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Speaker 1: Welcome to Stuff to Blow Your Mind production of I

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Speaker 1: Heart Radio. Hey you welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and this is Joe McCormick, and it's

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Speaker 1: finally time for our very first Edwood movie on Weird

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Speaker 1: House Cinema. Today's selection is perhaps the reigning world champion

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Speaker 1: of the schlock to gone. It is the nineteen seven

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Speaker 1: undead saucer invasion film Plan nine from Outer Space, a

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Speaker 1: movie in which fussy aliens attempt to conquer planet Earth

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Speaker 1: by creating approximately three zombies at a local cemetery in

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Speaker 1: Los Angeles. I've been wondering how long it would take

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Speaker 1: us to do an Edward movie, and we debated whether

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Speaker 1: we should uh do do this? Do this one or

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Speaker 1: Bride of the Monster. They're both fantastic, but I think

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Speaker 1: this might be a sort of emotional episode for me

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Speaker 1: because Plan nine is not only one of the best

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Speaker 1: and most famously bad movies of all time, it also

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Speaker 1: played a very special role in my life. So, Rob,

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Speaker 1: I don't know if I ever told you this before,

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Speaker 1: but when my wife Rachel and I were very first

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Speaker 1: hanging out when we were in high school. This was

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Speaker 1: before we were technically dating. I don't know what the

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Speaker 1: term in your high school time and place was. It

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Speaker 1: was going out for us. Before we were going out.

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Speaker 1: One of the first times we ever got together was

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Speaker 1: to watch Plan nine from Outer Space in the basement

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Speaker 1: of my parents house. Oh yeah, so we all we

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Speaker 1: already knew each other, we had some friends in common,

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Speaker 1: but for some reason we decided we needed to see

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Speaker 1: this movie. And I still remember vividly. Uh a bunch

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Speaker 1: of failed attempts to acquire a copy. Like we we

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Speaker 1: went to Blockbuster Video thinking oh, yeah, okay, it's Blockbuster,

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Speaker 1: surely they will have Plan nine from Outer Space and

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Speaker 1: what a shock they did not. This would have been

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Speaker 1: I think around two thousand two, so they could have

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Speaker 1: hooked us up with the thirty seven copies of Mr

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Speaker 1: Deed's if we wanted, but they did not have any

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Speaker 1: Edward movies in stock. And eventually we figured out that

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Speaker 1: one of Rachel's friends had a bootleg VHS tape of it.

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Speaker 1: We we finally got our hands on it, and wow,

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Speaker 1: it was so perfect, like the aliens wearing the costumes

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Speaker 1: with the medieval sigils like you know, Bunny breck and

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Speaker 1: Ridge with the ax and uh, the constant switching between

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Speaker 1: night and day, the floppy tombstones, the line delivery, but

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Speaker 1: I'll be in there. Uh, and it was. It was

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Speaker 1: just a magical experience. Uh. I. And now in our house,

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Speaker 1: right next to one of our wedding photos, we have

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Speaker 1: a framed portrait of Tore Johnson and Vampira from Plan nine. Uh.

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Speaker 1: That's sweet. And I have to say this is probably

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Speaker 1: the perfect movie to watch on a bootleg VHS in

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Speaker 1: a basement somewhere. It's this is a great date movie

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Speaker 1: in general. I mean, yeah, yeah, yeah, I've watched this

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Speaker 1: with my wife before, and it's it's just it is.

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Speaker 1: It is NonStop, it is relentlessly what it is, and

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Speaker 1: it's I was having trouble coming up with the perfect

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Speaker 1: adjective for what this film is, because you can say

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Speaker 1: it's cheesy, or it's bad, or it's amateur, or it's

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Speaker 1: outsider art. Uh, you know, and it's and it is

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Speaker 1: all those things, and yet it it kind of expands

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Speaker 1: beyond easy definition. Oh yeah. And I also just want

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Speaker 1: to point out that this is another nineteen fifty seven

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Speaker 1: sci fi horror movie, which you know, I was trying

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Speaker 1: to think of. I have a feeling about this. It's

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Speaker 1: kind of ineffable. I was trying to find the best

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Speaker 1: way to put it into words, but I think it's

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Speaker 1: that I have a sense that like nineteen fifty seven

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Speaker 1: to fifty eight was a two year period that was

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Speaker 1: a renaissance for sci fi monster trash, like just to

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Speaker 1: stick to movies that we've talked about on Weird House,

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Speaker 1: fifty seven was the same year as Attack of the

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Speaker 1: Crab Monsters and Not of This Earth. Fifty eight was

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Speaker 1: the Brain Eaters and Fiend without a Face. I feel

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Speaker 1: like something happened during this two year period there was

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Speaker 1: a shift in the veltgeist and it gave rise to

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Speaker 1: all these emanations, emanations in the gnostic sense, from a

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Speaker 1: kind of primeval spirit of B movie weirdness, and the

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Speaker 1: world has never been the same. We live in the

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Speaker 1: culture that was built by the clumsy, brow furrowing dimmi

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Speaker 1: urge that descended from those emanations. It's fifty seven to

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Speaker 1: fifty eight, and and it's been monsters ever since. This

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Speaker 1: is the air we breathe. Yeah, I think that's a

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Speaker 1: great point. And uh yeah, thinking about my own history

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Speaker 1: with with Edwood and Plan nine Matter of Space, I'm

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Speaker 1: reminded that I I think I saw my first clips

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Speaker 1: from a number of these movies in two It came

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Speaker 1: from Hollywood, which somebody in my family had taped off

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Speaker 1: of HBO onto VHS, and and for some reason I

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Speaker 1: was allowed to watch this over and over again. Um,

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Speaker 1: even though you know, it's mostly like a lot of

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Speaker 1: fun monster clips, but also some risk a human are

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Speaker 1: and also some disturbing content from from Hollywood of Yesteryear.

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Speaker 1: But still there's a whole section on there that's that

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Speaker 1: is celebrating Edwood and talking about like how great and

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Speaker 1: how fun. You know. So much of this content was

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Speaker 1: so many of these films, and I guess I kind

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Speaker 1: of took all that for granted. And it wasn't until

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Speaker 1: I was digging into researching a little bit for this

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Speaker 1: picture that I realized that like before, like before the

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Speaker 1: the early eighties, when this came out and some other

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Speaker 1: things were going on with film festivals, uh, like Edwood

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Speaker 1: had already drifted into obscurity. Uh. And it was it

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Speaker 1: was the memory of these films for that ended up

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Speaker 1: resurrecting his spirit. Oh yeah, the weirdness of Plan nine.

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Speaker 1: I get the impression that this was not recognized at

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Speaker 1: the time as anything great or worthwhile, and it was

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Speaker 1: not celebrated, h even in an ironic sense, for a

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Speaker 1: long time until like decades after it was made. I

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Speaker 1: think the initial reaction was, well, that was weird. Okay,

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Speaker 1: I never see that again. But but but to come

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Speaker 1: back to what you said, like the classic era, you know,

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Speaker 1: I mean they're different. Classic eras in cinema that we

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Speaker 1: had that late nineteen fifties era seemed to have produced

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Speaker 1: a number of these these ideas, uh, these tropes that

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Speaker 1: would continue to resonate throughout our film culture as different

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Speaker 1: creators then grew up with those images in their heads

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Speaker 1: and then created their own things. I sort of feel

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Speaker 1: like this is the era where like the Corman machine

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Speaker 1: is finally humming at full output, like it it has

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Speaker 1: it's going and uh, and other parallel production machines for

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Speaker 1: drive in monster movies are sort of at the at

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Speaker 1: their peak output. Yeah. But but but before we get

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Speaker 1: too wrapped up in how Plan nine from Outer Space is,

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Speaker 1: you know, cranking the gears of history and of our

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Speaker 1: personal lives, before we get caught in the wheels of progress,

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Speaker 1: we should also describe what this movie is in a

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Speaker 1: literal sense. So I have a few categories I think

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Speaker 1: it should fit into. One is that it's a fifties

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Speaker 1: flying saucer movie. The plot concerns Aliens who fly around

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Speaker 1: in saucers that are described both as saucers and as

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Speaker 1: quote cigar shaped. Uh that's mutually exclusive, dude. I don't

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Speaker 1: know why you say that in the movie, but that's

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Speaker 1: what they say. Um, but their saucers. They come to

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Speaker 1: Earth to do something something vaguely hostile. It seems their

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Speaker 1: main objectives are to make sure that humans acknowledge their

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Speaker 1: existence and to keep humans from finding out about them.

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Speaker 1: And we find out more about their missions. But yeah,

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Speaker 1: so what is their mission? Well, this entails the second thing.

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Speaker 1: It's also a zombie movie. The aliens plan involves resurrecting

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Speaker 1: the dead from a cemetery and making these revenants wander

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Speaker 1: around and scare people. It is also an ed Would movie. Now,

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Speaker 1: more about that when we discuss Edward directly. But this

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Speaker 1: means a film made with an absolutely irresistible blend of

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Speaker 1: overwhelming ineptitude and all inspiring self confidence. And it's it's

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Speaker 1: a combination I can't really think of in any other filmmaker.

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Speaker 1: It's a movie that is so bad it's unbelievable, and

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Speaker 1: it yet it doesn't feel like just check cashing hack work.

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Speaker 1: It feels like it was made by someone who thought

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Speaker 1: this was a brilliant masterpiece and it might even change

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Speaker 1: the world. Yeah, there's an audacity to to Edward movies

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Speaker 1: for sure. Yeah, so so we'll get to win into

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Speaker 1: that into bed but but yeah, there's nothing quite like

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Speaker 1: an Edward film. Also, tying into the cast, which we

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Speaker 1: will discuss more in a minute, I think it's important

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Speaker 1: to say this is sort of a a bizarro ensemble movie. Like,

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Speaker 1: despite the fact that this is a very low budget movie,

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Speaker 1: the cast includes a surprising bill of strange but familiar

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Speaker 1: faces or what would have been strange but familiar faces

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Speaker 1: at the time. You've got Bella Legosi, the legend himself,

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Speaker 1: but also Tore Johnson van Hira, the amazing Criswell. It's

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Speaker 1: really kind of unusual when you when you stop to

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Speaker 1: appreciate how many sort of names ended up in this thing,

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Speaker 1: at least names that would have resonated on television in

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Speaker 1: l A at the time. Yeah, and and and beyond

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Speaker 1: that to some extent, and and who might not necessarily

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Speaker 1: be known for acting but who make a very striking

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Speaker 1: screen presence. I mean our Vampira and Tore Johnson actors,

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Speaker 1: not really, but I mean when they're on screen, it

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Speaker 1: looks great. They They're both individuals who had totally nailed

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Speaker 1: what they were doing outside of film and in this

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Speaker 1: movie though, those skill sets are able to to work

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Speaker 1: well on film in kind of an acting space, but

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Speaker 1: I would not say they are acting right. Um. What

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Speaker 1: one last thing I want to say is that it's

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Speaker 1: in a category of a category that doesn't exist as

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Speaker 1: much as it used to, uh, and that is the

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Speaker 1: thoroughly technically incompetent film. Maybe we don't appreciate this distinction enough,

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Speaker 1: but here's my take. I'd be interested to hear from

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Speaker 1: people who actually work in the film industry to maybe

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Speaker 1: agree or disagree with this. But my feeling is that

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Speaker 1: in decades past, bad movies were packed with way, way

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Speaker 1: more technical mistakes than bad movies of today. So you

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Speaker 1: have everything from you know, continuity failures between shots, obviously

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Speaker 1: phony sets. You might see a crew member who wasn't

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Speaker 1: supposed to be in the shot standing in the background.

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Speaker 1: You know, you see the boom mic decinct audio stuff

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Speaker 1: like that. But now the film industry has become much

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Speaker 1: more professionalized, and I think there are so many people

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Speaker 1: working in the film industry now who know how to

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Speaker 1: execute the technical aspects of a film properly. They're good

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Speaker 1: at their jobs. There are enough of those people that

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Speaker 1: even bad movies today are rarely full of actual technical

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Speaker 1: and competence. Even the bad movies of the twenty one

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Speaker 1: century are made with a pretty high baseline of technical professionalism.

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Speaker 1: And instead now I would say when a movie is

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Speaker 1: bad today, I would argue it's almost always bad because

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Speaker 1: of the creative elements rather than the technical ones. So,

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Speaker 1: for example, in my personal opinion, hands down the most

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Speaker 1: common problem for bad movies made this year is going

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Speaker 1: to be a bad script, followed by other creative failures,

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Speaker 1: you know, failure of like a cinematographer to establish an

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Speaker 1: interesting or pleasing visual style. But this will rarely extend

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Speaker 1: to like mismatching day night, continuity between shots right right

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Speaker 1: or or or one that is also frequently used by

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Speaker 1: Edwood jarring use of stock footage. It's like not even

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Speaker 1: of apparently the same film grain or whatever right right,

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Speaker 1: different film grain, different era, sometimes different continent. It looks

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Speaker 1: like there's a really good one. In the other movie

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Speaker 1: were thing about doing um Bride and the Monster where

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Speaker 1: a character like looks at a tree and then we

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Speaker 1: cut two grainy stock footage of a snake and then

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Speaker 1: she screams and faints. It's really it's wonderful. So, I mean,

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Speaker 1: for the most part that's the pitch, but for just

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Speaker 1: to throw out an elevator pitch, I'll use one from

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Speaker 1: that is from the trailer that we're about to listen to,

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Speaker 1: and that is a terrifying revelation of things to come. Uh.

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Speaker 1: We cannot overlook the fact that this is this is

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Speaker 1: a movie that is not just about something that could happen.

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Speaker 1: This is not a speculative work. This is about things

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Speaker 1: that that have happened, are happening, or definitely will happen

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Speaker 1: in near future. Yeah, all right, well, let's go ahead

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Speaker 1: and listen to this trailer in full because on its own,

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Speaker 1: like if this were a lost film and all we

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Speaker 1: had was the trailer, we would still have a masterpiece

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Speaker 1: on our hands. It is safe to state that the

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Speaker 1: grandchildren of some of the people in this dinner will

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Speaker 1: not be on Earth. They come from the bowels of Hell,

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Speaker 1: a transformed race of Walking Dead zombies guided by a

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Speaker 1: master plan for complete domination of the Earth. Plan nine

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Speaker 1: from Outer Space m H starring the most brightmarished past

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Speaker 1: ever Fella Legosi, the seductive Vampira, and poor Johnson as

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Speaker 1: the Walking Dead. Turn off your electro gun, stop it dead,

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Speaker 1: you get it? Cheery Bullets bounce off their bodies, Rockets, missiles,

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Speaker 1: Jets cannot stop their death ships. What earthly power can

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Speaker 1: stop this terror? What a glimpse of things to come?

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Speaker 1: See this blast of screen suspense, or it could be

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Speaker 1: happening right now? Alright, I absolutely love that it is

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Speaker 1: safe to state that the grandchildren of some of the

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Speaker 1: people in this theater will not be born on Earth.

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Speaker 1: Can you prove the trailer wrong? I don't think you can.

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Speaker 1: You don't even know who was in that theater. All right, well,

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Speaker 1: let's let's get into the people a bit more. Um.

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Speaker 1: Of course, we're gonna start at the top. We're gonna

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Speaker 1: start with Edwood or as as he is credited on

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Speaker 1: the film, Edward D. Wood Jr. He is the director,

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Speaker 1: He is the writer, he is the producer, he is

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Speaker 1: the film editor, and he also has a cameo in

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Speaker 1: the picture. You know, I realized that a lot of

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Speaker 1: my thoughts about the life of Edward actually are not

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Speaker 1: like researched for accuracy, but a lot of them come

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Speaker 1: from the nineties Tim Burton movie ed Wood, which I

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Speaker 1: think is it's probably my favorite biography movie. It's it's fantastic.

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Speaker 1: I don't know how true it is to the reality

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Speaker 1: of the events it depicts, but uh, it's it's incredibly

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Speaker 1: fun and it has a standout performance by Martin Landau

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Speaker 1: as Bill Leegosi. Yeah. Yeah, ed Wood. Uh also pretty

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Speaker 1: pretty crazy because you know, we've talked about how already

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Speaker 1: about how Adwood Edward was a Hollywood outsider, and yet

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Speaker 1: through Tim Burton's picture, uh, it becomes an Academy Award

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Speaker 1: winning property, like Martin Landau's Bella Leghostie role wins an

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Speaker 1: Academy Award. Also, Rick Baker's Makeup wins an Academy Award

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Speaker 1: for that picture, and so it's kind of like the

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Speaker 1: Hollywood establishment finally has to enshrine woods legacy, which is

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Speaker 1: kind of interesting. But okay, putting the movie that movie aside,

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Speaker 1: I don't know, how do you describe what Edwood was? Yeah? Again,

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Speaker 1: it's difficult to sum up. Um you know, it's just

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Speaker 1: a low budget legend, counterculture icon overconfident, amateur outsider artists.

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Speaker 1: Sometimes I think about that. I compare him to someone

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Speaker 1: like a Howard Finster in my mind, you know, someone

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Speaker 1: who who doesn't have the training that that other individuals

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Speaker 1: working in the field have, but they have that that

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Speaker 1: there's something going on. This is spark that still manages

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Speaker 1: to force its way into the medium inspiration in the

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Speaker 1: classic sense, like as in literally meaning divine guidance. I

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Speaker 1: when I was looking around for some additional biographical information

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Speaker 1: on him, one of the mistakes I made was thinking, well,

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Speaker 1: I'll look up to see what the oh bits of

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Speaker 1: the day said. And that's one of the things about

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Speaker 1: his life is that there weren't really any major oh

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Speaker 1: bits about him when he died because he had drifted

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Speaker 1: into such obscurity. But I was looking at a review

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Speaker 1: that Roger Ebert, the late Rogeriebert wrote for Tim Burton's

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Speaker 1: ed Wood movie, and he included, like I thought, what

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Speaker 1: was a nice summary of who and what Edwood was? Quote,

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Speaker 1: Edward D. Wood Jr. Must have been the Will Rogers

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Speaker 1: of filmmaking. He never directed a shot he didn't like it.

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Speaker 1: Takes a special weird genius to be voted the worst

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Speaker 1: director of all time, a title that would has earned

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Speaker 1: by acclamation. He was so in love with every frame,

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Speaker 1: of every scene of every film he shot that he

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Speaker 1: was blind to hilarious blenders, stumbling in aptitude, and acting

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Speaker 1: so bad that it achieved a kind of grandeur. But

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Speaker 1: badness alone would not have been enough to make him

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Speaker 1: a legend. It was his love of film sneaking through

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Speaker 1: that pushes him over the top. You know, I think

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Speaker 1: this is a phrase I recall from Roger eberta I

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Speaker 1: don't remember the origin of it, but it was Roger

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Speaker 1: Ebert talking about some bad movie that he said was

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Speaker 1: not just bad, but was awesomely bad. And I think

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Speaker 1: that is a good descriptor to apply to the Edwood

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Speaker 1: movies I've seen. There. They transcended normal badness. They even

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Speaker 1: transcend the normal way that you you appreciate bad movies

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Speaker 1: at an ironic level. They become in some genuine sense

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Speaker 1: and all inspiring spectacle. It's like, it's, uh, you are

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Speaker 1: observing a work of sheer will. It's oh, I guess, uh,

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Speaker 1: you know, to to quote the title of another podcast,

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Speaker 1: you wonder how did this get made? Like, how was

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Speaker 1: this pushed through to completion? Yeah, and it's a it's

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Speaker 1: it's a rare enough thing just historically, but it's certainly

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Speaker 1: rare now. You don't you don't really find examples of

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Speaker 1: this as much as one might like, and I feel

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Speaker 1: like we're kind of starved for it at times. There

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Speaker 1: have been films that have come out in recent years

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Speaker 1: where I think people were expecting awesome badness, and unfortunately

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Speaker 1: the cases you end up with something that's just bad

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Speaker 1: in the n the lackluster, luke warm since of the

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Speaker 1: word Plan nine has such a kind of relentless, ludicrous

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Speaker 1: unbelievability while you're watching it. That rob before we started recording,

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Speaker 1: we were talking off Mike uh about how when you're

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Speaker 1: explaining this movie, you want to like quote the weird dialogue,

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Speaker 1: but then you can't really end up doing that because

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Speaker 1: you end up wanting to quote the entire script. Like

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Speaker 1: every scene is just filled with exchanges that that that

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Speaker 1: clang and and sound wrong in the most awesomely weird way,

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Speaker 1: and and then it never stops. You think like, oh,

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Speaker 1: I gotta make a note of that one, But then

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Speaker 1: the next one is exactly like it. Yeah, it is relentless.

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Speaker 1: It is stupefying. Uh so. So briefly on the bio

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Speaker 1: of of Edwood. Here he lived, he was a film

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Speaker 1: enthusiast as a child, he had a Kodak centis special.

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Speaker 1: He was an usher at a cinema at one point,

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Speaker 1: he served in the Marines. He moved to Hollywood to

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Speaker 1: pursue his cinematic dreams. He would become a legend, true enough,

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Speaker 1: but like we we said, his his star would rise

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Speaker 1: after his death in seventy eight. Um, the end of

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Speaker 1: his life was one of obscurity. But then you had

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Speaker 1: stuff like eight twos that came from Hollywood come out,

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Speaker 1: which again featured in edwood tribute section. You had a

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Speaker 1: growing cult following of for films of this nature, including

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Speaker 1: for instance, Michael Weldon's Psychatronic Film Guide, which started up

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Speaker 1: as a magazine in nineteen seventy nine. You know, the

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Speaker 1: year after after his death, documentaries would follow film festivals,

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Speaker 1: and then by the time you get ninety four's ed

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Speaker 1: Wood the Picture by Tim Burton, like the legacy is assured,

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Speaker 1: like it's cemented. And again the Hollywood establishment itself kind

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Speaker 1: of has to enshrine Wood's legacy. Towards the end of

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Speaker 1: his life, Wood's output descended sharply into erotic and adult territory.

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Speaker 1: This would be in the seventies, but he's working the fifties.

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Speaker 1: Gave us a string of just numerably weird films, including

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Speaker 1: the semi autographical fifty three film Glenn or Glinda and

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Speaker 1: which would himself plays the titular lead character Uh. He

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Speaker 1: also gave us Bride of the Monster in fifty five,

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Speaker 1: The Violent Years and fifty six, The Bride and the

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Speaker 1: Beast in fifty eight, Nine of the Ghouls and fifty nine,

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Speaker 1: and The Sinister Urge in nineteen six. I would say

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Speaker 1: he's most remembered I think for for Glenn or Glinda

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Speaker 1: and the two big Bella leego see Monster movies, which

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Speaker 1: were Bride of the Monster and and Plan nine for

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Speaker 1: Outer Space Bride of the Monster. We may have to

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Speaker 1: come back and also do on the show UH in

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Speaker 1: the future, because it has more Bella leegosie than Plan

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Speaker 1: nine does. In fact, Plan nine has almost no bell

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Speaker 1: allegotee at all, and that's one of the real core

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Speaker 1: paradoxes of Plan nine. I would say that this movie

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Speaker 1: seems in a way to be kind of built around

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Speaker 1: Bella Llegosie. It might be in modern to use a

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Speaker 1: modern expression called a Legosie vehicle. And yet Bella Leegosi

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Speaker 1: is almost entire really missing from the movie. He actually

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Speaker 1: appears in literally just a couple of shots. Legosi I

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Speaker 1: think died before most of the movie was filmed, so

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Speaker 1: in most scenes that feature his character, he's played by

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Speaker 1: a body double holding a cape over his face. Um,

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Speaker 1: And even including the shots with the body double, Legosi's

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Speaker 1: character is not really central. He's just one of a

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Speaker 1: number of zombies. Yeah. And it's just such a wood

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Speaker 1: move right to not let this stand in the way

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Speaker 1: of not I not I not only completing the film,

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Speaker 1: but also like not reshooting anything they already had. Like

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Speaker 1: we already have Bella in in one scene, two scenes,

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Speaker 1: Why why reshoot any of that. Let's just keep going

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Speaker 1: and we'll just have the cape over the face. It

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Speaker 1: looks perfect, no reason, no notes, no reason to change anything.

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Speaker 1: It does not look perfect at all. The guy that

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Speaker 1: got to replace Bella Leghostie kind of looks like Jared Leto.

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Speaker 1: He's just like creeping around with slicked back hair and

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Speaker 1: the cape over his like he's you know, his faces

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Speaker 1: in the crook of his arm with the cape. There

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Speaker 1: no explanation of why he's walking like that. Uh. There

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Speaker 1: are some scenes where I'm not even sure it looks

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Speaker 1: like it was shot for the movie. There there's like

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Speaker 1: one of just Bella kind of standing around. It's hard

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Speaker 1: to tell because again there's such such a jarring difference

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Speaker 1: between one scene in the next, and and yeah, at

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Speaker 1: times it looks like like he's just standing there. So yeah,

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Speaker 1: I agree, it's it's a weird paradox of plan nine

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Speaker 1: and almost That's one of the reasons I'm not even

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Speaker 1: gonna go into Bella Llegosi uh too much here because

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Speaker 1: this is it's not really a Bella Llegosie film because

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Speaker 1: he's in it so briefly. It's still an important part

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Speaker 1: of his legacy. It's his final film, but um, but

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Speaker 1: still here here the basics Bella Legosi in this place,

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Speaker 1: the old Man slashed, the dead man slash the ghoul Man.

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Speaker 1: Like several characters in this they're called different things. He

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Speaker 1: lived eighteen eighty two through nineteen fifty six, and uh, yeah,

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Speaker 1: he's a titan of classic horror. At the star of

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Speaker 1: Dracula Befo is the black Cat and um, yeah, we'll

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Speaker 1: have to come back to him in a in another

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Speaker 1: episode of Weird House Cinema when we can really talk

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Speaker 1: about Bella Leghostie as a performer more because again barely

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Speaker 1: performs in this at always barely in this movie. But

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Speaker 1: he was one of the greats. I love Bella, yeah,

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Speaker 1: but but you know who performs in this movie without acting?

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Speaker 1: I would say it performs almost entirely with this uh,

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Speaker 1: with this kind of uh statue like Grimace is toward Johnson,

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Speaker 1: Uh toward Johnson is so good in this playing he

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Speaker 1: has basically a dual role here. He gets to play

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Speaker 1: a human by the name of Inspector Clay, a policeman.

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Speaker 1: Uh he gets so he gets kind of like a

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Speaker 1: straight acting part. But then he also plays the main

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Speaker 1: undead character, who is sometimes called the Big One or

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Speaker 1: sometimes called the Giant um and it's it's a it's

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Speaker 1: a great physical performance. So towards Johnson lived and apparently

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Speaker 1: there's some disagree once on exactly when he was born,

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Speaker 1: either nineteen o two or nineteen oh three. Seems this

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Speaker 1: seemed to be the prime candidates here. Died in seventy one.

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Speaker 1: He was born Carl Eric tor Johansson and uh yeah

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Speaker 1: is a is a Swedish born professional wrestler, slash strongman,

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Speaker 1: slash actor um and uh quite an interesting character he was.

427
00:25:32,800 --> 00:25:35,320
Speaker 1: He was known in professional wrestling circles of the day

428
00:25:35,640 --> 00:25:40,639
Speaker 1: as Super Swedish Angel and uh and he was Swedish.

429
00:25:40,680 --> 00:25:43,720
Speaker 1: But the reason he was an angel, it wasn't angel,

430
00:25:43,760 --> 00:25:46,760
Speaker 1: but the angel thing is interesting. So he's Super Swedish

431
00:25:46,840 --> 00:25:49,800
Speaker 1: Angel because there was already a Swedish Angel wrestling. So

432
00:25:49,840 --> 00:25:51,960
Speaker 1: you can't have two Swedish angels. You gotta mix it up.

433
00:25:52,000 --> 00:25:54,880
Speaker 1: Somebody's got to be like son of the Swedish Angel

434
00:25:55,480 --> 00:25:59,359
Speaker 1: or Swedish Angel too or Super Swedish Angel. There you go.

435
00:25:59,560 --> 00:26:03,200
Speaker 1: And then that's a gimmick. Um, but this whole angel thing,

436
00:26:03,440 --> 00:26:05,879
Speaker 1: but in both cases they're tweaking a gimmick that was

437
00:26:06,000 --> 00:26:10,600
Speaker 1: established by the French angel Maurice Tillott, who was more

438
00:26:11,240 --> 00:26:14,640
Speaker 1: three and died in nineteen fifty four, who was um

439
00:26:14,680 --> 00:26:18,600
Speaker 1: like a big, Brutish strong man with a very interesting look,

440
00:26:19,240 --> 00:26:22,639
Speaker 1: very much you know, a giant uh wrestler of the

441
00:26:22,720 --> 00:26:26,960
Speaker 1: day WHOA yeah, I found an image comparing him to

442
00:26:27,000 --> 00:26:30,440
Speaker 1: Shrek Um, yeah, I've heard that that Shrek, the character

443
00:26:30,480 --> 00:26:34,960
Speaker 1: Shrek was actually patterned after um, after Maurice Tillott. So

444
00:26:35,320 --> 00:26:39,200
Speaker 1: it's interesting. Now it's hard to find footage of Tour

445
00:26:39,359 --> 00:26:41,199
Speaker 1: Johnson wrestling, or at least it was hard for me

446
00:26:41,280 --> 00:26:44,919
Speaker 1: to find any, but we did find some British footage

447
00:26:45,480 --> 00:26:49,399
Speaker 1: of Tour wrestling some guy. Um. I'll have to include

448
00:26:49,400 --> 00:26:52,440
Speaker 1: a link for this on the blog post for this

449
00:26:52,480 --> 00:26:55,960
Speaker 1: episode at Samuta music dot com. But it's it's it's weird.

450
00:26:56,480 --> 00:26:59,719
Speaker 1: It's yeah, I mean, on one hand, it's not Monster Tour.

451
00:26:59,760 --> 00:27:01,159
Speaker 1: I mean, is a big guy, and you get to

452
00:27:01,160 --> 00:27:04,480
Speaker 1: see him moving around, applying headlocks and doing some matt wrestling,

453
00:27:04,520 --> 00:27:07,000
Speaker 1: but he's not like a he's not in monster mode.

454
00:27:07,080 --> 00:27:10,600
Speaker 1: He's not toward Johnson wrestling the way a modern wrestling

455
00:27:10,600 --> 00:27:15,199
Speaker 1: fan might expect towards Johnson to wrestle. Yeah. So is

456
00:27:15,240 --> 00:27:17,520
Speaker 1: this the clip you shared with me that has the

457
00:27:17,560 --> 00:27:20,879
Speaker 1: British narrator on it? Oh? Yeah, just totally trashing the

458
00:27:20,920 --> 00:27:25,040
Speaker 1: whole enterprise. Oh so yeah, so the narrator is like,

459
00:27:25,080 --> 00:27:28,120
Speaker 1: well this professional wrestling, you know, it isn't very serious,

460
00:27:28,200 --> 00:27:32,800
Speaker 1: is it? That is somewhat funny? Yeah, it just really

461
00:27:32,840 --> 00:27:34,840
Speaker 1: rips into it, and then there's all this other weird stuff,

462
00:27:34,880 --> 00:27:38,119
Speaker 1: like the ref is either shirtless at one point or

463
00:27:38,160 --> 00:27:41,919
Speaker 1: the ref has like a very like small undershirt on.

464
00:27:42,119 --> 00:27:43,920
Speaker 1: It was weird. I'm just used to seeing a reff

465
00:27:44,240 --> 00:27:49,160
Speaker 1: in ref's clothing. The ref can't be shirtless. That's weird, right, Well,

466
00:27:49,160 --> 00:27:52,960
Speaker 1: maybe it's aren't there some cases and like the I

467
00:27:52,960 --> 00:27:55,760
Speaker 1: don't know whatever it's called, the w W or wherever where,

468
00:27:55,800 --> 00:27:58,200
Speaker 1: Like a heel will attack the reff. Maybe the reff

469
00:27:58,280 --> 00:28:00,760
Speaker 1: has to be dressed like a wrestler in case the

470
00:28:00,800 --> 00:28:06,000
Speaker 1: he'll attacks. I don't know, uh, And I don't know

471
00:28:06,040 --> 00:28:09,480
Speaker 1: a lot about this this period of of pro wrestling, though,

472
00:28:09,720 --> 00:28:12,280
Speaker 1: though I have read that it is. It is rare

473
00:28:12,280 --> 00:28:14,959
Speaker 1: to have footage from some of these these earlier eras

474
00:28:15,040 --> 00:28:17,719
Speaker 1: because for one thing, a lot of it wasn't taped,

475
00:28:17,960 --> 00:28:22,440
Speaker 1: and then if it was recorded, those recordings weren't necessarily preserved.

476
00:28:22,560 --> 00:28:26,520
Speaker 1: Sometimes you know, you're essentially taped over, uh, and they

477
00:28:26,520 --> 00:28:30,359
Speaker 1: would be lost to history. According to cage match dot Com,

478
00:28:30,760 --> 00:28:34,359
Speaker 1: Toward Johnson's earliest match was y three and his last

479
00:28:34,400 --> 00:28:38,040
Speaker 1: match was ninety five. The records on this website, I

480
00:28:38,040 --> 00:28:40,640
Speaker 1: don't think are always complete, especially when dealing with older

481
00:28:40,680 --> 00:28:43,880
Speaker 1: stuff like this. But still it seems like a respectable

482
00:28:43,880 --> 00:28:46,520
Speaker 1: era in which to have have applied his trade. And

483
00:28:46,560 --> 00:28:49,680
Speaker 1: he was indeed a big boy build at six three

484
00:28:50,640 --> 00:28:54,880
Speaker 1: forty pounds, he he is massive, and you can see

485
00:28:54,880 --> 00:28:57,320
Speaker 1: why people wanted to put him in monster movies. This

486
00:28:57,360 --> 00:29:00,240
Speaker 1: is not the only one he's uh, He's in a

487
00:29:00,400 --> 00:29:02,640
Speaker 1: number one. Another one that sticks in my mind is

488
00:29:02,720 --> 00:29:06,800
Speaker 1: the Beast of Yucca Flats, where Toward Johnson plays I

489
00:29:06,840 --> 00:29:10,280
Speaker 1: think he uh so, that is, if I'm not wrong,

490
00:29:10,400 --> 00:29:14,000
Speaker 1: a Coleman Francis movie, the same guy who made Red Zone, Cuba,

491
00:29:14,080 --> 00:29:17,640
Speaker 1: which was famously parodied on Mystery Science Theater. Beast of

492
00:29:17,680 --> 00:29:20,680
Speaker 1: Yucca Flats I mainly remember for two things, having a

493
00:29:20,960 --> 00:29:25,400
Speaker 1: really just over the top narrator who you know, every

494
00:29:25,400 --> 00:29:27,880
Speaker 1: time you'd see a character, he would just say something like,

495
00:29:27,920 --> 00:29:32,960
Speaker 1: you know, John Johnson, caught in the wheels of progress. Uh.

496
00:29:33,000 --> 00:29:35,520
Speaker 1: In fact, it's almost kind of similar to Criswell's narration

497
00:29:35,600 --> 00:29:37,640
Speaker 1: in Plan nine. We'll get to Criswell in a second.

498
00:29:37,680 --> 00:29:39,800
Speaker 1: But um, the other thing I remember about Beast of

499
00:29:39,800 --> 00:29:43,240
Speaker 1: Bucca Flats is they barely put tour in any makeup

500
00:29:43,320 --> 00:29:45,640
Speaker 1: to make him the Monster. He plays like a Soviet

501
00:29:45,760 --> 00:29:49,520
Speaker 1: scientist who defects to the United States, walks onto a

502
00:29:49,600 --> 00:29:52,920
Speaker 1: nuclear testing range. They blow up a bomb and that

503
00:29:52,960 --> 00:29:55,880
Speaker 1: turns him into a radioactive monster. But they just sort

504
00:29:55,920 --> 00:29:58,040
Speaker 1: of like put some oatmeal on his face, I think,

505
00:29:58,080 --> 00:30:00,600
Speaker 1: and then he's otherwise he's just tour. Yeah, I mean

506
00:30:00,680 --> 00:30:03,680
Speaker 1: tour was a walking special effect. I mean the physicality,

507
00:30:03,840 --> 00:30:08,000
Speaker 1: the grimace, that was all you needed. So yeah, but

508
00:30:08,040 --> 00:30:10,440
Speaker 1: Basta Jucca flats. That's that's a fun one. I think MST.

509
00:30:10,520 --> 00:30:13,200
Speaker 1: Three K did that one as well. Um, he was

510
00:30:13,240 --> 00:30:15,960
Speaker 1: in such films as nineteen fifties Appen and Costello in

511
00:30:15,960 --> 00:30:18,760
Speaker 1: The Foreign Legion, Bob Hopes, the Lemon Dropped Kid in

512
00:30:18,800 --> 00:30:22,080
Speaker 1: fifty one ed Woods, Bride of the Monster, and Night

513
00:30:22,120 --> 00:30:27,760
Speaker 1: of the Ghouls. But in terms of earlier in his career, uh,

514
00:30:27,800 --> 00:30:32,000
Speaker 1: he he started off doing uncredited strongman type bit parts

515
00:30:32,000 --> 00:30:35,360
Speaker 1: in films back to the mid nineteen thirties, and by

516
00:30:35,480 --> 00:30:39,560
Speaker 1: forty nine he was showing up still uncredited in films

517
00:30:39,600 --> 00:30:43,240
Speaker 1: like Ernest b Showed Sacks Mighty Joe Young. Uh. There's

518
00:30:43,280 --> 00:30:46,040
Speaker 1: a scene in that movie where a number of strong

519
00:30:46,160 --> 00:30:49,480
Speaker 1: men are are are playing tug of war with the

520
00:30:49,560 --> 00:30:52,840
Speaker 1: giant ape and uh, and it's it's kind it's not

521
00:30:52,880 --> 00:30:55,240
Speaker 1: a kind of interesting. I didn't work on I being

522
00:30:55,280 --> 00:30:57,440
Speaker 1: all of these guys. But one of them was the

523
00:30:57,760 --> 00:31:03,720
Speaker 1: famous Italian boxer turned professional wrestler Primo Carnera, who is

524
00:31:03,840 --> 00:31:06,440
Speaker 1: a really big guy six six and was you know,

525
00:31:06,520 --> 00:31:10,440
Speaker 1: very much a legendary figure in boxing of that day. Oh,

526
00:31:10,520 --> 00:31:12,640
Speaker 1: I don't know him. Is is he the last guy

527
00:31:12,680 --> 00:31:14,960
Speaker 1: on the tug on the tub rope here? Yeah? I

528
00:31:15,000 --> 00:31:16,920
Speaker 1: found the still he's the last guy. So he's the

529
00:31:16,960 --> 00:31:21,360
Speaker 1: most enormous and he's like this big, you know, handsome,

530
00:31:22,120 --> 00:31:26,600
Speaker 1: well built Italian gentleman. And I'm not sure exactly. I

531
00:31:26,640 --> 00:31:30,200
Speaker 1: think I think I've pinpointed the individual who's Tore Johnson

532
00:31:30,200 --> 00:31:32,400
Speaker 1: in this, and I think toward Johnson has hair. I

533
00:31:32,440 --> 00:31:35,560
Speaker 1: read somewhere that tor actually had like a full head

534
00:31:35,560 --> 00:31:38,480
Speaker 1: of blonde hair, but he kept it shaved because that

535
00:31:38,560 --> 00:31:41,040
Speaker 1: was the look, you know, that was the look he

536
00:31:41,120 --> 00:31:43,360
Speaker 1: was going for. I can see that. I think he's

537
00:31:43,400 --> 00:31:45,520
Speaker 1: the first guy in the picture you have for me here.

538
00:31:45,560 --> 00:31:48,840
Speaker 1: But this other guy looks like he would definitely be

539
00:31:49,000 --> 00:31:52,920
Speaker 1: cast as Goliath in a bunch of nineteen fifties Italian

540
00:31:52,960 --> 00:31:56,120
Speaker 1: Bible movies. I think he did some sword and sandals work.

541
00:31:56,160 --> 00:31:59,960
Speaker 1: I didn't go go too far into the primo filmography,

542
00:32:00,200 --> 00:32:02,280
Speaker 1: but he was. He was a celebrity of the day

543
00:32:02,520 --> 00:32:06,240
Speaker 1: and uh and may have had some mob ties apparently,

544
00:32:06,640 --> 00:32:08,400
Speaker 1: but but yeah, he was. He was in a number

545
00:32:08,480 --> 00:32:11,360
Speaker 1: of motion pictures himself. But going back to the picture

546
00:32:11,360 --> 00:32:12,800
Speaker 1: on your shelf, Joe, we we we can't just talk

547
00:32:12,800 --> 00:32:15,840
Speaker 1: about Tore Johnson here. We also have to talk about Vampira.

548
00:32:16,200 --> 00:32:19,440
Speaker 1: So Vampira has no lines in this movie, and yet

549
00:32:19,520 --> 00:32:23,360
Speaker 1: I think she is the best actor in it. She

550
00:32:23,360 --> 00:32:26,000
Speaker 1: she well, maybe a tie between her and Tour they

551
00:32:26,040 --> 00:32:29,760
Speaker 1: both need uh. The Tour has lines before he gets killed.

552
00:32:30,760 --> 00:32:33,880
Speaker 1: Both of them spend a number of shots just sort

553
00:32:33,880 --> 00:32:37,240
Speaker 1: of menacing the camera, and they're great in it. Vampira

554
00:32:37,360 --> 00:32:41,160
Speaker 1: is wonderful as like making the creepy face and just

555
00:32:41,240 --> 00:32:45,920
Speaker 1: like flexing her nails. Yes, yes, she has the basically

556
00:32:45,960 --> 00:32:49,440
Speaker 1: has this um Morticia Adams kind of look going on

557
00:32:50,400 --> 00:32:56,280
Speaker 1: what essentially has become an iconic Gothic female vamp look. Right,

558
00:32:56,800 --> 00:32:58,880
Speaker 1: she has the long nails and then she also has

559
00:32:58,880 --> 00:33:02,360
Speaker 1: this um very painful looking corset on that makes her,

560
00:33:02,920 --> 00:33:06,440
Speaker 1: you know, have this kind of almost skeletal appearance. You know,

561
00:33:06,480 --> 00:33:09,360
Speaker 1: she's very made up and she's she's hamming it up

562
00:33:09,440 --> 00:33:12,600
Speaker 1: big time as well. Uh you know, she's really twisting

563
00:33:12,600 --> 00:33:15,520
Speaker 1: her face in a way that she's coming off like

564
00:33:15,520 --> 00:33:18,480
Speaker 1: like the undead. Now something I've always wondered. I don't

565
00:33:18,480 --> 00:33:21,160
Speaker 1: know if you know the answer to this. Vampire. We

566
00:33:21,160 --> 00:33:24,280
Speaker 1: we've recently on the show been talking about these horror

567
00:33:24,320 --> 00:33:27,600
Speaker 1: movie hosts, the people who would you know, host a

568
00:33:27,640 --> 00:33:30,560
Speaker 1: TV program where they would show a horror movie and

569
00:33:30,560 --> 00:33:33,080
Speaker 1: then they would interrupt it to do commercial breaks and

570
00:33:33,200 --> 00:33:36,800
Speaker 1: make jokes about the movie. That was Vampira's gig way

571
00:33:36,800 --> 00:33:40,239
Speaker 1: back in the fifties. And so I wonder was she

572
00:33:40,440 --> 00:33:43,280
Speaker 1: the first one or were there other people who did

573
00:33:43,320 --> 00:33:46,840
Speaker 1: this before her. Everything I've read seems to indicate that

574
00:33:46,920 --> 00:33:50,960
Speaker 1: she was the first. She's the matriarch of the entire enterprise.

575
00:33:51,520 --> 00:33:53,560
Speaker 1: I don't think anybody else was doing it before her.

576
00:33:54,320 --> 00:33:57,360
Speaker 1: Uh So it's as an interesting story. So Vampire is

577
00:33:57,400 --> 00:34:01,720
Speaker 1: the persona of Malia Nermi, who lived ninety two through

578
00:34:01,800 --> 00:34:04,040
Speaker 1: two thousand and eight. And it didn't even have a

579
00:34:04,080 --> 00:34:08,160
Speaker 1: long run. It only ran fifty four throughft but but

580
00:34:08,239 --> 00:34:10,880
Speaker 1: it resonated with with folks, especially apparently in the in

581
00:34:10,920 --> 00:34:12,680
Speaker 1: the l A area. I believe that's where it was

582
00:34:13,280 --> 00:34:16,640
Speaker 1: primarily airing. That's where it was based out of. And

583
00:34:16,719 --> 00:34:20,600
Speaker 1: she also did appearances on some other shows, uh, popping

584
00:34:20,640 --> 00:34:23,200
Speaker 1: up you know, and pretty much always in the persona

585
00:34:23,320 --> 00:34:28,480
Speaker 1: of Empira. So yeah, she was this goffy queen, super narrow, corseted, waste,

586
00:34:28,480 --> 00:34:31,680
Speaker 1: long fingernails, often with a cocktail and some sort of

587
00:34:31,719 --> 00:34:33,520
Speaker 1: in the set, you know, behind her would be something

588
00:34:33,560 --> 00:34:38,240
Speaker 1: atmospheric and goffy, maybe a little um dry ice smoke

589
00:34:38,360 --> 00:34:41,239
Speaker 1: going on, you know. Uh So for the most part, yeah,

590
00:34:41,280 --> 00:34:44,080
Speaker 1: she's always showing up in her persona of Empire. But

591
00:34:44,280 --> 00:34:48,279
Speaker 1: she also pops up as a hag and a sorceress

592
00:34:48,320 --> 00:34:51,440
Speaker 1: in Burt I. Gordon's nineteen sixty two fantasy film The

593
00:34:51,480 --> 00:34:57,520
Speaker 1: Magic Sword, which started Basil Rathbone, Estelle Wynnwood, and Gary Lockwood.

594
00:34:58,040 --> 00:35:00,120
Speaker 1: That is, at least for me, a much below of

595
00:35:00,520 --> 00:35:03,239
Speaker 1: MST three K episode as well. I never seen it.

596
00:35:03,400 --> 00:35:06,160
Speaker 1: Oh it's good. Um Yeah, Croty Robot falls in love

597
00:35:06,200 --> 00:35:08,440
Speaker 1: with Estelle Winwood and has a whole song about how

598
00:35:08,520 --> 00:35:11,920
Speaker 1: much he loves this stell and then the movie itself

599
00:35:11,960 --> 00:35:13,520
Speaker 1: is a lot of fun. It's you know, it's Sword

600
00:35:13,520 --> 00:35:17,520
Speaker 1: and Sorcery from Birdeye Gordon. Oh, I bet the effects

601
00:35:17,520 --> 00:35:22,400
Speaker 1: are just perfect. Um. But you know, so, Vampiro was

602
00:35:22,520 --> 00:35:27,280
Speaker 1: not the only l A Area TV celebrity to appear

603
00:35:27,360 --> 00:35:30,319
Speaker 1: in Plan nine from Outer Space. The other one, the

604
00:35:30,360 --> 00:35:34,600
Speaker 1: other main one, is Chriswell, who planed nine definitely would

605
00:35:34,600 --> 00:35:37,719
Speaker 1: not be the same without Chriswell. Chriswell is the narrator

606
00:35:37,800 --> 00:35:41,560
Speaker 1: in this movie. Criswell was the name of Jared Charles

607
00:35:41,680 --> 00:35:45,799
Speaker 1: Criswell King, also known as the Amazing Chriswell, who was

608
00:35:45,840 --> 00:35:49,680
Speaker 1: an eccentric celebrity psychic who is probably best known for

609
00:35:50,120 --> 00:35:54,280
Speaker 1: making predictions about the future on late night TV shows

610
00:35:54,320 --> 00:35:57,759
Speaker 1: in the fifties and sixties. Yeah, yeah, he was. He

611
00:35:57,840 --> 00:36:00,960
Speaker 1: was a psychic for Maywell and was a friend of

612
00:36:01,000 --> 00:36:04,800
Speaker 1: may West's and at one point he was also Vampire's roommate.

613
00:36:05,160 --> 00:36:07,239
Speaker 1: So you do get the sense that like it was

614
00:36:07,280 --> 00:36:10,440
Speaker 1: like a network of of l A weirdos, really, and

615
00:36:10,520 --> 00:36:13,560
Speaker 1: I think that's something that that Tim Burton captured rather

616
00:36:13,600 --> 00:36:15,760
Speaker 1: well in his film, the idea that like these were

617
00:36:15,800 --> 00:36:19,279
Speaker 1: these were the outsiders and they were brought together, uh

618
00:36:19,320 --> 00:36:22,080
Speaker 1: in this strange enterprise. So when we were getting ready

619
00:36:22,120 --> 00:36:25,040
Speaker 1: to do this episode, I got really into doing, uh

620
00:36:25,080 --> 00:36:28,080
Speaker 1: to to reading about the predictions made by Chris Well.

621
00:36:28,239 --> 00:36:29,960
Speaker 1: So that was what he was famous for. He'd come

622
00:36:29,960 --> 00:36:32,120
Speaker 1: on TV and say, you know, I'm a psychic, so

623
00:36:32,280 --> 00:36:38,600
Speaker 1: I predict that. Allegedly, he correctly predicted that John F.

624
00:36:38,760 --> 00:36:42,279
Speaker 1: Kennedy would not run for re election because of some

625
00:36:42,400 --> 00:36:46,560
Speaker 1: tragic event in November nineteen sixty three. Uh, that is

626
00:36:46,600 --> 00:36:48,920
Speaker 1: at least what I've seen claimed on his website. I

627
00:36:48,920 --> 00:36:51,160
Speaker 1: don't I don't know if that's actually what he said,

628
00:36:51,200 --> 00:36:54,120
Speaker 1: but that's what it says. That's what it claims retroactively.

629
00:36:54,840 --> 00:36:57,280
Speaker 1: But he made all kinds of other predictions that definitely

630
00:36:57,320 --> 00:37:00,360
Speaker 1: did not come true. So there's a there's a website

631
00:37:00,400 --> 00:37:02,799
Speaker 1: called Criswell predicts dot com where you can read a

632
00:37:02,800 --> 00:37:05,719
Speaker 1: bunch of these exerpted from his books, or at least

633
00:37:05,760 --> 00:37:08,879
Speaker 1: from one book of his. I don't even know where

634
00:37:08,880 --> 00:37:10,440
Speaker 1: to start with these. There there are a lot of

635
00:37:10,480 --> 00:37:13,960
Speaker 1: predictions about like Earth being destroyed. So to read one

636
00:37:14,000 --> 00:37:18,799
Speaker 1: passage quote, can our whirling, turning, churning Earth last out

637
00:37:18,840 --> 00:37:22,120
Speaker 1: the night? Our geologists tell us that the danger to

638
00:37:22,160 --> 00:37:25,560
Speaker 1: Mother Earth lies not in the uncharted vast of outer space,

639
00:37:25,640 --> 00:37:28,640
Speaker 1: but from inner Earth. Here is what will more than

640
00:37:28,760 --> 00:37:33,239
Speaker 1: likely happen. According to geologists, small tidal waves will play

641
00:37:33,239 --> 00:37:36,000
Speaker 1: havoc for no reason at all. The surface of the

642
00:37:36,040 --> 00:37:39,920
Speaker 1: Earth will bulge ever so slightly, and highways will slightly buckle.

643
00:37:40,360 --> 00:37:43,799
Speaker 1: Foundations will tip, and floors will slant. When you pour

644
00:37:43,840 --> 00:37:46,000
Speaker 1: a cup of coffee or a glass of water, the

645
00:37:46,120 --> 00:37:50,080
Speaker 1: rim will not level. Telephone, coin boxes and vending machines

646
00:37:50,160 --> 00:37:54,680
Speaker 1: will refuse to work. Delicate instruments will go haywire elevators

647
00:37:54,680 --> 00:37:58,160
Speaker 1: will go out of whack, jukeboxes will be mute, radio

648
00:37:58,200 --> 00:38:01,960
Speaker 1: and TV will fail. All electric power, gas and water

649
00:38:02,080 --> 00:38:05,000
Speaker 1: service will cease. And then will come the time when

650
00:38:05,040 --> 00:38:08,640
Speaker 1: garbage cans roll across the street for no apparent reason.

651
00:38:09,080 --> 00:38:12,560
Speaker 1: Then and only then will you realize the advanced corrosion

652
00:38:12,680 --> 00:38:15,319
Speaker 1: spelling the end of our earth. The seas will fill

653
00:38:15,400 --> 00:38:18,320
Speaker 1: up quickly with a gooey mass of inner earth rubble.

654
00:38:18,760 --> 00:38:22,200
Speaker 1: Our streets and city lots, farms and deserts will bubble

655
00:38:22,320 --> 00:38:25,760
Speaker 1: up like a festered oil and marking the complete collapse.

656
00:38:26,200 --> 00:38:29,480
Speaker 1: Has this happened before, more than likely, and it will

657
00:38:29,560 --> 00:38:36,200
Speaker 1: happen again in your incredible future. Uh He also predicted

658
00:38:36,239 --> 00:38:40,759
Speaker 1: the assassination of Fidel Castro in nineteen seventy. Uh. He

659
00:38:40,920 --> 00:38:44,880
Speaker 1: predicted that there will be an outbreak of men becoming

660
00:38:45,040 --> 00:38:51,839
Speaker 1: cannibals in Pittsburgh, Pennsylvania in uh December nineteen eighty and

661
00:38:52,080 --> 00:38:55,120
Speaker 1: he predicts the world will end on August eighteenth nine

662
00:38:56,280 --> 00:39:00,239
Speaker 1: in a sequence of events including a jet black rain bow,

663
00:39:00,880 --> 00:39:04,479
Speaker 1: a huge snake in circling the world, and feeding upon

664
00:39:04,520 --> 00:39:09,640
Speaker 1: the oxygen which we need to exist. Um. Well, oh wait,

665
00:39:09,680 --> 00:39:12,319
Speaker 1: actually sorry, I apologize. The huge snake in circling the

666
00:39:12,320 --> 00:39:15,920
Speaker 1: world is a metaphor he's using. Okay, al right, the

667
00:39:16,000 --> 00:39:19,440
Speaker 1: black a metaphor for the black rainbow that's caused by

668
00:39:19,440 --> 00:39:21,680
Speaker 1: a mysterious force. So it's a black rainbow, but it's

669
00:39:21,840 --> 00:39:24,400
Speaker 1: like a snake eating all of our oxygen. But the

670
00:39:24,480 --> 00:39:27,920
Speaker 1: black rainbow is not a metaphor, it's an actual black rainbow.

671
00:39:28,200 --> 00:39:31,920
Speaker 1: I think so. Uh. Also, several of his predictions are

672
00:39:31,920 --> 00:39:36,200
Speaker 1: about some kind of mass sexual behavior phenomenon, such as

673
00:39:36,239 --> 00:39:41,000
Speaker 1: one he predicts where clouds of afrodisacs substances will take

674
00:39:41,080 --> 00:39:45,200
Speaker 1: over the country in the year's nineteen eighty nine, causing

675
00:39:45,200 --> 00:39:51,920
Speaker 1: people to marry cats and stuff. Okay, well, this reminds

676
00:39:51,920 --> 00:39:53,520
Speaker 1: me one of the things I read about Chris Well

677
00:39:53,719 --> 00:39:57,000
Speaker 1: is that he worked with Edward to figure out exactly

678
00:39:57,080 --> 00:40:01,399
Speaker 1: what he was gonna say on this film because there

679
00:40:01,400 --> 00:40:04,399
Speaker 1: were certain words that Chris Well could not really get

680
00:40:04,440 --> 00:40:06,640
Speaker 1: out all that easily kind of a speech impediment kind

681
00:40:06,640 --> 00:40:08,680
Speaker 1: of a situation, and so they kind of like figured

682
00:40:08,719 --> 00:40:11,080
Speaker 1: out how to like figured out what he could say,

683
00:40:11,120 --> 00:40:14,439
Speaker 1: so you know, work it to his his favor here.

684
00:40:14,880 --> 00:40:16,920
Speaker 1: Uh And ultimately I feel like with Tore Johnson with

685
00:40:16,920 --> 00:40:19,920
Speaker 1: a Vampiro, with Chris Well, like these are all examples

686
00:40:19,960 --> 00:40:24,000
Speaker 1: of someone who they'd already figured out their gimmick outside

687
00:40:24,400 --> 00:40:27,200
Speaker 1: of film, and then they're brought into the film world

688
00:40:27,239 --> 00:40:29,600
Speaker 1: and they're just they're continuing to do their thing on

689
00:40:29,640 --> 00:40:32,439
Speaker 1: their terms, and that's why they're they're probably the most

690
00:40:32,480 --> 00:40:36,759
Speaker 1: impressive figures in this picture. Yeah, Uh, there is, there's.

691
00:40:37,160 --> 00:40:39,880
Speaker 1: Tour doesn't really do any wrestling in the movie, except

692
00:40:39,880 --> 00:40:42,960
Speaker 1: there's one moment where he gets a really nice wrestling

693
00:40:43,160 --> 00:40:45,840
Speaker 1: slap down on a cop. He like smacks him on

694
00:40:45,880 --> 00:40:48,640
Speaker 1: the shoulders, you know the part I'm talking about. Yeah, Yeah,

695
00:40:48,680 --> 00:40:50,920
Speaker 1: he does kind of it almost looks like a like

696
00:40:50,960 --> 00:40:53,799
Speaker 1: a double chop, Yeah, situation, almost like a Mongolian chop.

697
00:40:53,920 --> 00:40:57,000
Speaker 1: Or something. But uh, but but the other individual just

698
00:40:57,040 --> 00:41:00,560
Speaker 1: completely collapses if it just instantaneously broke all of the

699
00:41:00,560 --> 00:41:11,080
Speaker 1: bones in their body. All right, Well, onto the rest

700
00:41:11,080 --> 00:41:13,360
Speaker 1: of the cast. Some of these are humans, some of

701
00:41:13,360 --> 00:41:16,320
Speaker 1: these are aliens or celestials, but the first is definitely

702
00:41:16,320 --> 00:41:19,800
Speaker 1: a human man. This is the character Jeff Trent, played

703
00:41:19,840 --> 00:41:23,680
Speaker 1: by Gregory Walcott, who lived through two thousand and fifteen.

704
00:41:24,040 --> 00:41:27,640
Speaker 1: He has our square jaws six four punch first hero.

705
00:41:28,160 --> 00:41:31,480
Speaker 1: This is the lug hero of this monster movie. Yeah,

706
00:41:31,520 --> 00:41:34,640
Speaker 1: and it's interesting because he's also He was also more

707
00:41:34,760 --> 00:41:37,440
Speaker 1: of an established actor than many of the folks in

708
00:41:37,520 --> 00:41:41,720
Speaker 1: Plan nine, which isn't saying much obviously, but he'd already

709
00:41:41,760 --> 00:41:43,680
Speaker 1: been in a string of movies and TV shows at

710
00:41:43,680 --> 00:41:46,000
Speaker 1: this point. He mainly went on to do a lot

711
00:41:46,000 --> 00:41:48,360
Speaker 1: of TV after this, but also popped back up on

712
00:41:48,400 --> 00:41:50,640
Speaker 1: the big screen in a trio of Clint Eastwood movies

713
00:41:50,680 --> 00:41:54,640
Speaker 1: in the nineteen seventies, Thunderbolt and Lightfoot, The Eiger Sanction,

714
00:41:55,239 --> 00:41:57,400
Speaker 1: which I remember is being a pretty fun mountain climbing

715
00:41:57,440 --> 00:42:01,040
Speaker 1: thriller every which way, but Lose, which which some would

716
00:42:01,080 --> 00:42:04,799
Speaker 1: say is a Grade eight movie, and then N's House

717
00:42:04,840 --> 00:42:08,040
Speaker 1: to the second Story. He even has a cameo in

718
00:42:08,040 --> 00:42:11,840
Speaker 1: in in Burton's Edward movie, plays like a potential backer

719
00:42:11,960 --> 00:42:14,120
Speaker 1: for one of the pictures. I don't want to be

720
00:42:14,120 --> 00:42:17,880
Speaker 1: too unkind, but Gregory Walcott this is no John Agar.

721
00:42:18,120 --> 00:42:21,080
Speaker 1: I mean, you've, you know, in fifties sci fi movies,

722
00:42:21,640 --> 00:42:24,440
Speaker 1: You've got your lugs and then you've got your lugs,

723
00:42:24,480 --> 00:42:27,879
Speaker 1: and Walcott is the latter. The best comparison I could

724
00:42:27,880 --> 00:42:30,120
Speaker 1: think of. I don't think I've ever put this together before,

725
00:42:30,160 --> 00:42:33,200
Speaker 1: but on this viewing, I realized that this is what

726
00:42:33,320 --> 00:42:36,359
Speaker 1: you get if you made an alien invasion movie where

727
00:42:36,400 --> 00:42:40,360
Speaker 1: the dashing hero was Putty from Seinfeld. Yeah, I know

728
00:42:40,400 --> 00:42:42,800
Speaker 1: what you mean. His voice. He's got a deep voice,

729
00:42:42,840 --> 00:42:44,920
Speaker 1: but it's almost a little too deep, like he's almost

730
00:42:45,400 --> 00:42:48,520
Speaker 1: leaning into lurch territory. Uh. And again he's he's he's

731
00:42:48,520 --> 00:42:50,920
Speaker 1: already six four, Like he's a very tall guy. I mean,

732
00:42:50,920 --> 00:42:53,839
Speaker 1: we're getting I guess he's taller than than tour Really

733
00:42:53,880 --> 00:42:55,640
Speaker 1: at this point, he's getting up in there into into

734
00:42:55,680 --> 00:42:59,080
Speaker 1: primo territory. And that's that's awfully tall for your for

735
00:42:59,400 --> 00:43:01,319
Speaker 1: your heroes. You're how to pull some apple boxes on

736
00:43:01,360 --> 00:43:04,759
Speaker 1: stat at this point. Yeah, So, actually, you know what

737
00:43:04,840 --> 00:43:07,120
Speaker 1: I think to go even better. I would say he's

738
00:43:07,120 --> 00:43:11,560
Speaker 1: a combination of Putty from Seinfeld and Jack Palance. Oh

739
00:43:11,560 --> 00:43:15,640
Speaker 1: that's good, yeah, yeah, but but without without the the uh,

740
00:43:16,200 --> 00:43:19,359
Speaker 1: the overpowering charisma of either. Oh of course, I didn't

741
00:43:19,400 --> 00:43:21,759
Speaker 1: mean he has the charisma of Jack Palance. He does

742
00:43:21,800 --> 00:43:26,000
Speaker 1: not have that sneer. No, he's He's actually quite appropriate

743
00:43:26,040 --> 00:43:28,880
Speaker 1: though for the role he plays, which is he he

744
00:43:28,920 --> 00:43:31,360
Speaker 1: seems to be playing a man who's supposed to represent

745
00:43:31,440 --> 00:43:35,600
Speaker 1: the stupidity of Earthlings, because the Aliens are like, you know,

746
00:43:35,719 --> 00:43:39,080
Speaker 1: you're going to destroy yourselves by creating weapons that will

747
00:43:39,080 --> 00:43:42,120
Speaker 1: annihilate the entire universe, And he's like, but wouldn't these

748
00:43:42,160 --> 00:43:45,879
Speaker 1: weapons make us stronger? Uh? And he also, I hope

749
00:43:45,880 --> 00:43:48,719
Speaker 1: you'll notice in the later scenes where the aliens are

750
00:43:48,760 --> 00:43:52,560
Speaker 1: calling Earthling stupid, he's the only Earthling who gets offended,

751
00:43:52,760 --> 00:43:56,440
Speaker 1: and I think that tells us something. Alright. So he

752
00:43:56,520 --> 00:43:59,640
Speaker 1: plays Jeff Trent, human man. But then we also have

753
00:43:59,760 --> 00:44:02,920
Speaker 1: the actor Paula Trent, a human woman. Uh. This is

754
00:44:03,000 --> 00:44:08,960
Speaker 1: his wife played by Mona McKinnon, who lived through Tennessee

755
00:44:09,000 --> 00:44:11,720
Speaker 1: born actor who acted in just a handful of movies

756
00:44:11,800 --> 00:44:15,040
Speaker 1: during the nineteen fifties, including Nisa of the Lost Women,

757
00:44:15,160 --> 00:44:19,040
Speaker 1: Jail Bait, Teenage Thunder, and Night of the Ghoules. She

758
00:44:19,200 --> 00:44:21,600
Speaker 1: has some line deliveries in this movie that will leave

759
00:44:21,640 --> 00:44:25,680
Speaker 1: you reeling. Yes, I mean it's you can't blame her

760
00:44:25,760 --> 00:44:28,399
Speaker 1: too much because she's she's using the lines that were

761
00:44:28,440 --> 00:44:33,279
Speaker 1: given to her by ed Wood, but oh, it's it's

762
00:44:33,320 --> 00:44:36,360
Speaker 1: it's beautiful to be held. There's a scene where Jeff

763
00:44:36,360 --> 00:44:38,520
Speaker 1: Trent is, you know, her husband, He's going off to

764
00:44:38,560 --> 00:44:41,440
Speaker 1: fly an airplane and she's like, I wish you'd go

765
00:44:41,480 --> 00:44:44,120
Speaker 1: stay at your mother's house because of all these zombies

766
00:44:44,160 --> 00:44:46,480
Speaker 1: that have been wandering around. And she's like, oh, don't

767
00:44:46,520 --> 00:44:50,480
Speaker 1: worry about things, and he's like, okay, well be careful.

768
00:44:50,880 --> 00:44:53,000
Speaker 1: And then the line she says is, I'm afraid I'm

769
00:44:53,000 --> 00:44:56,000
Speaker 1: getting wrong. I think it's something almost exactly like this.

770
00:44:56,760 --> 00:45:00,920
Speaker 1: The flying saucers are up there, the cemeteries out there,

771
00:45:00,960 --> 00:45:05,120
Speaker 1: but I'll be in there. Yes, Oh my god, Like really,

772
00:45:05,960 --> 00:45:08,000
Speaker 1: she did a great job with what she was given there,

773
00:45:08,040 --> 00:45:09,799
Speaker 1: like what are you? How are you supposed to deliver that?

774
00:45:10,200 --> 00:45:12,400
Speaker 1: And and then there there's so much other weird stuff

775
00:45:12,400 --> 00:45:15,640
Speaker 1: that she's given, Like there's this whole bit where she's

776
00:45:15,680 --> 00:45:19,280
Speaker 1: talking about how with um with lug head away with

777
00:45:19,280 --> 00:45:21,879
Speaker 1: with Jeff away that she's got a pillow that she's

778
00:45:21,880 --> 00:45:24,560
Speaker 1: gonna hold at night, and he's acting a little jealous

779
00:45:24,560 --> 00:45:27,360
Speaker 1: of the pillow, and there's like some at least mild

780
00:45:27,440 --> 00:45:30,319
Speaker 1: pillow eroticism wrapped up in the whole scene, and it's

781
00:45:30,360 --> 00:45:34,960
Speaker 1: just so weird, alright. So so that's that's McKinnon playing Paula,

782
00:45:35,680 --> 00:45:39,120
Speaker 1: a human woman. But our next character is Aros, a

783
00:45:39,200 --> 00:45:42,080
Speaker 1: celestial an alien, which, of course, especially in the film

784
00:45:42,120 --> 00:45:44,080
Speaker 1: like this just looks like a human being accept in

785
00:45:44,080 --> 00:45:46,919
Speaker 1: a funny costume. And this character is played by all

786
00:45:47,160 --> 00:45:54,919
Speaker 1: the brilliant Dudley man Love who live through a California

787
00:45:55,080 --> 00:45:58,640
Speaker 1: radio announcer with a voice of just solid gold and

788
00:45:58,680 --> 00:46:03,160
Speaker 1: also sometimes actor exact opposite end of the spectrum. So

789
00:46:03,320 --> 00:46:06,319
Speaker 1: whereas with Jeff and Paula, both of them have these

790
00:46:06,400 --> 00:46:09,919
Speaker 1: line deliveries that just clang and clunk and like roll

791
00:46:10,080 --> 00:46:14,240
Speaker 1: tumble down the stairs, this guy says every single line,

792
00:46:14,320 --> 00:46:18,120
Speaker 1: no matter how banal, with like like he's giving a

793
00:46:18,200 --> 00:46:22,440
Speaker 1: sort of political announcement, yeah, or the Hindenberg is crashing,

794
00:46:22,880 --> 00:46:26,640
Speaker 1: but he's just he's that that that's the level of

795
00:46:26,680 --> 00:46:30,919
Speaker 1: his Delivery. Yeah, he was not an actor, to be fair,

796
00:46:31,880 --> 00:46:34,400
Speaker 1: sometimes an actor, but this was his first picture. He

797
00:46:34,440 --> 00:46:36,719
Speaker 1: went on to act in nineteen sixty two is the

798
00:46:36,760 --> 00:46:39,640
Speaker 1: Creation of the Humanoids. And he had some roles, uh

799
00:46:39,640 --> 00:46:41,360
Speaker 1: that would pop up here and there on TV shows

800
00:46:41,400 --> 00:46:45,319
Speaker 1: like even Alfred Hitchcock Presents and Dragnet. But this, uh,

801
00:46:45,400 --> 00:46:48,120
Speaker 1: this is his memorable performance. He's just he's a light

802
00:46:48,200 --> 00:46:51,400
Speaker 1: anytime he's on screen, but he's usually not alone on screen.

803
00:46:51,440 --> 00:46:54,680
Speaker 1: There there are two aliens who pilot the main flying

804
00:46:54,719 --> 00:46:57,640
Speaker 1: saucer in the movie, and the other one is Tanna,

805
00:46:57,880 --> 00:47:02,040
Speaker 1: played by Joanna Lee. I lived one through two thousand

806
00:47:02,120 --> 00:47:05,120
Speaker 1: and three, and as an actor, she was mostly active

807
00:47:05,160 --> 00:47:07,800
Speaker 1: in the nineteen fifties, including a role in The Brain

808
00:47:07,840 --> 00:47:12,640
Speaker 1: Eaters from fifty eight, but she more extensively had an

809
00:47:12,680 --> 00:47:16,120
Speaker 1: impact as a producer, a writer, and a director. She

810
00:47:16,239 --> 00:47:20,279
Speaker 1: wrote for a slew of TV comedies, including, just to

811
00:47:20,320 --> 00:47:23,160
Speaker 1: name a few of them, The Jetsons, My Three Sons,

812
00:47:23,239 --> 00:47:27,719
Speaker 1: Johnny Quest, Bewitched, The flint Stones, Gilligan's Island, The Brady Bunch,

813
00:47:27,800 --> 00:47:32,480
Speaker 1: The Waltons, and then later on Dynasty. Uh So, like

814
00:47:32,520 --> 00:47:34,880
Speaker 1: that alone is pretty impressive, but she also produced and

815
00:47:34,920 --> 00:47:39,120
Speaker 1: directed episodes of CBS School Break Special and ABC After

816
00:47:39,200 --> 00:47:42,719
Speaker 1: School Specials. So seems to seem to me like a

817
00:47:42,719 --> 00:47:47,480
Speaker 1: pretty solid career. Yeah, yeah, broke mainstream YEP. Now, before

818
00:47:47,520 --> 00:47:49,480
Speaker 1: we get to the next celestial, we want to get

819
00:47:49,520 --> 00:47:51,800
Speaker 1: back into the human world for a second, and mentioned

820
00:47:51,800 --> 00:47:55,440
Speaker 1: that we have this patrolman. Patrolman Kelton played by Paul Marco.

821
00:47:55,960 --> 00:47:59,120
Speaker 1: Paul Marco lived through two thousand and six. He was

822
00:47:59,160 --> 00:48:02,280
Speaker 1: a three time would actor. He also appears in Bride

823
00:48:02,280 --> 00:48:05,800
Speaker 1: of the Monster and Night of the Ghoules classic Bumbling

824
00:48:05,840 --> 00:48:08,800
Speaker 1: Cop performance. I was trying to find where to insert

825
00:48:08,880 --> 00:48:10,920
Speaker 1: this in our outline, and I feel like maybe the

826
00:48:11,480 --> 00:48:15,840
Speaker 1: best places here. So I came across a record that

827
00:48:15,960 --> 00:48:18,840
Speaker 1: I just have to get a copy of. It is

828
00:48:19,400 --> 00:48:21,319
Speaker 1: let's see what is it called. It came out in

829
00:48:21,560 --> 00:48:25,600
Speaker 1: nineteen five or ninety six, I think, and it's called

830
00:48:25,800 --> 00:48:30,200
Speaker 1: Uncle Dale presents Paul Marco as Kelton the Cop and

831
00:48:30,440 --> 00:48:34,400
Speaker 1: Chris Well Uh, and they're performing two different songs. So

832
00:48:34,400 --> 00:48:36,440
Speaker 1: it's like a single record with a one song on

833
00:48:36,480 --> 00:48:40,240
Speaker 1: each side, and one is performed by Paul Marco singing

834
00:48:40,280 --> 00:48:43,480
Speaker 1: a song called Home on the Strange, which is like

835
00:48:43,520 --> 00:48:46,640
Speaker 1: a sort of monologue song about a bunch of horror

836
00:48:46,640 --> 00:48:50,640
Speaker 1: stuff happening. And then the other side is Chris Well

837
00:48:50,800 --> 00:48:52,839
Speaker 1: doing a song that I have to say Chris Well

838
00:48:52,920 --> 00:48:55,320
Speaker 1: sounds like he's real phoning it in. It's called someone

839
00:48:55,400 --> 00:48:58,440
Speaker 1: Walked Over My Grave and it's just piano playing and

840
00:48:58,480 --> 00:49:03,840
Speaker 1: he's going sub one while walked over my Grave. I

841
00:49:03,880 --> 00:49:05,920
Speaker 1: think I've heard this in a weird mix at some

842
00:49:06,040 --> 00:49:09,680
Speaker 1: point as well. But the Paul Marco song is is better.

843
00:49:09,760 --> 00:49:12,040
Speaker 1: I mean, it's it's worth a listen. You should look

844
00:49:12,080 --> 00:49:14,719
Speaker 1: it up Home on the Strange. Alright, Well, I'll make

845
00:49:14,760 --> 00:49:18,399
Speaker 1: sure that I did listen to Someone Walk Over My Grave,

846
00:49:18,440 --> 00:49:20,200
Speaker 1: but I'll listen to Home on the Strange as well,

847
00:49:20,280 --> 00:49:23,120
Speaker 1: and I'll put both of these on the page for

848
00:49:23,160 --> 00:49:25,920
Speaker 1: this episode at Samuda music dot Com. All right, now,

849
00:49:25,960 --> 00:49:29,239
Speaker 1: back into the celestial realm. We have the Ruler a

850
00:49:29,320 --> 00:49:36,520
Speaker 1: celestial played by John Breckenridge, who lived fourteen through a

851
00:49:36,760 --> 00:49:39,919
Speaker 1: very fun screen presence in this film, a very very

852
00:49:39,960 --> 00:49:43,920
Speaker 1: sassy performance. Um, but this is a guy who's just

853
00:49:44,040 --> 00:49:46,920
Speaker 1: was a complete non actor making a one time appearance

854
00:49:46,920 --> 00:49:49,200
Speaker 1: in film. He just happened to be a house guest

855
00:49:49,280 --> 00:49:52,480
Speaker 1: of Paul Marco at the time. He's well he's got

856
00:49:52,520 --> 00:49:56,680
Speaker 1: wonderful screen presence. Yeah, he does, because he he has

857
00:49:56,719 --> 00:50:01,000
Speaker 1: he has, he has his performance, his his his performances

858
00:50:01,040 --> 00:50:02,799
Speaker 1: such that I feel like some of his lines are

859
00:50:02,960 --> 00:50:06,799
Speaker 1: legitimately creepy, like he's the he's the the actor who

860
00:50:06,840 --> 00:50:11,000
Speaker 1: gets to deliver the line. Plan nine deals with the

861
00:50:11,040 --> 00:50:14,360
Speaker 1: resurrection of the dead and so forth. So it's a

862
00:50:15,080 --> 00:50:17,799
Speaker 1: it's a fun, fun little role. But but yeah, he's

863
00:50:17,960 --> 00:50:19,600
Speaker 1: not an actor at all. And just kind of I

864
00:50:19,640 --> 00:50:23,520
Speaker 1: guess convinced UH to show up and do this. He

865
00:50:23,640 --> 00:50:27,520
Speaker 1: was French born, the great great great grandson of U. S.

866
00:50:27,520 --> 00:50:31,239
Speaker 1: Attorney General John Breckenridge, born into a wealthy family, and

867
00:50:31,280 --> 00:50:35,600
Speaker 1: also the great grandson of Wells Fargo Bank founder Lloyd Tavis,

868
00:50:35,640 --> 00:50:40,480
Speaker 1: heir to the dynasty. All Right, and finally, I want

869
00:50:40,520 --> 00:50:42,479
Speaker 1: to just I want to have a note here about

870
00:50:42,480 --> 00:50:45,359
Speaker 1: the music though, because as with Tarantula, we're knee deep

871
00:50:45,400 --> 00:50:49,120
Speaker 1: in fifty stock music here. But I will say, in

872
00:50:49,160 --> 00:50:53,720
Speaker 1: a movie that is so well known for it's an aptitude, uh,

873
00:50:53,800 --> 00:50:57,000
Speaker 1: and it's in its amateur style and the clunkiness of

874
00:50:57,040 --> 00:50:59,840
Speaker 1: pieces coming together, this is a film in which we

875
00:51:00,080 --> 00:51:04,640
Speaker 1: pieces of music from multiple sources compiled by one Gordon Zaler,

876
00:51:05,200 --> 00:51:08,000
Speaker 1: and I feel like some of these are just really

877
00:51:08,000 --> 00:51:10,399
Speaker 1: great pieces of music. You know, they're that classic kind

878
00:51:10,400 --> 00:51:15,120
Speaker 1: of horns, blaring monsters, attacking music from the from the day.

879
00:51:15,280 --> 00:51:18,280
Speaker 1: And when you're watching the film, you may be noticing

880
00:51:18,280 --> 00:51:21,400
Speaker 1: all these other things that don't feel right and are

881
00:51:21,520 --> 00:51:24,960
Speaker 1: coming off weird and amateurish, but the music isn't one

882
00:51:25,000 --> 00:51:27,759
Speaker 1: of them. The music sounds really solid. So I have

883
00:51:27,840 --> 00:51:30,840
Speaker 1: to give Gordon credit for for bringing in these pieces,

884
00:51:31,239 --> 00:51:33,600
Speaker 1: assembling them in such a way that they're able to

885
00:51:33,640 --> 00:51:36,920
Speaker 1: back the film up and make you and you may

886
00:51:36,960 --> 00:51:39,280
Speaker 1: be second guessing everything else, but you're not really second

887
00:51:39,320 --> 00:51:42,160
Speaker 1: guessing the music for the most part. Yeah, I cannot

888
00:51:42,360 --> 00:51:47,440
Speaker 1: hear those horns without thinking of of Tore Johnson's gaping mouth,

889
00:51:47,719 --> 00:51:51,200
Speaker 1: like they're the sounds are coming out of his mouth. Now.

890
00:51:51,280 --> 00:51:54,200
Speaker 1: I think we face a different kind of challenge when

891
00:51:54,400 --> 00:51:57,160
Speaker 1: breaking down the plot of this movie than we normally do,

892
00:51:58,080 --> 00:52:00,319
Speaker 1: which is that there is way too much of a

893
00:52:00,320 --> 00:52:05,239
Speaker 1: temptation to minutely describe and quote every single scene, which

894
00:52:05,280 --> 00:52:07,920
Speaker 1: we're going to try not to do. But this movie,

895
00:52:08,719 --> 00:52:13,800
Speaker 1: like the weirdness and the double take inducing stuff that's happening,

896
00:52:13,920 --> 00:52:17,880
Speaker 1: is just NonStop yeah, it is. It is relentless this film,

897
00:52:17,920 --> 00:52:20,200
Speaker 1: and you definitely should see it. It's one of these.

898
00:52:20,719 --> 00:52:23,640
Speaker 1: It's it's rare to find anyone who is not amused

899
00:52:23,680 --> 00:52:26,560
Speaker 1: by it. Uh, this is this is one that I

900
00:52:26,600 --> 00:52:28,880
Speaker 1: would I would recommend to everyone out there, and it's

901
00:52:28,960 --> 00:52:31,759
Speaker 1: one that that that holds up to repeat viewing. I've

902
00:52:31,760 --> 00:52:33,800
Speaker 1: seen this a few different times. I've I've seen I

903
00:52:33,800 --> 00:52:36,919
Speaker 1: think I saw riff tracks presentation of it many many

904
00:52:37,000 --> 00:52:39,719
Speaker 1: years ago, and and that's fine, or riff tracks can

905
00:52:39,719 --> 00:52:40,920
Speaker 1: it can be a lot of fun. But this is

906
00:52:40,920 --> 00:52:43,160
Speaker 1: a film that doesn't even need the riffing like it is.

907
00:52:43,920 --> 00:52:47,839
Speaker 1: It It's energy is such that that you will do

908
00:52:47,880 --> 00:52:50,200
Speaker 1: the riffing. You know that the riffing occurs in your

909
00:52:50,200 --> 00:52:53,719
Speaker 1: own head. It's brilliant. But one thing we do have

910
00:52:53,840 --> 00:52:57,680
Speaker 1: to talk about is the introduction, because the movie begins.

911
00:52:58,040 --> 00:53:01,279
Speaker 1: This is a fictional movie that begets with a Criswell

912
00:53:01,440 --> 00:53:06,319
Speaker 1: predicts segment like the amazing Criswell did on TV. And

913
00:53:06,560 --> 00:53:09,480
Speaker 1: uh he so it. You know, the lights come up

914
00:53:09,520 --> 00:53:13,400
Speaker 1: on Criswell and he goes into a monologue that is

915
00:53:13,480 --> 00:53:19,160
Speaker 1: so indescribably weird, like the rambling, nonsensical nature of it

916
00:53:19,200 --> 00:53:21,839
Speaker 1: actually reminds me of you know, when you're in high

917
00:53:21,840 --> 00:53:25,920
Speaker 1: school and people have to do class presentations and sometimes

918
00:53:26,000 --> 00:53:28,600
Speaker 1: there's a kid in the class who hasn't done any

919
00:53:28,680 --> 00:53:32,120
Speaker 1: of the homework or any preparation, but they're also kind

920
00:53:32,160 --> 00:53:36,719
Speaker 1: of good at talking, and they just start saying words. Yeah, yeah,

921
00:53:36,880 --> 00:53:39,400
Speaker 1: I think that's that's totally fair. And really it seems

922
00:53:39,440 --> 00:53:41,800
Speaker 1: like it would line up well with with Chris with

923
00:53:42,040 --> 00:53:45,400
Speaker 1: with with Criswell's career here where he's essentially saying nothing,

924
00:53:45,880 --> 00:53:49,320
Speaker 1: but the delivery is good enough that it sounds profound.

925
00:53:49,760 --> 00:53:52,200
Speaker 1: I can't, I can't do the Criswell voice. It is

926
00:53:52,200 --> 00:53:56,759
Speaker 1: famously the adjective I think is stentorian. You know, it's greetings,

927
00:53:56,840 --> 00:54:00,680
Speaker 1: my friend. Uh, And so he begins by saying, greetings,

928
00:54:00,719 --> 00:54:03,920
Speaker 1: my friend. We are all interested in the future, for

929
00:54:04,000 --> 00:54:06,040
Speaker 1: that is where you and I are going to spend

930
00:54:06,239 --> 00:54:10,120
Speaker 1: the rest of our lives. And remember, my friend, future

931
00:54:10,160 --> 00:54:14,600
Speaker 1: events such as these will affect you in the future.

932
00:54:14,640 --> 00:54:17,400
Speaker 1: You with it so far, okay, future events will affect

933
00:54:17,400 --> 00:54:20,560
Speaker 1: even you in the future. Um. You are interested in

934
00:54:20,600 --> 00:54:24,719
Speaker 1: the unknown, the mysterious, the unexplainable. That is why you

935
00:54:24,800 --> 00:54:28,120
Speaker 1: are here. And now, for the first time, we are

936
00:54:28,160 --> 00:54:31,239
Speaker 1: bringing you the full story of what happened on that

937
00:54:31,360 --> 00:54:35,040
Speaker 1: fateful day. We are bringing you all the evidence based

938
00:54:35,080 --> 00:54:38,920
Speaker 1: only on the secret testimony of the miserable souls who

939
00:54:39,040 --> 00:54:44,520
Speaker 1: survived this terrifying ordeal, the incidents, the places. My friend,

940
00:54:44,640 --> 00:54:47,879
Speaker 1: we cannot keep this a secret any longer. Let us

941
00:54:47,920 --> 00:54:51,760
Speaker 1: punish the guilty, let us reward the innocent. My friend,

942
00:54:51,880 --> 00:54:56,560
Speaker 1: can your heart stand the shocking facts about Grave Robbers

943
00:54:56,640 --> 00:55:00,759
Speaker 1: from Outer Space? I absolutely love it, and it's it's

944
00:55:00,800 --> 00:55:03,399
Speaker 1: so ridiculous, and yet at the same time, one thing

945
00:55:03,400 --> 00:55:05,600
Speaker 1: I was thinking about is that if you compare this

946
00:55:05,680 --> 00:55:10,239
Speaker 1: opening narration to the John Leriquette opening narration on the

947
00:55:10,280 --> 00:55:14,200
Speaker 1: original Texas Chainsaw Massacre, they have a lot that lines

948
00:55:14,280 --> 00:55:17,520
Speaker 1: up with each other, like they're both presented uh to

949
00:55:17,719 --> 00:55:21,400
Speaker 1: varying degrees of believability um as a statement of that

950
00:55:21,440 --> 00:55:23,840
Speaker 1: what you were about to see is real, this really happened,

951
00:55:24,360 --> 00:55:28,400
Speaker 1: this is really important. And then both examples say the

952
00:55:28,480 --> 00:55:30,719
Speaker 1: name of the picture at the very end, uh the

953
00:55:30,760 --> 00:55:34,040
Speaker 1: Texas Chainsaw Massacre. And even though Plan nine from Outer

954
00:55:34,120 --> 00:55:37,200
Speaker 1: Space was the final title for this picture, Grave Robbers

955
00:55:37,239 --> 00:55:40,080
Speaker 1: from Outer Space was was like an alternate title or

956
00:55:40,160 --> 00:55:42,759
Speaker 1: working title or something to that effect. Yeah, I don't

957
00:55:42,760 --> 00:55:46,000
Speaker 1: know if this is historically true, but in the movie Edwood,

958
00:55:46,280 --> 00:55:48,920
Speaker 1: they explained the reason for the change of name was

959
00:55:49,000 --> 00:55:52,440
Speaker 1: that the film was at least partially financed by a

960
00:55:52,480 --> 00:55:56,080
Speaker 1: Baptist church in the Los Angeles area, and they found

961
00:55:56,120 --> 00:56:00,480
Speaker 1: the idea of grave robbing sacrilegious. Uh, it should be

962
00:56:00,520 --> 00:56:04,400
Speaker 1: noted graves aren't really robbed. I mean they're self robbing

963
00:56:04,440 --> 00:56:09,520
Speaker 1: by courses. So it's but but really nitpicking at this point,

964
00:56:09,760 --> 00:56:12,760
Speaker 1: there's so many other glaring errors. Well no, wait, actually

965
00:56:12,800 --> 00:56:17,319
Speaker 1: to that point, there is an absolutely unbelievable scene that

966
00:56:17,440 --> 00:56:20,960
Speaker 1: goes on for minutes of cops talking about standing over

967
00:56:21,000 --> 00:56:23,279
Speaker 1: a grave, of talking about whether or not they can

968
00:56:23,320 --> 00:56:26,000
Speaker 1: go down into the grave to look at it. Right.

969
00:56:26,080 --> 00:56:29,360
Speaker 1: It goes on forever, and they're they're talking about do

970
00:56:29,440 --> 00:56:32,439
Speaker 1: we have jurisdiction to go in there? But also it's

971
00:56:32,440 --> 00:56:35,520
Speaker 1: like can we physically do it? Can all in here?

972
00:56:35,719 --> 00:56:37,759
Speaker 1: And then one guy goes in and he's like, I

973
00:56:37,800 --> 00:56:40,800
Speaker 1: can't read anything. It's like you're in an open grave

974
00:56:40,960 --> 00:56:43,400
Speaker 1: and I think it's supposed to be night, and so

975
00:56:43,440 --> 00:56:45,680
Speaker 1: they're like, well, we better get him a flashlight. And

976
00:56:46,520 --> 00:56:49,120
Speaker 1: we mentioned that we have DeMarco playing a bumbling cop,

977
00:56:49,200 --> 00:56:51,399
Speaker 1: but like all the cops are bumbling, and they're so

978
00:56:51,520 --> 00:56:54,880
Speaker 1: blum bumbling, Like this seems to be a picture in

979
00:56:54,920 --> 00:56:58,320
Speaker 1: which the only understanding of law enforcement was based entirely

980
00:56:58,360 --> 00:57:02,120
Speaker 1: on Laurel and Hardy movies. It's it's incredible, but I mean,

981
00:57:02,480 --> 00:57:05,560
Speaker 1: there's so many levels of the Criswell monologue. So yes,

982
00:57:05,640 --> 00:57:08,480
Speaker 1: it is like the Texas Chainsaw. It's like insisting this

983
00:57:08,600 --> 00:57:12,080
Speaker 1: is real even though the events don't don't even have

984
00:57:12,160 --> 00:57:17,040
Speaker 1: internal consistency, but also saying, what what is the relationship

985
00:57:17,120 --> 00:57:22,440
Speaker 1: to time here? It seems to establish that that causality

986
00:57:22,560 --> 00:57:25,960
Speaker 1: is still in effect. Future events will only affect you

987
00:57:26,000 --> 00:57:28,680
Speaker 1: in the future, which I guess is good, Like it's

988
00:57:28,680 --> 00:57:31,680
Speaker 1: good to know there are some rules still in place

989
00:57:31,720 --> 00:57:34,400
Speaker 1: here for this motion picture. But he's also saying that

990
00:57:34,440 --> 00:57:38,240
Speaker 1: the events he's talking about are are happening in the future,

991
00:57:38,720 --> 00:57:42,440
Speaker 1: but also have already happened. Okay, well yeah, now that

992
00:57:42,520 --> 00:57:44,520
Speaker 1: just twists me all up. Okay, So we go from

993
00:57:44,560 --> 00:57:48,640
Speaker 1: Criswell to Boom Thundercrack credits etchings on a tombstone. You

994
00:57:48,680 --> 00:57:52,240
Speaker 1: see tour Johnson Just a little note. I remember thinking

995
00:57:52,240 --> 00:57:54,640
Speaker 1: even back the first time I saw it, Wardrobe on.

996
00:57:54,680 --> 00:57:57,480
Speaker 1: This movie is by someone named Dick Cheney. I think

997
00:57:57,480 --> 00:58:00,960
Speaker 1: it's not the same one. I missed that. But then

998
00:58:01,160 --> 00:58:03,480
Speaker 1: so the credits finish, and then one of the funniest

999
00:58:03,520 --> 00:58:05,640
Speaker 1: things is that it cuts to a funeral and then

1000
00:58:05,680 --> 00:58:08,560
Speaker 1: Criswell is still going. You think you're done with him,

1001
00:58:08,680 --> 00:58:10,960
Speaker 1: but he just comes back in. You're watching people in

1002
00:58:11,000 --> 00:58:13,840
Speaker 1: a graveyard, and he's all of us on earth know

1003
00:58:14,040 --> 00:58:16,400
Speaker 1: that there is a time to live and a time

1004
00:58:16,520 --> 00:58:20,120
Speaker 1: to die. And uh, we see Bella Lego, see the

1005
00:58:20,200 --> 00:58:23,360
Speaker 1: real Bella Lego. See in this sense, he's crying into

1006
00:58:23,360 --> 00:58:26,120
Speaker 1: a handkerchief at a grave side and some guys reading

1007
00:58:26,120 --> 00:58:29,360
Speaker 1: a Bible and there are two grave diggers nearby who

1008
00:58:29,360 --> 00:58:32,080
Speaker 1: look like they belong in a commercial for baked beans,

1009
00:58:32,760 --> 00:58:36,440
Speaker 1: and uh. And the Criswell monologue just goes and goes

1010
00:58:36,600 --> 00:58:39,480
Speaker 1: and goes. You know, he's talking about like the nature

1011
00:58:39,520 --> 00:58:43,000
Speaker 1: of death. He says, when death the proud brother comes

1012
00:58:43,000 --> 00:58:48,200
Speaker 1: suddenly without warning. Um, and he says, oh. But he

1013
00:58:48,280 --> 00:58:51,680
Speaker 1: also gets very poetic. He's talking about like the sundown.

1014
00:58:51,840 --> 00:58:54,720
Speaker 1: You remember, the sundown, last sundown of the day, and

1015
00:58:54,800 --> 00:58:58,280
Speaker 1: yet also the sundown of the old man's heart. And

1016
00:58:58,320 --> 00:59:01,160
Speaker 1: you're just like you can just a mad j Edwood

1017
00:59:01,360 --> 00:59:04,080
Speaker 1: writing this and or Cruswell riding with him, and they're

1018
00:59:04,120 --> 00:59:06,440
Speaker 1: just like, yeah, this is so good. It's so good.

1019
00:59:06,760 --> 00:59:09,000
Speaker 1: So here's where things begin. Bella Lego sees at a

1020
00:59:09,000 --> 00:59:12,200
Speaker 1: funeral for his wife. Uh, it doesn't show us this,

1021
00:59:12,240 --> 00:59:15,120
Speaker 1: but we find out later his his wife was Vampira,

1022
00:59:15,920 --> 00:59:19,080
Speaker 1: and uh, then the grave diggers start tossing dirt on

1023
00:59:19,120 --> 00:59:21,760
Speaker 1: the coffin, and then we cut to an airplane, and

1024
00:59:21,800 --> 00:59:26,439
Speaker 1: then we cut inside the airplane and wow, wow this set. Yeah,

1025
00:59:26,480 --> 00:59:31,160
Speaker 1: it's it's a ludicrous set. Um really just so so

1026
00:59:31,240 --> 00:59:34,800
Speaker 1: obviously a set, like like Muppet Show level of set.

1027
00:59:35,080 --> 00:59:37,920
Speaker 1: It's just a room with an open door and a

1028
00:59:37,960 --> 00:59:40,120
Speaker 1: shower curtain and I guess that's supposed to go back

1029
00:59:40,120 --> 00:59:42,520
Speaker 1: into out of the cockpit. And then on the wall

1030
00:59:42,560 --> 00:59:45,200
Speaker 1: there's a clipboard and what is this circular thing is

1031
00:59:45,240 --> 00:59:48,120
Speaker 1: that's supposed to be a thermometer or something. I guess

1032
00:59:48,120 --> 00:59:49,600
Speaker 1: it's supposed to be some sort of gauge, but it's

1033
00:59:49,600 --> 00:59:54,480
Speaker 1: clearly just some sort of um a circular slidey reference

1034
00:59:54,520 --> 00:59:56,680
Speaker 1: tool that's just been pinned to the wall. But they're

1035
00:59:56,720 --> 00:59:58,640
Speaker 1: so they're like looking out the window and saying yep,

1036
00:59:58,720 --> 01:00:01,240
Speaker 1: that's the old San Fernando Valley right there, right where

1037
01:00:01,240 --> 01:00:03,480
Speaker 1: you're supposed to be. And then suddenly, zoom, you got

1038
01:00:03,760 --> 01:00:06,320
Speaker 1: a flying saucer goes by out the window and it

1039
01:00:06,720 --> 01:00:09,800
Speaker 1: they're showing it off to the flight attendant and uh

1040
01:00:09,840 --> 01:00:12,320
Speaker 1: and it kind of rocks the plane and they're like, wow,

1041
01:00:12,360 --> 01:00:15,120
Speaker 1: that was nothing from this world. And the pilot here

1042
01:00:15,160 --> 01:00:18,439
Speaker 1: is Gregory Walcott. That's uh, Jeff Trent, our our hero,

1043
01:00:19,040 --> 01:00:22,200
Speaker 1: and he's immediately very concerned that the passengers not find

1044
01:00:22,200 --> 01:00:25,080
Speaker 1: out about the flying saucer. But the flying saucer goes

1045
01:00:25,120 --> 01:00:27,800
Speaker 1: by and then it lands at the cemetery from earlier,

1046
01:00:28,160 --> 01:00:31,080
Speaker 1: and the grave diggers here something. This is a dialogue

1047
01:00:31,080 --> 01:00:35,200
Speaker 1: exchange that must be quoted. Uh so the grave diggers say,

1048
01:00:35,400 --> 01:00:38,760
Speaker 1: you hear anything I thought I did? Don't like here

1049
01:00:38,800 --> 01:00:42,360
Speaker 1: in noises, especially when there ain't supposed to be any Yeah,

1050
01:00:42,520 --> 01:00:46,120
Speaker 1: kind of spooky, like maybe we're getting old. Well, whatever

1051
01:00:46,120 --> 01:00:48,360
Speaker 1: it is, it's gone now that's the best thing for

1052
01:00:48,480 --> 01:00:54,480
Speaker 1: us to gone. Yeah, let's go. It's just And then

1053
01:00:54,520 --> 01:00:58,240
Speaker 1: here comes vampire. She shows up, comes lurching out of

1054
01:00:58,280 --> 01:01:02,000
Speaker 1: the darkness, and the myths looking just you know, completely

1055
01:01:02,000 --> 01:01:05,600
Speaker 1: put together, very much. Has this this gothic queen look down,

1056
01:01:06,280 --> 01:01:09,240
Speaker 1: um and uh yeah, we're we're off to the races

1057
01:01:09,320 --> 01:01:13,280
Speaker 1: here with the dad rising from the grave. Absolutely flagrant

1058
01:01:13,360 --> 01:01:16,680
Speaker 1: inter cutting between night shots and day shots in this sequence,

1059
01:01:16,720 --> 01:01:20,120
Speaker 1: continuity does not even seem to be attempted. And so

1060
01:01:20,240 --> 01:01:24,640
Speaker 1: Vampira walks up on them, and I was, she kills them,

1061
01:01:24,720 --> 01:01:27,800
Speaker 1: But how are you imagining she kills the grave diggers?

1062
01:01:27,840 --> 01:01:30,200
Speaker 1: What she does is she kind of stands in a

1063
01:01:30,960 --> 01:01:34,640
Speaker 1: pose like an idle video game character, like a t pose,

1064
01:01:35,360 --> 01:01:39,120
Speaker 1: and then suddenly raises her hands up while standing behind

1065
01:01:39,120 --> 01:01:42,800
Speaker 1: a shrub, and then the grave digger scream and die. Yeah.

1066
01:01:42,920 --> 01:01:45,000
Speaker 1: I think it's later in the picture we do have

1067
01:01:45,240 --> 01:01:49,880
Speaker 1: some police comparing bodies to aunt wild animal kills. So

1068
01:01:50,000 --> 01:01:52,240
Speaker 1: I guess she's supposed to have used those really long

1069
01:01:52,320 --> 01:01:55,440
Speaker 1: nails of hers. I guess, so, yeah, the nails seem significant.

1070
01:01:56,040 --> 01:01:59,000
Speaker 1: But then after that we get the famous shot immortalized

1071
01:01:59,040 --> 01:02:02,080
Speaker 1: in Tim Burton's Would of Bella Go See, coming out

1072
01:02:02,080 --> 01:02:04,919
Speaker 1: of a little house and standing in his front yard

1073
01:02:04,960 --> 01:02:08,920
Speaker 1: and stopping to smell a rose, apparently in grief. Meanwhile,

1074
01:02:09,280 --> 01:02:11,640
Speaker 1: Chriswell is narrating, you know, Chris Well is just going

1075
01:02:11,680 --> 01:02:14,240
Speaker 1: on about how the house that they when which they

1076
01:02:14,280 --> 01:02:19,840
Speaker 1: shared their love, became a tomb. And then Bella wanders

1077
01:02:20,400 --> 01:02:23,760
Speaker 1: just out of frame, and then there is an immediate

1078
01:02:23,880 --> 01:02:27,520
Speaker 1: sound cue. He's the second he steps out of out

1079
01:02:27,560 --> 01:02:33,040
Speaker 1: of picture. Tire screech, scream, crash, sirens. Though I would

1080
01:02:33,080 --> 01:02:35,880
Speaker 1: like to stress obviously we're supposed to believe that Bella

1081
01:02:36,040 --> 01:02:38,640
Speaker 1: was crushed by a runaway truck or something right after

1082
01:02:38,720 --> 01:02:41,280
Speaker 1: he left the shot, but actually you can see his

1083
01:02:41,400 --> 01:02:44,600
Speaker 1: shadow still falling on the grass, not moving, So he's

1084
01:02:44,640 --> 01:02:48,040
Speaker 1: just stepped out of you, is standing there casting a shadow.

1085
01:02:48,400 --> 01:02:50,240
Speaker 1: Rob I did a picture for you to look at.

1086
01:02:50,320 --> 01:02:52,160
Speaker 1: You can see the shadow on the bottom left and

1087
01:02:52,160 --> 01:02:56,200
Speaker 1: then the screech and and the scream. Brilliant Again, Edward

1088
01:02:56,200 --> 01:02:58,680
Speaker 1: was not going to let the death of a central

1089
01:02:58,760 --> 01:03:01,920
Speaker 1: character stand in the way of not only continuing production,

1090
01:03:02,080 --> 01:03:05,560
Speaker 1: but also not redoing a single thing that he'd already shot. Right,

1091
01:03:05,800 --> 01:03:09,040
Speaker 1: So we go straight onto the funeral and then we

1092
01:03:09,080 --> 01:03:11,720
Speaker 1: see people coming out of what they call a cript

1093
01:03:11,960 --> 01:03:14,760
Speaker 1: but it's just like it looks like a cardboard box.

1094
01:03:15,280 --> 01:03:18,640
Speaker 1: And oh, it is such a clown car situation. Many

1095
01:03:18,720 --> 01:03:21,960
Speaker 1: people coming out of this tiny box. We have this

1096
01:03:22,080 --> 01:03:25,280
Speaker 1: tiny's and you know, if you've ever been in a crip,

1097
01:03:25,320 --> 01:03:26,960
Speaker 1: I mean, I guess this is a movie cript This

1098
01:03:27,040 --> 01:03:29,800
Speaker 1: is like like a Santo and the Tomb of Dracula

1099
01:03:29,880 --> 01:03:31,960
Speaker 1: crypt where I guess there's supposed to be a lot

1100
01:03:32,000 --> 01:03:34,800
Speaker 1: going on in there, but we don't see that on screen.

1101
01:03:34,800 --> 01:03:37,280
Speaker 1: It looks like a tiny little phone booth made out

1102
01:03:37,320 --> 01:03:40,600
Speaker 1: of cardboard that's been sprayed gray to look kind of

1103
01:03:40,640 --> 01:03:43,840
Speaker 1: like granite. And is this the scene where they also

1104
01:03:43,880 --> 01:03:46,640
Speaker 1: they go ahead and established well, due to their customs,

1105
01:03:47,120 --> 01:03:50,800
Speaker 1: um the the the old man's wife was buried in

1106
01:03:50,800 --> 01:03:53,160
Speaker 1: the ground, and he was buried inside of a tomb

1107
01:03:53,200 --> 01:03:57,280
Speaker 1: inside of this mausoleum type situation, which I love because

1108
01:03:57,280 --> 01:04:01,160
Speaker 1: it's clearly a situation where there is they at least realized, oh, yeah,

1109
01:04:01,200 --> 01:04:02,880
Speaker 1: well we have her. Why would we Why would she

1110
01:04:02,920 --> 01:04:06,240
Speaker 1: be buried there and he buried here? Should we reshoot anything, No,

1111
01:04:06,600 --> 01:04:08,520
Speaker 1: We'll just to have a have a line or two

1112
01:04:08,520 --> 01:04:11,640
Speaker 1: that establishes that there is a reason for this. It's cultural.

1113
01:04:11,880 --> 01:04:15,040
Speaker 1: Don't worry about it, but it makes sense. Yeah, it's

1114
01:04:15,080 --> 01:04:17,640
Speaker 1: the mourners who climb out of the box, and then

1115
01:04:18,240 --> 01:04:21,680
Speaker 1: the lady goes first his wife, then he and then

1116
01:04:21,680 --> 01:04:25,080
Speaker 1: her husband goes tragic, uh, and that, Yeah, they have

1117
01:04:25,160 --> 01:04:28,160
Speaker 1: the conversation about how it's due to due to an

1118
01:04:28,200 --> 01:04:30,880
Speaker 1: old family superstition that she had to be in the

1119
01:04:30,880 --> 01:04:32,640
Speaker 1: ground and he had to be in a crypt. But

1120
01:04:32,680 --> 01:04:34,520
Speaker 1: I think, yeah, I think it's literally because they just

1121
01:04:34,600 --> 01:04:36,880
Speaker 1: already shot some of the shots and then they're like, oh,

1122
01:04:36,920 --> 01:04:39,280
Speaker 1: we gotta cover for that. I just had so many

1123
01:04:39,360 --> 01:04:42,440
Speaker 1: questions about this custom, like why, I mean, it's it's

1124
01:04:42,480 --> 01:04:45,440
Speaker 1: it's you know, it sounds kind of sexist obviously, but

1125
01:04:45,760 --> 01:04:48,800
Speaker 1: like what possible reason would there be, Like well, like, oh,

1126
01:04:48,880 --> 01:04:50,440
Speaker 1: you can't bury the men and the women in the

1127
01:04:50,520 --> 01:04:53,040
Speaker 1: same soil. I need the soil. That's where you bury women,

1128
01:04:53,160 --> 01:05:05,840
Speaker 1: then you bury in them. It's just ridiculous. But we're

1129
01:05:05,840 --> 01:05:07,920
Speaker 1: about to get to the police because some mourners they

1130
01:05:07,920 --> 01:05:10,520
Speaker 1: get spooked seeing bodies of the grave diggers and they

1131
01:05:10,560 --> 01:05:13,440
Speaker 1: freak out and the police arrive and oh man, this

1132
01:05:13,520 --> 01:05:16,840
Speaker 1: is when we first meet Tore Johnson. Before he's a zombie.

1133
01:05:16,880 --> 01:05:21,360
Speaker 1: He's a human. He's in fact a police inspector. Yes, uh,

1134
01:05:21,360 --> 01:05:25,320
Speaker 1: And there's yeah, there's some great dialogue here from him.

1135
01:05:26,160 --> 01:05:28,240
Speaker 1: This is a scene where the dialogue like it would

1136
01:05:28,240 --> 01:05:30,840
Speaker 1: have been funny even if it had been delivered. Well,

1137
01:05:31,440 --> 01:05:35,040
Speaker 1: but it's Tore Johnson saying it. So you know here

1138
01:05:35,200 --> 01:05:37,240
Speaker 1: there's one part, I think the very first thing he

1139
01:05:37,240 --> 01:05:40,800
Speaker 1: says when he gets there, he's like, melcle Examiner been

1140
01:05:40,880 --> 01:05:46,720
Speaker 1: here yet? So it's the Melcle Examiner. And um, there's

1141
01:05:46,720 --> 01:05:48,680
Speaker 1: one part where he's like, I'm gonna go walk off

1142
01:05:48,680 --> 01:05:51,120
Speaker 1: in the dark and they're like, be careful, it's dark.

1143
01:05:51,480 --> 01:05:54,120
Speaker 1: And then he's just like, I'll be big boy now, Johnny.

1144
01:05:57,800 --> 01:06:03,040
Speaker 1: Yeah toward Johnson. Yeah, clearly not a not not an

1145
01:06:03,080 --> 01:06:07,760
Speaker 1: actor in this sense, is a physical presence. But it's

1146
01:06:07,800 --> 01:06:10,040
Speaker 1: kind of cute though, because you get kind of maybe

1147
01:06:10,040 --> 01:06:11,960
Speaker 1: a sense of the real tour Johnson in this shot,

1148
01:06:12,000 --> 01:06:13,880
Speaker 1: you know, because he was supposedly like just kind of

1149
01:06:13,920 --> 01:06:15,720
Speaker 1: a big teddy bear. They didn't say much, but it

1150
01:06:15,800 --> 01:06:19,840
Speaker 1: was kind of a nice guy to be around. Yeah. Um,

1151
01:06:19,880 --> 01:06:22,160
Speaker 1: so he goes wandering off into the darkness and the

1152
01:06:22,200 --> 01:06:25,080
Speaker 1: mist and then we, uh, we finally we meet Paula Trnt.

1153
01:06:25,160 --> 01:06:27,880
Speaker 1: So Jeff Trent is back home now and he's hanging

1154
01:06:27,880 --> 01:06:30,040
Speaker 1: out on his porch with a bunch of wicker furniture,

1155
01:06:30,200 --> 01:06:33,960
Speaker 1: having a drink with his wife Paula, and uh, they're

1156
01:06:34,040 --> 01:06:37,240
Speaker 1: commenting on how you remember Jeff Trent was the pilot

1157
01:06:37,280 --> 01:06:39,880
Speaker 1: from the plane, and so they're married. They apparently live

1158
01:06:39,920 --> 01:06:44,720
Speaker 1: in a house inside the cemetery as best I can tell. Um,

1159
01:06:45,120 --> 01:06:48,600
Speaker 1: like they talked about that fact, and uh they are

1160
01:06:48,600 --> 01:06:51,880
Speaker 1: no tour Johnson's. But this couple has really weird energy

1161
01:06:51,920 --> 01:06:55,960
Speaker 1: and some of the clunkiest dialogue in movie history. Uh

1162
01:06:56,400 --> 01:06:59,840
Speaker 1: it's again, it's hard to explain without just watching the movie,

1163
01:07:00,320 --> 01:07:02,960
Speaker 1: you know, Like Paula says to him, I don't think

1164
01:07:02,960 --> 01:07:05,840
Speaker 1: I've ever seen you in this mood before, and he says,

1165
01:07:06,080 --> 01:07:08,760
Speaker 1: I guess it's because I've never been in this mood before.

1166
01:07:09,760 --> 01:07:13,080
Speaker 1: And uh, Putty here explains that he's in this unfamiliar

1167
01:07:13,120 --> 01:07:15,760
Speaker 1: mood because he saw a flying saucer on his flight

1168
01:07:15,840 --> 01:07:18,560
Speaker 1: this morning, and she goes, you mean the kind from

1169
01:07:18,600 --> 01:07:21,240
Speaker 1: up to the from up there, and he goes, yeah,

1170
01:07:21,400 --> 01:07:24,440
Speaker 1: or it's counterpart. I didn't know what that meant this

1171
01:07:24,480 --> 01:07:26,480
Speaker 1: whole sequence. One of the things I love about it

1172
01:07:26,560 --> 01:07:30,520
Speaker 1: is that Wood is trying to create what is essentially

1173
01:07:30,560 --> 01:07:34,000
Speaker 1: a realistic scene with with with this whole speculati the

1174
01:07:34,040 --> 01:07:38,400
Speaker 1: pick aspect to it, where it's a wife asking her husband, like,

1175
01:07:38,480 --> 01:07:41,880
Speaker 1: what's bothering you there's something bothering you, and he is

1176
01:07:41,960 --> 01:07:44,080
Speaker 1: having to admit that it's something that I don't even feel,

1177
01:07:44,120 --> 01:07:47,400
Speaker 1: but that comfortable talking about. And so this has tons

1178
01:07:47,480 --> 01:07:51,560
Speaker 1: of real world parallels obviously, and it's one of these

1179
01:07:51,560 --> 01:07:56,160
Speaker 1: great moments where it's like the writer director, uh, you know,

1180
01:07:56,440 --> 01:08:00,120
Speaker 1: filmmakers almost like aliens, trying to figure out how how

1181
01:08:00,360 --> 01:08:05,800
Speaker 1: normal humans interact with each other. And well he yeah,

1182
01:08:05,920 --> 01:08:08,920
Speaker 1: so it's trying to show that is the dynamic I

1183
01:08:08,960 --> 01:08:11,880
Speaker 1: think it's going for, But instead it just turns into

1184
01:08:12,000 --> 01:08:15,480
Speaker 1: Gregory Walcott having this rant about about a cover up.

1185
01:08:15,880 --> 01:08:18,320
Speaker 1: He's like, you know, big army brass grabbed us and

1186
01:08:18,360 --> 01:08:20,920
Speaker 1: made us swear to secrecy about the whole thing. And

1187
01:08:20,960 --> 01:08:23,839
Speaker 1: then he's just on the subject of big army brass

1188
01:08:23,960 --> 01:08:27,559
Speaker 1: like he he mentions it several more times. He's really upset.

1189
01:08:27,680 --> 01:08:30,400
Speaker 1: He's like, people keep seeing these saucers, but but I

1190
01:08:30,439 --> 01:08:34,800
Speaker 1: can't say a word. I'm muzzled by army brass. Oh

1191
01:08:34,840 --> 01:08:38,840
Speaker 1: and then right then the uh flying saucers zooms over

1192
01:08:38,880 --> 01:08:42,240
Speaker 1: them and knocks over all the wicker furniture. Uh. So

1193
01:08:42,280 --> 01:08:44,920
Speaker 1: then we get a scene where Tore Johnson is attacked

1194
01:08:45,040 --> 01:08:49,040
Speaker 1: by Bella not Bella Legosie by the Bell Legosie body

1195
01:08:49,080 --> 01:08:52,120
Speaker 1: double and by Vampira, And I just wondered why. So

1196
01:08:52,200 --> 01:08:55,200
Speaker 1: he's supposed to be investigating the graveyard for clues, but

1197
01:08:55,280 --> 01:08:57,800
Speaker 1: he's just walking around with his gun pointed in front

1198
01:08:57,800 --> 01:09:01,280
Speaker 1: of him. Yeah. Yeah, really, this one, this is just

1199
01:09:01,320 --> 01:09:04,600
Speaker 1: a small thing when it comes to the depiction of

1200
01:09:04,640 --> 01:09:10,360
Speaker 1: firearms by law enforcement in this picture. Uh yeah, there's nobody.

1201
01:09:10,400 --> 01:09:14,120
Speaker 1: Clearly nobody had ever been around a gun before or

1202
01:09:14,160 --> 01:09:17,240
Speaker 1: had any idea about what gun safety was or what

1203
01:09:17,360 --> 01:09:20,840
Speaker 1: it might look like on the screen. Uh, it's it's

1204
01:09:20,840 --> 01:09:24,160
Speaker 1: so ridiculous. Well, so, yeah, tour gets killed by the zombies.

1205
01:09:24,800 --> 01:09:27,599
Speaker 1: And then the other main cop who we follow after

1206
01:09:27,640 --> 01:09:30,280
Speaker 1: this is the police lieutenant I don't even remember his name,

1207
01:09:30,400 --> 01:09:34,920
Speaker 1: the police lieutenant who just uses his gun as like

1208
01:09:35,080 --> 01:09:39,200
Speaker 1: a like a pointer stick. So he whenever he's talking

1209
01:09:39,240 --> 01:09:42,080
Speaker 1: about something or about someone, he points their gun the

1210
01:09:42,120 --> 01:09:45,600
Speaker 1: gun at them. He also scratches his own head with

1211
01:09:45,680 --> 01:09:48,519
Speaker 1: the barrel of the gun and like holds it with

1212
01:09:48,600 --> 01:09:52,320
Speaker 1: the barrel pointed into his own chest. Yeah, if he

1213
01:09:52,360 --> 01:09:54,200
Speaker 1: had picked his nose with the barrel of the gun,

1214
01:09:54,320 --> 01:09:57,439
Speaker 1: it would not have been any more outrageous than everything

1215
01:09:57,479 --> 01:09:59,880
Speaker 1: else he does with it. But so they're walking around

1216
01:10:00,080 --> 01:10:04,200
Speaker 1: they find they find Towards Johnson dead and they observed.

1217
01:10:04,200 --> 01:10:09,600
Speaker 1: They said, Inspector Clay is dead, murdered and somebody's responsible.

1218
01:10:10,720 --> 01:10:13,439
Speaker 1: So we get a funeral for Inspector Clay and it

1219
01:10:13,479 --> 01:10:17,920
Speaker 1: seems vampires attending the funeral. She's just standing there watching. Uh.

1220
01:10:18,000 --> 01:10:20,599
Speaker 1: And then we got two people seeing flying saucers over

1221
01:10:20,640 --> 01:10:23,479
Speaker 1: Hollywood Boulevard, like there's like a car going by in

1222
01:10:23,560 --> 01:10:25,880
Speaker 1: a part where like three people suddenly point out the

1223
01:10:25,920 --> 01:10:30,080
Speaker 1: windows at the saucer, all in unison. Um. Uh. And

1224
01:10:30,160 --> 01:10:33,400
Speaker 1: meanwhile we're getting Criswell monologues over this where Chris wells like,

1225
01:10:33,439 --> 01:10:36,640
Speaker 1: there comes a time and each man's life when he

1226
01:10:36,680 --> 01:10:40,840
Speaker 1: can't believe his own eyes. And uh. They here's where

1227
01:10:40,840 --> 01:10:42,840
Speaker 1: they decided got to pad this movie out. We got

1228
01:10:42,880 --> 01:10:46,479
Speaker 1: some stock military stock footage, so they show planes flying,

1229
01:10:46,680 --> 01:10:52,400
Speaker 1: rockets launching, just military hardware doing stuff. Yeah. Yeah, there's

1230
01:10:52,439 --> 01:10:55,400
Speaker 1: all these shots of one Colonel Edwards just standing there

1231
01:10:56,320 --> 01:10:59,639
Speaker 1: basically a blank background, staring up supposedly the sky would

1232
01:10:59,640 --> 01:11:02,560
Speaker 1: have been poculars and just ordering all the rockets to

1233
01:11:02,600 --> 01:11:04,800
Speaker 1: be fired at these three UFOs. He doesn't even seem

1234
01:11:04,800 --> 01:11:08,120
Speaker 1: to care what continent. These rockets are on, so we

1235
01:11:08,240 --> 01:11:11,120
Speaker 1: just got all the stock footage of rockets firing. What

1236
01:11:11,479 --> 01:11:14,320
Speaker 1: is the deal with the secrecy about the UFOs? This

1237
01:11:14,360 --> 01:11:16,840
Speaker 1: is completely inconsistent in the movie. So part of the

1238
01:11:16,880 --> 01:11:20,200
Speaker 1: movie they're saying Army Brass won't let anybody know that

1239
01:11:20,360 --> 01:11:23,640
Speaker 1: UFOs exist. But then also we here we cut to

1240
01:11:23,720 --> 01:11:27,080
Speaker 1: Colonel Edwards and he's talking to just some soldier and

1241
01:11:27,120 --> 01:11:30,880
Speaker 1: they're talking about the flying saucers and the soldier is like, hey,

1242
01:11:31,160 --> 01:11:34,679
Speaker 1: what's the deal with these flying saucers, And the colonels like, well, uh,

1243
01:11:34,720 --> 01:11:37,679
Speaker 1: they attacked us. They he says, they attacked the town.

1244
01:11:37,840 --> 01:11:40,880
Speaker 1: A small town, I'll admit it, but nevertheless a town

1245
01:11:40,960 --> 01:11:46,919
Speaker 1: of people across the line. And he reveals Edwards reveals

1246
01:11:46,960 --> 01:11:49,920
Speaker 1: the big Army Brass is covering up the alien menace.

1247
01:11:50,080 --> 01:11:53,040
Speaker 1: You know. He says, take any earthquake, any fire, any

1248
01:11:53,120 --> 01:11:56,800
Speaker 1: natural disaster. You think that's natural disasters, you know what,

1249
01:11:57,080 --> 01:12:00,040
Speaker 1: it's probably actually aliens. Yeah, if you drop aliens in

1250
01:12:00,040 --> 01:12:02,479
Speaker 1: the middle of this and everything makes sense. But I

1251
01:12:02,479 --> 01:12:04,559
Speaker 1: think it's time to meet some aliens. So let's go

1252
01:12:04,600 --> 01:12:07,520
Speaker 1: to the mothership in orbit around the Earth. A mothership

1253
01:12:07,640 --> 01:12:11,120
Speaker 1: which really just looks like a breast or a nipple.

1254
01:12:11,400 --> 01:12:14,439
Speaker 1: I mean, it's it's very glaring. But so we meet

1255
01:12:14,479 --> 01:12:17,679
Speaker 1: the aliens and these uh they do a salute where

1256
01:12:17,680 --> 01:12:20,720
Speaker 1: they like cross their arms on their chest, and that's

1257
01:12:20,840 --> 01:12:24,080
Speaker 1: very funny. Kangan Kodos do the same salute when they're

1258
01:12:24,120 --> 01:12:28,040
Speaker 1: on The Simpsons. But the Alien boss is played by

1259
01:12:28,040 --> 01:12:32,559
Speaker 1: Bunny Breckenridge, and here you he's wearing a medieval times

1260
01:12:32,640 --> 01:12:35,360
Speaker 1: tunic with a like a sigil of an ax on it.

1261
01:12:36,120 --> 01:12:39,679
Speaker 1: And then we see the underlings Arrow Syntana and they're

1262
01:12:39,680 --> 01:12:44,320
Speaker 1: wearing their satin tunics and they have this bizarre conversation

1263
01:12:44,720 --> 01:12:47,120
Speaker 1: where they're talking about what plans they are going to

1264
01:12:47,240 --> 01:12:50,479
Speaker 1: enact on Earth. Breckenridge says, oh, what plan will you

1265
01:12:50,520 --> 01:12:54,240
Speaker 1: follow now? And Arrow says, well, you know, we tried

1266
01:12:54,280 --> 01:12:57,600
Speaker 1: to contact Earth leaders, but they reject our existence. You

1267
01:12:57,720 --> 01:13:00,280
Speaker 1: just can't talk to these Earth humans. Their soul is

1268
01:13:00,320 --> 01:13:02,720
Speaker 1: too controlled, that's what he says. I don't know what

1269
01:13:02,760 --> 01:13:05,360
Speaker 1: that means. But here they say it's time to go

1270
01:13:05,800 --> 01:13:08,320
Speaker 1: with Plan nine. So what's Plan nine going to be?

1271
01:13:08,600 --> 01:13:11,760
Speaker 1: He says, oh, yes, Plan nine deals with the resurrection

1272
01:13:11,800 --> 01:13:16,320
Speaker 1: of the dead. Long distance electrodes shot into the pinnial

1273
01:13:16,439 --> 01:13:20,040
Speaker 1: and pituitary glands of recent dead. Okay, I guess that

1274
01:13:20,040 --> 01:13:23,720
Speaker 1: would explain the zombies we've seen. But what what we're

1275
01:13:23,720 --> 01:13:26,760
Speaker 1: Plans one through eight? I was thinking about this, so

1276
01:13:26,880 --> 01:13:30,080
Speaker 1: I guess Plan one was evidently just buzz major cities

1277
01:13:30,080 --> 01:13:32,880
Speaker 1: with UFOs and just kind of like freak people out

1278
01:13:32,920 --> 01:13:36,200
Speaker 1: a little bit. And I'm guessing that plans too. Through

1279
01:13:36,280 --> 01:13:39,000
Speaker 1: eight we're just kind of the stock plots of any

1280
01:13:39,000 --> 01:13:42,360
Speaker 1: other nineteen fifties film, you know. So it's like Plan

1281
01:13:42,479 --> 01:13:47,760
Speaker 1: two's giant animals attack, Plan three animals attack, Yeah, giants, scorpions,

1282
01:13:47,960 --> 01:13:51,000
Speaker 1: probably throw some robots and monsters in there. Maybe they

1283
01:13:51,000 --> 01:13:55,080
Speaker 1: get up to something like superviruses and space religion eventually,

1284
01:13:55,720 --> 01:13:57,519
Speaker 1: but by the time you get to Plan nine, it's

1285
01:13:57,560 --> 01:14:00,200
Speaker 1: the resurrection of the Dead. Well, it's it's a great plan,

1286
01:14:00,320 --> 01:14:02,960
Speaker 1: and Dudley man Love really sells it. He's like, we

1287
01:14:03,000 --> 01:14:05,680
Speaker 1: have risen too so far, we shall be just as

1288
01:14:05,720 --> 01:14:11,000
Speaker 1: successful on more. I do actually buy into Plan nine

1289
01:14:11,000 --> 01:14:13,679
Speaker 1: a bit when this scene in Others where they discussed

1290
01:14:13,720 --> 01:14:15,479
Speaker 1: that the aliens are discussing it because it's kind of

1291
01:14:15,479 --> 01:14:17,080
Speaker 1: like they won't see this coming. This is going to

1292
01:14:17,160 --> 01:14:19,720
Speaker 1: freak them out, like there's a there's a sense of

1293
01:14:19,760 --> 01:14:23,559
Speaker 1: psychological warfare to it that sounds sensible, like if if

1294
01:14:23,640 --> 01:14:26,679
Speaker 1: aliens had the ability to do this and they wanted

1295
01:14:26,680 --> 01:14:29,160
Speaker 1: to mess with us, Yeah, make make our dead come

1296
01:14:29,200 --> 01:14:33,720
Speaker 1: back to life. Now, maybe resurrect more than three of them.

1297
01:14:33,920 --> 01:14:36,040
Speaker 1: But you know, I don't know. They had to scale

1298
01:14:36,120 --> 01:14:39,160
Speaker 1: up from somewhere right. Well, So they explained that the

1299
01:14:39,240 --> 01:14:43,760
Speaker 1: purpose of Plan nine is to make the humans acknowledge

1300
01:14:43,840 --> 01:14:48,200
Speaker 1: their existence. They say, like, they won't accept that we exist. Uh,

1301
01:14:48,240 --> 01:14:49,960
Speaker 1: you know, they just shoot at us when we come

1302
01:14:50,000 --> 01:14:53,160
Speaker 1: down there, and then they believe that we're not real.

1303
01:14:53,320 --> 01:14:56,400
Speaker 1: So we have to make them accept our existence by

1304
01:14:56,560 --> 01:14:59,680
Speaker 1: raising the dead. I don't know why that would be

1305
01:14:59,720 --> 01:15:03,760
Speaker 1: more effective than the flying saucers. Yeah, I don't have

1306
01:15:03,800 --> 01:15:07,160
Speaker 1: an answer to that, but I like, I like, if

1307
01:15:07,200 --> 01:15:08,760
Speaker 1: I lean into it and I think about it, I

1308
01:15:08,800 --> 01:15:11,719
Speaker 1: can think of it as kind of a psychological attack

1309
01:15:12,720 --> 01:15:16,879
Speaker 1: as a way of of causing um panic among the humans,

1310
01:15:16,880 --> 01:15:19,000
Speaker 1: like more panic than just the UFOs. The UFOs are

1311
01:15:19,080 --> 01:15:21,519
Speaker 1: up there, but the dead are down here. There's a

1312
01:15:21,520 --> 01:15:24,240
Speaker 1: great scene Aero Syntanna like walk out of the room

1313
01:15:24,720 --> 01:15:28,720
Speaker 1: that they leave Breckinridge behind and uh arrows says, you know,

1314
01:15:28,880 --> 01:15:31,920
Speaker 1: it's an interesting thing the earth people who can think

1315
01:15:32,200 --> 01:15:37,799
Speaker 1: are so frightened by those who cannot. The dead. Yes, anyway,

1316
01:15:37,840 --> 01:15:40,360
Speaker 1: they go back to Earth. We get another porch dialogue

1317
01:15:40,360 --> 01:15:44,320
Speaker 1: scene between Paula and Jeff. You know, they're he's leaving.

1318
01:15:44,400 --> 01:15:46,640
Speaker 1: This is the scene with the whole like the saucers

1319
01:15:46,640 --> 01:15:48,800
Speaker 1: are up there and the cemeteries out there, but I'll

1320
01:15:48,800 --> 01:15:52,920
Speaker 1: be locked up in there and um oh man. This

1321
01:15:53,000 --> 01:15:55,160
Speaker 1: is also the scene where they have the pillow conversation.

1322
01:15:55,520 --> 01:15:58,479
Speaker 1: She's like, when you're gone, I need your pillow here

1323
01:15:58,600 --> 01:16:02,040
Speaker 1: because I can touch your pillow and and he he

1324
01:16:02,120 --> 01:16:04,200
Speaker 1: seems kind of weirded out by it, you know. He

1325
01:16:04,200 --> 01:16:06,240
Speaker 1: he leaves being like, well, I love you, darling, but

1326
01:16:06,320 --> 01:16:08,640
Speaker 1: you're off your rocker. And then he gets back in

1327
01:16:08,680 --> 01:16:14,000
Speaker 1: the airplane and leaves. It's awesome. Uh so what we

1328
01:16:14,040 --> 01:16:16,400
Speaker 1: get a bunch of other shenanigans with Jeff on the

1329
01:16:16,439 --> 01:16:20,360
Speaker 1: plane and the co pilot and the stewardess talking about

1330
01:16:20,560 --> 01:16:23,400
Speaker 1: going to Albuquerque and trying to party there. I don't

1331
01:16:23,400 --> 01:16:26,519
Speaker 1: even will skip over all that. So we get belle

1332
01:16:26,640 --> 01:16:29,559
Speaker 1: Lego see in some actual shots where it's really him,

1333
01:16:30,320 --> 01:16:33,200
Speaker 1: but then other shots where it's the body double showing

1334
01:16:33,280 --> 01:16:39,200
Speaker 1: back up and essentially like creeping into the Trent house. Oh.

1335
01:16:39,240 --> 01:16:42,080
Speaker 1: I love this scene because he's creeping around and then

1336
01:16:42,120 --> 01:16:44,519
Speaker 1: he's like coming up to the door and sort of

1337
01:16:44,760 --> 01:16:47,360
Speaker 1: jiggling it a little bit. But no, no, no, he

1338
01:16:47,479 --> 01:16:51,160
Speaker 1: rings the doorbell and then he comes inside like he's

1339
01:16:51,520 --> 01:16:53,960
Speaker 1: just not cut out for this, uh, this breaking and

1340
01:16:54,120 --> 01:16:56,960
Speaker 1: entering thing. Yeah, So Paul is in bed and then

1341
01:16:57,439 --> 01:17:01,480
Speaker 1: the old man walks into her bed room. She screams,

1342
01:17:01,680 --> 01:17:03,840
Speaker 1: and then she just runs past him out the door.

1343
01:17:03,880 --> 01:17:07,280
Speaker 1: He's very slow moving. Uh it makes me think of

1344
01:17:07,960 --> 01:17:10,120
Speaker 1: Night of the Living Dead. Actually, you know, like are

1345
01:17:10,120 --> 01:17:13,760
Speaker 1: these creatures slow moving? Oh? Yeah, they're dead. They're all

1346
01:17:13,840 --> 01:17:16,559
Speaker 1: missed up. I think that applies to Bella in this.

1347
01:17:16,680 --> 01:17:18,559
Speaker 1: And so she just runs past him and then runs

1348
01:17:18,560 --> 01:17:21,360
Speaker 1: out into the cemetery. We get a great shot of

1349
01:17:21,400 --> 01:17:26,040
Speaker 1: Tour Johnson rising from the grave and it does look

1350
01:17:26,040 --> 01:17:29,200
Speaker 1: pretty creepy. I remember seeing this as a kid and

1351
01:17:29,240 --> 01:17:32,599
Speaker 1: finding it pretty creepy, pretty disturbing, because yeah, we've got

1352
01:17:32,600 --> 01:17:36,400
Speaker 1: the blaring horn music tour is just touring it up

1353
01:17:36,760 --> 01:17:39,600
Speaker 1: to eleven here. It looks really good. We get a

1354
01:17:39,640 --> 01:17:42,800
Speaker 1: bunch of chasing around in the cemetery. The zombies are

1355
01:17:42,880 --> 01:17:46,960
Speaker 1: chasing Paula, cutting randomly back and forth between nighttime and daytime.

1356
01:17:47,040 --> 01:17:49,880
Speaker 1: And then eventually a random cowboy hat man in a

1357
01:17:50,240 --> 01:17:53,639
Speaker 1: in a convertible rescues Paula. She like faints by the road.

1358
01:17:54,040 --> 01:17:55,720
Speaker 1: He picks her up, puts her in the car, and

1359
01:17:55,800 --> 01:17:58,280
Speaker 1: drives away. For some reason, he knows who she is.

1360
01:17:58,320 --> 01:18:01,200
Speaker 1: I don't think we've ever met this character, but for oh,

1361
01:18:01,240 --> 01:18:04,040
Speaker 1: but next we get a scene where okay, so Aero Santana,

1362
01:18:04,120 --> 01:18:08,320
Speaker 1: the aliens now they're landing in the cemetery and they're

1363
01:18:08,320 --> 01:18:11,240
Speaker 1: gonna check out their monsters because they're gonna take them

1364
01:18:11,280 --> 01:18:13,760
Speaker 1: up to show Breckon Ridge up in the mother ship.

1365
01:18:14,320 --> 01:18:17,040
Speaker 1: And there's a great scene where like toward Johnson and

1366
01:18:17,120 --> 01:18:19,439
Speaker 1: Vampire are trying to kill them, Like they walk in

1367
01:18:19,520 --> 01:18:22,360
Speaker 1: the door and they're like reaching for them, and and

1368
01:18:22,479 --> 01:18:24,599
Speaker 1: Arrows has to be like turn off the electrodes quickly.

1369
01:18:24,640 --> 01:18:27,280
Speaker 1: They can't tell us from anyone else. And this is

1370
01:18:27,280 --> 01:18:30,000
Speaker 1: not the only time they lose control of the zombies.

1371
01:18:30,000 --> 01:18:34,720
Speaker 1: The zombies are frequently just attacking the aliens themselves. Yeah,

1372
01:18:34,840 --> 01:18:37,519
Speaker 1: this and you know this scene, I feel like man

1373
01:18:37,640 --> 01:18:41,120
Speaker 1: Love is able to really sell the threat, Like I

1374
01:18:41,240 --> 01:18:43,479
Speaker 1: buy into the fact that he's panicking, like he's he's

1375
01:18:43,520 --> 01:18:46,960
Speaker 1: losing it. He's a he's at crashing Hindenburgh level when

1376
01:18:47,000 --> 01:18:49,920
Speaker 1: it comes to his fear over the big one, the

1377
01:18:50,000 --> 01:18:53,639
Speaker 1: giant toward Johnson, Uh, coming after his throat, and then

1378
01:18:53,680 --> 01:18:55,479
Speaker 1: afterwards he's he's still had a breath and he's like

1379
01:18:55,520 --> 01:18:59,960
Speaker 1: that that was too close. Yes. Uh. And then there's

1380
01:19:00,040 --> 01:19:02,240
Speaker 1: also a scene in here where the cops are bumbling

1381
01:19:02,240 --> 01:19:04,679
Speaker 1: around in the graveyard. This is the one we mentioned

1382
01:19:04,680 --> 01:19:07,759
Speaker 1: earlier where they spend a long time talking about whether

1383
01:19:07,800 --> 01:19:11,400
Speaker 1: they can climb down into an open grave or not. Uh.

1384
01:19:11,400 --> 01:19:13,519
Speaker 1: And eventually one of them does get in there. I

1385
01:19:13,560 --> 01:19:17,040
Speaker 1: think it's Paul Marco and he goes it's Inspector Clay's grave,

1386
01:19:17,280 --> 01:19:21,559
Speaker 1: but he ain't in it. Uh. There's a oh. So

1387
01:19:22,000 --> 01:19:24,880
Speaker 1: we go to a totally different scene when in Washington,

1388
01:19:24,960 --> 01:19:27,439
Speaker 1: d C. Where it's time for more big army brass

1389
01:19:27,720 --> 01:19:32,840
Speaker 1: and this scene was also dumbfounding. So there's like a

1390
01:19:32,840 --> 01:19:35,400
Speaker 1: big commander and he gets Colonel Edwards, the guy who

1391
01:19:35,560 --> 01:19:37,920
Speaker 1: we met earlier in there and he's like, oh, you know,

1392
01:19:38,000 --> 01:19:39,920
Speaker 1: so you've been in charge of fighting off all these

1393
01:19:39,960 --> 01:19:43,360
Speaker 1: flying saucer attacks, but do you really believe there are

1394
01:19:43,360 --> 01:19:47,400
Speaker 1: such things as flying saucers? And Colonel Edwards says, yes,

1395
01:19:47,479 --> 01:19:50,320
Speaker 1: I do, And then the boss is like, you can't

1396
01:19:50,360 --> 01:19:52,600
Speaker 1: say you believe in them. You'll be court martialed for

1397
01:19:52,640 --> 01:19:56,080
Speaker 1: believing in flying saucers. And then Colonel Edwards does some

1398
01:19:56,240 --> 01:20:00,200
Speaker 1: real like logic twisting on him. He's like, how could

1399
01:20:00,200 --> 01:20:03,439
Speaker 1: I defend the Earth against flying saucers if I didn't

1400
01:20:03,479 --> 01:20:06,680
Speaker 1: believe in what I saw and shot at. It's like,

1401
01:20:06,920 --> 01:20:09,760
Speaker 1: Mike drop, you can't. You can't beat that. It's the

1402
01:20:09,760 --> 01:20:12,840
Speaker 1: patriotism shining through, but I don't even understand. So his

1403
01:20:12,960 --> 01:20:14,880
Speaker 1: boss was trying to get him to say, well, you

1404
01:20:14,920 --> 01:20:17,280
Speaker 1: have to fight off the flying saucers, but you also

1405
01:20:17,360 --> 01:20:20,599
Speaker 1: can't tell me you believe in them. Anyway, This scene

1406
01:20:21,240 --> 01:20:25,240
Speaker 1: leads into a long aeros monologue where they're like, hey,

1407
01:20:25,280 --> 01:20:28,120
Speaker 1: we have a language computer that allows us to decode

1408
01:20:28,160 --> 01:20:31,519
Speaker 1: messages from the aliens, and so let's listen to Arrows

1409
01:20:31,600 --> 01:20:34,679
Speaker 1: talk for ten minutes. Uh So it's a very He's

1410
01:20:34,720 --> 01:20:38,160
Speaker 1: giving this whole conversation monologue about how do you still

1411
01:20:38,320 --> 01:20:41,960
Speaker 1: believe it impossible we exist? You didn't actually think you

1412
01:20:42,000 --> 01:20:45,960
Speaker 1: were the only inhabited planet. You are stupid. Yeah, it's

1413
01:20:46,080 --> 01:20:49,320
Speaker 1: very smug, and it's all about just dissing on humanity.

1414
01:20:49,640 --> 01:20:51,840
Speaker 1: Uh something he does quite a bit. First of all,

1415
01:20:51,840 --> 01:20:55,439
Speaker 1: you're the worst. Secondly, you're the worst, and and then

1416
01:20:55,479 --> 01:20:58,639
Speaker 1: the third important fact here is you're on the verge

1417
01:20:58,680 --> 01:21:03,639
Speaker 1: of just destroying being tire universe. So late fifties Earth

1418
01:21:04,320 --> 01:21:09,240
Speaker 1: technology is on the verge of of creating a catastrophe

1419
01:21:09,439 --> 01:21:13,960
Speaker 1: that will destroy the known universe. And you might think, well,

1420
01:21:14,000 --> 01:21:16,519
Speaker 1: they're not going to explain this, right they have, Well,

1421
01:21:16,640 --> 01:21:21,040
Speaker 1: but they will. They will explain it, and it is dumbfounding. Yeah. Yeah,

1422
01:21:21,080 --> 01:21:23,360
Speaker 1: we get some technical details on this, but he's like,

1423
01:21:23,400 --> 01:21:27,280
Speaker 1: you're about to do it. Your juvenile, stupid minds are

1424
01:21:27,320 --> 01:21:30,519
Speaker 1: are creating too many explosives and you're going to blow

1425
01:21:30,600 --> 01:21:35,240
Speaker 1: up the universe. Uh and uh oh. And then later, um,

1426
01:21:35,840 --> 01:21:37,599
Speaker 1: let's see we get a we get a big army

1427
01:21:37,640 --> 01:21:40,960
Speaker 1: brass scene where it's Colonel Edwards and his boss again,

1428
01:21:41,000 --> 01:21:43,920
Speaker 1: and Colonel Edwards is like, oh, his I think his

1429
01:21:44,000 --> 01:21:47,519
Speaker 1: boss says to them these flying saucers they're attacking the Earth,

1430
01:21:47,560 --> 01:21:50,439
Speaker 1: and Colonel Edwards says yes, and then he says, you

1431
01:21:50,479 --> 01:21:55,679
Speaker 1: think they mean business? So uh, so he sends Colonel

1432
01:21:55,800 --> 01:21:59,400
Speaker 1: Edwards to Los Angeles to the cemetery to investigate the

1433
01:21:59,479 --> 01:22:02,360
Speaker 1: zombies and the saucer attacks there, and then we get

1434
01:22:02,400 --> 01:22:06,599
Speaker 1: the scene where where Breckinridge choose out Arrows and they

1435
01:22:06,600 --> 01:22:09,920
Speaker 1: do the demonstration of Tour Johnson where he is like

1436
01:22:10,000 --> 01:22:14,960
Speaker 1: choking Arrows again. They're constantly losing control of him, um

1437
01:22:15,520 --> 01:22:18,960
Speaker 1: and uh, and this demonstration scene is a lot of fun. Yeah.

1438
01:22:19,000 --> 01:22:21,360
Speaker 1: He also gets some of his ships taken away, right, uh,

1439
01:22:22,400 --> 01:22:25,120
Speaker 1: like you don't need all all three UFOs now you're

1440
01:22:25,120 --> 01:22:28,080
Speaker 1: down to one. Yeah. Yeah. Arrows gets chewed out big time,

1441
01:22:28,160 --> 01:22:31,880
Speaker 1: like it's a real dressing down by his boss. Um,

1442
01:22:31,920 --> 01:22:34,080
Speaker 1: but he is impressed by Tour when he sees him.

1443
01:22:34,120 --> 01:22:36,559
Speaker 1: He goes, yes, he's a fine specimen. Are they all

1444
01:22:36,680 --> 01:22:41,839
Speaker 1: this powerful on planet Earth? He literally says, well, actually

1445
01:22:42,040 --> 01:22:44,200
Speaker 1: the other two are a woman and an old man.

1446
01:22:44,800 --> 01:22:48,599
Speaker 1: And he's like, okay, all right, but they're like, oh,

1447
01:22:48,640 --> 01:22:50,280
Speaker 1: I know a good idea with the old man, so

1448
01:22:50,479 --> 01:22:53,000
Speaker 1: he has the The boss has the idea, what if

1449
01:22:53,040 --> 01:22:56,719
Speaker 1: you take Bella Legosi and you make him He literally

1450
01:22:56,760 --> 01:22:59,120
Speaker 1: explains that they should do all this, you should make

1451
01:22:59,200 --> 01:23:03,439
Speaker 1: him walk into somebody's house. And then instantly decompose in

1452
01:23:03,520 --> 01:23:06,839
Speaker 1: front of them and that will convince them that aliens exist.

1453
01:23:07,280 --> 01:23:19,360
Speaker 1: That'll do it. Yes, that has to work. Uh. So

1454
01:23:19,479 --> 01:23:21,720
Speaker 1: here we get the big army brass shows up at

1455
01:23:21,760 --> 01:23:24,040
Speaker 1: the Trent's house. So it's another porch scene. They're hanging

1456
01:23:24,080 --> 01:23:27,160
Speaker 1: out in the wicker furniture and Colonel Edwards walks in

1457
01:23:27,240 --> 01:23:30,920
Speaker 1: and it's like, uh, hello, how are you doing? And uh,

1458
01:23:31,160 --> 01:23:33,720
Speaker 1: Bella Legosie walks up on them while they're on the

1459
01:23:33,760 --> 01:23:36,560
Speaker 1: porch and they shoot at him to no avail. But

1460
01:23:36,600 --> 01:23:40,880
Speaker 1: then suddenly a ray is emitted from the spaceship at

1461
01:23:41,040 --> 01:23:44,639
Speaker 1: Bella lagos See and he just instantly turns into a skeleton.

1462
01:23:44,720 --> 01:23:47,320
Speaker 1: So turbo rot. Yeah, and it's one of those great

1463
01:23:47,360 --> 01:23:50,679
Speaker 1: scenes where he just turns into a like a high

1464
01:23:50,680 --> 01:23:55,160
Speaker 1: school science classroom skeleton. Yeah, it's it's beautiful and in

1465
01:23:55,200 --> 01:23:57,800
Speaker 1: a way, Plan nine kind of works because that makes

1466
01:23:57,840 --> 01:24:00,439
Speaker 1: everybody be like, wow, I guess we better go and investigate.

1467
01:24:00,600 --> 01:24:04,360
Speaker 1: I assume everybody else at this meeting already did believe

1468
01:24:04,360 --> 01:24:07,200
Speaker 1: in aliens. Maybe not the police lieutenant, but Edwards did

1469
01:24:07,240 --> 01:24:09,840
Speaker 1: and Jeff Trent did. Yeah, and now they really I

1470
01:24:09,840 --> 01:24:11,760
Speaker 1: mean it kind of backfires on him because they're like, well,

1471
01:24:11,760 --> 01:24:13,639
Speaker 1: I guess we gotta do something about this. Now, let's

1472
01:24:13,640 --> 01:24:17,080
Speaker 1: go arrest those aliens. Yeah, the police lieutenants like, we

1473
01:24:17,120 --> 01:24:21,320
Speaker 1: haven't seen the last of those weirdies. So um, they

1474
01:24:21,439 --> 01:24:24,120
Speaker 1: wander into the graveyard to investigate. They leave Paula in

1475
01:24:24,160 --> 01:24:29,080
Speaker 1: the car uh, and the aliens. Meanwhile, we see Aero

1476
01:24:29,160 --> 01:24:31,640
Speaker 1: Santana talking about how their ship is about to be

1477
01:24:31,680 --> 01:24:36,360
Speaker 1: discovered and they can't allow that. So, like the purpose

1478
01:24:36,400 --> 01:24:38,479
Speaker 1: of creating the zombies is to get the Earth Links

1479
01:24:38,520 --> 01:24:41,840
Speaker 1: to accept the existence of aliens, but they also can't

1480
01:24:41,840 --> 01:24:45,800
Speaker 1: allow the humans to see them or know about them. Yeah,

1481
01:24:46,280 --> 01:24:49,120
Speaker 1: So they leave Paula in the car, but then Tour

1482
01:24:49,280 --> 01:24:53,320
Speaker 1: attacks the car. He knocks down paul Marco by slapping

1483
01:24:53,360 --> 01:24:55,000
Speaker 1: him on the shoulders. I think this is what you

1484
01:24:55,040 --> 01:24:58,439
Speaker 1: called the double chop. Uh. And then he grabs Paula

1485
01:24:58,520 --> 01:25:00,200
Speaker 1: and carries her to the ship. So we do get

1486
01:25:00,200 --> 01:25:02,639
Speaker 1: the classic scene that's on the poster of Tore Johnson

1487
01:25:02,760 --> 01:25:06,080
Speaker 1: carrying Paula unconscious. Yeah. Like we said on the show before,

1488
01:25:06,360 --> 01:25:08,920
Speaker 1: this is an iconic image of the classic monster, the

1489
01:25:08,920 --> 01:25:12,040
Speaker 1: monster carrying the unconscious woman. Yeah, And of course Edward

1490
01:25:12,120 --> 01:25:15,200
Speaker 1: does not shy away from creating this tableau for us.

1491
01:25:15,439 --> 01:25:18,320
Speaker 1: So when Bride of the Monster on the poster, it

1492
01:25:18,360 --> 01:25:21,280
Speaker 1: shows bell Lego see carrying the lady, and he does

1493
01:25:21,320 --> 01:25:23,240
Speaker 1: not do that in the movie. I think Tore Johnson

1494
01:25:23,320 --> 01:25:25,160
Speaker 1: does in that one as well. Well, if you need

1495
01:25:25,200 --> 01:25:27,479
Speaker 1: somebody to carry another body around, I mean towards your

1496
01:25:27,479 --> 01:25:29,920
Speaker 1: man like, that's what he's been doing. That's that he

1497
01:25:29,960 --> 01:25:34,240
Speaker 1: has a career based on carrying very large humans around

1498
01:25:34,320 --> 01:25:37,000
Speaker 1: and uh and uh, and and also being carried himself

1499
01:25:37,000 --> 01:25:38,680
Speaker 1: to a certain extent. So he can probably help you

1500
01:25:38,720 --> 01:25:42,439
Speaker 1: out if you did need a scene where somebody's carrying

1501
01:25:42,439 --> 01:25:46,960
Speaker 1: an unconscious tour around. So three lugs go into the spaceship.

1502
01:25:47,320 --> 01:25:49,360
Speaker 1: You got, you got Jeff Trent, You've got the police

1503
01:25:49,360 --> 01:25:52,960
Speaker 1: inspector or, the police lieutenant and Colonel Edwards, and they

1504
01:25:52,960 --> 01:25:55,519
Speaker 1: all have revolvers and they go into the spaceship and

1505
01:25:55,560 --> 01:25:58,639
Speaker 1: point them at the aliens um. And then we get

1506
01:25:58,680 --> 01:26:03,719
Speaker 1: some villain monologue where Arrows he winds a lot about

1507
01:26:03,840 --> 01:26:09,040
Speaker 1: how human governments refused to accept their existence um, and

1508
01:26:09,120 --> 01:26:12,360
Speaker 1: he says uh, and it's like why And they ask, well,

1509
01:26:12,360 --> 01:26:14,639
Speaker 1: why do you care so much about governments of Earth

1510
01:26:14,720 --> 01:26:18,639
Speaker 1: accepting you? And he says, because of death, because all

1511
01:26:18,720 --> 01:26:23,479
Speaker 1: you of Earth are idiots. And then he goes into this, uh,

1512
01:26:23,520 --> 01:26:30,480
Speaker 1: this crazy series of monologues about how the Earthlings are

1513
01:26:30,520 --> 01:26:34,000
Speaker 1: building a bigger, bigger, and bigger bombs. He says, first

1514
01:26:34,160 --> 01:26:38,600
Speaker 1: was your firecracker, a harmless explosive, Then your hand grenade.

1515
01:26:38,720 --> 01:26:41,040
Speaker 1: You began to kill your own people a few at

1516
01:26:41,040 --> 01:26:45,080
Speaker 1: a time, Then the bomb, then a larger bomb, many

1517
01:26:45,160 --> 01:26:48,639
Speaker 1: people are killed at one time. Then your scientists stumbled

1518
01:26:48,720 --> 01:26:52,920
Speaker 1: upon the atom bomb, split the atom, then the hydrogen bomb,

1519
01:26:52,960 --> 01:26:56,960
Speaker 1: where you actually explode the air itself. Now you can

1520
01:26:57,080 --> 01:27:00,599
Speaker 1: arrange the total destruction of the entire universe served by

1521
01:27:00,600 --> 01:27:07,040
Speaker 1: our son. The only explosion left is the solar night uh.

1522
01:27:07,040 --> 01:27:10,080
Speaker 1: And this, he explains, is a bomb that will explode

1523
01:27:10,160 --> 01:27:14,280
Speaker 1: the sunlight itself. And of course Jeff Trent likes that idea.

1524
01:27:14,360 --> 01:27:16,200
Speaker 1: He's like, well, if we had that, we'd then we'd

1525
01:27:16,200 --> 01:27:19,080
Speaker 1: be an even stronger nation than we are now. And

1526
01:27:19,120 --> 01:27:21,600
Speaker 1: this is where Aeros responds with the most maybe the

1527
01:27:21,640 --> 01:27:25,120
Speaker 1: most famous line of the movie. He says, stronger you

1528
01:27:25,200 --> 01:27:31,679
Speaker 1: see you see your stupid minds, stupid, stupid, and Jeff,

1529
01:27:31,960 --> 01:27:35,080
Speaker 1: as I mentioned, he gets offended when Earthlings are called stupid.

1530
01:27:35,120 --> 01:27:37,400
Speaker 1: He says, that's enough out of you, and he slugs it.

1531
01:27:40,280 --> 01:27:44,519
Speaker 1: It's a it's a great moment in an interplanetary um

1532
01:27:45,240 --> 01:27:49,920
Speaker 1: communication here. Yuh, everyone is really terrible at it. We

1533
01:27:50,000 --> 01:27:54,040
Speaker 1: get a long explanation of how the solar night bomb

1534
01:27:54,080 --> 01:27:57,360
Speaker 1: works using metaphors of a can of gasoline. I'm not

1535
01:27:57,360 --> 01:27:59,559
Speaker 1: going to try to reproduce all of that, but they

1536
01:27:59,600 --> 01:28:02,719
Speaker 1: say it's actually that it's a bomb that will allow

1537
01:28:02,800 --> 01:28:05,320
Speaker 1: you to blow up sunlight, and it will blow up

1538
01:28:05,360 --> 01:28:07,800
Speaker 1: the sun and then it will blow up everything that

1539
01:28:07,920 --> 01:28:11,479
Speaker 1: the sunlight has ever touched. Yeah, like you split a

1540
01:28:11,520 --> 01:28:15,040
Speaker 1: photon and it's going to cause like a photon splitting

1541
01:28:15,120 --> 01:28:18,400
Speaker 1: chain reaction where it's going to follow a beam of

1542
01:28:18,520 --> 01:28:20,920
Speaker 1: light back to its source, which is the Sun, but

1543
01:28:21,080 --> 01:28:25,080
Speaker 1: also travel out on the starlight from the Sun, and

1544
01:28:25,120 --> 01:28:29,120
Speaker 1: I guess reach anywhere that the light of our sun reaches.

1545
01:28:29,479 --> 01:28:32,599
Speaker 1: And I was thinking, well, okay, if this, if I

1546
01:28:32,600 --> 01:28:34,479
Speaker 1: and I am being generous here, if this were going

1547
01:28:34,520 --> 01:28:36,679
Speaker 1: to happen, that would still take a very long time.

1548
01:28:37,120 --> 01:28:39,479
Speaker 1: Like it's not going to be an instantaneous destroy the

1549
01:28:39,560 --> 01:28:44,840
Speaker 1: universe situation. Uh, people with better astrophysics knowledge, please correct me,

1550
01:28:44,880 --> 01:28:47,880
Speaker 1: because I haven't researched this. But my my gut understanding

1551
01:28:47,960 --> 01:28:50,519
Speaker 1: of this, I think is that that would mean the

1552
01:28:50,920 --> 01:28:52,559
Speaker 1: it would take a long time, but it would mean

1553
01:28:52,560 --> 01:28:56,720
Speaker 1: the eventual destruction of our entire local galaxy. But I

1554
01:28:56,760 --> 01:28:59,880
Speaker 1: would also think that at this point, other galaxies are

1555
01:29:00,240 --> 01:29:03,479
Speaker 1: moving away from us at such a rate that it

1556
01:29:03,479 --> 01:29:05,400
Speaker 1: would actually never catch up to them. So I think

1557
01:29:05,400 --> 01:29:09,040
Speaker 1: other galaxies might be Okay, Well, maybe if we're to

1558
01:29:09,080 --> 01:29:12,240
Speaker 1: take everything that Aros says here is truth, like maybe

1559
01:29:12,600 --> 01:29:16,720
Speaker 1: maybe other cultures have developed this technology and have used it,

1560
01:29:16,960 --> 01:29:20,200
Speaker 1: and so you have you have whole pockets of the

1561
01:29:20,320 --> 01:29:23,120
Speaker 1: universe that have been wiped out by it, and so

1562
01:29:23,200 --> 01:29:26,000
Speaker 1: they just want don't want to see large chunks of

1563
01:29:26,000 --> 01:29:29,360
Speaker 1: the universe continue to go this route. But I suspect

1564
01:29:29,479 --> 01:29:32,720
Speaker 1: that we would actually never be able to know that

1565
01:29:32,880 --> 01:29:35,720
Speaker 1: something like this was happening, because if the destruction is

1566
01:29:35,760 --> 01:29:38,000
Speaker 1: traveling at the speed of light, you would have no

1567
01:29:38,120 --> 01:29:40,439
Speaker 1: forewarning of it, right Like, you wouldn't be by the

1568
01:29:40,479 --> 01:29:44,040
Speaker 1: time you saw it it would arrive at you. Yeah, yeah,

1569
01:29:44,120 --> 01:29:46,680
Speaker 1: but I don't know. They're they're very advanced, these celestials,

1570
01:29:46,840 --> 01:29:49,360
Speaker 1: so they have they have tools. We don't have resources,

1571
01:29:49,400 --> 01:29:54,240
Speaker 1: we don't have um again, one wonders what would have

1572
01:29:54,240 --> 01:29:56,560
Speaker 1: happened if they had a little more tact in approaching

1573
01:29:56,560 --> 01:29:59,960
Speaker 1: this instead of just showing up, insulting us, buzzing our city.

1574
01:30:00,000 --> 01:30:03,559
Speaker 1: He's been raising are dead? Come on, we're a sensitive people.

1575
01:30:05,280 --> 01:30:08,040
Speaker 1: Well anyway, so they have a big fight, big fist fight,

1576
01:30:08,200 --> 01:30:12,560
Speaker 1: uh Jeff Trand is like punching arrows, and they slam

1577
01:30:12,560 --> 01:30:15,799
Speaker 1: and they they like they're smashing the equipment on the table.

1578
01:30:16,160 --> 01:30:19,000
Speaker 1: The ship is on fire, and eventually the humans get

1579
01:30:19,000 --> 01:30:21,559
Speaker 1: out of it. They're all right, and the aliens try

1580
01:30:21,600 --> 01:30:23,760
Speaker 1: to take off in their flying saucer but it's on

1581
01:30:23,880 --> 01:30:26,840
Speaker 1: fire and then it explodes. And I found this to

1582
01:30:26,880 --> 01:30:30,439
Speaker 1: be kind of a like a hauntingly nice scene. I mean, yes,

1583
01:30:30,479 --> 01:30:33,040
Speaker 1: the UFOs effects in this film are what they are,

1584
01:30:33,680 --> 01:30:38,080
Speaker 1: but the scene of the flying saucer on fire over

1585
01:30:38,120 --> 01:30:41,160
Speaker 1: the over the Hollywood lights at night and then it explodes,

1586
01:30:41,240 --> 01:30:43,160
Speaker 1: I don't know, there's something kind of poignant about it.

1587
01:30:43,320 --> 01:30:47,519
Speaker 1: Can you guess how the movie ends? It's all monologue,

1588
01:30:47,800 --> 01:30:49,599
Speaker 1: go back to Chriswell. He's gonna tie it all up

1589
01:30:49,600 --> 01:30:52,479
Speaker 1: in a neat little bow. He's gonna make sense of

1590
01:30:52,520 --> 01:30:56,640
Speaker 1: all this. Um So, Chriswell says, my friend, you have

1591
01:30:56,800 --> 01:31:01,240
Speaker 1: seen this incident based on sworn testimony. Uh no, I

1592
01:31:01,280 --> 01:31:03,160
Speaker 1: can't do the voice the whole time, he says, can

1593
01:31:03,240 --> 01:31:07,800
Speaker 1: you prove it didn't happen. Perhaps on your way home,

1594
01:31:08,000 --> 01:31:10,320
Speaker 1: someone will pass you in the dark and you will

1595
01:31:10,360 --> 01:31:13,839
Speaker 1: never know it, for they will be from outer space.

1596
01:31:14,680 --> 01:31:18,080
Speaker 1: Many scientists believe that another world is watching us at

1597
01:31:18,120 --> 01:31:22,960
Speaker 1: this moment. We once laughed at the horseless carriage, the aeroplane,

1598
01:31:23,160 --> 01:31:28,800
Speaker 1: the telephone, the electric light, vitamins, radio, and even television,

1599
01:31:29,120 --> 01:31:32,559
Speaker 1: and now some of us laugh at outer space. God

1600
01:31:32,680 --> 01:31:37,439
Speaker 1: help us in the future the end. I love it. Yeah,

1601
01:31:37,680 --> 01:31:40,720
Speaker 1: prove that it didn't happen. The burden of proof is

1602
01:31:40,720 --> 01:31:45,519
Speaker 1: on you, audience. Yes, yes, disprove or except oh yeah.

1603
01:31:45,560 --> 01:31:48,439
Speaker 1: There's just there's there's so much to love in this picture.

1604
01:31:48,920 --> 01:31:51,800
Speaker 1: Like even if you took out everything we mentioned, there's

1605
01:31:51,800 --> 01:31:55,320
Speaker 1: still like three more bad movies worth of stuff here,

1606
01:31:55,320 --> 01:31:58,559
Speaker 1: you know, three more psychatronic films worth of of like

1607
01:31:58,680 --> 01:32:03,120
Speaker 1: strange line deliver ease and weird ideas and and jarring

1608
01:32:03,320 --> 01:32:06,559
Speaker 1: use of footage. It's just it's a gold mine. This

1609
01:32:06,640 --> 01:32:09,639
Speaker 1: picture one of the best of the best of all time.

1610
01:32:10,200 --> 01:32:12,960
Speaker 1: Uh I love Plan nine. Yeah, and it's you know,

1611
01:32:13,000 --> 01:32:16,080
Speaker 1: it's ridiculous. But at the same time you have these

1612
01:32:16,080 --> 01:32:19,200
Speaker 1: scenes that these kind of like very dry looking exterior

1613
01:32:19,240 --> 01:32:22,240
Speaker 1: shots in um in in in los in the Los

1614
01:32:22,280 --> 01:32:26,599
Speaker 1: Angeles area, you know, tombstones and uh in in these

1615
01:32:26,760 --> 01:32:29,519
Speaker 1: you know, these very scraggly looking plants and trees. I

1616
01:32:29,520 --> 01:32:33,080
Speaker 1: don't know, there's there's there is some authenticity sprinkled in

1617
01:32:33,120 --> 01:32:35,200
Speaker 1: there as well that kind of gives you a little

1618
01:32:35,200 --> 01:32:38,320
Speaker 1: peek into the world out of which it emerged. You know,

1619
01:32:38,640 --> 01:32:41,880
Speaker 1: one last question, do you think Edward when he wrote

1620
01:32:41,920 --> 01:32:47,040
Speaker 1: this sympathized with the aeros monologue about our stupid earth minds?

1621
01:32:47,120 --> 01:32:50,639
Speaker 1: Was he expressing his point of view or was Arrows

1622
01:32:50,680 --> 01:32:53,960
Speaker 1: supposed to be the bad guy representing an incorrect point

1623
01:32:53,960 --> 01:32:56,560
Speaker 1: of view. I feel like he had to be sympathetic

1624
01:32:56,600 --> 01:32:59,600
Speaker 1: to this cause, I mean, it's given so much monologue

1625
01:32:59,600 --> 01:33:01,960
Speaker 1: time in the picture, and there's this, and then of

1626
01:33:01,960 --> 01:33:04,240
Speaker 1: course we have the Chriswell stuff that is treating the

1627
01:33:04,280 --> 01:33:07,960
Speaker 1: film like prophecy. So yeah, he had to be. There

1628
01:33:08,040 --> 01:33:12,280
Speaker 1: is this kind of cautionary tale that seems to be

1629
01:33:13,080 --> 01:33:16,559
Speaker 1: present no matter how you know, poorly it's ultimately presented,

1630
01:33:16,640 --> 01:33:20,599
Speaker 1: or how whackadoodle the the speculative science is that's wrapped

1631
01:33:20,680 --> 01:33:23,360
Speaker 1: up in it. Um. But yeah, and and also I

1632
01:33:23,360 --> 01:33:25,280
Speaker 1: guess to be fair, this is also an idea that

1633
01:33:25,640 --> 01:33:28,360
Speaker 1: we see just spread out across science fiction in general.

1634
01:33:28,479 --> 01:33:31,400
Speaker 1: That's something maybe watching us and Something may have an

1635
01:33:31,400 --> 01:33:34,880
Speaker 1: outsider perspective on where we are as a culture, and

1636
01:33:34,920 --> 01:33:38,160
Speaker 1: it may realize the the the errors of our way,

1637
01:33:38,840 --> 01:33:42,439
Speaker 1: the dangers that we're bound to encounter, and that we're

1638
01:33:42,520 --> 01:33:45,400
Speaker 1: kind of looking to UFOs as kind of a a

1639
01:33:45,439 --> 01:33:49,920
Speaker 1: divine entity or or or conversely an infernal entity that

1640
01:33:49,960 --> 01:33:53,840
Speaker 1: will either help us and help us choose the right

1641
01:33:53,880 --> 01:33:58,000
Speaker 1: direction or judge us for the direction we've chosen thus far. Yeah,

1642
01:33:58,080 --> 01:34:00,800
Speaker 1: I think I can get down with that. Another last

1643
01:34:00,840 --> 01:34:02,360
Speaker 1: thing I will have to say this time is that

1644
01:34:02,439 --> 01:34:06,439
Speaker 1: I really think you can't overstate the importance of the

1645
01:34:06,560 --> 01:34:11,599
Speaker 1: Criswell framing in establishing the self important tone of the movie.

1646
01:34:12,200 --> 01:34:15,040
Speaker 1: Uh that like that, like the movie thinks that it

1647
01:34:15,160 --> 01:34:19,639
Speaker 1: is powerful and perhaps world changing. It's like I'm trying toine,

1648
01:34:19,760 --> 01:34:24,960
Speaker 1: like imagine if um the room started and ended with

1649
01:34:25,080 --> 01:34:29,200
Speaker 1: monologues about how this movie will change the world, and

1650
01:34:29,240 --> 01:34:35,400
Speaker 1: the monologues are from like the Long Island Medium. Yeah, Yeah,

1651
01:34:35,760 --> 01:34:38,479
Speaker 1: there's a self importance to the picture. It feels like

1652
01:34:38,560 --> 01:34:41,720
Speaker 1: it's tapping into the now that it's you know, it's like,

1653
01:34:41,760 --> 01:34:44,280
Speaker 1: this is stuff that's happening, and people are talking about UFOs.

1654
01:34:44,360 --> 01:34:46,960
Speaker 1: There's something going on. Um. You know, we we have

1655
01:34:47,080 --> 01:34:50,160
Speaker 1: issues with UH, with where we are as a people.

1656
01:34:50,240 --> 01:34:52,439
Speaker 1: We have concerns about the future and about the state

1657
01:34:52,479 --> 01:34:55,400
Speaker 1: of technology, and so this this film is like, Yeah,

1658
01:34:55,640 --> 01:34:59,000
Speaker 1: we're really tapping into all that. We have something to say.

1659
01:34:59,200 --> 01:35:02,400
Speaker 1: Get Deadly Man Love on the phone. We're gonna cast

1660
01:35:02,439 --> 01:35:05,519
Speaker 1: him in this picture. Okay, I think that's We've got

1661
01:35:05,520 --> 01:35:09,880
Speaker 1: to We've got to end. Yeah, there's so much here

1662
01:35:09,920 --> 01:35:11,680
Speaker 1: and and we'd love to hear from everyone out there.

1663
01:35:11,720 --> 01:35:14,160
Speaker 1: Everyone who has loved Plan nine from Outer Space in

1664
01:35:14,200 --> 01:35:18,320
Speaker 1: the past, and perhaps you haven't seen it before, like

1665
01:35:18,400 --> 01:35:21,000
Speaker 1: now is the time, and maybe you're inspired by our

1666
01:35:21,000 --> 01:35:23,000
Speaker 1: thoughts here. We would love to hear your thoughts on

1667
01:35:23,000 --> 01:35:27,120
Speaker 1: it as well. Perhaps there's some particular UH moment or

1668
01:35:27,240 --> 01:35:30,360
Speaker 1: line in the picture that really UH is close to

1669
01:35:30,400 --> 01:35:33,240
Speaker 1: your heart that we didn't mention right in. We'd love

1670
01:35:33,280 --> 01:35:35,680
Speaker 1: to hear from you, and we'll discuss this UH in

1671
01:35:35,720 --> 01:35:38,519
Speaker 1: a future episode of Listener Mail. Oh and I should

1672
01:35:38,560 --> 01:35:41,160
Speaker 1: point out when it comes to where to find Plan

1673
01:35:41,240 --> 01:35:42,920
Speaker 1: nine from outer space. Luckily, you can find it a

1674
01:35:42,920 --> 01:35:46,639
Speaker 1: lot of places these days, the various DVD and perhaps

1675
01:35:46,680 --> 01:35:49,800
Speaker 1: even Blu ray releases that are available. I know that

1676
01:35:49,880 --> 01:35:53,640
Speaker 1: there was a recent colorization of the picture, but I

1677
01:35:54,280 --> 01:35:56,400
Speaker 1: rewatched it in black and white. I feel like it

1678
01:35:56,439 --> 01:35:58,519
Speaker 1: needs to be in black and white. But but hey,

1679
01:35:58,560 --> 01:36:01,559
Speaker 1: if if colorization is what gets you there, then fair enough,

1680
01:36:01,640 --> 01:36:04,120
Speaker 1: go ahead and do it. Now. I'm a purist about this.

1681
01:36:04,200 --> 01:36:09,040
Speaker 1: Don't meddle with Plan nine. Yeah, I mean there's something

1682
01:36:09,080 --> 01:36:12,040
Speaker 1: about those gothic of scenes in the cemetery, right, I

1683
01:36:12,040 --> 01:36:14,320
Speaker 1: mean those those have to be in in black and white.

1684
01:36:14,360 --> 01:36:17,200
Speaker 1: I mean I assume Vampira and Tour we're in black

1685
01:36:17,240 --> 01:36:20,120
Speaker 1: and white in real life. I can't imagine them as

1686
01:36:20,160 --> 01:36:23,040
Speaker 1: flesh and blood color uh entities. It's certainly not in

1687
01:36:23,080 --> 01:36:26,080
Speaker 1: this picture, alright. As always, you can check out other

1688
01:36:26,120 --> 01:36:28,240
Speaker 1: episodes of Weird House Cinema in the Stuff to Blow

1689
01:36:28,280 --> 01:36:31,679
Speaker 1: Your Mind podcast feed every Friday. We're primarily a science podcast,

1690
01:36:31,720 --> 01:36:33,960
Speaker 1: but Fridays are our time to set aside most serious

1691
01:36:33,960 --> 01:36:37,280
Speaker 1: concerns and just talk about a weird film. Again. I'll

1692
01:36:37,280 --> 01:36:40,960
Speaker 1: post some of the various multimedia uh tie ins that

1693
01:36:41,000 --> 01:36:43,559
Speaker 1: we discussed here on the blog post for this episode

1694
01:36:43,560 --> 01:36:46,800
Speaker 1: at SMUTA music dot com. Also, if you were on Letterbox,

1695
01:36:47,160 --> 01:36:48,760
Speaker 1: and I recommend you get on there because it's a

1696
01:36:48,800 --> 01:36:50,920
Speaker 1: lot of fun. If you're a film fan, we are

1697
01:36:50,920 --> 01:36:53,799
Speaker 1: on letterbox as well. Our user name is weird House,

1698
01:36:54,120 --> 01:36:55,760
Speaker 1: so you can follow us there. You can also pull

1699
01:36:55,840 --> 01:36:58,320
Speaker 1: up a cool list that has all of the movies

1700
01:36:58,320 --> 01:37:01,439
Speaker 1: that we've watched in order. You can you can do

1701
01:37:01,520 --> 01:37:03,280
Speaker 1: things like divide them up and look at them by

1702
01:37:03,400 --> 01:37:06,240
Speaker 1: genre and decade and so forth, and you can often

1703
01:37:06,240 --> 01:37:08,880
Speaker 1: get a little peek ahead and see what we're discussing next.

1704
01:37:09,280 --> 01:37:12,360
Speaker 1: Huge things. As always to our excellent audio producer Seth

1705
01:37:12,479 --> 01:37:14,920
Speaker 1: Nicholas Johnson. If you would like to get in touch

1706
01:37:14,960 --> 01:37:17,519
Speaker 1: with us with feedback on this episode or any other,

1707
01:37:17,760 --> 01:37:19,840
Speaker 1: to suggest a topic for the future, or just to

1708
01:37:19,920 --> 01:37:22,599
Speaker 1: say hello, you can email us at contact at stuff

1709
01:37:22,640 --> 01:37:31,960
Speaker 1: to Blow your Mind dot com. Stuff to Blow Your

1710
01:37:32,000 --> 01:37:34,919
Speaker 1: Mind is production of I Heart Radio. For more podcasts

1711
01:37:34,920 --> 01:37:37,000
Speaker 1: for my Heart Radio, visit the I Heart Radio app,

1712
01:37:37,200 --> 01:37:39,920
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.