: restored to regular size, and then we get just such

1305
01:13:25,600 --> 01:13:29,559
Speaker 1: a weird and abrupt ending. I'd say this is an

1306
01:13:29,600 --> 01:13:34,599
Speaker 1: all time like top five weird off putting endings movie.

1307
01:13:35,120 --> 01:13:37,600
Speaker 1: Absolutely like for the time period. If you had to

1308
01:13:37,640 --> 01:13:40,400
Speaker 1: predict the ending for this movie, you would think, all right,

1309
01:13:40,439 --> 01:13:43,360
Speaker 1: they get big again, they saved the day, and our

1310
01:13:43,439 --> 01:13:46,000
Speaker 1: last shot is surely going to be our heroes reunited,

1311
01:13:46,040 --> 01:13:49,439
Speaker 1: maybe talking to the police or something, and then then

1312
01:13:49,479 --> 01:13:53,160
Speaker 1: then it'll be closed credits. But that's not what we get. No, Instead,

1313
01:13:53,360 --> 01:13:56,880
Speaker 1: the two of them are rebigulated. No idea what's going

1314
01:13:56,920 --> 01:13:59,040
Speaker 1: on with the other puppet people. Last time we saw them,

1315
01:13:59,080 --> 01:14:02,720
Speaker 1: they scattered the theater and Franz was looking for them,

1316
01:14:02,760 --> 01:14:05,360
Speaker 1: and we don't know what happened to them. And then

1317
01:14:05,840 --> 01:14:09,160
Speaker 1: back in the office, Franz is standing there and he says,

1318
01:14:09,520 --> 01:14:13,479
Speaker 1: don't leave me, Please, don't leave me. I'm all alone,

1319
01:14:13,720 --> 01:14:17,400
Speaker 1: and sad music plays and we zoom out on a

1320
01:14:17,439 --> 01:14:21,479
Speaker 1: couple of empty glass tubes, and that's the end. Yeah,

1321
01:14:21,479 --> 01:14:23,639
Speaker 1: it's such a weird moment for us to feel bad

1322
01:14:23,680 --> 01:14:26,519
Speaker 1: for Frans one last time. Instead of ending on a

1323
01:14:26,520 --> 01:14:28,720
Speaker 1: happy note for the release of all his kidnapping and

1324
01:14:28,800 --> 01:14:33,080
Speaker 1: experimentation victims, we don't end on his demise or his arrest.

1325
01:14:33,600 --> 01:14:37,040
Speaker 1: It's just implied that I guess something will come of this.

1326
01:14:38,240 --> 01:14:41,080
Speaker 1: It's just him feeling super sad that his only friends

1327
01:14:41,080 --> 01:14:44,720
Speaker 1: are being taken away from him. And the weird thing

1328
01:14:44,800 --> 01:14:47,120
Speaker 1: is that again due to the especially to the performance

1329
01:14:47,160 --> 01:14:49,720
Speaker 1: and you know, the way the scenes constructed here the

1330
01:14:49,800 --> 01:14:52,519
Speaker 1: moment it is executed well enough that you can't help

1331
01:14:52,560 --> 01:14:55,240
Speaker 1: but feel it hit a bit. But then, at least

1332
01:14:55,240 --> 01:14:57,720
Speaker 1: with me anyway, I was like it sunk in for

1333
01:14:57,720 --> 01:14:59,880
Speaker 1: a second. Then I'm like, whoa, whoa wa wait a minute,

1334
01:15:00,520 --> 01:15:02,760
Speaker 1: I'm not feeling sorry for this guy. Trip quit trying

1335
01:15:02,800 --> 01:15:05,680
Speaker 1: to make me feel sorry for the man who kidnapped

1336
01:15:05,920 --> 01:15:10,040
Speaker 1: and shrunk people and was going to going to kill

1337
01:15:10,080 --> 01:15:12,559
Speaker 1: them all and himself in the final moments of this

1338
01:15:12,600 --> 01:15:15,360
Speaker 1: film if he headed his way, Yeah, it doesn't make anything.

1339
01:15:15,400 --> 01:15:18,559
Speaker 1: So like we don't see the villain get his come upance,

1340
01:15:18,960 --> 01:15:22,559
Speaker 1: we don't see all of the good characters like restored

1341
01:15:22,600 --> 01:15:25,240
Speaker 1: to normal size. We have no idea what their fate is.

1342
01:15:25,520 --> 01:15:28,519
Speaker 1: And then it just plays sad music and ends right there,

1343
01:15:28,520 --> 01:15:31,840
Speaker 1: like ends right at the moment before there would be

1344
01:15:31,880 --> 01:15:35,080
Speaker 1: some kind of resolution. Yeah, like what if misery had

1345
01:15:35,160 --> 01:15:37,719
Speaker 1: ended this way or silence of the lamps or something,

1346
01:15:37,760 --> 01:15:41,120
Speaker 1: you know, I think a better ending would have been,

1347
01:15:41,320 --> 01:15:45,360
Speaker 1: like maybe he like falls down an elevator shaft and

1348
01:15:45,400 --> 01:15:49,400
Speaker 1: then suddenly we discover oh, here are those five additional

1349
01:15:49,439 --> 01:15:53,360
Speaker 1: broken tubes of John Agars and then John Agars eat him.

1350
01:15:53,520 --> 01:15:55,840
Speaker 1: I think that would have been good. That'd be really good.

1351
01:15:55,920 --> 01:15:58,200
Speaker 1: But no, no no, no, maybe that's not not fifties enough.

1352
01:15:58,200 --> 01:16:00,320
Speaker 1: That would have been more like a seventies ending. What

1353
01:16:00,400 --> 01:16:03,000
Speaker 1: if it just ended with John Agar doing the speech

1354
01:16:03,080 --> 01:16:08,760
Speaker 1: from the Incredible Shrinking Man. Does the infinitesimal become the infinite?

1355
01:16:09,560 --> 01:16:15,639
Speaker 1: I don't know. Hopefully John Agar's character has grown as

1356
01:16:15,640 --> 01:16:19,439
Speaker 1: a person because of this experience, yeah, but the movie's

1357
01:16:19,439 --> 01:16:22,280
Speaker 1: not concerned with that. It's more concerned with France. He

1358
01:16:22,400 --> 01:16:25,120
Speaker 1: seems to be weirdly enough, the twisted heart and soul

1359
01:16:25,200 --> 01:16:28,240
Speaker 1: of this picture. Yeah. So I think it should become

1360
01:16:28,280 --> 01:16:32,720
Speaker 1: a yearly tradition, much like you might watch Halloween or

1361
01:16:32,760 --> 01:16:36,360
Speaker 1: even Halloween three on the night of Halloween, or much

1362
01:16:36,439 --> 01:16:40,040
Speaker 1: like we watch The Wickerman every May Day. I think

1363
01:16:40,080 --> 01:16:43,280
Speaker 1: people should watch Attack of the Puppet People every year

1364
01:16:43,360 --> 01:16:47,840
Speaker 1: on the night of the Watergate break in. All right, yeah,

1365
01:16:48,760 --> 01:16:51,479
Speaker 1: why not? Why not? You know they have that HBO

1366
01:16:51,680 --> 01:16:54,960
Speaker 1: series coming out about the White House Plumbers, the concerns,

1367
01:16:55,240 --> 01:16:57,880
Speaker 1: you know, the Watergate. I wonder if they are going

1368
01:16:57,920 --> 01:17:01,040
Speaker 1: to include anything about Attack of the puppet people. I

1369
01:17:01,080 --> 01:17:02,639
Speaker 1: think that would be great. It seems like the tone

1370
01:17:02,640 --> 01:17:07,160
Speaker 1: of the show would lend itself to covering that little

1371
01:17:07,640 --> 01:17:10,000
Speaker 1: historical tidbit. All right, we're going to go ahead and

1372
01:17:10,000 --> 01:17:12,320
Speaker 1: close it out here, but a reminder that Stuff to

1373
01:17:12,320 --> 01:17:14,919
Speaker 1: Blow your Mind is primarily a science podcast, with Tuesdays

1374
01:17:15,000 --> 01:17:19,000
Speaker 1: and Thursday's episodes being our core episodes. On Monday's we

1375
01:17:19,120 --> 01:17:21,240
Speaker 1: do listener mail. On Wednesdays we do a short form

1376
01:17:21,400 --> 01:17:23,720
Speaker 1: episode a monster fact or an artifact, and then on

1377
01:17:23,720 --> 01:17:26,559
Speaker 1: Fridays we set aside most serious concerns to talk about

1378
01:17:26,560 --> 01:17:29,400
Speaker 1: a weird movie on Weird House Cinema. And if you

1379
01:17:29,400 --> 01:17:31,639
Speaker 1: want to see a complete list of all the movies

1380
01:17:31,680 --> 01:17:34,120
Speaker 1: we've covered on Weird House Cinema, well, you can go

1381
01:17:34,200 --> 01:17:36,000
Speaker 1: to a couple of places. I blog about these episodes

1382
01:17:36,000 --> 01:17:38,320
Speaker 1: at some mutemusic dot com. But also if you use

1383
01:17:38,360 --> 01:17:42,040
Speaker 1: a letterbox that's l ett er boxb dot com, we

1384
01:17:42,120 --> 01:17:44,559
Speaker 1: have a profile there it's weird House, and we have

1385
01:17:44,600 --> 01:17:47,479
Speaker 1: a list of all the movies we've covered a link store.

1386
01:17:47,479 --> 01:17:49,439
Speaker 1: You can listen to them and it's pretty neat. You

1387
01:17:49,479 --> 01:17:52,599
Speaker 1: can see them in order. The little posters arranged arranged

1388
01:17:52,840 --> 01:17:57,320
Speaker 1: like miniaturized people in tubes for your pleasure and your delight.

1389
01:17:57,960 --> 01:18:01,240
Speaker 1: Here's thanks to our audio producer J. J. Pauseway. If

1390
01:18:01,240 --> 01:18:02,800
Speaker 1: you would like to get in touch with us with

1391
01:18:02,920 --> 01:18:05,360
Speaker 1: feedback on this episode or any other, to suggest a

1392
01:18:05,400 --> 01:18:07,519
Speaker 1: topic for the future, or just to say hello, you

1393
01:18:07,520 --> 01:18:10,320
Speaker 1: can email us at contact at stuff to Blow your

1394
01:18:10,320 --> 01:18:20,320
Speaker 1: Mind dot com. Stuff to Blow Your Mind is production

1395
01:18:20,360 --> 01:18:23,559
Speaker 1: of iHeartRadio. For more podcasts from my heart Radio, visit

1396
01:18:23,560 --> 01:18:26,559
Speaker 1: the iHeartRadio app, Apple Podcasts, or wherever you listen to

1397
01:18:26,600 --> 01:18:27,400
Speaker 1: your favorite shows.