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

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Speaker 1: we have an episode for you that originally published 9-5-2025.

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Speaker 1: It is 1960s, The Time Machine. Yes, the 1960 film

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Speaker 1: adaptation of the legendary H.G. Wells book. This one is

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Speaker 1: a lot of fun. Prepare for more lock mania as

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Speaker 1: we dig into The Time Machine. The Time Machine.

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

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

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Speaker 3: And this is Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we're going to be talking about the 1960 film adaptation

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Speaker 3: of The Time Machine, based on the novel by H.G. Wells,

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Speaker 3: directed by George Powell, starring Rod Taylor. And Yvette Mimu.

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Speaker 3: We've gotten many requests to cover this on the show before.

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Speaker 3: I think it came up recently, maybe in the last

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Speaker 3: Listener Mail episode or the one before that. Somebody was

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Speaker 3: asking us to do the Time Machine. Either this one

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Speaker 3: or I think also there was one in the early

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Speaker 3: 2000s that is famous or infamous. It has Guy Pearce,

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Speaker 3: I think, and has a lot of weird changes to

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Speaker 3: the story.

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Speaker 1: Yeah, there are some definite weird changes made to it.

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Speaker 1: We'll come back to the 2002 Time Machine. I have

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Speaker 1: not watched it since it originally came out, but I

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Speaker 1: remember enjoying it.

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Speaker 3: Yeah, as Jeremy Irons says, something called an Uber Morlock.

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Speaker 1: Yeah, he's the Morlock that can talk, yeah. Great.

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Speaker 3: I've never seen it, but I'd be willing to explore.

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Speaker 3: But this version of the Time Machine is so.

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Speaker 3: I just want to put my cards on the table

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Speaker 3: at the beginning and say it is so great. We

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Speaker 3: can discuss a few drawbacks to it, but overall, this

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Speaker 3: is just like great mid-century cinema. An amazing visual spectacle.

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Speaker 3: It's got excellent time-lapse and stop-motion effects. It has that

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Speaker 3: wonderful film grain and color palette. It's like what people

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Speaker 3: have in mind when they think about the gorgeous color

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Speaker 3: films of the mid-century.

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Speaker 1: Absolutely. It's gorgeous to look at. The effects, which were

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Speaker 1: Academy Award winners at the time, still hold up really

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Speaker 1: well and are a lot of fun to watch. The

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Speaker 1: performances are effective, but it's just a fun ride. And

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Speaker 1: it does a great job. There's not a dull moment.

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Speaker 1: They do a great job unpacking the concepts that are

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Speaker 1: essential for the adventure and then delivering on that adventure.

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Speaker 3: Yeah, I think it is, while not a perfectly faithful

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Speaker 3: adaptation of the novel, I think a very good way

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Speaker 3: to take it onto film. In fact, we could talk

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Speaker 3: here at the beginning about some of the ways that

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Speaker 3: it departs from the novel. Some of them are less interesting,

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Speaker 3: but some more so like, I guess one thing I

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Speaker 3: will say that I think doesn't work quite as well

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Speaker 3: in the movie is that you remember in the novel,

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Speaker 3: there's no love story or romantic element at all. Like

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Speaker 3: there is the time traveler in the novel meets a

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Speaker 3: woman in the future named Wina. He befriends her. He

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Speaker 3: sort of protects her. But in the novel, there's no

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Speaker 3: romance between them. In the movie, unsurprisingly, you've got Rod

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Speaker 3: Taylor and Yvette Miu Miu here, and they fall in love.

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Speaker 3: And I'm not one of those people who is opposed

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Speaker 3: to this kind of thing in principle. Some people just

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Speaker 3: always hate it when you add a romantic subplot to

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Speaker 3: literary material where it wasn't there to begin with. I'm

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Speaker 3: not always opposed to that, but given particular features of

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Speaker 3: the narrative in The Time Machine... like how both the

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Speaker 3: Time Traveler and the Eloi are depicted, I think it

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Speaker 3: does not work super well in this story.

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Speaker 1: Yeah, she is, as we'll discuss, a doll person. We

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Speaker 1: see this in various forms in different works of fiction

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Speaker 1: where you'll have someone, like maybe they're a clone, maybe

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Speaker 1: they are indeed a far future human, but for some

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Speaker 1: reason or another, they're naive, they are innocent people, despite

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Speaker 1: being biologically grown people played by biologically grown actors. And yeah,

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Speaker 1: it can make for some odd space for a love story.

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Speaker 3: Yeah, so that's not the best. However, there are some

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Speaker 3: things this movie does to change the story from the

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Speaker 3: novel that I think are fantastic. One interesting plot device

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Speaker 3: I would single out in this regard is The way that, uh,

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Speaker 3: and if you're not familiar with the story, this will

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Speaker 3: make more sense later on, but the way that the

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Speaker 3: Morlocks use air raid sirens to hypnotize the Eloy and

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Speaker 3: lure them into the Sphinx to their doom. Uh, I

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Speaker 3: guess we can talk about that more in the plot section,

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Speaker 3: but this is both. Harrowing sensory spectacle in the scene

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Speaker 3: where it happens. And it also provides an interesting twist

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Speaker 3: on the movie's anti-war themes.

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Speaker 1: Absolutely. And I think the film's anti-war themes hold up

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Speaker 1: really well. I think that they are in large part

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Speaker 1: very true to the spirit of a lot of the

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Speaker 1: ideals that H.G. Wells held for the majority of his life.

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Speaker 1: So I think these were all a great addition. Then

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Speaker 1: there are plenty of other like small changes, many necessary

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Speaker 1: changes like for instance, in the original book, which is

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Speaker 1: essentially a novella, the time traveler has no given name.

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Speaker 1: He is just the time traveler, which I always quite

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Speaker 1: liked because it made him feel more mythic, you know,

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Speaker 1: and more mysterious. And maybe in a way he doesn't

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Speaker 1: have an identity anymore because he is like a man

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Speaker 1: removed from time. Yeah.

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Speaker 3: He's just, he's the earth rim roamer or something like that. Yeah. But, uh,

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Speaker 3: but here they give him a name and they give

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Speaker 3: him the name HG Wells. Basically there is the other

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Speaker 3: characters call him George, uh, or the, you know, his

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Speaker 3: middle initial there. So it's doing the same thing actually

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Speaker 3: that is done in the later film, uh, time after time,

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Speaker 3: which we've featured on the show before, which is a

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Speaker 3: fun combination of the time machine and the story of

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Speaker 3: Jack the Ripper, but they make the time traveler in

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Speaker 3: that also HG Wells himself, uh, here he, It's a

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Speaker 3: weird thing. So they give him the name H.G. Wells,

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Speaker 3: but they don't make him like a science fiction novelist

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Speaker 3: in the 1890s. He's just the character from the book,

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Speaker 3: but they gave him the author's name.

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Speaker 4: Yeah, yeah.

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Speaker 1: So it's a little, they treat it softly here. It's

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Speaker 1: not like a hard, like, hey, I'm H.G. Wells, the

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Speaker 1: successful writer. And that Time Machine book I wrote, well,

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Speaker 1: I actually made one. It's in the basement. Well, I'm

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Speaker 1: really excited to talk about this one. I had not

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Speaker 1: seen this film in quite a long time. I think

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Speaker 1: I possibly watched it on I don't know, Turner classic

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Speaker 1: movies or American movie classics back in the day. It

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Speaker 1: certainly is an American movie classic. And I think the

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Speaker 1: movie holds up quite well. And for that matter, I

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Speaker 1: would argue that the H.G. Wells book itself holds up

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Speaker 1: quite well. I read that more recently than I'd seen

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Speaker 1: this film. And, you know, it moves right along at

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Speaker 1: a great click. Very readable ideas speak to us today,

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Speaker 1: you know, as well as they did back in its

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Speaker 1: original publication year. You know, Wells was a great writer

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Speaker 1: with a lot of tremendous ideas.

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Speaker 3: Yeah, yeah. It's been a while since I've read the

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Speaker 3: novel in full, though I just recently reread a chapter

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Speaker 3: from it because I remember way back when I first

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Speaker 3: read this book in high school, one of the parts

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Speaker 3: that really stuck with me was after the main action

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Speaker 3: of the story, after the encounter with the Eloy and

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Speaker 3: the Morlocks and all of that, there is a chapter

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Speaker 3: called A Further Vision where the time traveler goes on

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Speaker 3: and on further and further, millions of years.

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Speaker 1: 30 million years, I think, yeah.

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Speaker 3: Millions of years into the future to see the final

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Speaker 3: fate of the planet Earth. And so he comes upon

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Speaker 3: this landscape where the Earth has become finally tidally locked

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Speaker 3: with the sun so that the sun no longer rises

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Speaker 3: and sets. And the part of the Earth he is

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Speaker 3: on just happens to be within sort of the ring

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Speaker 3: around the, the horizon, like the part of the earth

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Speaker 3: that is always in perpetual twilight with the sun kind

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Speaker 3: of sitting just above the, uh, the horizon to, to

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Speaker 3: the West. And, uh, and he, so he describes this

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Speaker 3: giant red sun there and this twilight landscape that is

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Speaker 3: filled with giant crabs and butterflies and the crabs like

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Speaker 3: start caressing his face with their antennae. Uh, and it's,

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Speaker 3: it's a super, super creepy vision that really left an

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Speaker 3: impression on me. And, Every now and then, I think

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Speaker 3: I've read the book in full more than once, I believe,

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Speaker 3: but I've gone back and read that chapter many times.

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Speaker 1: Yeah, it's very doomy. In almost, I would say, a

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Speaker 1: cosmic horror sense. It's not quite the chord that Wells

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Speaker 1: is striking there, but you can easily imagine how this

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Speaker 1: chapter of the book may have been one of the

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Speaker 1: influences on many of the cosmic horror writers in the

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Speaker 1: decades to come.

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Speaker 3: It also provides an interesting perspective because so often.

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Speaker 3: Especially genre stories, uh, they really, you want to get

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Speaker 3: a sense that, um, there is a happily ever after

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Speaker 3: that there is some, some kind of, uh, paradisiacal state

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Speaker 3: that everything is moving toward. And once the conflict of

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Speaker 3: the story is resolved, everything will be okay now. Uh,

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Speaker 3: but the time traveler really, it kind of upsets that

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Speaker 3: narrative because there are conflicts to resolve in the story.

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Speaker 3: It's not like nothing matters. But you do get to see, well,

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Speaker 3: in the end, there are no people here anymore anyway.

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Speaker 3: It's all just crabs in the end. And eventually not

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Speaker 3: even any crabs will be left.

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Speaker 1: Yeah, yeah. That's a great chapter. It is not depicted

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Speaker 1: in this adaptation. But then I don't think it really,

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Speaker 1: I don't think it would have fit. I think I

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Speaker 1: liked the way this film ends. This film ends the

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Speaker 1: way it needed to, to end. And we'll discuss that

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Speaker 1: towards the, uh, the final minutes of this episode.

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Speaker 3: If instead of a love story between Rod Taylor and

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Speaker 3: Yvette Miu Miu, uh, you had a love story between

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Speaker 3: Rod Taylor and the crab from attack of the crab monsters,

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Speaker 3: that would really be a way to wrap this up.

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Speaker 3: What do you think?

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Speaker 1: Possibly. Yeah. I, I, And yeah, if you wanted to

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Speaker 1: end it on a much more contemplative and doomy note,

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Speaker 1: that would be the way to go.

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Speaker 3: All right, let's see. Should we listen to some trailer audio?

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Speaker 1: Yeah, let's hear a bit from the old trailer here.

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Speaker 4: Today, man is successfully probing deep into the mysteries of

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Speaker 4: the universe. Can he penetrate the greatest mystery of all,

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Speaker 4: time itself?

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Speaker 3: Why is it that we usually ignore the fourth dimension?

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Speaker 2: You see, we can move in the other three.

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Speaker 1: As the doctor said, up, down, forwards, backwards, sideways. But

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Speaker 1: when it comes to time, we are prisoners.

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Speaker 4: Inventor Rod Taylor's breakthrough into the realm of the fourth

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Speaker 4: dimension is defied by his friend Alan Young.

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Speaker 1: If that machine can do what you say it can,

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Speaker 1: destroy it, George, before it destroys you.

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Speaker 4: Every moment is a year. hurtling through the atomic wars

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Speaker 4: of the future on an incredible excursion into the unknown.

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Speaker 4: And what happens when boy meets girl thousands of years hence?

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Speaker 1: How do they wear their hair? Who? The women of

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Speaker 1: your time.

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Speaker 3: Up like that?

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Speaker 1: Show me.

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Speaker 4: Is this the human race of the future? Or is

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Speaker 4: this the Morlocks, fiendish creatures who live in a weird

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Speaker 4: underground world? and the Eloi, the tranquil sunshine people, who

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Speaker 4: the Morlocks dominate and maintain like cattle, luring them below

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Speaker 4: with the hypnotic wail of the sirens to feed upon

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Speaker 4: them in cannibalistic horror.

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Speaker 1: All right. Well, if you would like to watch 1960s

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Speaker 1: The Time Machine, absolutely, we encourage you to go out

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Speaker 1: and watch it for the first time or revisit it

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Speaker 1: before proceeding with the rest of the episode or just

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Speaker 1: go ahead and listen to the rest of the episode.

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Speaker 1: We are going to spoil some things, but it's The

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Speaker 1: Time Machine. I feel like this is one that you've

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Speaker 1: probably absorbed culturally to a certain extent at this point.

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Speaker 1: And if you do want to watch it, it is

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Speaker 1: widely available in, I think, all formats that have ever existed.

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Speaker 1: due to time constraints, I just streamed it, but there

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Speaker 1: are some nice DVDs and Blu-rays out there as well.

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Speaker 3: Yeah, and as you alluded to, as always, spoiler warning

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Speaker 3: for the rest of the episode. This is a pretty

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Speaker 3: old story at this point, but yeah, we are going

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Speaker 3: to talk about the whole thing in granular detail, so

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Speaker 3: if somehow this story is new to you and you're

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Speaker 3: not familiar, go read the novel or watch the movie

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Speaker 3: before continuing.

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Speaker 1: Absolutely. All right, well, let's get into some of the

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Speaker 1: people behind this picture, this big special effects picture of 1960,

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Speaker 1: so we can't reference everybody. But the director and the

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Speaker 1: producer on this was George Powell, lived 1908 through 1980,

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Speaker 1: Hungarian-American animator, film director, and producer, who initially worked on

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Speaker 1: films in his native Hungary before moving to Berlin and

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Speaker 1: then to Prague in the early 30s, creating short films

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Speaker 1: and commercials, before immigrating to the United States in, I believe, 1939. Now,

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Speaker 1: during this period, both in Europe and then in the

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Speaker 1: United States, he made a series of puppet tunes. So

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Speaker 1: that's puppet and tunes smashed together into one word. These

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Speaker 1: were short films. The first being, I believe, a dancing

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Speaker 1: cigarette commercial from 1932. Okay. So it's kind of, I

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Speaker 1: guess maybe we're even alluding to that in this picture

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Speaker 1: when we have a scene with a cigar, where we

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Speaker 1: have a model of the time machine and they fold

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Speaker 1: up a cigar and stick it in there, though it

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Speaker 1: doesn't dance or move around.

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Speaker 3: There's more cigar action than you would expect.

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Speaker 1: Yeah. I believe Seven Puppetoon, I assume that's how one

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Speaker 1: would pronounce it, Puppetoon shorts received Academy Award nominations. Puppetoon

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Speaker 1: animation is essentially a type of replacement animation of which

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Speaker 1: is itself a type of stop motion animation, but it

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Speaker 1: requires a vast number of near duplicate puppets to pull

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Speaker 1: off the effect. So my understanding, diving into this a

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Speaker 1: little bit, is that it's kind of like cell animation,

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Speaker 1: or traditional cell animation, where you would have to have

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Speaker 1: like a separate drawing of, say, Daffy Duck every time

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Speaker 1: Daffy Duck made the slightest movement. And in this case,

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Speaker 1: you would have to have a physical representation, a doll

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Speaker 1: or puppet of Daffy Duck for each each tiny movement

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Speaker 1: that would take place. So, you know, this is not

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Speaker 1: quite what we see with stop motion today. Generally, when

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Speaker 1: you see stop motion today, they're articulating some sort of

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Speaker 1: a movable puppet or model each time and not just

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Speaker 1: replacing it with an entirely different model. Puppetoon shorts included,

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Speaker 1: let's see, there were adaptations of Dr. Seuss's The 500

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Speaker 1: Hats of Bartholomew Cubbins, as well as an adaptation of

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Speaker 1: And to Think That I Saw It on Mulberry Street,

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Speaker 1: Also an adaptation of Aladdin and the Magic Lamp. And

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Speaker 1: also a series of shorts featuring the character Jasper that

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Speaker 1: was already seen as racist in the 1940s. So obviously

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Speaker 1: does not hold up well today.

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Speaker 4: Yeah.

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Speaker 1: Now in 1950, Powell switched to live action film with

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Speaker 1: the comedy The Great Rupert. I think that's a Jimmy

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Speaker 1: Durante picture, which he produced only. But then in 1958,

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Speaker 1: he directed a Tom Thumb movie that made use of

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Speaker 1: puppatoon effects. And then, of course, The Time Machine in 1960,

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Speaker 1: which doesn't use puppatoon per se, but certainly makes great

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Speaker 1: use of stop motion effects. Yeah.

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Speaker 3: And I believe it was the stop motion effects and

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Speaker 3: the time lapse effects for which this movie got an

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Speaker 3: Academy Award. I believe so, yeah.

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Speaker 1: Though it's, in general, this is just a great special

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Speaker 1: effects picture. You know, it's like, The production designs here

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Speaker 1: are amazing, and yeah, we get some great uses of

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Speaker 1: stop motion throughout the picture. But essentially, whenever there's time traveling,

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Speaker 1: because there's always stuff in the background that's rotting or

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Speaker 1: growing and so forth. Melting, exploding into lava.

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Speaker 3: Man, I got some things to say about that lava.

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Speaker 3: Did you read about that effect?

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Speaker 1: Yes.

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Speaker 3: Okay, we'll get there.

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Speaker 1: So subsequently he directed 61's Atlantis, The Lost Continent, 62's

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Speaker 1: The Wonderful World of the Brothers Grimm, the fairy tale

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Speaker 1: segments only, and finally Seven Faces of Dr. Lau in 1964.

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Speaker 1: I've never seen that one, but of note to MST3K fans,

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Speaker 1: that's the movie that Joel quotes in the final moments

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Speaker 1: of his original run on Mystery Science Theater 3000. This

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Speaker 1: is the bit where it's, every time you stop and think,

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Speaker 1: I'm alive and being alive is fantastic. Every time such

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Speaker 1: a thing happens, you're part of the circus of Dr. Lau.

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Speaker 1: Which is fun. Though that movie is, I believe, sadly

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Speaker 1: built around a yellow face performance by Tony Randall. But still,

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Speaker 1: the quote I like. All right. Moving on to the

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Speaker 1: screenwriter here. David Duncan has the screenplay credit. 1913 through 1999.

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Speaker 1: American screenwriter and novelist. Best known for his adapted screenplays

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Speaker 1: for this and 1966's Fantastic Voyage. Not an adaptation of

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Speaker 1: Isaac Asimov's novel, which was itself an adaptation of that film,

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Speaker 1: but rather an adaptation of an earlier script or treatment. Wow.

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Speaker 1: His other scripts.

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Speaker 3: That one got around, huh?

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Speaker 1: Yeah. You know, that was a big picture. That was,

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Speaker 1: I think, when that one was coming out, and that

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Speaker 1: would be a fun one to do on Weird House eventually.

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Speaker 1: That was, I think, marketed as the most expensive science

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Speaker 1: fiction picture of all time. So there were a lot

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Speaker 1: of cooks in that kitchen. Yeah. But Duncan's other scripts

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Speaker 1: include the English version of 1956's Rodin, 57's The Monster

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Speaker 1: That Challenged the World, 1957's The Black Scorpion, 58's The

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Speaker 1: Thing That Couldn't Die, 58's Monster on the Campus, 1960's

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Speaker 1: The Leech Woman. That's the one you were the one

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Speaker 1: in my dreams of blood. This one is featured on

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Speaker 1: Mystery Science Theater 3000 as well. And he also wrote

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Speaker 1: the Human Factor episode of the original Outer Limits. Sorry, Rob.

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Speaker 3: I was just looking up, because the title got me,

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Speaker 3: The Monster That Challenged the World. I was trying to

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Speaker 3: remember what that one was. Oh, that's the one about

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Speaker 3: a caterpillar that comes up out of the water.

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Speaker 1: It challenged the world. It didn't conquer. It just challenged. Yeah.

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Speaker 1: Duncan also wrote a series of novels, some of which

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Speaker 1: look quite interesting, but I think these have all been

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Speaker 1: out of print for a while and are, I think,

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Speaker 1: largely only available as very old used paperbacks. But if

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Speaker 1: anyone out there has read a David Duncan novel, write in.

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Speaker 1: I would love to hear about it. Hmm. Now, as

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Speaker 1: we mentioned, this is, of course, an adaptation of the

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Speaker 1: original book by H.G. Wells, who lived 1866 through 1946.

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Speaker 1: He was active from 1895 until his death, and he

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Speaker 1: is generally considered the grandfather of science fiction. He wasn't

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Speaker 1: the first to craft sci-fi, and it certainly would have

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Speaker 1: gone on without him, but his influence is undeniable, given

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Speaker 1: such works as The Time Machine, 1895, The Island of Dr.

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Speaker 1: Moreau from 1896. The Invisible Man from 1897, and of course,

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Speaker 1: The War of the Worlds from 1898. He was a

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Speaker 1: progressive social critic and futurist, which certainly contributes to the

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Speaker 1: continued readability of his work.

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Speaker 3: A lot of science fiction story types that recur with

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Speaker 3: variation throughout the 20th century, I think you could essentially say,

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Speaker 3: what was the first version of this story? And often

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Speaker 3: it's argued that Wells is the first version.

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Speaker 1: Yeah, and certainly... in cases where there's some sort of

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Speaker 1: a predecessor, like he cemented the idea, you know, like

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Speaker 1: his is the story that cast the long shadow. And so, yeah,

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Speaker 1: his works are highly readable today. They're always interesting in

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Speaker 1: terms of like, what did he seem to accurately predict

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Speaker 1: as a sort of futurist? What social commentaries did he

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Speaker 1: make that are still very valid today? And so his

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Speaker 1: work is largely full of that sort of thing. Now,

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Speaker 1: as far as adaptations of The Time Machine go, this

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Speaker 1: was not the first adaptation. There was a 1949 BBC

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Speaker 1: teleplay starring Russell Napier. I have not seen it, but Joe,

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Speaker 1: I included a couple of screenshots here for you. The

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Speaker 1: Time Machine looks like some sort of high-tech toilet.

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Speaker 3: Yeah, yeah, sitting on the throne there. It's got lights

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Speaker 3: over it, so there you go. You know, and the

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Speaker 3: version we have in this movie, it still essentially is

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Speaker 3: a big chair.

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Speaker 1: Yeah, but the version we see here, and we'll describe

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Speaker 1: it a bit more in a little bit here, it

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Speaker 1: is the iconic time machine. It has become the iconic

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Speaker 1: time machine. It's reasonably accurate to what was described in

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Speaker 1: the story, and it is the one that is inevitably

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Speaker 1: drawn or depicted in derivative works. Yes. Yeah.

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Speaker 3: No, I love the design in this movie, but it's

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Speaker 3: a chair on Santa's sleigh, basically. We'll talk about that

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Speaker 3: more as we go on. But this one is a

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Speaker 3: little more compact and a little bit less impressive. It

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Speaker 3: does look like a toilet. And then you've got another

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Speaker 3: picture from a 1978 adaptation, which is more like a

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Speaker 3: toilet with a computer in front of it.

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Speaker 1: Yeah, this one looks like a 1978 space toilet for sure.

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Speaker 1: This one starred John Beck. I also have not seen it.

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Speaker 1: I do not think it has a very strong reputation.

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Speaker 1: And then, as we previously mentioned, there is the 2002

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Speaker 1: adaptation starring Guy Pearce and Jeremy Irons, directed notably by H.G. Wells' great-grandson,

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Speaker 1: Simon Wells. How often do you get to have a

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Speaker 1: case like that, you know?

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Speaker 3: That is unusual. By the way, before this, I looked

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Speaker 3: up Simon Wells. I was like, what else did he direct?

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Speaker 3: He made a number of animated movies, some involving time travel.

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Speaker 3: He directed We're Back, A Dinosaur Story.

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Speaker 1: Oh, okay.

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Speaker 3: You remember that one?

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Speaker 1: Vaguely, vaguely.

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Speaker 3: Maybe one day on Weird House. We'll have to check

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Speaker 3: that out. See how it holds up. I associate that

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Speaker 3: one with being a kid and maybe like getting a

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Speaker 3: babysitter and having pizza or something.

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Speaker 1: Yeah, that sounds like a good time. Yeah, 2002, that

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Speaker 1: was the last time I saw 2002's The Time Machine.

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Speaker 1: But I remember enjoying it. You know, Guy Pearce is great.

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Speaker 1: Jeremy Irons is great. It had more locks in it. Like,

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Speaker 1: those are kind of just the basic things I need

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Speaker 1: for a good film experience. There were some good actors

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Speaker 1: in there and some reasonably effective monsters that live underground,

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Speaker 1: and I'm generally on board. But I do not remember

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Speaker 1: any of the real broad strokes. I think there's some

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Speaker 1: sort of subplot about the moon getting split in half,

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Speaker 1: but it's been a long time.

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Speaker 3: There are moon colonists and they screw something up and

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Speaker 3: blow up the moon.

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Speaker 4: Yeah.

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Speaker 1: That also happens in the opening to Thundar the Barbarian

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Speaker 1: from back in the day. The moon gets torn in

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Speaker 1: half by something. Oh, and then just for comparison's sake here, Joe,

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Speaker 1: I included a screenshot from Time After Time, which, again,

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Speaker 1: we previously discussed on Weird House Cinema. They use a

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Speaker 1: different design for the time machine. It's more like a

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Speaker 1: canopied little deal, but it also looks fittingly late Victorian.

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Speaker 3: Yeah, Time After Time looks more like an insectoid helicopter

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Speaker 3: without a rotor.

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Speaker 4: Mm-hmm.

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Speaker 1: Yeah. It's interesting because clearly in all versions, the Time

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Speaker 1: Traveler didn't really think about all of the features you

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Speaker 1: might really want on this thing. Definitely a canopy to

431
00:23:43,869 --> 00:23:47,530
Speaker 1: keep subterranean monsters from pulling you off the chair.

432
00:23:47,550 --> 00:23:48,730
Speaker 3: Air conditioning.

433
00:23:49,090 --> 00:23:50,030
Speaker 1: Yeah, air conditioning.

434
00:23:50,070 --> 00:23:53,840
Speaker 3: Which comes up in this film. Yeah.

435
00:23:54,640 --> 00:23:58,120
Speaker 1: All right, so let's get to the cast here. Playing

436
00:23:58,180 --> 00:24:01,719
Speaker 1: the Time Traveler, H. George Wells is Rod Taylor, who

437
00:24:01,760 --> 00:24:05,830
Speaker 1: lived 1930 through 2015. Taylor was an Australian-born actor, best

438
00:24:05,869 --> 00:24:09,869
Speaker 1: remembered for this film, Hitchcock's The Birds in 1963, and

439
00:24:09,910 --> 00:24:13,010
Speaker 1: the Disney animated film 101 Dalmatians, in which he plays

440
00:24:13,050 --> 00:24:14,510
Speaker 1: the lead Dalmatian, Pogo.

441
00:24:15,109 --> 00:24:15,790
Speaker 3: Oh, I didn't know that.

442
00:24:15,990 --> 00:24:20,260
Speaker 1: Yeah. Other credits include 56's World Without End, 68's Dark

443
00:24:20,300 --> 00:24:25,139
Speaker 1: of the Sun, and a 1985 Christopher Lee film titled

444
00:24:25,220 --> 00:24:28,500
Speaker 1: Mask of Murder. Oh, and then very late, I think

445
00:24:28,540 --> 00:24:31,090
Speaker 1: this might actually be his last film credits, He shows

446
00:24:31,170 --> 00:24:36,310
Speaker 1: up in Tarantino's Inglorious Bastards in 2009 playing Winston Churchill.

447
00:24:36,690 --> 00:24:39,230
Speaker 3: Never would have made this connection. It's basically a cameo.

448
00:24:39,250 --> 00:24:41,109
Speaker 3: He has like one or two lines. He sits in

449
00:24:41,150 --> 00:24:45,040
Speaker 3: the background while, what's his name, is getting briefed.

450
00:24:45,500 --> 00:24:45,740
Speaker 4: Yeah.

451
00:24:46,180 --> 00:24:47,680
Speaker 1: So I have to say, Taylor, I think, is pretty

452
00:24:47,720 --> 00:24:49,240
Speaker 1: great in this. He brings a lot of charm to

453
00:24:49,720 --> 00:24:52,760
Speaker 1: a character that would have, that could have at least

454
00:24:52,780 --> 00:24:55,140
Speaker 1: certainly come off a good bit more wooden and preachy

455
00:24:55,160 --> 00:24:56,220
Speaker 1: in the hands of another actor.

456
00:24:56,880 --> 00:25:01,020
Speaker 3: No, they make him passionate. He's, yeah, he's likable in

457
00:25:01,060 --> 00:25:05,389
Speaker 3: this role because, um, I mean, he does have to

458
00:25:06,290 --> 00:25:08,550
Speaker 3: do a bit of sermonizing in the film about the

459
00:25:08,590 --> 00:25:12,450
Speaker 3: woes of humankind and the, you know, the devious stupidity

460
00:25:12,510 --> 00:25:15,560
Speaker 3: of war and all that. Uh, which if they'd gone

461
00:25:15,580 --> 00:25:17,399
Speaker 3: with a different kind, like, I think I read somewhere

462
00:25:17,420 --> 00:25:19,360
Speaker 3: that they were maybe thinking about getting like an older

463
00:25:19,460 --> 00:25:21,480
Speaker 3: actor looking at David Niven or something.

464
00:25:21,500 --> 00:25:21,619
Speaker 1: Mm-hmm.

465
00:25:22,410 --> 00:25:24,530
Speaker 3: And I don't know, it could have gone a different way,

466
00:25:24,630 --> 00:25:28,140
Speaker 3: but Rod Taylor, he just feels it. Like he's expressing

467
00:25:28,180 --> 00:25:30,420
Speaker 3: his feelings and you're sort of there on the ground

468
00:25:30,460 --> 00:25:32,800
Speaker 3: with him instead of being preached down at by him.

469
00:25:33,440 --> 00:25:36,720
Speaker 1: Yeah, yeah. And I don't think I've seen any other

470
00:25:36,780 --> 00:25:38,609
Speaker 1: film that he was, I mean, I guess I've seen

471
00:25:38,630 --> 00:25:41,750
Speaker 1: The Birds, but it's been a long time. And I've

472
00:25:41,970 --> 00:25:44,650
Speaker 1: seen 101 Dalmatians, but maybe that's not the best way

473
00:25:44,690 --> 00:25:50,060
Speaker 1: to really appraise an actor's ability. But yeah, I think

474
00:25:50,100 --> 00:25:54,570
Speaker 1: he's really good in this one. All right. Now, of note,

475
00:25:55,230 --> 00:25:58,190
Speaker 1: mostly the main characters in this film are going to

476
00:25:58,210 --> 00:26:02,340
Speaker 1: be the time traveler, Wells, and then the character, Weena,

477
00:26:02,720 --> 00:26:06,000
Speaker 1: who is a far future Eloy. But there are some

478
00:26:06,240 --> 00:26:11,840
Speaker 1: contemporary late Victorian characters that are encountered early on, and

479
00:26:11,880 --> 00:26:15,090
Speaker 1: then we have some descendants of one of those characters.

480
00:26:15,470 --> 00:26:19,410
Speaker 1: The main character here that is one of the time

481
00:26:19,450 --> 00:26:23,639
Speaker 1: traveler's friends is the character, David Philby, and then later

482
00:26:23,980 --> 00:26:26,820
Speaker 1: James Philby, his descendant. And they are both played by

483
00:26:26,980 --> 00:26:30,900
Speaker 1: Alan Young, who lived 1919 through 2016.

484
00:26:30,900 --> 00:26:35,010
Speaker 3: Our protagonist has a group of several friends when the

485
00:26:35,119 --> 00:26:39,830
Speaker 3: action begins in 1899 or 1900, who are like three

486
00:26:39,869 --> 00:26:42,750
Speaker 3: of the four guys are just like cigar eating machines.

487
00:26:43,170 --> 00:26:45,730
Speaker 3: But the fourth guy, the fourth guy has more of

488
00:26:45,790 --> 00:26:48,620
Speaker 3: a heart. He has a soft Scottish accent and he's

489
00:26:48,660 --> 00:26:52,180
Speaker 3: a nice, thoughtful guy. That's the Alan Young character here.

490
00:26:52,500 --> 00:26:55,659
Speaker 1: Yeah, yeah. The soft Scottish accent is especially present in

491
00:26:55,700 --> 00:27:00,240
Speaker 1: the elder Philby character. And many of you, if you're

492
00:27:00,280 --> 00:27:02,419
Speaker 1: rewatching this film, you might be like, man, that Scottish

493
00:27:02,520 --> 00:27:05,920
Speaker 1: accent sounds familiar. It sounds a little bit like Scrooge McDuck.

494
00:27:06,180 --> 00:27:12,010
Speaker 1: It is absolutely Scrooge McDuck because Alan Young played Scrooge McDuck,

495
00:27:12,210 --> 00:27:15,669
Speaker 1: provided Scrooge McDuck's voice for four decades, beginning with the

496
00:27:15,670 --> 00:27:20,389
Speaker 1: 1974 Disneyland Records album, an adaptation of Dickens' Christmas Carol

497
00:27:20,430 --> 00:27:24,330
Speaker 1: performed by the Walt Disney Players. And this eventually became the,

498
00:27:24,930 --> 00:27:28,130
Speaker 1: in my opinion, excellent Mickey's Christmas Carol from 1983. Like

499
00:27:29,070 --> 00:27:32,210
Speaker 1: if you want a Christmas Carol boiled down to like, what,

500
00:27:32,210 --> 00:27:36,859
Speaker 1: 30 minutes with some genuine laughs, but still retaining the

501
00:27:36,940 --> 00:27:39,939
Speaker 1: spirit of a Christmas Carol, you can't go wrong with

502
00:27:39,980 --> 00:27:40,780
Speaker 1: Mickey's Christmas Carol.

503
00:27:41,080 --> 00:27:43,100
Speaker 3: Is it better than the Mr. Magoo Christmas Carol?

504
00:27:43,119 --> 00:27:46,679
Speaker 1: Yeah. Well, I think I've only seen that one once,

505
00:27:46,720 --> 00:27:48,250
Speaker 1: but I'm going to go ahead and say absolutely yes.

506
00:27:48,390 --> 00:27:52,390
Speaker 3: Yes, I don't remember that much either. But I'm sure

507
00:27:52,450 --> 00:27:53,990
Speaker 3: I saw this when I was a kid, but I

508
00:27:54,010 --> 00:27:55,110
Speaker 3: don't recall much about it.

509
00:27:55,410 --> 00:27:58,390
Speaker 1: Yeah, I recommend potentially revisiting it. I think it holds

510
00:27:58,450 --> 00:28:01,170
Speaker 1: up really well. I think it's one of those that

511
00:28:01,290 --> 00:28:04,530
Speaker 1: I inevitably end up watching every Christmas, in part because

512
00:28:04,570 --> 00:28:07,890
Speaker 1: it's so short. Like, how can you not sit down

513
00:28:07,950 --> 00:28:12,280
Speaker 1: and watch it? But anyway, Alan Young played Scrooge McDuck

514
00:28:12,690 --> 00:28:15,619
Speaker 1: so many times. Like he's Scrooge McDuck on the DuckTales

515
00:28:16,320 --> 00:28:19,659
Speaker 1: TV series and the Kingdom Heart video games and so

516
00:28:19,700 --> 00:28:22,500
Speaker 1: much more. Like he, he, he was Scrooge McDuck.

517
00:28:23,220 --> 00:28:26,180
Speaker 3: He also, there were, there were some great DuckTales adaptations

518
00:28:26,260 --> 00:28:29,020
Speaker 3: to like the eight and 16 bit video game eras.

519
00:28:29,220 --> 00:28:30,360
Speaker 1: Oh, that's right. Yeah.

520
00:28:30,380 --> 00:28:33,159
Speaker 3: There was a great DuckTales game for the NES. And

521
00:28:33,220 --> 00:28:35,100
Speaker 3: then do you remember there was, there was a DuckTales

522
00:28:35,140 --> 00:28:37,719
Speaker 3: game for the Sega Genesis called Quackshot. Did you ever

523
00:28:37,760 --> 00:28:38,300
Speaker 3: play that one?

524
00:28:38,320 --> 00:28:40,800
Speaker 1: I don't know that I did, but I've noticed that the,

525
00:28:41,240 --> 00:28:43,600
Speaker 1: the DuckTales games have been some of the ones over

526
00:28:43,640 --> 00:28:46,580
Speaker 1: the years that have been like revisited and, and put

527
00:28:46,640 --> 00:28:49,070
Speaker 1: back out there that, you know, people were really fond of.

528
00:28:49,130 --> 00:28:51,150
Speaker 1: So I'm to understand they were quality games.

529
00:28:51,370 --> 00:28:53,730
Speaker 3: Just great side scrollers though. There was one thing I

530
00:28:53,770 --> 00:28:56,030
Speaker 3: recall about quack shot that was really funny, which is

531
00:28:56,050 --> 00:28:58,770
Speaker 3: it's one of these games where you can, um, You

532
00:28:58,810 --> 00:29:01,810
Speaker 3: can get life back by picking up power-ups like food,

533
00:29:01,870 --> 00:29:03,950
Speaker 3: so you can pick up an ice cream cone to

534
00:29:03,990 --> 00:29:06,590
Speaker 3: heal yourself. But one of the things Scrooge McDuck can

535
00:29:06,630 --> 00:29:11,580
Speaker 3: pick up to heal himself is a roast chicken. Something

536
00:29:11,620 --> 00:29:12,760
Speaker 3: seems a little wrong there.

537
00:29:15,360 --> 00:29:18,680
Speaker 1: Alright, let's see. Alan Young also did other voice acting

538
00:29:18,720 --> 00:29:22,400
Speaker 1: gigs and appeared in such films as Tom Thumb in 58,

539
00:29:22,400 --> 00:29:27,140
Speaker 1: 78's The Cat from Outer Space, and 1994's Beverly Hills Cop.

540
00:29:27,340 --> 00:29:29,600
Speaker 1: I think Beverly Hills Cop 3 is the one that

541
00:29:29,620 --> 00:29:32,970
Speaker 1: came out in 94. And then he was also a

542
00:29:32,990 --> 00:29:36,590
Speaker 1: cast member on the 1960s talking horse TV show, Mr. Ed.

543
00:29:37,250 --> 00:29:39,930
Speaker 1: At any rate, of all of the time travelers' friends,

544
00:29:41,080 --> 00:29:44,680
Speaker 1: this character, David Philby, and then later James Philby, this

545
00:29:44,740 --> 00:29:46,500
Speaker 1: is the only one that really matters. This is the

546
00:29:46,960 --> 00:29:49,280
Speaker 1: one that actually has a little more character to him.

547
00:29:49,340 --> 00:29:53,850
Speaker 1: He cares about the time traveler and plays a more

548
00:29:53,880 --> 00:29:54,850
Speaker 1: important part in the plot.

549
00:29:55,490 --> 00:29:57,810
Speaker 3: With these other three guys, it really is a case of, like,

550
00:29:58,330 --> 00:30:01,120
Speaker 3: It's like the slasher movie question. Why are these people friends?

551
00:30:01,260 --> 00:30:04,560
Speaker 1: Yeah, yeah. I guess they just attend the same club.

552
00:30:04,660 --> 00:30:05,600
Speaker 1: It's just how it worked, right?

553
00:30:05,820 --> 00:30:05,980
Speaker 2: Yeah.

554
00:30:14,350 --> 00:30:16,950
Speaker 1: All right, now let's come back to Weena, played by

555
00:30:17,290 --> 00:30:21,530
Speaker 1: Yvette Mimou. We've talked about her before because she was

556
00:30:21,650 --> 00:30:25,390
Speaker 1: in 1979's The Black Hole, which we discussed at Weird House. Yeah,

557
00:30:25,410 --> 00:30:28,660
Speaker 1: that's right. She is the Eloy love interest, though again,

558
00:30:28,680 --> 00:30:31,850
Speaker 1: not a love interest in the original book. Later credits

559
00:30:31,910 --> 00:30:37,570
Speaker 1: include 1973's The Neptune Factor, 1975's Journey into Fear, and

560
00:30:37,730 --> 00:30:41,590
Speaker 1: of course 1978's Devil Dog, The Hound of Hell, along

561
00:30:41,850 --> 00:30:43,530
Speaker 1: with other various TV appearances.

562
00:30:44,540 --> 00:30:47,140
Speaker 3: Now, Rob, did you notice in her filmography that she's

563
00:30:47,220 --> 00:30:51,570
Speaker 3: in two not quite back-to-back, but almost back-to-back factor movies?

564
00:30:51,610 --> 00:30:54,750
Speaker 3: You said the Neptune factor from 73, but in 1970,

565
00:30:54,750 --> 00:30:56,810
Speaker 3: she was also in the Delta factor.

566
00:30:56,830 --> 00:31:01,290
Speaker 1: Oh, wow. A lot of factors to consider there. Yeah.

567
00:31:01,350 --> 00:31:04,430
Speaker 3: Delta factor appears to be a Mickey Spillane adaptation.

568
00:31:06,300 --> 00:31:09,320
Speaker 1: Okay, well, the Disney voice acting credits continue here, though,

569
00:31:09,380 --> 00:31:15,360
Speaker 1: because the more rotund, bearded member of the crew here

570
00:31:15,400 --> 00:31:20,220
Speaker 1: that's hanging out, Dr. Philip Hillier, is played by Sebastian Cabot,

571
00:31:20,760 --> 00:31:25,460
Speaker 1: who lived 1918 through 1977. He is a repeat Disney

572
00:31:25,500 --> 00:31:28,300
Speaker 1: voice actor. He narrated the Winnie the Pooh series in

573
00:31:28,320 --> 00:31:32,200
Speaker 1: the original films. He narrated 1963's The Sword in the

574
00:31:32,260 --> 00:31:35,050
Speaker 1: Stone and did the voice of Lord Ector in that.

575
00:31:35,640 --> 00:31:39,470
Speaker 1: And he played the Panther Bagheera in 1967's The Jungle Book.

576
00:31:39,830 --> 00:31:43,990
Speaker 3: That makes sense. I'm familiar with these voices, but I

577
00:31:44,290 --> 00:31:46,410
Speaker 3: wouldn't have pegged them to him. But now I can

578
00:31:46,430 --> 00:31:46,700
Speaker 3: hear it.

579
00:31:47,960 --> 00:31:51,540
Speaker 1: Another one of the friends is the character Walter Kemp,

580
00:31:51,660 --> 00:31:54,560
Speaker 1: played by Whit Bissell. He lived 1909 through 1996. Prolific

581
00:31:54,580 --> 00:32:01,880
Speaker 1: TV and film actor. initially notable to me because he

582
00:32:01,900 --> 00:32:04,880
Speaker 1: was in 1954's Creature from the Black Lagoon, as well

583
00:32:04,920 --> 00:32:10,190
Speaker 1: as 1973's Soylent Green. Other credits include 51's Lost Continent,

584
00:32:11,250 --> 00:32:15,250
Speaker 1: 56's Invasion of the Body Snatchers, 1960's The Magnificent Seven,

585
00:32:15,270 --> 00:32:19,430
Speaker 1: 62's The Manchurian Candidate, plus in a crowning achievement, Bissell

586
00:32:19,550 --> 00:32:22,950
Speaker 1: was in all three 57 and 58 films, I Was

587
00:32:22,990 --> 00:32:26,800
Speaker 1: a Teenage Werewolf, I Was a Teenage Frankenstein, and Monster

588
00:32:26,840 --> 00:32:30,850
Speaker 1: on the Campus. He also pops up in that 1978

589
00:32:30,850 --> 00:32:33,810
Speaker 1: Time Machine TV film. So this guy just has a

590
00:32:33,830 --> 00:32:34,350
Speaker 1: lot of credits.

591
00:32:35,070 --> 00:32:38,270
Speaker 3: Now, I assume for the late 50s films, he was

592
00:32:38,370 --> 00:32:41,650
Speaker 3: not himself the teenage werewolf, the teenage Frankenstein, or the

593
00:32:41,670 --> 00:32:42,490
Speaker 3: monster on campus.

594
00:32:42,630 --> 00:32:44,690
Speaker 1: No, I think he's a professor or a teacher in

595
00:32:44,730 --> 00:32:47,570
Speaker 1: all of them, yeah. This was like your staple professor, teacher,

596
00:32:47,890 --> 00:32:51,950
Speaker 1: actor during that period. I get it. Okay, Paul Freese

597
00:32:51,990 --> 00:32:54,650
Speaker 1: is in this one as well. He provides the voice

598
00:32:54,710 --> 00:32:57,290
Speaker 1: of the rings, which will be explained in a bit here.

599
00:32:57,820 --> 00:33:02,180
Speaker 1: I believe 1920 through 1986 prolific, uh, actor and voice

600
00:33:02,320 --> 00:33:06,030
Speaker 1: actor who isn't actually always credited. But if you look

601
00:33:06,050 --> 00:33:08,710
Speaker 1: at the episode stats for weird house cinema on letterbox,

602
00:33:09,050 --> 00:33:12,250
Speaker 1: for example, he's currently right up there behind Christopher Lee,

603
00:33:12,290 --> 00:33:15,150
Speaker 1: Dick Miller, Vincent price, and Peter Cushing for actors with

604
00:33:15,170 --> 00:33:18,209
Speaker 1: the most films that we've covered because he or his

605
00:33:18,270 --> 00:33:21,350
Speaker 1: voice pop up in the thing from another world, the

606
00:33:21,370 --> 00:33:25,250
Speaker 1: abominable Dr. Fibes, the flight of dragons, the magic sword,

607
00:33:25,590 --> 00:33:28,290
Speaker 1: and now the time machine. Um, He was pretty prolific.

608
00:33:28,330 --> 00:33:32,959
Speaker 1: He has, I think, 370 credits on IMDb. Wow. All right,

609
00:33:32,980 --> 00:33:37,380
Speaker 1: let's get into some of the behind-the-scenes folks here. Again,

610
00:33:37,420 --> 00:33:41,480
Speaker 1: we can't cover everybody, but cinematography here was by Paul C. Vogel,

611
00:33:41,520 --> 00:33:46,790
Speaker 1: who lived 1899 through 1975, Oscar winner for 1950's Battleground,

612
00:33:47,330 --> 00:33:51,490
Speaker 1: and nominated for 63's The Wonderful World of the Brothers Grimm.

613
00:33:51,810 --> 00:33:53,170
Speaker 1: He also worked on The Magic Sword.

614
00:33:54,080 --> 00:33:55,720
Speaker 3: I was reading a bit about the look of this

615
00:33:55,800 --> 00:33:59,660
Speaker 3: film in a 2022 historical review for the American Cinematographer

616
00:33:59,700 --> 00:34:03,360
Speaker 3: magazine by Darren Scott. And it mentions the contributions of

617
00:34:03,500 --> 00:34:06,840
Speaker 3: several people we'll talk about in a bit. Gene Davis,

618
00:34:07,360 --> 00:34:10,890
Speaker 3: or sorry, George Davis and William Ferrari, Gene Warren and

619
00:34:10,930 --> 00:34:15,850
Speaker 3: Hua Chang, and the color cinematography by Paul Vogel. It

620
00:34:16,590 --> 00:34:20,450
Speaker 3: mentions a few things about Vogel's approach. One was trying

621
00:34:20,530 --> 00:34:21,280
Speaker 3: to find a.

622
00:34:22,780 --> 00:34:26,160
Speaker 3: An otherworldly look for the film that did not make

623
00:34:26,219 --> 00:34:29,020
Speaker 3: it look like fantasy because you would have a lot

624
00:34:29,060 --> 00:34:33,490
Speaker 3: of cues that might have been associated with fantasy films

625
00:34:33,570 --> 00:34:37,870
Speaker 3: of the time such as the article mentions fog filters

626
00:34:38,890 --> 00:34:42,190
Speaker 3: or other devices that people would think gave it a

627
00:34:42,210 --> 00:34:44,270
Speaker 3: kind of magical look and he wanted it to look

628
00:34:44,810 --> 00:34:48,339
Speaker 3: strange and not like our world but also grounded in

629
00:34:48,440 --> 00:34:51,520
Speaker 3: science and reality not magical and I think that is

630
00:34:52,060 --> 00:34:57,719
Speaker 3: absolutely well achieved by, by what we have. It, it has, uh, yeah, it's,

631
00:34:57,860 --> 00:35:00,719
Speaker 3: it's not our world, but it's also reality.

632
00:35:01,340 --> 00:35:03,259
Speaker 1: Yeah. I think this is a great point. This is

633
00:35:03,300 --> 00:35:05,279
Speaker 1: one of those things that it's so effective that it

634
00:35:05,320 --> 00:35:08,930
Speaker 1: can be pretty much invisible to the viewer because you just,

635
00:35:09,290 --> 00:35:11,029
Speaker 1: you buy into the whole thing. But yeah, when we

636
00:35:11,090 --> 00:35:14,740
Speaker 1: travel into the far future of the Morlocks, um, it,

637
00:35:15,250 --> 00:35:19,569
Speaker 1: it feels real. It feels like we are still on earth. Uh,

638
00:35:19,670 --> 00:35:22,430
Speaker 1: it doesn't feel like we're on another planet. It feels

639
00:35:22,450 --> 00:35:25,480
Speaker 1: like we were just in a distant time. So it's

640
00:35:25,520 --> 00:35:26,360
Speaker 1: perfectly executed.

641
00:35:26,560 --> 00:35:28,900
Speaker 3: There are a lot of great visual stylistic choices in

642
00:35:28,920 --> 00:35:32,480
Speaker 3: the film. To read one thing from this article, talking

643
00:35:32,520 --> 00:35:36,790
Speaker 3: about the look of the Morlocks' caverns underground, which is

644
00:35:37,230 --> 00:35:41,650
Speaker 3: one of the best spectacles in the movie. Scott writes, quote, Theoretically,

645
00:35:41,690 --> 00:35:44,290
Speaker 3: there was no light at all in the underground caverns,

646
00:35:44,350 --> 00:35:47,219
Speaker 3: and yet the action had to be visible. Vogel gained

647
00:35:47,239 --> 00:35:50,800
Speaker 3: the desired visual effect by using almost no front lighting,

648
00:35:51,390 --> 00:35:55,150
Speaker 3: rimming the Morlocks with backlight and employing cross light of

649
00:35:55,190 --> 00:35:58,989
Speaker 3: a greenish hue that seemed to emanate from odd machines

650
00:35:59,070 --> 00:36:02,319
Speaker 3: that bubbled and sputtered in the background. And Rob, I've

651
00:36:02,340 --> 00:36:04,440
Speaker 3: got a screenshot for you to look at here that

652
00:36:04,500 --> 00:36:07,419
Speaker 3: shows off that effect. I see exactly what he's talking about.

653
00:36:07,500 --> 00:36:11,140
Speaker 3: It's like these creatures, in a way, it helps keep

654
00:36:11,160 --> 00:36:13,359
Speaker 3: their features kind of obscure and make them a little

655
00:36:13,380 --> 00:36:16,420
Speaker 3: more mysterious because there's no light hitting them from the front.

656
00:36:16,500 --> 00:36:20,180
Speaker 3: It's coming from behind. and then this colored green-blue light

657
00:36:20,239 --> 00:36:21,460
Speaker 3: coming from the sides.

658
00:36:21,900 --> 00:36:25,080
Speaker 1: Yeah, absolutely. The Morlocks look incredible. We'll discuss them more

659
00:36:25,100 --> 00:36:28,219
Speaker 1: when we get into the plot, but as always, a

660
00:36:28,260 --> 00:36:30,160
Speaker 1: huge part of any monster in a film is not

661
00:36:30,239 --> 00:36:32,820
Speaker 1: only what the costume consists of, but how is it shot,

662
00:36:32,900 --> 00:36:35,339
Speaker 1: how is it lit, and they did a great job

663
00:36:35,360 --> 00:36:35,939
Speaker 1: with these guys.

664
00:36:36,640 --> 00:36:38,460
Speaker 3: There are a bunch of people, I think, who should

665
00:36:38,500 --> 00:36:41,680
Speaker 3: get partial credit for the look of the Morlocks as well,

666
00:36:41,719 --> 00:36:44,140
Speaker 3: including William Tuttle and Hua Chang.

667
00:36:44,660 --> 00:36:49,380
Speaker 1: That's right, Hua Ming Chang. visual effects he lived 1917

668
00:36:49,380 --> 00:36:54,360
Speaker 1: through 2003 a Hawaiian born Chinese American designer sculptor and

669
00:36:54,489 --> 00:36:58,489
Speaker 1: artist who we previously discussed on our episode concerning 1955's

670
00:36:58,530 --> 00:37:02,450
Speaker 1: tarantula because he built the titular tarantula in that picture

671
00:37:03,469 --> 00:37:06,189
Speaker 1: He was later responsible for key prop design on Star

672
00:37:06,230 --> 00:37:10,440
Speaker 1: Trek the original series including the tricorder and communicator He

673
00:37:10,560 --> 00:37:14,420
Speaker 1: also did a lot of costumes on some key track episodes.

674
00:37:13,940 --> 00:37:16,989
Speaker 3: And Including he did some work on a costume for

675
00:37:17,010 --> 00:37:19,569
Speaker 3: a Star Trek alien that we may be talking about

676
00:37:19,610 --> 00:37:20,870
Speaker 3: in a core episode next week.

677
00:37:21,130 --> 00:37:24,380
Speaker 1: That's right. That's right And in addition to what we

678
00:37:24,420 --> 00:37:26,580
Speaker 1: may be talking about next week, he created the Tribbles

679
00:37:27,800 --> 00:37:29,339
Speaker 1: I don't know. Maybe we'll talk about the Tribbles next week.

680
00:37:29,360 --> 00:37:31,840
Speaker 1: I think I've maybe done the Tribbles on monster effect

681
00:37:31,880 --> 00:37:34,939
Speaker 1: before But yeah He also worked on the original outer

682
00:37:35,000 --> 00:37:37,660
Speaker 1: limits the original Planet of the Apes and the TV

683
00:37:37,719 --> 00:37:41,620
Speaker 1: series land of the lost His adoptive father was James

684
00:37:42,120 --> 00:37:46,630
Speaker 1: Blanding Sloan, an American etcher, printmaker, theatrical designer, educator, painter,

685
00:37:46,730 --> 00:37:47,330
Speaker 1: and puppeteer.

686
00:37:48,010 --> 00:37:49,810
Speaker 3: I went down the rabbit hole earlier this week of

687
00:37:49,850 --> 00:37:52,070
Speaker 3: looking just at a bunch of different things that Chang

688
00:37:52,090 --> 00:37:56,600
Speaker 3: designed for Star Trek, the original series. And one of

689
00:37:56,640 --> 00:37:58,339
Speaker 3: the things that caught my eye is what I just

690
00:37:58,400 --> 00:38:01,399
Speaker 3: alluded to, this thing we might be talking about next week.

691
00:38:01,969 --> 00:38:06,890
Speaker 3: which is the salt vampire creature from the original series

692
00:38:06,930 --> 00:38:10,239
Speaker 3: episode Mantrap. Actually, season one, episode one, the first ever

693
00:38:10,440 --> 00:38:12,720
Speaker 3: episode of Star Trek, I guess, apart from the pilot.

694
00:38:14,200 --> 00:38:18,040
Speaker 3: And this caught my eye because this costume slightly reminds

695
00:38:18,100 --> 00:38:21,160
Speaker 3: me of something. Doesn't it look a bit like a Morlock?

696
00:38:21,239 --> 00:38:24,150
Speaker 3: Not entirely, but it's got a kind of sad, drooping

697
00:38:24,230 --> 00:38:28,920
Speaker 3: monster face. Long, white, silver hair, both kind of features

698
00:38:28,960 --> 00:38:30,660
Speaker 3: we see again in the Morlock design, or I guess

699
00:38:30,700 --> 00:38:32,360
Speaker 3: beforehand in the Morlock design.

700
00:38:32,520 --> 00:38:35,880
Speaker 1: Yeah, yeah, the design is similar in ways, for sure.

701
00:38:36,120 --> 00:38:40,700
Speaker 1: Some of the same, like the shaggy hair and all. Yeah.

702
00:38:40,719 --> 00:38:44,859
Speaker 1: Different mouth parts, which makes sense. One sucks salt, and

703
00:38:44,950 --> 00:38:51,130
Speaker 1: the other, as we'll discuss, eats exclusively man-made, exclusively human flesh.

704
00:38:51,590 --> 00:38:51,969
Speaker 3: Yum, yum.

705
00:38:53,750 --> 00:38:56,469
Speaker 1: All right, a few other. It's worth noting that this film, again,

706
00:38:56,510 --> 00:38:59,109
Speaker 1: was an Academy Award winner for its special effects, for

707
00:38:59,150 --> 00:39:03,230
Speaker 1: its visual effects. And the two individuals named on the award, though,

708
00:39:03,250 --> 00:39:06,400
Speaker 1: of course, it's always a huge team making any of

709
00:39:06,440 --> 00:39:09,920
Speaker 1: these things happen, happen to be Gene Warren and Tim Barr.

710
00:39:10,580 --> 00:39:14,840
Speaker 1: Gene Warren lived 1916 through 1997. His other credits include

711
00:39:15,100 --> 00:39:18,620
Speaker 1: 57's Kronos, 61's Master of the World, and the TV

712
00:39:18,640 --> 00:39:20,989
Speaker 1: series Land of the Lost. He worked on some other

713
00:39:21,050 --> 00:39:24,210
Speaker 1: PAL pictures as well. And then Tim Barr lived 1912

714
00:39:24,210 --> 00:39:28,440
Speaker 1: through 1977. Academy Award winner again for this film and

715
00:39:28,460 --> 00:39:32,050
Speaker 1: his other special effects credits. though sometimes uncredited, include 42's

716
00:39:32,090 --> 00:39:35,489
Speaker 1: The Mummy's Tomb, 43's Phantom of the Opera, 56's The

717
00:39:35,550 --> 00:39:38,890
Speaker 1: Ten Commandments, and the TV series H.R. Puffin Stuff.

718
00:39:40,950 --> 00:39:42,790
Speaker 3: I don't know what that is, but there's a song

719
00:39:42,850 --> 00:39:43,930
Speaker 3: about it somewhere in my head.

720
00:39:44,250 --> 00:39:46,779
Speaker 1: Yeah, I don't know, H.R. Puffin Stuff. I don't think

721
00:39:46,800 --> 00:39:48,960
Speaker 1: I've ever actually watched it, but I'm just familiar with

722
00:39:49,020 --> 00:39:53,700
Speaker 1: it from the people sharing weird clips and images. And

723
00:39:53,719 --> 00:39:57,460
Speaker 1: then finally, William Tuttle is credited as makeup creator. He

724
00:39:57,500 --> 00:40:01,340
Speaker 1: lived 1912 through 2007. His other makeup, special effects, or

725
00:40:01,380 --> 00:40:04,560
Speaker 1: otherwise films include 35's Mark of the Vampire, 39's The

726
00:40:04,600 --> 00:40:09,640
Speaker 1: Wizard of Oz, 56's Forbidden Planet, 61's Atlantis, The Lost Continent,

727
00:40:10,070 --> 00:40:13,210
Speaker 1: The Wonderful World of the Brothers Grimm, 12 episodes of

728
00:40:13,230 --> 00:40:16,790
Speaker 1: the original Twilight Zone, 74's Young Frankenstein, and 78's The Fury.

729
00:40:18,239 --> 00:40:21,660
Speaker 1: And then finally, the composer here for the score, Russell Garcia,

730
00:40:21,719 --> 00:40:25,520
Speaker 1: who lived 1916 through 2011, American composer, whose other scores

731
00:40:25,580 --> 00:40:29,930
Speaker 1: include Atlantis, The Lost Continent, and he was a composer

732
00:40:30,010 --> 00:40:32,989
Speaker 1: for NBC Studios and worked on such shows as Rawhide

733
00:40:33,030 --> 00:40:37,710
Speaker 1: in 62 and Laredo from 65 through 67. I think

734
00:40:37,730 --> 00:40:40,090
Speaker 1: it's a fun score here. It has some nice creepy notes,

735
00:40:40,150 --> 00:40:42,549
Speaker 1: a little bit of futuristic intrigue at times.

736
00:40:43,100 --> 00:40:46,620
Speaker 3: Yeah, yeah. It's able to accent, I think, especially the

737
00:40:46,900 --> 00:40:48,399
Speaker 3: scenes of horror quite well.

738
00:40:48,719 --> 00:40:52,960
Speaker 1: Yeah. And then the action, because we don't quite buckle

739
00:40:52,980 --> 00:40:54,819
Speaker 1: some swash or anything, but we do get a lot

740
00:40:54,840 --> 00:40:59,600
Speaker 1: of fun action. There's a big Morlock battle royale laid

741
00:40:59,620 --> 00:41:03,799
Speaker 1: in the picture. It's a lot of fun. Okay.

742
00:41:03,820 --> 00:41:05,250
Speaker 3: You ready to talk about the plot?

743
00:41:05,510 --> 00:41:06,069
Speaker 1: Let's jump in.

744
00:41:06,530 --> 00:41:09,830
Speaker 3: So we get a pre-credit sequence that is just a

745
00:41:10,560 --> 00:41:14,640
Speaker 3: a cannonade of clocks flying through black space. Uh, this

746
00:41:14,739 --> 00:41:17,379
Speaker 3: type of imagery I know I've seen used in other

747
00:41:17,440 --> 00:41:20,839
Speaker 3: time travel stories. I wonder, does it originally come from

748
00:41:20,989 --> 00:41:23,790
Speaker 3: this film or did it appear earlier? Is this film

749
00:41:23,870 --> 00:41:24,969
Speaker 3: reusing the convention?

750
00:41:25,510 --> 00:41:28,230
Speaker 1: I'm not sure either, but you certainly see allusions to

751
00:41:28,250 --> 00:41:31,169
Speaker 1: it a lot, including, uh, to a certain extent, the

752
00:41:31,290 --> 00:41:34,210
Speaker 1: tree house of horror episode where Homer Simpson travels through

753
00:41:34,250 --> 00:41:36,750
Speaker 1: time and in, in traveling through time, he kind of

754
00:41:36,770 --> 00:41:40,779
Speaker 1: like falls through, uh, in an infinite space filled with clocks.

755
00:41:41,320 --> 00:41:44,320
Speaker 3: You know, I think we reference the Treehouse of Horror

756
00:41:44,400 --> 00:41:47,540
Speaker 3: short Time and Punishment more than any other piece of

757
00:41:47,620 --> 00:41:50,840
Speaker 3: media that exists. Do you think it comes up on

758
00:41:50,860 --> 00:41:52,000
Speaker 3: the show more than anything?

759
00:41:52,580 --> 00:41:55,100
Speaker 1: I mean, it might. It comes up in my life

760
00:41:55,140 --> 00:41:58,640
Speaker 1: a lot. It's up there with Willy Wonka and the

761
00:41:58,680 --> 00:42:01,259
Speaker 1: Chocolate Factory. It's something that I probably think about every day.

762
00:42:01,560 --> 00:42:05,560
Speaker 3: Yeah, it's so rich. It's like the Iliad or something.

763
00:42:06,239 --> 00:42:06,479
Speaker 4: Anyway.

764
00:42:06,810 --> 00:42:09,850
Speaker 3: The action opens for this film on a street in

765
00:42:09,890 --> 00:42:12,290
Speaker 3: London around the turn of the 20th century, where there's

766
00:42:12,310 --> 00:42:14,490
Speaker 3: a large manor house on one side of the street

767
00:42:15,030 --> 00:42:17,290
Speaker 3: and on the other, a row of stores, notably a

768
00:42:17,310 --> 00:42:20,780
Speaker 3: department store with a women's fashion display in the window.

769
00:42:21,410 --> 00:42:23,720
Speaker 3: This will have more plot relevance than you might guess.

770
00:42:23,980 --> 00:42:24,160
Speaker 1: Yeah.

771
00:42:25,460 --> 00:42:28,319
Speaker 3: Out of the store comes the owner, David Philby, played

772
00:42:28,360 --> 00:42:31,230
Speaker 3: by Alan Young. He's dressed in a bowler hat, a scarf,

773
00:42:31,290 --> 00:42:33,870
Speaker 3: and a heavy overcoat. He locks up for the night

774
00:42:33,950 --> 00:42:36,359
Speaker 3: and runs across the street to the house of his friend,

775
00:42:36,550 --> 00:42:39,660
Speaker 3: our protagonist, who is referred to by the other characters

776
00:42:39,800 --> 00:42:42,920
Speaker 3: as George, but in the credits he is H. George Wells.

777
00:42:44,420 --> 00:42:48,000
Speaker 3: So Philby is let inside by the housekeeper, Miss Watchit,

778
00:42:48,140 --> 00:42:52,840
Speaker 3: played by Doris Lloyd. And once inside, Philby reaches the

779
00:42:52,880 --> 00:42:56,640
Speaker 3: sitting room, and we meet three other characters, already nestled

780
00:42:56,700 --> 00:43:00,460
Speaker 3: into high-backed armchairs, and they're just peeling through the house

781
00:43:00,480 --> 00:43:05,260
Speaker 3: stash of cigars and brandy, issuing the occasional harumph. These

782
00:43:05,300 --> 00:43:10,870
Speaker 3: guys are Dr. Hillier, Bridewell, or Bridey, and Kemp. It

783
00:43:10,930 --> 00:43:14,030
Speaker 3: is not terribly important to distinguish these other three guys.

784
00:43:14,090 --> 00:43:17,860
Speaker 3: They're your standard late 19th century gold pocket watch creatures.

785
00:43:18,360 --> 00:43:20,960
Speaker 3: They love to suck cigars, and they're yammering about the

786
00:43:20,980 --> 00:43:25,610
Speaker 3: price of a bushel of coal. They're basically... picture it

787
00:43:25,650 --> 00:43:28,310
Speaker 3: like that dude from Titanic who talks about how God

788
00:43:28,370 --> 00:43:30,610
Speaker 3: could not sink the ship. They're all kind of that guy. Uh,

789
00:43:31,620 --> 00:43:33,920
Speaker 3: the main thing is that Philby is not like the

790
00:43:33,960 --> 00:43:37,420
Speaker 3: other three. He is more sensitive, thoughtful, and open-minded, and

791
00:43:37,440 --> 00:43:41,800
Speaker 3: he's a better friend to our protagonist, George. Uh, so anyway,

792
00:43:42,320 --> 00:43:45,190
Speaker 3: these guys have clearly been sitting here for some time

793
00:43:45,290 --> 00:43:49,870
Speaker 3: when Philby joins them. Uh, the room is filled with clocks.

794
00:43:49,890 --> 00:43:52,690
Speaker 3: So they're all ticking away, not in perfect unison, uh,

795
00:43:53,219 --> 00:43:56,719
Speaker 3: And all of the disorganized ticking summed up amounts to

796
00:43:56,760 --> 00:44:00,180
Speaker 3: this ambient clatter, almost kind of a cranking sound in

797
00:44:00,219 --> 00:44:00,990
Speaker 3: the background.

798
00:44:01,590 --> 00:44:03,750
Speaker 1: Yeah, yeah, it's a lot of clocks. But as we're

799
00:44:03,770 --> 00:44:06,029
Speaker 1: going to learn here, George is big on time. He's

800
00:44:06,070 --> 00:44:08,250
Speaker 1: a researcher of time, and you've got to buy a

801
00:44:08,270 --> 00:44:09,890
Speaker 1: lot of clocks if you're going to study it properly.

802
00:44:10,830 --> 00:44:13,069
Speaker 3: They don't seem like research instruments to me. I mean,

803
00:44:13,090 --> 00:44:18,410
Speaker 3: it seems like he's just, like, they're not scientific timepieces.

804
00:44:18,430 --> 00:44:21,609
Speaker 3: It's just like grandfather clocks and wall clocks and weird

805
00:44:21,640 --> 00:44:22,839
Speaker 3: little cuckoo clocks everywhere.

806
00:44:23,260 --> 00:44:25,460
Speaker 1: I mean, it could be a situation where friends and

807
00:44:25,500 --> 00:44:29,440
Speaker 1: family know that he's really into potentially developing a time machine.

808
00:44:29,460 --> 00:44:31,940
Speaker 1: And they're like, what should we get him for Christmas? Oh,

809
00:44:31,960 --> 00:44:34,469
Speaker 1: that dude loves time. Let's get him another clock. That's right.

810
00:44:34,510 --> 00:44:38,270
Speaker 3: Socks and clocks every year. Yeah. So the other three

811
00:44:38,330 --> 00:44:42,410
Speaker 3: cigar guys are annoyed because their host has kept them waiting.

812
00:44:42,989 --> 00:44:45,430
Speaker 3: He invited the four of them over to dinner several

813
00:44:45,469 --> 00:44:47,859
Speaker 3: days ago, but now they are here at the appointed

814
00:44:47,920 --> 00:44:50,730
Speaker 3: time and he is nowhere to be found. The housekeeper

815
00:44:50,770 --> 00:44:53,069
Speaker 3: has made excuses for him and said that he'll be

816
00:44:53,110 --> 00:44:56,339
Speaker 3: along shortly, and the cigar guys are irritated and they

817
00:44:56,380 --> 00:44:59,080
Speaker 3: are taking offense. These guys are having a lot of

818
00:44:59,120 --> 00:45:03,600
Speaker 3: fun getting offended. Eventually, Miss Watchit comes in with a

819
00:45:03,660 --> 00:45:06,080
Speaker 3: note saying that if he is not here on time,

820
00:45:06,140 --> 00:45:08,739
Speaker 3: the four of them should begin dinner without him, so

821
00:45:08,760 --> 00:45:12,100
Speaker 3: they proceed into the dining room, and Philby tries to

822
00:45:12,140 --> 00:45:16,009
Speaker 3: make excuses for his friends, saying that George is usually prompt, precise,

823
00:45:16,190 --> 00:45:20,500
Speaker 3: and punctual. Now, You know, I love a good freeze

824
00:45:20,560 --> 00:45:22,560
Speaker 3: frame to get a look at the spread of food

825
00:45:22,680 --> 00:45:24,960
Speaker 3: in a movie. So I did one here. It looks

826
00:45:24,980 --> 00:45:27,890
Speaker 3: like we have got a big blackened meat roast of

827
00:45:27,950 --> 00:45:30,529
Speaker 3: some kind in the center of the table. There's a

828
00:45:30,590 --> 00:45:33,690
Speaker 3: little plate of something white next to it. I couldn't

829
00:45:33,710 --> 00:45:35,930
Speaker 3: tell what that is. Maybe hard boiled eggs.

830
00:45:35,950 --> 00:45:36,810
Speaker 1: Okay.

831
00:45:37,210 --> 00:45:40,210
Speaker 3: Each man has a yeast roll on a dish next

832
00:45:40,250 --> 00:45:43,550
Speaker 3: to his plate. And then apart from the green lettuce

833
00:45:43,650 --> 00:45:47,750
Speaker 3: garnish underneath the meat, I see not a single identifiable vegetable.

834
00:45:48,380 --> 00:45:51,419
Speaker 1: Yeah, yeah. I guess maybe tobacco is the vegetable for this.

835
00:45:51,560 --> 00:45:53,180
Speaker 3: There you go. That's how you get your fiber, yeah.

836
00:45:53,980 --> 00:45:56,950
Speaker 3: And plenty of wine, of course. We're told that the host, George,

837
00:45:56,969 --> 00:45:59,510
Speaker 3: has the best wine cellar in the south of England.

838
00:46:00,010 --> 00:46:02,250
Speaker 3: So while George is presented as a bit of a

839
00:46:02,290 --> 00:46:06,009
Speaker 3: dreamer and an idealist, he is not above appreciating some luxuries.

840
00:46:06,050 --> 00:46:06,950
Speaker 3: He loves a good wine.

841
00:46:07,290 --> 00:46:10,759
Speaker 1: Yeah, and maybe he values wine because it also sort

842
00:46:10,780 --> 00:46:14,480
Speaker 1: of travels in time in the basement. Yeah, there you go.

843
00:46:15,400 --> 00:46:18,060
Speaker 3: So suddenly, while the four men are about to tuck

844
00:46:18,100 --> 00:46:20,740
Speaker 3: into their meal, the door to the dining room flies

845
00:46:20,860 --> 00:46:24,820
Speaker 3: open and in stumbles the figure of their host, George.

846
00:46:24,920 --> 00:46:28,640
Speaker 3: This is Rod Taylor again. He is not dressed for dinner. Instead,

847
00:46:28,680 --> 00:46:33,320
Speaker 3: he is filthy in tattered clothing, bleeding from some superficial

848
00:46:33,360 --> 00:46:37,910
Speaker 3: wounds and trembling with exhaustion. He collapses into a chair

849
00:46:37,969 --> 00:46:40,620
Speaker 3: and he calls out some food. A drink. And then

850
00:46:40,719 --> 00:46:43,399
Speaker 3: one of the guys, Bridewell, I think he quickly gives

851
00:46:43,440 --> 00:46:46,740
Speaker 3: George a glass of medicinal wine, which he like slams down.

852
00:46:46,760 --> 00:46:49,140
Speaker 3: And then Bridewell has a drink too, because I don't know,

853
00:46:49,180 --> 00:46:52,660
Speaker 3: I guess what he's seeing is so disturbing. Uh, and

854
00:46:52,719 --> 00:46:55,419
Speaker 3: he's got to tell them his tale while he still

855
00:46:55,480 --> 00:46:59,300
Speaker 3: remembers it all clearly. Now, Philby tries to get George

856
00:46:59,340 --> 00:47:01,360
Speaker 3: to relax. He says, don't worry. You have all the

857
00:47:01,380 --> 00:47:04,080
Speaker 3: time in the world. And George gets a good ironic

858
00:47:04,120 --> 00:47:07,239
Speaker 3: moment here. He's like, yes, that's right. That's exactly what

859
00:47:07,300 --> 00:47:07,740
Speaker 3: I have.

860
00:47:07,760 --> 00:47:07,980
Speaker 2: Hmm.

861
00:47:08,660 --> 00:47:11,780
Speaker 3: So to tell his tale, we start five days earlier

862
00:47:11,860 --> 00:47:14,270
Speaker 3: when George was meeting with the same four men in

863
00:47:14,330 --> 00:47:18,969
Speaker 3: his living room on New Year's Eve, 1899. George is

864
00:47:19,050 --> 00:47:23,550
Speaker 3: giving a demonstration. Inside a box on the table before

865
00:47:23,590 --> 00:47:27,410
Speaker 3: them is the culmination of years of work in his laboratory.

866
00:47:27,969 --> 00:47:30,109
Speaker 3: He wanted to unveil it to them before the new

867
00:47:30,140 --> 00:47:34,640
Speaker 3: century began, and he finished just in time. What is it? Well,

868
00:47:34,800 --> 00:47:38,500
Speaker 3: George says his invention has to do with time. And Dr.

869
00:47:38,540 --> 00:47:42,700
Speaker 3: Hillier here, this is the kind of harrumphing guy with

870
00:47:42,719 --> 00:47:46,529
Speaker 3: the beard who loves the scars. He's like, oh, wonderful.

871
00:47:46,850 --> 00:47:48,989
Speaker 3: What our country needs now more than anything is a

872
00:47:49,070 --> 00:47:52,210
Speaker 3: more accurate timepiece to be used by the Army and

873
00:47:52,250 --> 00:47:57,610
Speaker 3: the Royal Navy, especially important for coordinating artillery brigades. And

874
00:47:57,650 --> 00:48:00,500
Speaker 3: George smiles a little smile. He says, no, no, no,

875
00:48:00,580 --> 00:48:03,860
Speaker 3: it's not a timepiece. He says when he speaks of time,

876
00:48:03,920 --> 00:48:09,719
Speaker 3: he is referring to the fourth dimension. Hillier is immediately dismissive.

877
00:48:09,800 --> 00:48:12,040
Speaker 3: He says, oh, that's mere theory. No one knows if

878
00:48:12,080 --> 00:48:15,779
Speaker 3: it really exists. And then we get a little scene

879
00:48:15,800 --> 00:48:19,060
Speaker 3: where George gives us a lecture on the three dimensions

880
00:48:19,100 --> 00:48:21,819
Speaker 3: of space and how time can be imagined as an

881
00:48:21,890 --> 00:48:25,830
Speaker 3: invisible fourth dimension, the only one along which we cannot

882
00:48:25,890 --> 00:48:27,010
Speaker 3: travel at will.

883
00:48:28,130 --> 00:48:30,310
Speaker 1: The film really takes its time in a good way,

884
00:48:30,390 --> 00:48:35,250
Speaker 1: presenting some of the concepts of time and time travel here, which, again,

885
00:48:35,270 --> 00:48:39,310
Speaker 1: I think is pretty admirable. because, you know, time travel

886
00:48:39,330 --> 00:48:41,790
Speaker 1: films were not new at this point, but a lot

887
00:48:41,810 --> 00:48:47,210
Speaker 1: of time travel films prior to 1960 depended on more

888
00:48:47,270 --> 00:48:51,390
Speaker 1: mystical time travel techniques, you know, like hypnosis or falling asleep,

889
00:48:51,610 --> 00:48:54,509
Speaker 1: that sort of thing. And, you know, falling asleep is

890
00:48:54,530 --> 00:48:57,790
Speaker 1: kind of like time travel. So on one hand, maybe.

891
00:48:57,810 --> 00:48:58,770
Speaker 3: Or a Christmas ghost.

892
00:48:58,870 --> 00:49:01,930
Speaker 1: Yeah, Christmas ghost. So maybe it was more essential at

893
00:49:01,969 --> 00:49:05,430
Speaker 1: this time, but also it's worth noting that the particulars

894
00:49:05,469 --> 00:49:09,400
Speaker 1: of the time machine here are also rather distinct, namely

895
00:49:09,780 --> 00:49:12,460
Speaker 1: in the way that it travels through time but not space.

896
00:49:13,560 --> 00:49:18,450
Speaker 1: Though don't nitpick that concept too closely either. But still, essentially,

897
00:49:18,489 --> 00:49:21,040
Speaker 1: as far as we're concerned, it travels through time, not space.

898
00:49:21,440 --> 00:49:24,820
Speaker 1: And it's very important that that be cemented in the

899
00:49:24,860 --> 00:49:25,379
Speaker 1: viewer's head.

900
00:49:25,760 --> 00:49:29,680
Speaker 3: That's right. And it's also, this lecture is good because

901
00:49:29,719 --> 00:49:32,180
Speaker 3: of the interesting way the script uses the lecture to

902
00:49:32,200 --> 00:49:36,969
Speaker 3: further characterize George. Like, when he speaks of time in

903
00:49:37,010 --> 00:49:40,390
Speaker 3: this scene, He uses a lot of vocabulary having to

904
00:49:40,430 --> 00:49:43,730
Speaker 3: do with constraint and the lack of freedom. He says,

905
00:49:44,130 --> 00:49:47,000
Speaker 3: when it comes to the other three dimensions, we are free.

906
00:49:47,500 --> 00:49:50,600
Speaker 3: But when it comes to the fourth dimension, we are prisoners.

907
00:49:51,239 --> 00:49:54,320
Speaker 3: And you get this feeling of George as a man

908
00:49:54,360 --> 00:49:58,140
Speaker 3: of action, a man who breaks through barriers and feels

909
00:49:58,200 --> 00:50:01,919
Speaker 3: a kind of access and mastery over many domains due

910
00:50:01,980 --> 00:50:05,670
Speaker 3: to his strength and his economic privilege and his willpower.

911
00:50:06,320 --> 00:50:10,950
Speaker 3: George is, he's strong, handsome, brilliant, rich, and bold. So

912
00:50:10,989 --> 00:50:13,870
Speaker 3: in a way it's like anything feels possible to him

913
00:50:14,850 --> 00:50:18,150
Speaker 3: except for time. There's nothing we can do about time.

914
00:50:18,250 --> 00:50:21,410
Speaker 3: We live in bondage in one part of it and

915
00:50:21,469 --> 00:50:24,350
Speaker 3: it moves at its own pace rather than us moving

916
00:50:24,390 --> 00:50:25,590
Speaker 3: through it at ours.

917
00:50:26,469 --> 00:50:30,370
Speaker 1: Right. Right. And then also this, this larger sense too, right? That,

918
00:50:30,710 --> 00:50:34,760
Speaker 1: that human destiny is, um, is like, is a track

919
00:50:35,020 --> 00:50:38,450
Speaker 1: leading into an unknown future. And therefore we just have,

920
00:50:38,510 --> 00:50:42,890
Speaker 1: we have limited vision of what's to come. And, and

921
00:50:42,969 --> 00:50:45,549
Speaker 1: as we've been saying, like a complete inability to like

922
00:50:45,650 --> 00:50:46,710
Speaker 1: shift from that path.

923
00:50:56,010 --> 00:50:57,989
Speaker 3: This is a bit of a tangent, but I found

924
00:50:58,010 --> 00:51:01,250
Speaker 3: this part of the movie really interesting in, the way

925
00:51:01,310 --> 00:51:07,110
Speaker 3: it's revealing George's personality, um, it, it made me think about, uh,

926
00:51:07,390 --> 00:51:11,500
Speaker 3: tendencies I've, I've observed in reality of like, once people

927
00:51:11,680 --> 00:51:15,400
Speaker 3: reach a certain level of power and freedom, uh, I'm

928
00:51:15,440 --> 00:51:18,100
Speaker 3: thinking specifically of like a lot of tech billionaires. If

929
00:51:18,140 --> 00:51:21,120
Speaker 3: you listen to them talk, it seems very often like

930
00:51:21,400 --> 00:51:23,920
Speaker 3: the next thing that develops in their mind is a

931
00:51:23,980 --> 00:51:28,480
Speaker 3: desire to escape the circumstances of reality and They find

932
00:51:28,520 --> 00:51:32,060
Speaker 3: it like, I want to escape this world. I've already

933
00:51:32,160 --> 00:51:35,490
Speaker 3: mastered a kind of freedom within this world, and now

934
00:51:35,530 --> 00:51:37,670
Speaker 3: the problem is that I'm stuck in this world.

935
00:51:38,010 --> 00:51:41,610
Speaker 1: Yeah, yeah. What do we hear some of our billionaires

936
00:51:41,670 --> 00:51:45,650
Speaker 1: talking about? It's about going to other planets or digitizing consciousness.

937
00:51:45,810 --> 00:51:48,750
Speaker 1: Or if you happen to be a, like a leader

938
00:51:49,770 --> 00:51:53,350
Speaker 1: of a powerful nation, you may be chatting about ways

939
00:51:53,390 --> 00:51:55,740
Speaker 1: to replace all your organs and live to be 150

940
00:51:55,739 --> 00:51:58,279
Speaker 1: years old. That, of course, is in the news cycle recently. So, yeah,

941
00:51:58,620 --> 00:51:59,839
Speaker 1: I think it's a very accurate read.

942
00:52:00,140 --> 00:52:04,820
Speaker 3: To escape mortality, to escape morality, to escape the planet,

943
00:52:04,900 --> 00:52:09,660
Speaker 3: to escape whatever, or the limitations of, yeah. Anyway, so

944
00:52:10,280 --> 00:52:14,980
Speaker 3: after this, George, he stages a demonstration of, quote, the

945
00:52:15,040 --> 00:52:18,700
Speaker 3: possibility of movement within the fourth dimension. So he opens

946
00:52:18,760 --> 00:52:21,589
Speaker 3: the box up on the table before them, which contains

947
00:52:21,660 --> 00:52:25,410
Speaker 3: a tiny model of the film's famous time machine. So

948
00:52:25,450 --> 00:52:26,969
Speaker 3: this is just a toy-sized thing.

949
00:52:27,410 --> 00:52:29,750
Speaker 1: But as we'll learn, this is a working model, correct?

950
00:52:29,770 --> 00:52:33,390
Speaker 3: Yes, yes, it worked, yeah. So imagine Santa's sleigh with

951
00:52:33,450 --> 00:52:36,560
Speaker 3: a giant dish antenna on the back of it. Uh,

952
00:52:36,600 --> 00:52:39,580
Speaker 3: the seat for the passenger is a polished wooden armchair

953
00:52:39,640 --> 00:52:43,120
Speaker 3: with dark red upholstery. Uh, and of course this is

954
00:52:43,160 --> 00:52:46,150
Speaker 3: only a toy sized replica. Uh, I was reading that

955
00:52:46,190 --> 00:52:49,790
Speaker 3: the resemblance to Santa's sleigh is not an accident. George

956
00:52:49,830 --> 00:52:53,710
Speaker 3: Powell allegedly modeled this design on a horse drawn sleigh

957
00:52:53,790 --> 00:52:56,880
Speaker 3: because he rode in horse drawn sleighs a lot when

958
00:52:56,900 --> 00:52:59,739
Speaker 3: he was young and he had fond memories of that. Uh,

959
00:52:59,860 --> 00:53:02,900
Speaker 3: it was created by the designers, Bill Ferrari and Wah Chang.

960
00:53:03,530 --> 00:53:06,840
Speaker 3: And I remember I read somewhere that the chair here

961
00:53:06,940 --> 00:53:09,600
Speaker 3: was a barber's chair. I don't know if, or either

962
00:53:09,620 --> 00:53:12,300
Speaker 3: the chair in the toy version or in the full-size

963
00:53:12,320 --> 00:53:15,460
Speaker 3: version was a barber's chair, which doesn't quite look like

964
00:53:15,480 --> 00:53:16,450
Speaker 3: to me, but that's funny.

965
00:53:16,989 --> 00:53:21,770
Speaker 1: Yeah. Yeah. Again, this becomes the iconic time machine. This

966
00:53:21,830 --> 00:53:24,970
Speaker 1: is like the primary vision of the late Victorian time machine.

967
00:53:25,469 --> 00:53:26,890
Speaker 1: And it's pretty accurate to the book. I believe in

968
00:53:26,910 --> 00:53:31,109
Speaker 1: the book it's described as having rails, levers, and also

969
00:53:31,160 --> 00:53:35,000
Speaker 1: a saddle, a I think we're fine to get away

970
00:53:35,040 --> 00:53:36,900
Speaker 1: from the idea of it being more of a saddle

971
00:53:36,960 --> 00:53:39,460
Speaker 1: and more of a chair. Yeah.

972
00:53:39,540 --> 00:53:43,680
Speaker 3: So George, he's gazing at this thing with excitement and pride.

973
00:53:44,700 --> 00:53:48,070
Speaker 3: And the revelation of this machine gives way to a discussion.

974
00:53:48,150 --> 00:53:50,830
Speaker 3: Bridewell says, hey, you know, don't go messing around with

975
00:53:50,850 --> 00:53:53,710
Speaker 3: the future. Because George, of course, says you can travel

976
00:53:53,750 --> 00:53:55,310
Speaker 3: to the future with it. He says, don't go messing

977
00:53:55,350 --> 00:53:57,049
Speaker 3: around with the future. You could screw it up for

978
00:53:57,070 --> 00:54:00,219
Speaker 3: the rest of us. And then Hillier says, no, no, no,

979
00:54:00,260 --> 00:54:03,440
Speaker 3: the future cannot be changed. Even if you could travel

980
00:54:03,480 --> 00:54:06,420
Speaker 3: through time, you couldn't change the course of history because

981
00:54:06,480 --> 00:54:11,049
Speaker 3: what happens will happen either way. And George says, this

982
00:54:11,150 --> 00:54:13,930
Speaker 3: is the question he wants to answer. Can man control

983
00:54:13,969 --> 00:54:17,050
Speaker 3: his destiny? Can he change the shape of things to come?

984
00:54:17,750 --> 00:54:20,140
Speaker 3: That latter phrase, I believe, would become the title of

985
00:54:20,260 --> 00:54:22,860
Speaker 3: a Wells-associated film later on.

986
00:54:22,960 --> 00:54:23,640
Speaker 1: Yes, that's right.

987
00:54:24,520 --> 00:54:27,370
Speaker 3: So, To prove he has not lost his mind, George

988
00:54:27,410 --> 00:54:31,210
Speaker 3: stages a demonstration with the four gentlemen as witnesses. He

989
00:54:31,250 --> 00:54:33,790
Speaker 3: takes a cigar from Dr. Hillier's pocket, and then he

990
00:54:34,180 --> 00:54:36,860
Speaker 3: bends the cigar into the shape of a seated man,

991
00:54:36,880 --> 00:54:39,000
Speaker 3: and then he puts it in the seat and he

992
00:54:39,060 --> 00:54:42,680
Speaker 3: sends the machine off. The dish starts whirling and the

993
00:54:42,739 --> 00:54:45,299
Speaker 3: room rattles around them like the champagne in the ice

994
00:54:45,360 --> 00:54:49,160
Speaker 3: bucket is rattling, and then suddenly the toy time machine disappears,

995
00:54:49,260 --> 00:54:52,219
Speaker 3: leaving only this fading yellow glow on the table where

996
00:54:52,260 --> 00:54:56,260
Speaker 3: it was. Where has it gone? Not anywhere in space,

997
00:54:56,320 --> 00:54:59,380
Speaker 3: but somewhere through time. George says it could be a

998
00:54:59,440 --> 00:55:00,660
Speaker 3: hundred years away by now.

999
00:55:02,719 --> 00:55:03,739
Speaker 1: We never see it again, right?

1000
00:55:04,020 --> 00:55:06,290
Speaker 3: Never again. And he tells us we're not going to.

1001
00:55:06,370 --> 00:55:08,529
Speaker 3: He's just like, it's not coming back because there's no

1002
00:55:08,650 --> 00:55:09,390
Speaker 3: operator in it.

1003
00:55:09,630 --> 00:55:12,390
Speaker 1: In the future, this thing's just going to appear and

1004
00:55:12,450 --> 00:55:16,630
Speaker 1: deliver a late Victorian cigar to somebody. But also deliver

1005
00:55:16,670 --> 00:55:21,739
Speaker 1: to them a miniaturized working replica of time travel seems

1006
00:55:21,800 --> 00:55:23,480
Speaker 1: kind of reckless in many respects.

1007
00:55:23,800 --> 00:55:26,300
Speaker 3: There you go, yeah. You don't know who's going to

1008
00:55:26,340 --> 00:55:29,420
Speaker 3: get hold of that thing. Though, presumably, because there's nobody

1009
00:55:29,520 --> 00:55:31,880
Speaker 3: inside to turn the lever back and make it stop,

1010
00:55:31,980 --> 00:55:34,080
Speaker 3: it's just going to keep speeding through time forever.

1011
00:55:34,460 --> 00:55:38,020
Speaker 1: Oh, goodness. I don't know that that sounds safe either.

1012
00:55:38,920 --> 00:55:41,839
Speaker 1: I'm not sure what happens when something kind of accelerates

1013
00:55:41,920 --> 00:55:43,160
Speaker 1: endlessly through time.

1014
00:55:43,180 --> 00:55:46,259
Speaker 3: It's in the heat death of the universe, suddenly this

1015
00:55:46,280 --> 00:55:47,109
Speaker 3: thing pops out.

1016
00:55:48,210 --> 00:55:54,360
Speaker 1: Maybe this is why the universe ultimately is destroyed. Who knows? Okay.

1017
00:55:54,660 --> 00:55:58,200
Speaker 3: Uh, let's see after the demonstration, uh, the guests funny thing,

1018
00:55:58,260 --> 00:56:01,450
Speaker 3: they're not very impressed. Like they don't believe that his

1019
00:56:01,489 --> 00:56:04,770
Speaker 3: disappearing toy actually traveled through time, but even if he

1020
00:56:04,910 --> 00:56:08,509
Speaker 3: had invented a time machine of what use would it be?

1021
00:56:09,110 --> 00:56:09,230
Speaker 1: Yeah.

1022
00:56:09,850 --> 00:56:14,810
Speaker 3: Which is an insight that's is, is both incredibly thick headed.

1023
00:56:14,910 --> 00:56:17,210
Speaker 3: Like if it were real, wouldn't that be the most

1024
00:56:17,290 --> 00:56:20,580
Speaker 3: important invention of all time? Like, you could apply knowledge

1025
00:56:20,620 --> 00:56:22,700
Speaker 3: of the future to the past. You could fix any

1026
00:56:22,739 --> 00:56:25,870
Speaker 3: mistake or avert any disaster. But on the other hand,

1027
00:56:26,090 --> 00:56:28,850
Speaker 3: when you think about it, it might also be accidentally

1028
00:56:28,930 --> 00:56:32,310
Speaker 3: profound since, you know, we've talked about this on the

1029
00:56:32,330 --> 00:56:35,190
Speaker 3: show with, like, time travel stories before. You can imagine

1030
00:56:35,210 --> 00:56:38,380
Speaker 3: scenarios where essentially as soon as time travel is invented,

1031
00:56:38,560 --> 00:56:41,279
Speaker 3: it becomes catastrophically weaponized.

1032
00:56:41,340 --> 00:56:41,880
Speaker 1: Yeah.

1033
00:56:44,239 --> 00:56:47,070
Speaker 3: Would have so much power over those that don't it,

1034
00:56:47,120 --> 00:56:51,469
Speaker 3: they would become living gods among mortals. So anyway, uh,

1035
00:56:52,239 --> 00:56:54,730
Speaker 3: the friends here are not impressed with the time machine.

1036
00:56:55,090 --> 00:56:55,370
Speaker 1: Dr.

1037
00:56:55,410 --> 00:56:59,350
Speaker 3: Hillier says, uh, he says, why don't you do something useful? Like,

1038
00:56:59,390 --> 00:57:02,029
Speaker 3: like make weapons. You know, we're at war right now

1039
00:57:02,130 --> 00:57:05,210
Speaker 3: in South Africa. The country needs a brilliant inventors like

1040
00:57:05,250 --> 00:57:07,750
Speaker 3: you to design things that can help us win the fight.

1041
00:57:08,430 --> 00:57:10,489
Speaker 3: And he promises to put George in touch with his

1042
00:57:10,530 --> 00:57:13,910
Speaker 3: contacts in the war office. And then Hillier, Bridewell, and

1043
00:57:13,930 --> 00:57:16,430
Speaker 3: Kemp all depart, all with their own plans for New

1044
00:57:16,470 --> 00:57:20,990
Speaker 3: Year's Eve. And George looks mighty depressed. But Philby, remember,

1045
00:57:21,030 --> 00:57:23,490
Speaker 3: he's the good friend. He's the sensitive friend with the

1046
00:57:23,570 --> 00:57:26,570
Speaker 3: soft Scottish accent. He stays behind to counsel his friend.

1047
00:57:27,030 --> 00:57:32,120
Speaker 3: Philby asks, why this preoccupation with time? And George resists

1048
00:57:32,240 --> 00:57:35,320
Speaker 3: talking about this at first, but eventually he's persuaded to explain.

1049
00:57:35,880 --> 00:57:37,680
Speaker 3: He says, if you want to know the truth, I

1050
00:57:37,720 --> 00:57:40,220
Speaker 3: don't much care for the time I was born into.

1051
00:57:40,930 --> 00:57:43,950
Speaker 3: He explains that he finds the world of the present

1052
00:57:44,070 --> 00:57:49,270
Speaker 3: intolerably cruel and short-sighted, where even the most marvelous discoveries

1053
00:57:49,330 --> 00:57:53,390
Speaker 3: of the new science are captured and perverted by evil

1054
00:57:53,450 --> 00:57:56,220
Speaker 3: men who care only about the destruction of their enemies

1055
00:57:56,620 --> 00:57:59,980
Speaker 3: and the quest for power. And George wants to escape

1056
00:58:00,080 --> 00:58:03,320
Speaker 3: this bloodthirsty time to find a world without all of

1057
00:58:03,360 --> 00:58:07,960
Speaker 3: this hatred and stupidity and warmongering, when humankind can build

1058
00:58:08,140 --> 00:58:12,140
Speaker 3: and learn and live in peace. it's a powerful sentiment

1059
00:58:12,300 --> 00:58:14,340
Speaker 3: that one, I think the audience is tempted to have

1060
00:58:14,530 --> 00:58:17,930
Speaker 3: mixed feelings about because on one hand it is a, uh,

1061
00:58:18,650 --> 00:58:23,790
Speaker 3: an insightful and moral indictment of, of human, of humankind

1062
00:58:23,810 --> 00:58:26,090
Speaker 3: and the way we are and, and of our ills.

1063
00:58:26,590 --> 00:58:29,930
Speaker 3: But also it is, it's a, he has a sense

1064
00:58:29,970 --> 00:58:34,020
Speaker 3: of resignation that he can't stop it. Like he can't

1065
00:58:34,180 --> 00:58:36,920
Speaker 3: change it. All he can do is escape it to

1066
00:58:36,940 --> 00:58:40,140
Speaker 3: like take him to remove himself away from to a

1067
00:58:40,200 --> 00:58:42,320
Speaker 3: time when humankind has become better.

1068
00:58:42,860 --> 00:58:45,660
Speaker 1: It's like it goes even beyond the privilege that he

1069
00:58:45,700 --> 00:58:51,740
Speaker 1: already has in life to distance himself economically and geographically

1070
00:58:52,200 --> 00:58:54,730
Speaker 1: from a lot of the problems in the world, now

1071
00:58:54,770 --> 00:58:58,950
Speaker 1: potentially traveling through time to do so. Yeah.

1072
00:58:59,150 --> 00:59:02,750
Speaker 3: So George and Philby argue. Philby says he agrees with

1073
00:59:02,810 --> 00:59:05,490
Speaker 3: his friend. He says, you know, you're right. You're right

1074
00:59:05,510 --> 00:59:07,850
Speaker 3: about the age we live in, but this obsession with

1075
00:59:07,910 --> 00:59:09,140
Speaker 3: escape is unhealthy.

1076
00:59:09,590 --> 00:59:09,820
Speaker 1: He says.

1077
00:59:09,970 --> 00:59:12,910
Speaker 3: destroy that machine before it destroys you. So I think

1078
00:59:12,950 --> 00:59:16,160
Speaker 3: Philby is in a way seen as the voice of

1079
00:59:16,220 --> 00:59:19,280
Speaker 3: sanity here. Like he's, you know, he's there's some wisdom

1080
00:59:19,300 --> 00:59:22,340
Speaker 3: in what he's saying. And then Philby tries to invite

1081
00:59:22,380 --> 00:59:25,380
Speaker 3: George to his home for New Year's Eve to spend

1082
00:59:25,420 --> 00:59:28,980
Speaker 3: it with him and his wife and his young son, Jamie. Uh,

1083
00:59:29,310 --> 00:59:31,710
Speaker 3: so this is almost kind of the alternative, you know,

1084
00:59:31,750 --> 00:59:36,990
Speaker 3: the alternative to the escape that George is suggesting is,

1085
00:59:37,370 --> 00:59:40,520
Speaker 3: is love and brotherhood that Philby is suggesting.

1086
00:59:40,540 --> 00:59:40,840
Speaker 1: Yeah.

1087
00:59:40,960 --> 00:59:44,600
Speaker 3: But George refuses. Philby asks him to promise that he

1088
00:59:44,640 --> 00:59:48,340
Speaker 3: won't go anywhere else tonight. And, uh, George, before Philby

1089
00:59:48,380 --> 00:59:51,120
Speaker 3: leaves says, I promise I won't walk out the door.

1090
00:59:51,930 --> 00:59:54,150
Speaker 1: You didn't say anything about traveling through time.

1091
00:59:54,390 --> 00:59:57,840
Speaker 3: That's right. So George sits down and he writes an

1092
00:59:57,960 --> 01:00:00,360
Speaker 3: invitation for Philby and the other three men to come

1093
01:00:00,400 --> 01:00:03,060
Speaker 3: back to the house for dinner the following Friday, five

1094
01:00:03,100 --> 01:00:06,120
Speaker 3: days hence. We hear people on the street outside, they're

1095
01:00:06,140 --> 01:00:10,160
Speaker 3: blowing party horns and yelling Happy New Year. And after this,

1096
01:00:10,220 --> 01:00:14,640
Speaker 3: George retires to his laboratory where the full-sized time machine

1097
01:00:14,760 --> 01:00:18,210
Speaker 3: awaits and we get a sharp music sting when it's revealed.

1098
01:00:18,870 --> 01:00:22,250
Speaker 3: The laboratory is in George's conservatory, which is full of

1099
01:00:22,370 --> 01:00:27,010
Speaker 3: plants and workbenches and tools. The windows are frosted over

1100
01:00:27,050 --> 01:00:31,550
Speaker 3: with ice and outside it is dark. George, he hastily

1101
01:00:31,610 --> 01:00:35,470
Speaker 3: makes a few mechanical preparations, like sharpening the, he's sort

1102
01:00:35,510 --> 01:00:37,650
Speaker 3: of got a car key for his time machine. It's

1103
01:00:37,690 --> 01:00:39,750
Speaker 3: this lever that he has to insert to make the

1104
01:00:39,770 --> 01:00:45,160
Speaker 3: machine go. He does something to it and he hops in. Now,

1105
01:00:46,000 --> 01:00:48,960
Speaker 3: the next thing, people who remember the broad outline of

1106
01:00:49,000 --> 01:00:51,060
Speaker 3: the story might think he is about to flip a

1107
01:00:51,080 --> 01:00:54,080
Speaker 3: switch and And then plop down in the year 800,000

1108
01:00:54,080 --> 01:00:56,410
Speaker 3: in the land of the Eloy and the Morlocks. But

1109
01:00:56,970 --> 01:01:00,470
Speaker 3: there is actually a long and I think quite interesting

1110
01:01:00,530 --> 01:01:03,510
Speaker 3: middle section of the story here where the time traveler

1111
01:01:03,670 --> 01:01:07,210
Speaker 3: is experimenting with the machine, taking it slow at first

1112
01:01:07,350 --> 01:01:10,870
Speaker 3: and seeing what happens in the century after his departure.

1113
01:01:11,370 --> 01:01:13,430
Speaker 3: This part of the movie involves a lot of time

1114
01:01:13,490 --> 01:01:16,960
Speaker 3: lapse and stop motion effects, which again, I believe are,

1115
01:01:17,060 --> 01:01:19,580
Speaker 3: these are the main parts that won this film an Oscar.

1116
01:01:20,260 --> 01:01:23,440
Speaker 1: Yeah, yeah, they're incredible. They hold up quite well. I

1117
01:01:23,480 --> 01:01:26,540
Speaker 1: also want to quickly throw in that it always amuses

1118
01:01:26,600 --> 01:01:32,300
Speaker 1: me that the time machine, really the centerpiece of so

1119
01:01:32,340 --> 01:01:36,510
Speaker 1: much time travel fiction, it sets its sights 800,000 years

1120
01:01:36,530 --> 01:01:40,090
Speaker 1: in the future. Such a safe distance when it comes

1121
01:01:40,130 --> 01:01:42,240
Speaker 1: to depicting what the future will be like. when pretty

1122
01:01:42,280 --> 01:01:45,080
Speaker 1: much everything else decides to look at the far future

1123
01:01:45,140 --> 01:01:50,820
Speaker 1: of 1987. Yeah, exactly. Or the, you know, apocalyptic hellscape

1124
01:01:50,900 --> 01:01:54,840
Speaker 1: of 2003 and so forth. But, you know, I don't know,

1125
01:01:54,880 --> 01:01:58,070
Speaker 1: maybe people will have a good laugh 800,000 years from now.

1126
01:01:58,610 --> 01:02:01,610
Speaker 3: I think it's easier to feel emotionally involved with a

1127
01:02:01,670 --> 01:02:05,250
Speaker 3: story that is within a generation or two of your own,

1128
01:02:05,370 --> 01:02:07,610
Speaker 3: of your own time, you know? It's like once you

1129
01:02:07,650 --> 01:02:11,470
Speaker 3: start getting further out from that You can still have

1130
01:02:11,530 --> 01:02:13,930
Speaker 3: drama take place in the place you go to, but

1131
01:02:13,970 --> 01:02:16,770
Speaker 3: it almost starts to feel like a fantasy world that's

1132
01:02:16,790 --> 01:02:19,470
Speaker 3: just not connected to your present reality.

1133
01:02:19,490 --> 01:02:22,260
Speaker 1: Yeah, yeah. I mean, as humans, we have a difficult

1134
01:02:22,520 --> 01:02:27,600
Speaker 1: time really viewing things beyond our own personal horizon. Maybe

1135
01:02:27,660 --> 01:02:30,500
Speaker 1: we can see it one generation out. So yeah, it

1136
01:02:30,540 --> 01:02:32,560
Speaker 1: makes sense that we tend to limit our storytelling to

1137
01:02:32,580 --> 01:02:33,160
Speaker 1: that time frame.

1138
01:02:34,160 --> 01:02:37,490
Speaker 3: So anyway, he first goes slow, making sure the machine works.

1139
01:02:37,530 --> 01:02:39,550
Speaker 3: He like skips ahead several hours and he sees a

1140
01:02:39,590 --> 01:02:42,710
Speaker 3: candle burned down several inches in an instant. And then

1141
01:02:42,730 --> 01:02:45,410
Speaker 3: he goes faster and he sees the environment change quickly

1142
01:02:45,450 --> 01:02:48,270
Speaker 3: in these cyclical ways, like the hands on the clock

1143
01:02:48,290 --> 01:02:51,520
Speaker 3: spinning round and round and the sun rising and setting quickly.

1144
01:02:52,480 --> 01:02:55,760
Speaker 3: Frost growing on the windows and then receding. He sees

1145
01:02:55,800 --> 01:02:59,020
Speaker 3: the flowers in his greenhouse opening and closing their little,

1146
01:02:59,320 --> 01:03:02,460
Speaker 3: their blossoms, like these little yapping mouths. There's a great

1147
01:03:02,500 --> 01:03:05,180
Speaker 3: part where he sees a snail racing across the floor.

1148
01:03:05,200 --> 01:03:10,310
Speaker 3: It's going fast. And then through the glass window, he

1149
01:03:10,390 --> 01:03:13,130
Speaker 3: sees the department store across the street. And in the

1150
01:03:13,170 --> 01:03:16,370
Speaker 3: window of the store, there is a mannequin displaying a

1151
01:03:16,550 --> 01:03:20,240
Speaker 3: fancy dress. And there's this whole little subplot here where

1152
01:03:20,260 --> 01:03:23,860
Speaker 3: we see years flip by through the changes in women's fashion.

1153
01:03:24,520 --> 01:03:27,300
Speaker 3: And the time traveler is like, good heavens, that's a dress.

1154
01:03:28,430 --> 01:03:31,230
Speaker 3: This was intriguing. I wonder just how far women would

1155
01:03:31,270 --> 01:03:32,169
Speaker 3: permit this to go.

1156
01:03:32,190 --> 01:03:38,130
Speaker 1: Yeah, it's legitimately a hilarious line. Yeah.

1157
01:03:38,230 --> 01:03:40,850
Speaker 3: He says, I began to grow very fond of that mannequin,

1158
01:03:40,890 --> 01:03:44,280
Speaker 3: maybe because like me, she didn't age. So we see

1159
01:03:44,320 --> 01:03:48,800
Speaker 3: the fashions change. He stops briefly in the year 1917

1160
01:03:48,800 --> 01:03:51,320
Speaker 3: when he discovers the lights have gone out in his house.

1161
01:03:52,060 --> 01:03:54,800
Speaker 3: His home is now filled with cobwebs and dust and

1162
01:03:54,840 --> 01:03:57,850
Speaker 3: there are sheets over all the furniture. He leaves the

1163
01:03:57,890 --> 01:04:00,750
Speaker 3: lab and wanders out into the street where, going into

1164
01:04:00,790 --> 01:04:02,950
Speaker 3: the department store, he sees a man in a military

1165
01:04:03,050 --> 01:04:06,290
Speaker 3: uniform who looks exactly like his friend David Philby. He

1166
01:04:06,330 --> 01:04:09,180
Speaker 3: thinks it is Philby, but when he greets him, the

1167
01:04:09,220 --> 01:04:12,980
Speaker 3: man is confused. We learn this is not David Philby,

1168
01:04:13,060 --> 01:04:16,300
Speaker 3: but his young son, Jamie, now grown up to the

1169
01:04:16,400 --> 01:04:18,520
Speaker 3: age his father was when George left.

1170
01:04:18,820 --> 01:04:22,240
Speaker 1: Yeah, same actor, but now without the distinct Scrooge McDuck accent.

1171
01:04:22,470 --> 01:04:26,450
Speaker 3: That's right. Jamie tells George that his father was killed.

1172
01:04:26,890 --> 01:04:30,710
Speaker 3: in the war a year earlier. A sad moment. And

1173
01:04:30,950 --> 01:04:33,630
Speaker 3: then we also learned the story of the inventor chap

1174
01:04:33,670 --> 01:04:37,050
Speaker 3: who lived across the street. He apparently disappeared in the

1175
01:04:37,070 --> 01:04:40,290
Speaker 3: year 1900 and left the house in the care of

1176
01:04:40,350 --> 01:04:43,620
Speaker 3: Jamie's father. And Jamie always wanted his father to sell it,

1177
01:04:43,670 --> 01:04:47,370
Speaker 3: but David forbade it, believing his friend would come back someday.

1178
01:04:48,230 --> 01:04:51,150
Speaker 3: And he says, people hereabouts think it's haunted. Anyway, have

1179
01:04:51,170 --> 01:04:54,250
Speaker 3: you been at the front? And George is quite confused.

1180
01:04:54,270 --> 01:04:57,250
Speaker 3: He's like, what front? And Jamie says, why, the war,

1181
01:04:57,310 --> 01:05:01,350
Speaker 3: of course. And George smiles, but with a clear sadness.

1182
01:05:01,730 --> 01:05:05,050
Speaker 3: This time seems no better than his own. Everywhere, lives

1183
01:05:05,150 --> 01:05:16,540
Speaker 3: wrecked by violence again and again. So he goes back

1184
01:05:16,580 --> 01:05:17,380
Speaker 3: to the time machine.

1185
01:05:17,500 --> 01:05:19,680
Speaker 1: That's right. Time to jump back in and fast forward

1186
01:05:19,720 --> 01:05:22,500
Speaker 1: to the part where we solve this whole war thing.

1187
01:05:22,840 --> 01:05:24,990
Speaker 3: That's right. So he's going to go faster now. The

1188
01:05:25,050 --> 01:05:28,830
Speaker 3: months fly by. Suddenly in 1940, something rattles the world

1189
01:05:28,870 --> 01:05:32,150
Speaker 3: around him and he stops. He comes out and we

1190
01:05:32,170 --> 01:05:35,870
Speaker 3: get this nightmarish glimpse of the Blitz of London. There

1191
01:05:35,890 --> 01:05:39,470
Speaker 3: are fires raging. There's anti-aircraft fire going up into the dark.

1192
01:05:39,990 --> 01:05:42,300
Speaker 3: And it's like the god of war still rules this

1193
01:05:42,360 --> 01:05:45,980
Speaker 3: cursed planet. So he pushes on in the machine. His

1194
01:05:46,040 --> 01:05:48,620
Speaker 3: house is destroyed, I guess, in the Blitz. And the

1195
01:05:48,660 --> 01:05:51,380
Speaker 3: machine is destroyed. speeding through time just now out in

1196
01:05:51,420 --> 01:05:53,860
Speaker 3: the open in a grassy field. And he has a

1197
01:05:53,900 --> 01:05:57,980
Speaker 3: view all around of buildings being rebuilt quickly with time-lapse

1198
01:05:58,040 --> 01:06:02,190
Speaker 3: and stop-motion effects. The mannequin time-lapse also continues. We get

1199
01:06:02,210 --> 01:06:06,250
Speaker 3: to see more modern fashions, including a bikini. And he

1200
01:06:06,330 --> 01:06:10,370
Speaker 3: stops again in the mid-60s because he hears high-pitched sounds

1201
01:06:10,450 --> 01:06:14,660
Speaker 3: all around. So the years stop racing by, the sounds

1202
01:06:14,720 --> 01:06:17,320
Speaker 3: come into focus, and we realize these sounds are air

1203
01:06:17,920 --> 01:06:21,520
Speaker 3: raid sirens. Now we are in the era of the

1204
01:06:21,560 --> 01:06:25,090
Speaker 3: Cold War with the threat of nuclear weapons always looming

1205
01:06:25,170 --> 01:06:28,170
Speaker 3: over us. But George doesn't know about this yet, of course.

1206
01:06:28,570 --> 01:06:30,490
Speaker 3: He doesn't know what the sounds are. He sees crowds

1207
01:06:30,530 --> 01:06:33,830
Speaker 3: of people running somewhere, being ushered by civil defense men

1208
01:06:33,850 --> 01:06:37,250
Speaker 3: in gray jumpsuits with white helmets. And people are trying

1209
01:06:37,270 --> 01:06:39,540
Speaker 3: to get him to hurry along with them, but he resists.

1210
01:06:39,580 --> 01:06:42,600
Speaker 3: He's like, what's the rush? He's like checking out outside

1211
01:06:42,620 --> 01:06:45,540
Speaker 3: the department store. He's checking out a shaving kit display.

1212
01:06:46,080 --> 01:06:48,700
Speaker 3: It has a nuclear civil defense sign right above it

1213
01:06:48,740 --> 01:06:50,160
Speaker 3: with a picture of a mushroom cloud.

1214
01:06:50,180 --> 01:06:55,660
Speaker 1: Yeah, but buy your clean shave razor today. Yes. People

1215
01:06:55,700 --> 01:06:58,200
Speaker 1: still have the moxie to be like, you know, people

1216
01:06:58,220 --> 01:07:01,470
Speaker 1: are heading off to the bomb shelters, but dagnamit, they

1217
01:07:01,530 --> 01:07:04,590
Speaker 1: still need a shave. They still need a quality shaving device. Yeah.

1218
01:07:05,710 --> 01:07:09,210
Speaker 3: So he eventually meets a now aged version of the

1219
01:07:09,350 --> 01:07:13,350
Speaker 3: once young Jamie Philby. George wants to speak with him

1220
01:07:13,430 --> 01:07:16,650
Speaker 3: about the splendid technological achievements he sees all around them.

1221
01:07:16,670 --> 01:07:20,450
Speaker 3: It's now the 60s. There's technology everywhere. But Jamie does

1222
01:07:20,490 --> 01:07:23,290
Speaker 3: not have time to chat. He's like, I can't talk

1223
01:07:23,310 --> 01:07:25,800
Speaker 3: to you about flat screen TVs. We're all going down

1224
01:07:25,860 --> 01:07:29,700
Speaker 3: to the bomb shelters because a nuclear strike is imminent.

1225
01:07:30,300 --> 01:07:32,120
Speaker 3: He says, we've got to hurry or the mushrooms will

1226
01:07:32,140 --> 01:07:33,900
Speaker 3: be sprouting. And he points to a thing in the

1227
01:07:33,960 --> 01:07:37,120
Speaker 3: sky that he calls the atomic satellite. He says it's

1228
01:07:37,260 --> 01:07:41,210
Speaker 3: zeroing in. And George gets back into his time machine

1229
01:07:41,250 --> 01:07:44,030
Speaker 3: just in time to avoid being destroyed. He sees in

1230
01:07:44,110 --> 01:07:47,570
Speaker 3: fast motion how the fire of war destroys everything. The

1231
01:07:47,640 --> 01:07:51,180
Speaker 3: labor of centuries gone in an instant, he says. And

1232
01:07:51,200 --> 01:07:53,560
Speaker 3: then after this, this part's a little hazy, but he

1233
01:07:53,600 --> 01:07:57,480
Speaker 3: says Mother Nature responds. Somehow, like all of the human warfare,

1234
01:07:57,920 --> 01:08:01,710
Speaker 3: causes volcanic eruptions from below, which flood the city with

1235
01:08:01,790 --> 01:08:05,350
Speaker 3: glowing hot lava. Apparently, this special effect was done with

1236
01:08:05,570 --> 01:08:10,960
Speaker 3: a model city set And a big vat of orange oatmeal,

1237
01:08:11,620 --> 01:08:14,560
Speaker 3: oatmeal made orange with food coloring, poured out onto the

1238
01:08:14,580 --> 01:08:17,760
Speaker 3: model set. And then the story is the oatmeal was

1239
01:08:17,820 --> 01:08:20,060
Speaker 3: left sitting out for several days, long enough that it

1240
01:08:20,140 --> 01:08:22,820
Speaker 3: started to ferment and it smelled incredibly foul.

1241
01:08:24,150 --> 01:08:24,889
Speaker 1: It looks great, though.

1242
01:08:26,770 --> 01:08:30,170
Speaker 3: So after this, George pilots his time machine fast into

1243
01:08:30,189 --> 01:08:33,729
Speaker 3: the future. He gets encased in lava and is completely

1244
01:08:33,790 --> 01:08:35,890
Speaker 3: covered in stone. So he has to keep running the

1245
01:08:35,930 --> 01:08:38,830
Speaker 3: machine until the rock around him erodes away so he

1246
01:08:38,870 --> 01:08:42,450
Speaker 3: can escape. And that takes a long time. He eventually

1247
01:08:42,530 --> 01:08:46,870
Speaker 3: pops out of the rock like 800,000 years later when

1248
01:08:46,910 --> 01:08:50,740
Speaker 3: the world is greatly changed. He finds himself deposited in

1249
01:08:51,040 --> 01:08:54,420
Speaker 3: what seems to be a peaceful land of perpetual summer.

1250
01:08:55,360 --> 01:08:58,929
Speaker 3: The earth stays green and lush year round. No war

1251
01:08:58,990 --> 01:09:00,620
Speaker 3: seemed to come in and destroy it. all the human

1252
01:09:00,660 --> 01:09:03,520
Speaker 3: structure as he sees in the distance. And so he

1253
01:09:03,560 --> 01:09:05,580
Speaker 3: brings the time machine finally to a halt.

1254
01:09:06,939 --> 01:09:09,060
Speaker 1: And in this, we finally get to the portion of

1255
01:09:09,100 --> 01:09:12,490
Speaker 1: the film and book that most people remember. Though again,

1256
01:09:12,510 --> 01:09:14,890
Speaker 1: the journey here really makes us earn it. You know,

1257
01:09:15,450 --> 01:09:17,990
Speaker 1: we definitely needed all of these steps to get here. Yeah.

1258
01:09:18,620 --> 01:09:20,979
Speaker 3: So the time traveler, he tumbles out into a clearing

1259
01:09:21,000 --> 01:09:24,620
Speaker 3: of grass surrounded by this green jungle in front of

1260
01:09:24,680 --> 01:09:28,700
Speaker 3: some kind of stone temple crowned with a monolithic statue

1261
01:09:28,760 --> 01:09:31,360
Speaker 3: of a human head, generally referred to as a sphinx.

1262
01:09:32,240 --> 01:09:35,160
Speaker 3: The doors of this temple are made of metal and

1263
01:09:35,180 --> 01:09:37,420
Speaker 3: they are sealed shut. George goes up, he tries to

1264
01:09:37,460 --> 01:09:39,679
Speaker 3: knock on the doors, but he finds no reply.

1265
01:09:40,960 --> 01:09:43,800
Speaker 1: Love the design here of the sphinx. It's, you know,

1266
01:09:44,360 --> 01:09:48,700
Speaker 1: it feels connected to various creatures. earth traditions, but also

1267
01:09:48,720 --> 01:09:52,519
Speaker 1: feels very alien. So it really strikes a perfect note. Yeah.

1268
01:09:53,140 --> 01:09:55,340
Speaker 3: So he goes out wandering through the landscape and he

1269
01:09:55,400 --> 01:10:00,980
Speaker 3: finds beautiful flowers everywhere, fruit trees heavy with ripe, unfamiliar produce.

1270
01:10:01,189 --> 01:10:01,900
Speaker 1: Wonka fruits.

1271
01:10:02,200 --> 01:10:05,950
Speaker 3: Yeah, wonka, exactly, yeah. He says, not a weed or

1272
01:10:05,990 --> 01:10:09,269
Speaker 3: a briar in sight, no unpleasant plants. So it's as

1273
01:10:09,350 --> 01:10:13,670
Speaker 3: if the entire natural world has become, in its wild state,

1274
01:10:13,830 --> 01:10:17,030
Speaker 3: a garden. It's like the wilderness itself is now a

1275
01:10:17,150 --> 01:10:21,299
Speaker 3: fruit orchard and a botanical garden. Humankind has fully tamed

1276
01:10:21,360 --> 01:10:24,620
Speaker 3: the plant kingdom and shaped it entirely to our liking.

1277
01:10:25,560 --> 01:10:28,900
Speaker 3: And he thinks, he says, at last I'd found a paradise,

1278
01:10:29,460 --> 01:10:31,420
Speaker 3: but it would be no paradise if it belonged to

1279
01:10:31,460 --> 01:10:34,910
Speaker 3: me alone. So he goes out looking for people. He

1280
01:10:34,950 --> 01:10:37,670
Speaker 3: wanders down a hill covered in ivy and he comes

1281
01:10:37,729 --> 01:10:39,970
Speaker 3: to one of the structures he saw in the distance.

1282
01:10:40,689 --> 01:10:44,890
Speaker 3: It is a giant, dome with stone rocky steps leading

1283
01:10:44,970 --> 01:10:49,070
Speaker 3: up from a plaza in front, flanked by two dark sphinxes,

1284
01:10:49,310 --> 01:10:52,130
Speaker 3: and there's a big metal door leading inside. And once

1285
01:10:52,490 --> 01:10:55,570
Speaker 3: he comes close, George sees that this building is actually

1286
01:10:55,729 --> 01:10:58,450
Speaker 3: in pretty bad disrepair. It seems it has not been

1287
01:10:58,510 --> 01:11:03,170
Speaker 3: kept up for centuries. Is it abandoned? Well, seems maybe not.

1288
01:11:03,229 --> 01:11:05,830
Speaker 3: He goes inside and he finds a hall filled with

1289
01:11:05,910 --> 01:11:10,380
Speaker 3: circular banquet tables covered with glasses and bowls and ripe fruit.

1290
01:11:10,810 --> 01:11:12,990
Speaker 3: So George It seems like someone is coming in here

1291
01:11:13,070 --> 01:11:16,250
Speaker 3: on a regular basis. And when he makes sounds in here,

1292
01:11:16,310 --> 01:11:19,810
Speaker 3: the sounds echo through the hall with this eerie delay pattern,

1293
01:11:19,870 --> 01:11:24,019
Speaker 3: like they're like running away and coming back. Next, the

1294
01:11:24,060 --> 01:11:27,440
Speaker 3: time traveler wanders down to a riverside where he finds people,

1295
01:11:28,080 --> 01:11:31,240
Speaker 3: a group of beautiful fit young men and women, all

1296
01:11:31,860 --> 01:11:34,720
Speaker 3: blonde with like the men all have bowl cuts.

1297
01:11:34,939 --> 01:11:36,780
Speaker 1: Yeah.

1298
01:11:36,960 --> 01:11:40,400
Speaker 3: Lounging on a sandy bank next to the water. They

1299
01:11:40,439 --> 01:11:43,549
Speaker 3: are talking, laughing, dancing, and picking fruit.

1300
01:11:44,090 --> 01:11:46,070
Speaker 1: Quick question. Do you think they're cutting their own hair

1301
01:11:46,189 --> 01:11:47,689
Speaker 1: or do you think the Morlocks cut their hair?

1302
01:11:48,229 --> 01:11:50,230
Speaker 3: Very good question. I think they're cutting their own hair.

1303
01:11:51,550 --> 01:11:55,530
Speaker 3: But only for fun, right? Because there's no work in

1304
01:11:55,550 --> 01:11:57,650
Speaker 3: this world. We'll get to that. So this is what

1305
01:11:57,729 --> 01:12:00,820
Speaker 3: he says. He sees them all lounging around. He says,

1306
01:12:00,860 --> 01:12:03,800
Speaker 3: so this is man's future. To bask in the sunlight,

1307
01:12:04,220 --> 01:12:06,580
Speaker 3: bathe in the clear streams, and eat the fruits of

1308
01:12:06,620 --> 01:12:10,070
Speaker 3: the earth with all knowledge of work and hardship forgotten. Well,

1309
01:12:10,189 --> 01:12:13,099
Speaker 3: and why not? So it seems he thinks he has

1310
01:12:13,150 --> 01:12:17,920
Speaker 3: finally found his long-sought earthly paradise of peace. But then

1311
01:12:18,220 --> 01:12:21,820
Speaker 3: he hears a scream. A young woman is drowning in

1312
01:12:21,840 --> 01:12:26,340
Speaker 3: the river. She's being swept away by the current. And weirdly,

1313
01:12:26,520 --> 01:12:30,479
Speaker 3: her friends on the rocks nearby do nothing. They barely

1314
01:12:30,540 --> 01:12:33,180
Speaker 3: seem to notice her cries for help. And when they

1315
01:12:33,220 --> 01:12:37,150
Speaker 3: occasionally glance her way, They don't even bother to reach

1316
01:12:37,210 --> 01:12:39,910
Speaker 3: down and offer her a hand up. So she's drifting

1317
01:12:39,950 --> 01:12:42,770
Speaker 3: away helplessly while the rest of the people just sit

1318
01:12:42,790 --> 01:12:44,810
Speaker 3: there and talk and laugh and ignore her.

1319
01:12:45,250 --> 01:12:49,120
Speaker 1: Yeah, they're just like, oh, something's happening. And that's it.

1320
01:12:49,340 --> 01:12:50,760
Speaker 1: It's completely dispassionate.

1321
01:12:51,280 --> 01:12:54,780
Speaker 3: So finally, the time traveler himself jumps in the water

1322
01:12:54,840 --> 01:12:57,220
Speaker 3: to rescue her. He brings her ashore and he puts

1323
01:12:57,280 --> 01:13:00,850
Speaker 3: his coat around her shoulders. And once she comes to,

1324
01:13:00,970 --> 01:13:03,630
Speaker 3: she doesn't say anything to George. She just gets up

1325
01:13:03,810 --> 01:13:06,370
Speaker 3: and walks away. And Rob, I took a screen grab

1326
01:13:06,410 --> 01:13:08,430
Speaker 3: here because did you see this part where the other

1327
01:13:08,490 --> 01:13:10,910
Speaker 3: ladies here by the river giving the time traveler the

1328
01:13:10,939 --> 01:13:17,840
Speaker 3: stink face? They're just like, ew, weird. So George is perplexed.

1329
01:13:17,880 --> 01:13:21,320
Speaker 3: He's like, what's wrong with these people? Later, they all

1330
01:13:21,360 --> 01:13:24,420
Speaker 3: wander away happily to the dome that he found earlier

1331
01:13:24,540 --> 01:13:27,769
Speaker 3: and he follows them back. He sits down by himself

1332
01:13:27,850 --> 01:13:30,490
Speaker 3: on the stairs outside, and eventually the woman that George

1333
01:13:30,550 --> 01:13:34,290
Speaker 3: rescued from the water comes and sits behind him. And again,

1334
01:13:34,330 --> 01:13:38,339
Speaker 3: this is Yvette Mimieux. She asks why he saved her.

1335
01:13:39,070 --> 01:13:39,820
Speaker 1: He asks how.

1336
01:13:39,770 --> 01:13:42,120
Speaker 3: Come 20 of her friends did not save her? Like,

1337
01:13:42,140 --> 01:13:44,719
Speaker 3: why were they watching her dying and doing nothing to help?

1338
01:13:45,380 --> 01:13:47,780
Speaker 3: And she says nothing. She doesn't even seem to understand

1339
01:13:47,800 --> 01:13:51,190
Speaker 3: the questions. So they introduced themselves to each other. Her

1340
01:13:51,240 --> 01:13:56,030
Speaker 3: name is Weena. And George learns that despite speaking perfectly

1341
01:13:56,090 --> 01:14:00,910
Speaker 3: understandable 20th century English, 800,000 years later, none of these

1342
01:14:00,950 --> 01:14:03,770
Speaker 3: people can read or write. And so when he like

1343
01:14:03,790 --> 01:14:06,130
Speaker 3: shows her what writing is, he writes words in the dust.

1344
01:14:06,250 --> 01:14:09,830
Speaker 3: She laughs. She thinks this is funny. And in this

1345
01:14:09,870 --> 01:14:13,250
Speaker 3: scene and the following scene, he learns a number of things.

1346
01:14:13,310 --> 01:14:16,860
Speaker 3: He learns that these people called themselves the Eloi. that

1347
01:14:16,920 --> 01:14:21,160
Speaker 3: they are profoundly incurious and don't seem to have thoughts

1348
01:14:21,400 --> 01:14:24,700
Speaker 3: about much of anything, that there is no one older

1349
01:14:24,810 --> 01:14:28,190
Speaker 3: than what looks like maybe mid-20s or so, only young people.

1350
01:14:28,850 --> 01:14:32,570
Speaker 3: They have no government, no laws, nobody works, and they

1351
01:14:32,610 --> 01:14:35,530
Speaker 3: don't seem to know where their food and clothing come from.

1352
01:14:36,390 --> 01:14:38,650
Speaker 3: They are afraid of the dark and believe that you

1353
01:14:38,689 --> 01:14:41,410
Speaker 3: have to hide inside the dome after the sun goes down.

1354
01:14:42,220 --> 01:14:44,160
Speaker 1: I had a nice chuckle observing that they're, they're kind

1355
01:14:44,180 --> 01:14:46,360
Speaker 1: of all like 13 year olds, you know, like where

1356
01:14:46,380 --> 01:14:48,760
Speaker 1: does food and clothing come from? I don't know. It's just,

1357
01:14:48,880 --> 01:14:49,700
Speaker 1: it's provided.

1358
01:14:50,280 --> 01:14:50,540
Speaker 3: Yeah.

1359
01:14:51,340 --> 01:14:51,520
Speaker 1: Yeah.

1360
01:14:51,540 --> 01:14:52,800
Speaker 3: It's just here, here for us.

1361
01:14:52,920 --> 01:14:53,100
Speaker 1: Yeah.

1362
01:14:54,189 --> 01:14:57,130
Speaker 3: So inside the dome, George eats fruit with the rest

1363
01:14:57,189 --> 01:14:59,250
Speaker 3: of them and he's trying to figure out how their,

1364
01:14:59,610 --> 01:15:02,650
Speaker 3: their world works. He tries to make conversation, but nobody

1365
01:15:02,710 --> 01:15:07,010
Speaker 3: has much, much to say to him. They just sit there, docile, dull,

1366
01:15:07,270 --> 01:15:11,710
Speaker 3: eyes down. giving these simple half-hearted responses to all his questions.

1367
01:15:11,870 --> 01:15:15,910
Speaker 1: And he's coming up with some real softball questions here,

1368
01:15:15,950 --> 01:15:19,710
Speaker 1: some real leading questions like, you know, give me anything. Yeah.

1369
01:15:20,189 --> 01:15:22,650
Speaker 3: On one hand, he seems to be impressed because he

1370
01:15:22,689 --> 01:15:26,990
Speaker 3: believes they have eliminated war and automated all labor and production.

1371
01:15:27,050 --> 01:15:31,300
Speaker 3: So there is no more suffering or want. Everything these

1372
01:15:31,320 --> 01:15:35,840
Speaker 3: people need is produced and harvested for them by machines. Yeah, post-scarcity. Yeah,

1373
01:15:35,900 --> 01:15:41,260
Speaker 3: they can spend their lives producing Doing what? George suggests, well,

1374
01:15:41,300 --> 01:15:45,000
Speaker 3: maybe you spend all your time studying and experimenting, learning,

1375
01:15:45,240 --> 01:15:49,309
Speaker 3: you know, about the world. Evidently not. The other guy

1376
01:15:49,350 --> 01:15:51,730
Speaker 3: at the table, when he brings this up, this guy

1377
01:15:51,750 --> 01:15:54,290
Speaker 3: just acts annoyed. He's like, you ask too many questions.

1378
01:15:55,810 --> 01:15:58,769
Speaker 3: And the time traveler says, do you have books? You know,

1379
01:15:58,850 --> 01:16:00,670
Speaker 3: he wants to, he's like, books will tell me about

1380
01:16:00,710 --> 01:16:03,849
Speaker 3: your culture. And one of the Eloy men takes George

1381
01:16:03,990 --> 01:16:06,380
Speaker 3: to a room in the dome, which is a dark,

1382
01:16:06,830 --> 01:16:09,930
Speaker 3: library with shelves indeed full of books, but they are

1383
01:16:10,150 --> 01:16:13,879
Speaker 3: covered in thick dust. And as soon as the time

1384
01:16:13,910 --> 01:16:17,020
Speaker 3: traveler tries to open one, it falls apart into flakes

1385
01:16:17,100 --> 01:16:21,940
Speaker 3: in his hands. And finally, George becomes enraged and he

1386
01:16:22,040 --> 01:16:24,860
Speaker 3: shouts at the Eloy. He says, what have you done?

1387
01:16:24,880 --> 01:16:29,719
Speaker 3: Thousands of years of building and rebuilding, creating and recreating. Also,

1388
01:16:29,760 --> 01:16:32,479
Speaker 3: you can let it crumble to dust. A million years

1389
01:16:32,540 --> 01:16:35,620
Speaker 3: of sensitive men dying for their dreams for what? So

1390
01:16:35,660 --> 01:16:39,490
Speaker 3: you can swim and dance and play. Then he comes

1391
01:16:39,550 --> 01:16:41,630
Speaker 3: back out into the hall and he yells some more.

1392
01:16:41,670 --> 01:16:44,130
Speaker 3: He yells at the whole crowd of the Eloy. He says,

1393
01:16:44,170 --> 01:16:46,130
Speaker 3: I'm going back to my own time. I won't even

1394
01:16:46,250 --> 01:16:48,760
Speaker 3: bother to tell them of the useless struggle for a

1395
01:16:48,820 --> 01:16:52,000
Speaker 3: hopeless future, but at least I can die among men.

1396
01:16:52,939 --> 01:16:55,380
Speaker 3: So here we get to, I think one of the

1397
01:16:55,400 --> 01:17:00,450
Speaker 3: most interesting paradoxes of the movie. The central desire of

1398
01:17:00,550 --> 01:17:04,590
Speaker 3: our hero is to escape the cruelty and stupidity of

1399
01:17:04,650 --> 01:17:10,730
Speaker 3: his time. War, greed, rapacious destruction. And he finally does

1400
01:17:10,830 --> 01:17:13,110
Speaker 3: come to a time in the future that seems free

1401
01:17:13,270 --> 01:17:17,170
Speaker 3: of these evils. But he discovers that the people here

1402
01:17:17,229 --> 01:17:22,060
Speaker 3: make him sick because they have no virtues, no intelligence

1403
01:17:22,140 --> 01:17:27,340
Speaker 3: or curiosity, no kindness or generosity or spirit of self-sacrifice.

1404
01:17:28,100 --> 01:17:31,020
Speaker 3: He has escaped a world he saw as characterized by

1405
01:17:31,360 --> 01:17:37,200
Speaker 3: vicious stupidity and arrived in one instead of docile, mindless,

1406
01:17:37,479 --> 01:17:43,600
Speaker 3: pointless self-entertainment. Now, one could be tempted here to interpret

1407
01:17:43,680 --> 01:17:46,939
Speaker 3: this as an inversion of the earlier themes of the film,

1408
01:17:47,000 --> 01:17:51,210
Speaker 3: like maybe leaning back into a Spartan ethic of war

1409
01:17:51,310 --> 01:17:53,849
Speaker 3: is life. I don't think that's it. I don't think

1410
01:17:53,890 --> 01:17:57,570
Speaker 3: that is the point of the film here. The point

1411
01:17:57,590 --> 01:18:00,889
Speaker 3: of view that I detect is more that the time

1412
01:18:00,950 --> 01:18:04,229
Speaker 3: George left behind was wrong. It was ruled by a

1413
01:18:04,270 --> 01:18:08,960
Speaker 3: vicious stupidity. It did cause the needless suffering of millions

1414
01:18:09,040 --> 01:18:12,000
Speaker 3: for the glory of a few selfish men. But he

1415
01:18:12,040 --> 01:18:17,920
Speaker 3: has discovered that merely eliminating war and material want do

1416
01:18:17,960 --> 01:18:22,190
Speaker 3: not automatically make life good. You might see the elimination

1417
01:18:22,229 --> 01:18:25,970
Speaker 3: of war and material want in George's new dawning consciousness

1418
01:18:25,990 --> 01:18:31,210
Speaker 3: as something necessary but not sufficient conditions for the earthly

1419
01:18:31,250 --> 01:18:35,760
Speaker 3: paradise that he dreamed of so the eloi are abhorrent

1420
01:18:35,800 --> 01:18:38,940
Speaker 3: to him even though they are at peace or at

1421
01:18:38,979 --> 01:18:42,180
Speaker 3: least they appear to be at first because there there's

1422
01:18:42,240 --> 01:18:45,490
Speaker 3: more about this world he hasn't figured out yet so

1423
01:18:45,610 --> 01:18:48,290
Speaker 3: next the time traveler goes back out to hop into

1424
01:18:48,330 --> 01:18:49,870
Speaker 3: his time machine i think he's going to go back

1425
01:18:49,890 --> 01:18:53,100
Speaker 3: home or find another time but when he gets there

1426
01:18:53,120 --> 01:18:57,009
Speaker 3: the time machine is gone oh dun dun dun yeah

1427
01:18:58,370 --> 01:19:02,010
Speaker 3: because it's been towed exactly yeah it's an impound lot Uh,

1428
01:19:02,030 --> 01:19:03,710
Speaker 3: you can see from tracks in the ground that it

1429
01:19:03,770 --> 01:19:06,870
Speaker 3: has been dragged inside the doors of the stone temple

1430
01:19:06,990 --> 01:19:09,990
Speaker 3: underneath the Sphinx. Who took it and how, how is

1431
01:19:10,010 --> 01:19:13,469
Speaker 3: he going to get it back? Now, despite her fear

1432
01:19:13,530 --> 01:19:16,830
Speaker 3: of the dark that was established earlier, Wina follows George

1433
01:19:16,930 --> 01:19:19,910
Speaker 3: out into the woods to warn him of danger. Interesting

1434
01:19:19,970 --> 01:19:23,689
Speaker 3: that this is the first, uh, risky or self-sacrificing thing

1435
01:19:23,729 --> 01:19:26,469
Speaker 3: that we have seen an Eloy do. Uh, she's perhaps

1436
01:19:26,689 --> 01:19:29,880
Speaker 3: inspired by the way George risked his life for her earlier.

1437
01:19:30,800 --> 01:19:33,840
Speaker 3: But what is the danger? We learn it is the Morlocks.

1438
01:19:34,189 --> 01:19:36,910
Speaker 3: They come out at night. Now, George doesn't know what

1439
01:19:36,970 --> 01:19:40,030
Speaker 3: these are, but there are several points here where we

1440
01:19:40,070 --> 01:19:43,470
Speaker 3: can see the Morlocks spying on our hero through the bushes.

1441
01:19:43,830 --> 01:19:45,190
Speaker 3: We don't get a good look at them at all,

1442
01:19:45,229 --> 01:19:49,180
Speaker 3: but we see their eyes twinkling. They have these glowing eyes,

1443
01:19:49,220 --> 01:19:51,500
Speaker 3: kind of like the Jawas, that are a wonderful feature

1444
01:19:51,520 --> 01:19:53,100
Speaker 3: of the costume design.

1445
01:19:53,120 --> 01:19:57,480
Speaker 1: That's right, where they sparkle in the dark. And in general,

1446
01:19:57,520 --> 01:20:00,840
Speaker 1: this film does a great job of obeying all the

1447
01:20:00,880 --> 01:20:04,519
Speaker 1: laws of monster revelation. You know, we, we only get

1448
01:20:04,560 --> 01:20:06,460
Speaker 1: some peaks and all does it, despite I realized the

1449
01:20:06,500 --> 01:20:09,019
Speaker 1: fact that they're prominently featured on the posters for this movie.

1450
01:20:09,100 --> 01:20:10,770
Speaker 1: And that's also often the case.

1451
01:20:12,010 --> 01:20:14,150
Speaker 3: One of the Morlocks tries to grab Wina and take

1452
01:20:14,189 --> 01:20:16,390
Speaker 3: her away, but George rescues her. And it seems that

1453
01:20:16,410 --> 01:20:18,570
Speaker 3: they are repelled and not only by the light of day,

1454
01:20:18,650 --> 01:20:20,400
Speaker 3: but even by the light of a torch, they were

1455
01:20:20,410 --> 01:20:23,080
Speaker 3: afraid of fire. And we'll need to remember that for later.

1456
01:20:24,000 --> 01:20:26,480
Speaker 3: Wina and George gather sticks to build a fire for

1457
01:20:26,540 --> 01:20:29,580
Speaker 3: protection and And here we also get the first hints

1458
01:20:29,620 --> 01:20:32,140
Speaker 3: of a love story where they're huddled around the fire

1459
01:20:32,200 --> 01:20:35,890
Speaker 3: at night. As I mentioned earlier, not always opposed to

1460
01:20:36,030 --> 01:20:39,050
Speaker 3: adding in a love story, but it seems really ill-suited

1461
01:20:39,130 --> 01:20:41,590
Speaker 3: to the story of the time machine, given a number

1462
01:20:41,610 --> 01:20:44,270
Speaker 3: of things like how different the Eloi are from us

1463
01:20:44,350 --> 01:20:47,220
Speaker 3: and how soon it is after George's arrival and all that.

1464
01:20:47,479 --> 01:20:52,340
Speaker 1: The main thing they have in common is they eat fruit. Yeah, exactly. Yeah. Anyway. Anyway.

1465
01:20:53,620 --> 01:20:58,400
Speaker 3: The next day, we get some exposition in this sequence

1466
01:20:58,460 --> 01:21:03,490
Speaker 3: through the so-called talking rings. So Wiener takes George to

1467
01:21:03,510 --> 01:21:07,350
Speaker 3: this automated history museum where there are machines that tell

1468
01:21:07,910 --> 01:21:10,250
Speaker 3: about the events of the past. And you can play

1469
01:21:10,290 --> 01:21:12,880
Speaker 3: these sort of data disks that are stored in metal

1470
01:21:12,979 --> 01:21:17,240
Speaker 3: rings by setting them spinning on a glowing tabletop. From

1471
01:21:17,280 --> 01:21:20,440
Speaker 3: these rings, George learns that long ago, There was a

1472
01:21:20,540 --> 01:21:24,580
Speaker 3: horrible world war that left the atmosphere so contaminated with

1473
01:21:24,800 --> 01:21:28,400
Speaker 3: germs that the air was not fit to breathe. And

1474
01:21:28,540 --> 01:21:31,860
Speaker 3: two groups of humankind parted ways here. Some remained above

1475
01:21:31,920 --> 01:21:34,200
Speaker 3: ground to take their chances, trying to survive in the

1476
01:21:34,220 --> 01:21:38,420
Speaker 3: poisoned atmosphere. And the other group went underground into caves

1477
01:21:38,520 --> 01:21:42,059
Speaker 3: and tunnels. The earth eventually recovered over the centuries, but

1478
01:21:42,120 --> 01:21:45,440
Speaker 3: this became a division point for the human species. The

1479
01:21:45,580 --> 01:21:48,180
Speaker 3: Eloi are descended from those who stayed on the surface.

1480
01:21:48,560 --> 01:21:53,430
Speaker 3: and the Morlocks from those who went below. This history is,

1481
01:21:53,490 --> 01:21:55,370
Speaker 3: if I'm recalling correctly, Rob, I think you've read the

1482
01:21:55,410 --> 01:21:59,049
Speaker 3: novel more recently than me, somewhat different from the novel.

1483
01:21:59,110 --> 01:22:02,410
Speaker 3: My memory of the novel is that Wells included a

1484
01:22:02,790 --> 01:22:07,950
Speaker 3: class critique here where the Morlocks were descended from exploited

1485
01:22:08,010 --> 01:22:12,060
Speaker 3: workers who were forced to toil underground on the machines

1486
01:22:12,520 --> 01:22:14,960
Speaker 3: that kept life free and easy for the rich on

1487
01:22:15,000 --> 01:22:19,620
Speaker 3: the surface above. Though eventually, over the centuries, the relationship

1488
01:22:19,660 --> 01:22:24,110
Speaker 3: changed and the exploited underground people became the Morlocks and

1489
01:22:24,150 --> 01:22:27,050
Speaker 3: became the exploiters in the most direct sense by eating

1490
01:22:27,090 --> 01:22:28,009
Speaker 3: the surface dwellers.

1491
01:22:28,590 --> 01:22:30,729
Speaker 1: Yeah, this is my recollection as well. And yeah, it

1492
01:22:30,750 --> 01:22:33,730
Speaker 1: was more of a class critique. Here, though, I think

1493
01:22:33,770 --> 01:22:37,750
Speaker 1: the change is understandable because it's been adapted to fit

1494
01:22:37,930 --> 01:22:43,879
Speaker 1: the overarching critique of humanity's propensity for warfare.

1495
01:22:44,220 --> 01:22:44,380
Speaker 2: Yeah.

1496
01:22:45,180 --> 01:22:47,760
Speaker 3: So at some point, while George is trying to climb

1497
01:22:47,820 --> 01:22:52,070
Speaker 3: down a ventilation shaft to explore the caverns below, there's

1498
01:22:52,110 --> 01:22:55,010
Speaker 3: a sound from above. And here's a scene I made

1499
01:22:55,050 --> 01:22:57,590
Speaker 3: reference to earlier. It is the sound we hear of

1500
01:22:57,610 --> 01:23:01,530
Speaker 3: air raid sirens. When the air raid sirens go off,

1501
01:23:02,090 --> 01:23:06,910
Speaker 3: the noise puts the Eloi into a hypnotized state where

1502
01:23:06,950 --> 01:23:10,689
Speaker 3: their eyes go glassy and they just start to automatically

1503
01:23:10,810 --> 01:23:14,500
Speaker 3: march en masse straight into into the Temple of the

1504
01:23:14,560 --> 01:23:18,059
Speaker 3: Sphinx until the doors slam shut. So this is what

1505
01:23:18,120 --> 01:23:20,680
Speaker 3: happens here. George runs after the Eloi, trying to get

1506
01:23:20,700 --> 01:23:23,440
Speaker 3: them to stop, but it's like they don't even see him.

1507
01:23:23,880 --> 01:23:27,059
Speaker 3: And Weena and many others are taken underground. George is

1508
01:23:27,180 --> 01:23:30,380
Speaker 3: unable to get there in time. So here we have

1509
01:23:30,420 --> 01:23:33,020
Speaker 3: the final descent into the underworld. George has to go

1510
01:23:33,100 --> 01:23:35,560
Speaker 3: into the rescue. So he climbs down one of these

1511
01:23:35,660 --> 01:23:40,879
Speaker 3: ventilation shafts to find below the surface a great cavern.

1512
01:23:41,330 --> 01:23:44,220
Speaker 3: with all these pipes and gears. This is the machinery

1513
01:23:44,280 --> 01:23:47,340
Speaker 3: that makes life on the surface possible. And also he

1514
01:23:47,400 --> 01:23:52,160
Speaker 3: finds bone pits full of human bones. He discovers that

1515
01:23:52,200 --> 01:23:56,900
Speaker 3: the Morlocks treat the Eloi as livestock for meat and

1516
01:23:56,939 --> 01:23:59,769
Speaker 3: they lure them underground with the sound of the air

1517
01:23:59,790 --> 01:24:03,890
Speaker 3: raid sirens that now it's almost by like a biological mechanism.

1518
01:24:04,350 --> 01:24:07,910
Speaker 3: The surface dwellers have been conditioned to retreat underground to

1519
01:24:07,990 --> 01:24:10,390
Speaker 3: safety when they hear the air raid sirens. Like, so,

1520
01:24:11,240 --> 01:24:13,640
Speaker 3: the technology of war has become a part of our

1521
01:24:13,700 --> 01:24:18,450
Speaker 3: physical organism. And they retreat underground for the air raid sirens.

1522
01:24:19,170 --> 01:24:22,490
Speaker 3: And then they're eaten by the Morlocks. Now, one thing

1523
01:24:22,510 --> 01:24:24,229
Speaker 3: I do wonder, what kind of dishes do you think

1524
01:24:24,270 --> 01:24:26,170
Speaker 3: the Morlocks make out of the Eloi? Or is it

1525
01:24:26,210 --> 01:24:27,610
Speaker 3: just like raw bone chomping?

1526
01:24:28,070 --> 01:24:30,889
Speaker 1: I mean, there's their machines down there. So I assume

1527
01:24:31,090 --> 01:24:33,370
Speaker 1: they're processed into some sort of sausage and then they

1528
01:24:33,390 --> 01:24:36,850
Speaker 1: just dump the skeletons, which are, I guess, rather complete

1529
01:24:36,910 --> 01:24:39,010
Speaker 1: skeletons there in the bone pit.

1530
01:24:39,560 --> 01:24:52,740
Speaker 3: Eloy Mortadella. So here we come down to meet the Morlocks. Rob,

1531
01:24:52,979 --> 01:24:55,390
Speaker 3: I know you had some stuff about the Morlocks. This

1532
01:24:55,450 --> 01:24:56,630
Speaker 3: is probably the place to talk about them.

1533
01:24:56,670 --> 01:24:59,790
Speaker 1: Yeah, yeah. So we don't actually see these guys in

1534
01:24:59,850 --> 01:25:02,930
Speaker 1: full until this point, really, and pretty late in the film.

1535
01:25:03,170 --> 01:25:05,470
Speaker 1: We get a few teases here and there, and then

1536
01:25:05,670 --> 01:25:09,280
Speaker 1: we begin to see them more fully. as our hero,

1537
01:25:09,320 --> 01:25:13,900
Speaker 1: the time traveler, is stalking into the caverns. He's trying

1538
01:25:13,930 --> 01:25:18,410
Speaker 1: to find what happened to the Eloi. And we begin

1539
01:25:18,450 --> 01:25:21,490
Speaker 1: to see them stalking him here. I think one of

1540
01:25:21,510 --> 01:25:26,589
Speaker 1: the first glimpses, we get one where he's blending into

1541
01:25:26,610 --> 01:25:30,170
Speaker 1: the cavern walls, and then he moves. And then there's

1542
01:25:30,210 --> 01:25:32,410
Speaker 1: even one that comes right up behind him, like he's

1543
01:25:32,430 --> 01:25:34,750
Speaker 1: going to grab him. It's almost a little Abaddon Costello scene.

1544
01:25:35,240 --> 01:25:37,960
Speaker 1: but it's still rather creepy because the monsters look so good.

1545
01:25:38,700 --> 01:25:43,800
Speaker 1: They're essentially stocky, blue-gray, ape-like creatures with long manes of

1546
01:25:43,900 --> 01:25:47,680
Speaker 1: white hair. Kind of bangs, too, a little bit. They

1547
01:25:47,700 --> 01:25:51,780
Speaker 1: have sharp claws and teeth. They've got David St. Hubbard's

1548
01:25:51,810 --> 01:25:56,030
Speaker 1: hair on them. They're quite stealthy, and as we'll see

1549
01:25:56,050 --> 01:25:59,490
Speaker 1: in a bit, they're prone to leap at their adversaries

1550
01:25:59,530 --> 01:26:04,939
Speaker 1: from ledges. do like flying body presses, the kind of

1551
01:26:04,960 --> 01:26:09,519
Speaker 1: luchador style. However, they're just as, if not more prone

1552
01:26:09,560 --> 01:26:12,599
Speaker 1: to injury than a typical human. So they're not like

1553
01:26:12,840 --> 01:26:15,680
Speaker 1: super strong. They can still get, you know, knocked on

1554
01:26:15,720 --> 01:26:16,900
Speaker 1: the head and they're out for the count.

1555
01:26:17,189 --> 01:26:19,849
Speaker 3: The sense I get of the Morlocks is a glass

1556
01:26:19,890 --> 01:26:20,790
Speaker 3: cannon design.

1557
01:26:21,210 --> 01:26:21,430
Speaker 1: Yeah.

1558
01:26:21,490 --> 01:26:24,990
Speaker 3: They're very vicious and dangerous, but if you just hit back,

1559
01:26:26,070 --> 01:26:29,250
Speaker 3: they're easily beaten. Like they're very delicate. There's one point

1560
01:26:29,310 --> 01:26:31,890
Speaker 3: where someone hits a Morlock in the face, and it's

1561
01:26:31,930 --> 01:26:35,150
Speaker 3: almost like its face just shatters. Like, all the blood

1562
01:26:35,220 --> 01:26:40,540
Speaker 3: comes out, and if that is intentional, that would fit

1563
01:26:40,580 --> 01:26:42,420
Speaker 3: with the themes, because the whole thing is that the

1564
01:26:42,540 --> 01:26:46,400
Speaker 3: Eloi don't fight back at all. It doesn't even occur

1565
01:26:46,420 --> 01:26:46,900
Speaker 3: to them to.

1566
01:26:47,340 --> 01:26:50,939
Speaker 1: Yeah. And if memory serves, this does essentially match up

1567
01:26:50,970 --> 01:26:52,729
Speaker 1: with the book, where I think the Morlocks are not

1568
01:26:52,770 --> 01:26:55,689
Speaker 1: depicted as, like, super strong ape men. They are, like,

1569
01:26:55,770 --> 01:27:00,450
Speaker 1: weaker than a contemporary human, but They have the numbers

1570
01:27:00,530 --> 01:27:01,460
Speaker 1: on their side, of course.

1571
01:27:01,840 --> 01:27:02,040
Speaker 2: Yeah.

1572
01:27:02,979 --> 01:27:05,260
Speaker 3: Uh, so down here in the, uh, down here in

1573
01:27:05,280 --> 01:27:08,060
Speaker 3: the caverns, George locates the Eloy who have been brought

1574
01:27:08,160 --> 01:27:10,900
Speaker 3: in to be, to be eaten. Uh, and he uses

1575
01:27:10,960 --> 01:27:13,060
Speaker 3: the fact that the Morlocks are afraid of fire to

1576
01:27:13,100 --> 01:27:15,900
Speaker 3: get advantage over them. There's also just a lot of

1577
01:27:15,960 --> 01:27:19,080
Speaker 3: standard like punching and roadhouse, roadhouse stealth fighting.

1578
01:27:19,100 --> 01:27:21,630
Speaker 1: Swinging the torch around. We'll see the torch in a bit.

1579
01:27:21,910 --> 01:27:22,130
Speaker 2: Yes.

1580
01:27:22,990 --> 01:27:25,170
Speaker 3: But the very important thing here is not just the

1581
01:27:25,229 --> 01:27:29,210
Speaker 3: George fights, but that he finally inspires, he rouses the

1582
01:27:29,270 --> 01:27:33,470
Speaker 3: imprisoned Eloy to fight for themselves. There's a scene where

1583
01:27:33,550 --> 01:27:36,730
Speaker 3: one of them dramatically makes a fist as if for

1584
01:27:36,770 --> 01:27:39,070
Speaker 3: the first time in his life. And then he punches

1585
01:27:39,110 --> 01:27:41,090
Speaker 3: a Morlock and breaks his face and we see the

1586
01:27:41,130 --> 01:27:44,439
Speaker 3: blood running out of its mouth. And George and the Eloy,

1587
01:27:44,490 --> 01:27:47,099
Speaker 3: then they fight back and they escape the underground caverns.

1588
01:27:47,160 --> 01:27:50,300
Speaker 3: And then on the surface, they drop flaming branches into

1589
01:27:50,340 --> 01:27:54,930
Speaker 3: the air vents all around the landscape. burning the passages below. Yes.

1590
01:27:54,950 --> 01:27:58,620
Speaker 1: Things kind of collapse and more smoke and fire comes out.

1591
01:27:58,660 --> 01:28:01,019
Speaker 1: And I remember thinking, I mean, both times I've seen

1592
01:28:01,040 --> 01:28:03,740
Speaker 1: the film, I've had the thought, ooh, I hope none

1593
01:28:03,760 --> 01:28:06,700
Speaker 1: of the machinery they just destroyed wasn't essential for life

1594
01:28:06,770 --> 01:28:08,170
Speaker 1: to continue on the surface here.

1595
01:28:08,450 --> 01:28:10,950
Speaker 3: Well, I think the implication actually is that it was.

1596
01:28:11,070 --> 01:28:11,269
Speaker 4: Yeah.

1597
01:28:11,290 --> 01:28:14,890
Speaker 3: Like they did destroy the machinery. They destroyed the Morlocks

1598
01:28:14,930 --> 01:28:18,259
Speaker 3: who were harmed or oppressing them, but they also destroyed

1599
01:28:18,280 --> 01:28:21,540
Speaker 3: the machinery that keeps them alive. Yeah. So they're going

1600
01:28:21,560 --> 01:28:24,800
Speaker 3: to have to learn how to live again. They're going

1601
01:28:24,820 --> 01:28:26,620
Speaker 3: to have to learn how to work.

1602
01:28:26,970 --> 01:28:30,290
Speaker 1: Yeah. The presumably it doesn't like destroy oxygen, like the

1603
01:28:30,310 --> 01:28:33,110
Speaker 1: machinery down there wasn't creating a breathable atmosphere or anything

1604
01:28:33,130 --> 01:28:33,430
Speaker 1: like that.

1605
01:28:33,710 --> 01:28:34,350
Speaker 3: Hopefully not.

1606
01:28:34,430 --> 01:28:34,670
Speaker 1: Yeah.

1607
01:28:36,310 --> 01:28:39,440
Speaker 3: But this whole sequence, I think, is also interesting because

1608
01:28:39,479 --> 01:28:42,060
Speaker 3: it highlights some paradoxical stuff in the film that I

1609
01:28:42,080 --> 01:28:45,680
Speaker 3: don't know exactly what the intended way to take it is.

1610
01:28:45,760 --> 01:28:49,979
Speaker 3: But again, to come back to the movie's anti-war themes,

1611
01:28:50,020 --> 01:28:53,060
Speaker 3: I mean, it's pretty clear that the story is opposed

1612
01:28:53,100 --> 01:28:55,200
Speaker 3: to militarism. One of these themes we get over and

1613
01:28:55,240 --> 01:28:58,110
Speaker 3: over again is that Every time humankind is able to

1614
01:28:58,229 --> 01:29:03,639
Speaker 3: build something good, something benevolent and brilliant and useful, we

1615
01:29:03,850 --> 01:29:07,280
Speaker 3: unleash our war-making impulses and destroy it all over again.

1616
01:29:08,200 --> 01:29:12,900
Speaker 3: So humankind's relationship to war before this point is presented

1617
01:29:12,979 --> 01:29:15,640
Speaker 3: as this kind of horrible addiction, one where every time

1618
01:29:15,680 --> 01:29:18,500
Speaker 3: we think we've kicked it and can begin to build

1619
01:29:18,540 --> 01:29:22,250
Speaker 3: a good life, we relapse and we ruin everything. And

1620
01:29:22,290 --> 01:29:26,360
Speaker 3: yet when George reaches the far future... he finds the

1621
01:29:26,460 --> 01:29:29,700
Speaker 3: Eloy as these people who are purely peaceful and have

1622
01:29:29,780 --> 01:29:33,900
Speaker 3: no destructive impulses. But as we talked about, he's disgusted

1623
01:29:33,990 --> 01:29:37,490
Speaker 3: by their lack of virtue and the absence of humanity

1624
01:29:37,570 --> 01:29:41,570
Speaker 3: and kindness and generosity within them. And the only way

1625
01:29:41,630 --> 01:29:45,410
Speaker 3: they're able to save themselves is when George inspires them

1626
01:29:45,600 --> 01:29:48,580
Speaker 3: to make war against the repressors, the Morlocks.

1627
01:29:48,860 --> 01:29:49,019
Speaker 1: Yeah.

1628
01:29:49,620 --> 01:29:53,260
Speaker 3: Um, I don't know exactly how to take that. I, again,

1629
01:29:53,280 --> 01:29:55,910
Speaker 3: I don't think, think that means the film is going

1630
01:29:56,010 --> 01:29:59,130
Speaker 3: back on its earlier values and making a war is

1631
01:29:59,229 --> 01:30:03,420
Speaker 3: good argument but I don't know I guess that I

1632
01:30:03,450 --> 01:30:05,180
Speaker 3: would have to take it as that it has a

1633
01:30:05,189 --> 01:30:09,400
Speaker 3: more complicated attitude we're accepting it's has an ethos of

1634
01:30:09,460 --> 01:30:12,679
Speaker 3: some accepting that sometimes we have to fight in self-defense

1635
01:30:13,520 --> 01:30:16,300
Speaker 3: and admitting there could be virtue in that but also

1636
01:30:16,840 --> 01:30:20,320
Speaker 3: sticking by this belief that maybe that the case for

1637
01:30:20,400 --> 01:30:22,900
Speaker 3: fighting needs to be very strongly made and.

1638
01:30:23,350 --> 01:30:25,830
Speaker 1: Yeah, yeah, like it needs to be a righteous battle.

1639
01:30:26,350 --> 01:30:29,770
Speaker 1: And it's interesting because in this moment, or at least

1640
01:30:29,790 --> 01:30:31,450
Speaker 1: the way we're talking about it here, it reminds me

1641
01:30:31,490 --> 01:30:35,950
Speaker 1: of that pivotal moment in the Bhagavad Gita. This is

1642
01:30:36,010 --> 01:30:39,450
Speaker 1: the scene where, I believe it's Arjuna, who is, you know,

1643
01:30:39,670 --> 01:30:41,950
Speaker 1: he's out there on the battlefield. I think he's perhaps

1644
01:30:42,210 --> 01:30:44,299
Speaker 1: on his chariot. And, you know, there's about to be

1645
01:30:44,340 --> 01:30:47,520
Speaker 1: this huge battle, and he's just ruminating on, like, how

1646
01:30:47,540 --> 01:30:49,759
Speaker 1: can I act? How can I do anything? Like, this

1647
01:30:49,780 --> 01:30:52,460
Speaker 1: is just, you know, this awful situation of war. And

1648
01:30:52,520 --> 01:30:55,220
Speaker 1: Krishna says, you know, comes to him and persuades him

1649
01:30:55,520 --> 01:30:58,759
Speaker 1: that no, you know, you have to just follow your duty.

1650
01:30:59,220 --> 01:31:01,439
Speaker 1: You know, that's, that's what you have to do. Like you,

1651
01:31:03,080 --> 01:31:05,700
Speaker 1: inaction is not a choice. And so we, we have

1652
01:31:05,740 --> 01:31:07,099
Speaker 1: something maybe akin to that.

1653
01:31:08,260 --> 01:31:11,100
Speaker 3: Though, of course that, that has to be done with

1654
01:31:11,160 --> 01:31:15,160
Speaker 3: a kind of, with a kind of a peace biased reason,

1655
01:31:15,240 --> 01:31:17,250
Speaker 3: I think is, is the case you'd make here because

1656
01:31:17,270 --> 01:31:20,270
Speaker 3: you can justify any number of atrocities by claiming that

1657
01:31:20,310 --> 01:31:23,520
Speaker 3: it's somebody's duty. And, you know, bullies and and you

1658
01:31:23,550 --> 01:31:27,130
Speaker 3: know oppressors are always able to convince themselves that they

1659
01:31:27,170 --> 01:31:29,830
Speaker 3: are in the right if you know if you uh

1660
01:31:29,930 --> 01:31:33,070
Speaker 3: if you are not skeptical of the the arguments that

1661
01:31:33,130 --> 01:31:35,610
Speaker 3: make your side feel good then yeah you can you

1662
01:31:35,630 --> 01:31:38,809
Speaker 3: can always come up with a way of justifying being

1663
01:31:38,850 --> 01:31:39,669
Speaker 3: the bad guy.

1664
01:31:39,450 --> 01:31:43,589
Speaker 1: Yeah i mean because if you're gonna really like analyze

1665
01:31:43,630 --> 01:31:46,190
Speaker 1: things like maybe the morlocks need some help too and

1666
01:31:46,290 --> 01:31:48,110
Speaker 1: they don't just need to be wiped out maybe there's

1667
01:31:48,170 --> 01:31:49,769
Speaker 1: room for growth for them as.

1668
01:31:49,729 --> 01:31:52,710
Speaker 3: Well maybe Well, we don't really get to hear their

1669
01:31:52,770 --> 01:31:55,830
Speaker 3: point of view. If only there were an Uber Morlock

1670
01:31:55,930 --> 01:31:59,230
Speaker 3: to speak for them, to explain their side of things.

1671
01:31:59,470 --> 01:32:04,220
Speaker 1: There have been so many time machine-inspired works of fiction,

1672
01:32:04,240 --> 01:32:06,940
Speaker 1: derivative works. This has to have been explored at some point.

1673
01:32:06,960 --> 01:32:09,500
Speaker 1: I know there have been at least literary and comic

1674
01:32:09,520 --> 01:32:11,660
Speaker 1: work for the Morlocks to get a hold of the

1675
01:32:11,700 --> 01:32:14,620
Speaker 1: time machine and travel to late Victoria and England and

1676
01:32:15,060 --> 01:32:17,650
Speaker 1: have their own adventures there. So maybe someone has explored this.

1677
01:32:26,580 --> 01:32:30,660
Speaker 3: So anyway, we're coming to the ending now. George is

1678
01:32:30,700 --> 01:32:33,340
Speaker 3: going to go back to his time machine because the

1679
01:32:33,380 --> 01:32:35,180
Speaker 3: doors of the temple are open again. So he goes

1680
01:32:35,240 --> 01:32:38,300
Speaker 3: back to his machine. There's a question of whether he's

1681
01:32:38,340 --> 01:32:41,240
Speaker 3: going to take Weena with him or something or whether

1682
01:32:41,280 --> 01:32:43,620
Speaker 3: he's maybe not going to go back. I don't remember

1683
01:32:43,660 --> 01:32:46,020
Speaker 3: exactly what he lands on there. But anyway, there's a

1684
01:32:46,060 --> 01:32:50,689
Speaker 3: surprise attack by the remnant of the Morlocks. They jump him. uh,

1685
01:32:50,729 --> 01:32:52,610
Speaker 3: by his machine. And so he has to get in

1686
01:32:52,729 --> 01:32:55,950
Speaker 3: and escape through time back to the year 1900. And

1687
01:32:55,990 --> 01:32:57,850
Speaker 3: this cycles back to the beginning of the story.

1688
01:32:57,890 --> 01:33:00,830
Speaker 1: We get that great scene though, of the Morlock that's

1689
01:33:00,850 --> 01:33:04,800
Speaker 1: been killed, uh, slow motion rotting, right. As he travels forward.

1690
01:33:04,840 --> 01:33:06,500
Speaker 1: And then he's like, Whoa, I don't need to go forward.

1691
01:33:06,520 --> 01:33:07,140
Speaker 1: I need to go back.

1692
01:33:07,460 --> 01:33:07,900
Speaker 3: Yeah.

1693
01:33:07,939 --> 01:33:08,460
Speaker 4: For a second.

1694
01:33:08,500 --> 01:33:09,780
Speaker 3: I was like, are we going to get the vision

1695
01:33:09,800 --> 01:33:13,380
Speaker 3: of the further future with the crabs? But we didn't know. Uh,

1696
01:33:13,479 --> 01:33:15,740
Speaker 3: so he goes back and he, you know, stumbles into

1697
01:33:15,780 --> 01:33:18,250
Speaker 3: dinner to tell the story to, to his friends at

1698
01:33:18,290 --> 01:33:21,719
Speaker 3: the burnt roast dinner. Uh, They don't really believe him,

1699
01:33:21,900 --> 01:33:24,360
Speaker 3: though he does bring a piece of proof. He has

1700
01:33:24,400 --> 01:33:27,500
Speaker 3: a flower given to him by Weena. And we learn

1701
01:33:27,540 --> 01:33:31,120
Speaker 3: here that Philby is a botany fanatic and he takes

1702
01:33:31,180 --> 01:33:32,540
Speaker 3: a look at it. He's like, I've never seen a

1703
01:33:32,560 --> 01:33:35,059
Speaker 3: flower like this before. There isn't a flower like this

1704
01:33:35,120 --> 01:33:39,490
Speaker 3: on earth. And then shortly after this, Philby comes back

1705
01:33:39,550 --> 01:33:42,530
Speaker 3: looking for George, but finds both him and his time

1706
01:33:42,570 --> 01:33:47,180
Speaker 3: machine missing. Where did he go? And so I think

1707
01:33:47,200 --> 01:33:49,860
Speaker 3: we're just left with Philby and Mrs. Watchit standing around

1708
01:33:49,880 --> 01:33:52,179
Speaker 3: being like, where did he go? Did he take anything

1709
01:33:52,240 --> 01:33:54,320
Speaker 3: with him? And he did take something.

1710
01:33:54,360 --> 01:33:54,500
Speaker 1: Mrs.

1711
01:33:54,540 --> 01:33:57,040
Speaker 3: Watchit is like, oh, look, three books are missing from

1712
01:33:57,060 --> 01:33:58,760
Speaker 3: the shelves. What could they be?

1713
01:33:58,979 --> 01:34:03,240
Speaker 1: That's right. And I love this. This is a nice little, hey, audience,

1714
01:34:03,300 --> 01:34:07,580
Speaker 1: here's a ready-to-go conversation to have after the movie. Indeed,

1715
01:34:07,780 --> 01:34:11,700
Speaker 1: which three books might he have taken with him into

1716
01:34:11,720 --> 01:34:18,550
Speaker 1: the far future to essentially rebuild uh, civilization and like re-nurture, uh,

1717
01:34:18,650 --> 01:34:22,290
Speaker 1: the best of humanity. Um, and, and then indeed, like

1718
01:34:22,390 --> 01:34:25,040
Speaker 1: what three would any individual choose to take with them?

1719
01:34:25,600 --> 01:34:27,179
Speaker 3: Uh, and you gotta have Dianetics.

1720
01:34:30,200 --> 01:34:33,020
Speaker 1: Yeah. Um, I was, yeah, I was thinking about this.

1721
01:34:33,060 --> 01:34:34,980
Speaker 1: I was thinking, well, I guess you'd want what a

1722
01:34:35,020 --> 01:34:37,370
Speaker 1: book on physics, a book on medicine, and maybe a

1723
01:34:37,390 --> 01:34:41,330
Speaker 1: book on biology. I mean, certainly physics would still hold

1724
01:34:41,450 --> 01:34:45,260
Speaker 1: up and most medicine and biology. I mean, obviously not

1725
01:34:45,300 --> 01:34:50,860
Speaker 1: for the extinct species, but presumably humanoid biology is still

1726
01:34:50,920 --> 01:34:51,700
Speaker 1: relatively the same.

1727
01:34:52,560 --> 01:34:55,920
Speaker 3: I would wonder if the most useful books, yeah, maybe

1728
01:34:55,960 --> 01:35:02,040
Speaker 3: something on like a field medicine manual and a book

1729
01:35:02,100 --> 01:35:04,940
Speaker 3: about like metalworking or something.

1730
01:35:04,970 --> 01:35:05,940
Speaker 1: Yeah.

1731
01:35:06,729 --> 01:35:10,810
Speaker 3: Just given where you're starting there, because like, otherwise, you know,

1732
01:35:10,830 --> 01:35:12,990
Speaker 3: if you don't know how to work metals, then that

1733
01:35:13,010 --> 01:35:15,270
Speaker 3: might really prove difficult for a long time.

1734
01:35:15,610 --> 01:35:17,450
Speaker 1: Well, I was thinking, one of my first thoughts was

1735
01:35:17,470 --> 01:35:20,050
Speaker 1: a book on foraging, but we have no idea what

1736
01:35:20,070 --> 01:35:24,330
Speaker 1: the flora... situation is like out there. So who knows?

1737
01:35:24,800 --> 01:35:30,860
Speaker 1: A book on scavenging and harvesting flora and mushrooms, wild

1738
01:35:30,900 --> 01:35:34,860
Speaker 1: mushrooms today, would be of virtually no use, presumably, in

1739
01:35:34,880 --> 01:35:35,520
Speaker 1: the far future.

1740
01:35:36,740 --> 01:35:39,150
Speaker 3: Presumably, metals still work the same way. So I'm going

1741
01:35:39,160 --> 01:35:41,170
Speaker 3: to stand by metalworking as one of the three.

1742
01:35:41,390 --> 01:35:45,610
Speaker 1: Yeah, I think that's a strong selection. Metallurgy, I don't know.

1743
01:35:45,830 --> 01:35:48,210
Speaker 1: You could make a case for books of general knowledge.

1744
01:35:48,630 --> 01:35:51,549
Speaker 1: I don't know how I don't know how ultimately useful

1745
01:35:51,710 --> 01:35:55,720
Speaker 1: a farmer's almanac would be, but things of that nature,

1746
01:35:56,180 --> 01:35:59,720
Speaker 1: I guess, would be an easy selection. It gets a

1747
01:35:59,740 --> 01:36:02,059
Speaker 1: little easier when you get into the days of e-readers

1748
01:36:02,120 --> 01:36:03,740
Speaker 1: and Kindles, because you can just have a Kindle loaded

1749
01:36:03,780 --> 01:36:07,730
Speaker 1: with essentially all the important works of human literature and

1750
01:36:07,750 --> 01:36:10,970
Speaker 1: then another one with a whole bunch of scientific works,

1751
01:36:10,990 --> 01:36:13,309
Speaker 1: and then you're pretty much good to go. But you

1752
01:36:13,330 --> 01:36:15,790
Speaker 1: can also nitpick this and say, why just three books? Like,

1753
01:36:16,120 --> 01:36:17,890
Speaker 1: you would think he had room for, if he had

1754
01:36:17,930 --> 01:36:19,970
Speaker 1: room for three, he had room for five. Just grab

1755
01:36:20,070 --> 01:36:24,090
Speaker 1: two at random. Even if they prove virtually useless, you've

1756
01:36:24,110 --> 01:36:27,229
Speaker 1: still got two more books in a world where you

1757
01:36:27,270 --> 01:36:28,610
Speaker 1: maybe have five books total.

1758
01:36:29,310 --> 01:36:31,679
Speaker 3: I bet it really did get people chatting going out

1759
01:36:31,720 --> 01:36:33,860
Speaker 3: of the theater. I mean, I wonder if there's stories

1760
01:36:33,900 --> 01:36:34,360
Speaker 3: about that.

1761
01:36:34,840 --> 01:36:36,300
Speaker 1: I mean, I did a quick look around and I

1762
01:36:36,360 --> 01:36:39,140
Speaker 1: see people asking this question all the time on the internet.

1763
01:36:39,160 --> 01:36:41,760
Speaker 1: People rewatch the time machine and they're like, hey, what

1764
01:36:41,800 --> 01:36:44,309
Speaker 1: three books would you choose? And, you know, people are,

1765
01:36:45,380 --> 01:36:48,259
Speaker 1: you know, making very personal choices, uh, here at times,

1766
01:36:48,300 --> 01:36:51,099
Speaker 1: you know, and I see the Bible, uh, mentioned numerous

1767
01:36:51,150 --> 01:36:53,729
Speaker 1: times as being like a key book. And, uh, I

1768
01:36:53,770 --> 01:36:55,530
Speaker 1: don't know. It's also fun to think of it just like, okay,

1769
01:36:55,570 --> 01:36:58,950
Speaker 1: if I don't have to rebuild a human civilization, like

1770
01:36:58,990 --> 01:37:01,130
Speaker 1: if it was just for my personal reading, like essentially

1771
01:37:01,189 --> 01:37:03,950
Speaker 1: treat it like a desert Island question, which everybody loves

1772
01:37:03,990 --> 01:37:06,420
Speaker 1: that one as well. You know, like I think, well,

1773
01:37:06,439 --> 01:37:08,500
Speaker 1: I guess I'd bring Dune. I guess I'd bring name

1774
01:37:08,520 --> 01:37:11,180
Speaker 1: of the Rose and I don't know, maybe Dune Messiah.

1775
01:37:12,160 --> 01:37:13,140
Speaker 1: Maybe that's too much Dune.

1776
01:37:13,160 --> 01:37:14,080
Speaker 4: Hmm.

1777
01:37:15,630 --> 01:37:17,710
Speaker 1: I wouldn't want to go as far as to have Dune,

1778
01:37:17,750 --> 01:37:20,830
Speaker 1: Dune Messiah, and then Children of Dune as well. Because then,

1779
01:37:20,850 --> 01:37:25,860
Speaker 1: I don't know, I'm happy with just the two. But

1780
01:37:25,880 --> 01:37:28,200
Speaker 1: then again, it's like people that I share these with

1781
01:37:28,220 --> 01:37:30,220
Speaker 1: are going to be like, what happens next? And I'm like, well,

1782
01:37:30,240 --> 01:37:32,240
Speaker 1: there are these other books, but I just didn't bring them.

1783
01:37:32,260 --> 01:37:33,240
Speaker 1: I only brought the first two.

1784
01:37:33,620 --> 01:37:38,270
Speaker 3: The novelization of Halloween 3, Season of the Witch. Okay,

1785
01:37:38,490 --> 01:37:39,930
Speaker 3: I think that does it for The Time Machine.

1786
01:37:40,610 --> 01:37:42,170
Speaker 1: All right, we're going to go ahead and close this

1787
01:37:42,270 --> 01:37:44,100
Speaker 1: one up then, but we hope you enjoyed it, and

1788
01:37:44,120 --> 01:37:45,740
Speaker 1: we'd love to hear from everyone out there. What are

1789
01:37:45,760 --> 01:37:49,480
Speaker 1: your thoughts on The Time Machine, the original work, the

1790
01:37:49,479 --> 01:37:53,860
Speaker 1: 1960 adaptation, other adaptations, derivative works, the use of The

1791
01:37:53,920 --> 01:37:57,930
Speaker 1: Time Machine and Morlocks and related works of fiction? Write in.

1792
01:37:57,979 --> 01:38:00,490
Speaker 1: We would love to hear from you. Just a reminder

1793
01:38:00,530 --> 01:38:02,370
Speaker 1: that Stuff to Blow Your Mind is primarily a science

1794
01:38:02,410 --> 01:38:06,170
Speaker 1: and culture podcast with core episodes on Tuesdays and Thursdays,

1795
01:38:06,210 --> 01:38:09,540
Speaker 1: including some past episodes on time travel, And we did

1796
01:38:09,760 --> 01:38:13,259
Speaker 1: one on time travel fiction, like when did we start

1797
01:38:13,360 --> 01:38:18,240
Speaker 1: writing about time travel, you know, speculatively and so forth.

1798
01:38:18,770 --> 01:38:20,910
Speaker 1: That's a fun one to revisit. So you'll find all those,

1799
01:38:21,330 --> 01:38:23,469
Speaker 1: you know, in the archives, wherever you get your podcast.

1800
01:38:23,650 --> 01:38:25,769
Speaker 1: But yeah, on Fridays, we set aside most serious concerns

1801
01:38:25,790 --> 01:38:27,790
Speaker 1: to just talk about a weird film here on Weird

1802
01:38:27,810 --> 01:38:30,720
Speaker 1: House Cinema. If you go to Letterboxd.com, you'll find a

1803
01:38:30,729 --> 01:38:32,320
Speaker 1: list of all the movies we've covered over the years

1804
01:38:32,380 --> 01:38:35,460
Speaker 1: and sometimes a glimpse at what is coming up next,

1805
01:38:35,640 --> 01:38:38,360
Speaker 1: such as next week, which is Star Trek week. Yes,

1806
01:38:38,439 --> 01:38:40,380
Speaker 1: on Friday, we will talk about one of the Star

1807
01:38:40,420 --> 01:38:43,000
Speaker 1: Trek movies. Which one will it be? Well, you can

1808
01:38:43,040 --> 01:38:45,219
Speaker 1: go to Letterboxd right now and get a peek ahead

1809
01:38:45,360 --> 01:38:46,140
Speaker 1: at what we're going to cover.

1810
01:38:47,140 --> 01:38:50,939
Speaker 3: Huge thanks, as always, to our excellent audio producer, J.J. Posway,

1811
01:38:51,040 --> 01:38:54,139
Speaker 3: and special thanks to our guest producers this week, Dylan

1812
01:38:54,240 --> 01:38:56,960
Speaker 3: Fagan and Evan Tyre. If you would like to get

1813
01:38:57,000 --> 01:38:58,900
Speaker 3: in touch with us with feedback on this episode or

1814
01:38:58,920 --> 01:39:01,040
Speaker 3: any other, to suggest a topic for the future, or

1815
01:39:01,080 --> 01:39:03,760
Speaker 3: just to say hello, you can email us at contact

1816
01:39:03,880 --> 01:39:05,860
Speaker 3: at stufftoblowyourmind.com.

1817
01:39:12,820 --> 01:39:15,200
Speaker 2: Stuff to Blow Your Mind is a production of iHeartRadio.

1818
01:39:15,640 --> 01:39:18,970
Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app. Apple

1819
01:39:18,990 --> 01:39:21,340
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