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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today on Weird House Cinema, we are going to be

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Speaker 3: talking about the nineteen seventy seven fantasy adventure film Sinbad

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Speaker 3: and the Eye of the Tiger, directed by Sam Wanamaker

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Speaker 3: and starring I would say, the most deliciously crunchy stop

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Speaker 3: motion monster effects by the great Ray Harryhausen, including but

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Speaker 3: not limited too, a gang of saber wielding ghoules that

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Speaker 3: rise up out of a fire, A giant hyperborean walrus,

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Speaker 3: a one horned troglodide who just wants to love. Really

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Speaker 3: a I was going to say a demon wasp, but

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Speaker 3: I think more accurately it is a bee, even though

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Speaker 3: in it's an enlarged form, it looks kind of wasp like.

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Speaker 2: Yeah.

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Speaker 3: And then I would say, most importantly, the minoton, a

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Speaker 3: magical bronze robot or automaton in the shape of a silent, frowning,

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Speaker 3: bull headed minotaur.

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Speaker 2: Yeah. Kind of a mashup of telous and the minotaur. Ye.

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Speaker 2: Like everything in this film, everything is a mash up here.

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Speaker 2: There's nothing really there's nothing really authentic aus we'll be discussing.

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Speaker 2: But via the magic of Ray Harry House and special

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Speaker 2: effects and filmmaking in general, it becomes its own thing.

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Speaker 2: It becomes this ridiculously fun flick.

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Speaker 3: Sinbad in the Eye of the Tiger has a special

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Speaker 3: significance for me because somehow I had a bootleg VHS

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Speaker 3: tape of this movie when I was growing up, and

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Speaker 3: I watched it a lot. I've seen this many many times,

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Speaker 3: but less so in recent years. I was mesmerized by

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Speaker 3: the monsters when I was growing up, especially the Minotan

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Speaker 3: that when I found very scary and captivating. I think

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Speaker 3: in part because of the you know, none of the

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Speaker 3: monsters in this movie talk, but there's something about the

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Speaker 3: silence of the minoton that feels especially significant, just that

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Speaker 3: that closed, frowning mouth.

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Speaker 2: Absolutely, Ray Harry Housen was able to pour just somewmach

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Speaker 2: I mean, in general, Ray Hary houses and poured a

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Speaker 2: lot of life into the things that he brought to life,

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Speaker 2: these pieces of clay and other substances through stop motion.

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Speaker 2: But in this picture in particular, I feel like there's

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Speaker 2: a lot of heart and life and just you can

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Speaker 2: almost be out. We get into this sort of internal mindset,

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Speaker 2: limited as it might be with the Minoton, but you

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Speaker 2: still get a sense of like who this or what

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Speaker 2: this creature.

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Speaker 3: Is animated by evil magic, but also somehow a little

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Speaker 3: bit sad, Like I feel a bit of pity for

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Speaker 3: the Minoton in the way he's just sort of bossed

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Speaker 3: around and then discarded towards the end of the film

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Speaker 3: when he has outlived his usefulness there. Yeah, so the

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Speaker 3: Minaton is a you know, soulless, soulless weapon, the tool

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Speaker 3: of evil magic, and I still somehow my heart breaks

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Speaker 3: for him.

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Speaker 2: Yeah, this I imagine. I didn't see this film when

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Speaker 2: I was a kid. I don't know how I avoided it, because,

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Speaker 2: as I've mentioned before, I watched Clash of the Titans

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Speaker 2: over and over on various Turner stations. It was just

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Speaker 2: always on. So I'm kind of surprised I'd never seen

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Speaker 2: this one. My wife had seen this one as a kid,

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Speaker 2: but I never did. And it's a shame because, I mean,

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Speaker 2: to a limited extent, it's a shame because this is

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Speaker 2: a great film to have seen as a kid, because

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Speaker 2: it is very much monsters and stop motion effects. First,

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Speaker 2: humans a distant second.

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Speaker 3: Certainly the main humans a distant second. Yeah. So, while

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Speaker 3: I love so many things about this movie, one thing

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Speaker 3: I realized on coming back to it as an adult

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Speaker 3: is that this is an example of a type of

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Speaker 3: fantasy film that I think has not aged extremely well

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Speaker 3: in its portrayal of real life human cultures for a

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Speaker 3: couple of reasons. One thing is this is a Sinbad movie,

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Speaker 3: so it's based on the character of Sinbad the Sailor,

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Speaker 3: a hero who appears in later manuscripts of the Arabic

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Speaker 3: language folk tale collection one thousand and one Nights. Sindbad

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Speaker 3: is a brave and resourceful sailor from Baghdad who achieves

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Speaker 3: great fortune through his travels across the sea to foreign lands,

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Speaker 3: and he survives all these harrowing encounters along the way

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Speaker 3: and comes back with great stories to tell. From what

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Speaker 3: I can deduce this story, the story in Sinbad and

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Speaker 3: the Eye of the Tiger is not based on any

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Speaker 3: particular story appearing in the Sinbad hero cycle, and it

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Speaker 3: should not be taken as a faithful or authentic representation

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Speaker 3: of the Sinbad folklore.

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Speaker 2: Yeah, I think it was based entirely on sort of

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Speaker 2: the vibe of the past Sindad films. Yeah, and also

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Speaker 2: what Ray Harry Housen wanted to do special effects wise,

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Speaker 2: he said he'd always wanted to do a smile of

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Speaker 2: don you know, a saber tooth cat, and so it's

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Speaker 2: in the picture. I guess it was left to the screen.

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Speaker 2: Oh and also Ray has a story credit on this,

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Speaker 2: so you know, I guess it was like, I want

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Speaker 2: to smile it on in the picture. Let's figure out

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Speaker 2: how to make it.

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Speaker 3: Work, rippling furry muscly beast of it. I love the

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Speaker 3: smile it on in here, but yeah, I don't think

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Speaker 3: you'll find that in any of the Sindbad folklore or

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Speaker 3: in the versions appearing in one thousand and one Nights.

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Speaker 3: Another thing I will say is that although this movie

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Speaker 3: is I think not as offensive as it could have

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Speaker 3: been in this manner, it is a movie depicting a

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Speaker 3: historical Middle Eastern culture that was made mostly by Europeans

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Speaker 3: and European Americans, and to me looking at it now,

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Speaker 3: this movie comes across as bringing some level of ethnic

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Speaker 3: caricature and some implicit orientalism. Orientalism meaning like a view

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Speaker 3: held by some people from Western cultures. That people of

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Speaker 3: Eastern cultures are maybe less sophisticated, less refined, maybe more

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Speaker 3: treacherous and barbaric, and there I think there are currents

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Speaker 3: of that running through the story here. It also probably

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Speaker 3: goes without saying that the movie does not seem very

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Speaker 3: concerned with historical or cultural authenticity, and like trying to

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Speaker 3: depict the environment of the Abbasid Empire in the you know,

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Speaker 3: in which this story is originally set in the folklore version.

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Speaker 2: Yeah, yeah, we're pretty far removed from any any manner

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Speaker 2: of historic or literary reality here.

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Speaker 3: And I think this is one of the difficulties of

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Speaker 3: adapting fantasy that is more grounded in the real world.

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Speaker 3: Like the more you try to root a fantasy story

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Speaker 3: in real times and places, or to base it faithfully

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Speaker 3: on real literature, the more difficult of a job you have.

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Speaker 3: Though I guess that makes me respect it even more

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Speaker 3: when it's done well, you know. And I can think

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Speaker 3: about good fantasy films that are very rooted in history

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Speaker 3: and are informed by what we know now about the

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Speaker 3: culture of the time and stuff. So there are good

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Speaker 3: examples of that. But you know, when you set out

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Speaker 3: to do something like that historical in the real world.

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Speaker 3: It's just harder to do. So I would say, of course,

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Speaker 3: don't form your opinions about the Synbad folklore, or about

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Speaker 3: the historical culture and people of the opposite empire from

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Speaker 3: this movie.

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Speaker 2: Yeah, nor should you base much concerning you know, prehistoric organisms.

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Speaker 2: You know, there's nothing particularly accurate about this film.

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Speaker 3: But with all those caveats, I would like to speak

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Speaker 3: for this movie's great virtues. It is a robust, swashbuck

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Speaker 3: len adventure story set in an interesting and weird world.

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Speaker 3: It's got wonderful monster and creature effects, like give me

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Speaker 3: all the minoton you got. I wish. In fact, on

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Speaker 3: coming back and watching this as an adult, there was

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Speaker 3: less minoton than I remembered. The minoton looms larger in

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Speaker 3: my memory than it actually does in the story, and

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Speaker 3: so I almost wish I could could have had more

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Speaker 3: of it. But I guess that's a good thing to

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Speaker 3: feel a story. After a story, it's better to feel

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Speaker 3: that you wish there had been more of something than

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Speaker 3: that there was too much and you got tired of it.

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Speaker 4: Yeah.

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Speaker 2: Yeah, they're strong comparison to be made here too, Boba

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Speaker 2: Fett and Return of the Jedi. You know, we didn't

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Speaker 2: see as much of him as we wanted, and that

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Speaker 2: led everyone to just dream about what was possible and

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Speaker 2: to obsess over this minor character, and likewise the menton here.

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Speaker 2: I don't know. I also kind of feel like this

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Speaker 2: movie did the Menaton dirty, but it's also so memorable

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Speaker 2: and I end up feeling for him so much, even

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Speaker 2: though he has discarded like a used tool.

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Speaker 3: I also, in different ways, enjoy a lot of the

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Speaker 3: acting in this movie. I'm gonna say I don't want

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Speaker 3: to be mean, but I think our main actor is

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Speaker 3: in this particularly Patrick Wayne in the role of sindbad

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Speaker 3: Or has got to go on some kind of leaderboard

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Speaker 3: of big budget movie wooden performances. He is not spellbinding,

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Speaker 3: but he is very funny. But I genuinely do love

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Speaker 3: some of the character actor performances, and it particularly Patrick

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Speaker 3: Trauton as Melanthius, the Alchemist and the wizard, you know

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Speaker 3: that the Greek sage. He's a lot of fun and

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Speaker 3: there's some good color like that in there. Another thing

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Speaker 3: that I thought was funny about sindbad in the Eye

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Speaker 3: of the Tiger is that I never knew this before

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Speaker 3: researching before this episode, but it was released in the

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Speaker 3: summer of nineteen seventy seven, same season as a little

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Speaker 3: movie called Star Wars. So I think it was facing

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Speaker 3: some competition.

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Speaker 2: Yeah, yeah, So this was the third Columbia Sinbad film

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Speaker 2: with effects by Ray Harry Howsen, following up on nineteen

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Speaker 2: fifty eight's The Seventh Voyage of Sindbad. In seventy three

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Speaker 2: is The Golden Voyage of Sindbad. The previous two films

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Speaker 2: had been hits. But yeah, as lovingly crafted as this

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Speaker 2: film is and as much as we love it now,

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Speaker 2: it surely looked pretty long in the tooth compared to

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Speaker 2: just the newness of Star Wars.

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Speaker 3: Yeah, and Rob, I think you'll know what I mean

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Speaker 3: about this. There are some weird mismatches in the level

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Speaker 3: of competence with the effects in the movie. Like it

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Speaker 3: has some of the best stop motion effects ever done

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Speaker 3: in a lot of the monsters, but there are other

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Speaker 3: parts of it where little just like matt shots and

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Speaker 3: stuff feel very clunky and amateurish to me.

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Speaker 2: Yeah, there's some yeah, some mat shots and or some

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Speaker 2: day for night. I don't know if there are a

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Speaker 2: few shots here. I couldn't tell if I was looking

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Speaker 2: at Bad or not. I don't want to say bad but

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Speaker 2: maybe less effective matt work or if I was looking

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Speaker 2: at less effective day for night. But and I also

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Speaker 2: wasn't entirely sure how to view it, because, as I'll

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Speaker 2: discussed in a minute, I saw this on the big screen,

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Speaker 2: so I wasn't sure if I was looking. I mean,

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Speaker 2: the effects looked amazing, but I wasn't sure, Well, is

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Speaker 2: this the Is this a fully restored version of it?

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Speaker 2: I'm not sure, but yes, I definitely got a sense

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Speaker 2: of that mismatch in the visuals.

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Speaker 3: I mean, on my Blu ray A lot of the

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Speaker 3: scenes look great, but particularly the scenes set at night

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Speaker 3: just did not look right to me. They are too dark.

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Speaker 3: I can't tell who anybody is.

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Speaker 2: Yeah, they're very blue.

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Speaker 3: It's yeah, something's not working right there. But another thing

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Speaker 3: I wanted to talk about with Ia the Tiger is

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Speaker 3: a note on genre. This rewatching this movie got me

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Speaker 3: thinking about how Sindbad and the Eye of the Tiger

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Speaker 3: is kind of a paragon of the adventure genre. This

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Speaker 3: is the kind of classic film people are thinking about

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Speaker 3: when they use the word adventure for a movie genre,

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Speaker 3: And so I was thinking, why, what exactly is adventure

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Speaker 3: and especially what distinguishes adventure from similar genres like action.

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Speaker 3: The first idea I had about this was about travel.

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Speaker 3: Adventure stories seem to necessarily involve travel or a journey,

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Speaker 3: whereas action stories may or may not include travel and

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Speaker 3: a journey. But I think this is not good enough

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Speaker 3: as a distinction, like it certainly doesn't capture the whole

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Speaker 3: difference because, for example, every James Bond movie, every Mission

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Speaker 3: Impossible movie, those all involve travel to interesting new locations.

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Speaker 3: So like making a journey to an interesting new place

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Speaker 3: doesn't make a movie an adventure, and I'm never tempted

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Speaker 3: to think about these other movie series as adventure stories.

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Speaker 2: I think maybe part of it comes down to the

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Speaker 2: presumed or implied mastery over travel. You know, like a

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Speaker 2: modern film you've just been have characters just zipping around

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Speaker 2: the world, and it doesn't seem like it takes any

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Speaker 2: effort or even expense to do so. It's just you're

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Speaker 2: one place one second or another the next, Whereas if

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Speaker 2: a film either gives you if a film gives you

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Speaker 2: something to go on, that implies like a more historical

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Speaker 2: difficulty in travel, or even maybe goes to the links

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Speaker 2: of just showing you how far the character is traveling.

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Speaker 2: I'm thinking of like the map sequences in Indiana Jones.

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Speaker 2: You know, you get more of that sense of globe

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Speaker 2: trotting adventure.

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Speaker 3: I think that's a really good observation. Yeah, something about

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Speaker 3: the difficulty of travel, the sense of going somewhere, going

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Speaker 3: somewhere new, or going somewhere dangerous or unique. That is

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Speaker 3: different than just like going to an airport somewhere, you know,

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Speaker 3: flying in. Another thing I was thinking about is that

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Speaker 3: adventure I think way more often includes fantasy or fantastical elements.

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Speaker 3: Of course, it doesn't have to. There are totally realistic

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Speaker 3: adventure stories, and action can also have fantasy elements too,

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Speaker 3: Like there's a whole subgenre people call action fantasy. Big example,

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Speaker 3: there is Highlander, and so again that doesn't fully capture

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Speaker 3: the distinction, but that's kind of a tendency. Action I

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Speaker 3: think is more likely to have what feels like a

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Speaker 3: focus on physical conflict, fight scenes and chase scenes. But

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Speaker 3: of course you will find these elements in most adventure

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Speaker 3: stories as well. The adventure movie we're talking about today

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Speaker 3: has lots of action scenes. They both of these genres

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Speaker 3: have thrills based on a sense of danger and risk.

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Speaker 3: But ultimately, I think the most important conclusion I came

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Speaker 3: to was that, unlike action, adventure necessarily involves a feeling

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Speaker 3: of discovery or amazement, which is tied up in the

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Speaker 3: central goal of the protagonists. So like in an action movie,

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Speaker 3: in the end, the thing you have to do is

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Speaker 3: beat the bad guy, and in an adventure movie, the

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Speaker 3: thing you have to do is uncover the great secret

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Speaker 3: or reach the hidden place. So they're like fundamentally sort

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Speaker 3: of amazement entangled goals.

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Speaker 2: Yeah, you may have a few fistfights on top of

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Speaker 2: some trains and so forth on the way there, but yeah,

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Speaker 2: it's about that destination. It's about that great discovery.

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Speaker 3: Yeah, And so I think this is why a lot

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Speaker 3: of my favorite action oriented stories are more action adventure.

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Speaker 3: You know. I like stories about a quest to unveil

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Speaker 3: something hidden more than just stories about conflict with an adversary,

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Speaker 3: though there are plenty of great examples of the latter.

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Speaker 3: Two Yeah, all right, did you have an elevator pitch

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Speaker 3: for this?

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Speaker 2: I would say Syndbad's Voyage to Hyperborea, Like that would

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Speaker 2: be a more accurate title, because I of the Tiger,

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Speaker 2: there's there are some cat eyes going on in the film,

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Speaker 2: but it's it's less overt. I don't know. And it

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Speaker 2: also doesn't fit the title the title style of the

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Speaker 2: previous two films.

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Speaker 3: It feels like Harry Housen's motivation to make a stop

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Speaker 3: motion Sabertooth Tiger is infecting the themes of the title.

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Speaker 2: Yeah, he had I of the Tiger. Yes, that's what

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Speaker 2: dictated everything else. Yeah, also I of the Walrus.

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Speaker 3: Wait, when when was Rocky did Rocky do we have

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Speaker 3: Eye of the Tiger? Did that only come with Rocky two?

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Speaker 3: I don't remember when was When was that song.

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Speaker 2: I Have the Tiger by Survivor? Yeah? That was eighty two. Okay,

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Speaker 2: but maybe maybe you know, I'm not entirely sure. I've

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Speaker 2: never researched this. Maybe it has its roots in this film.

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Speaker 2: Why not, That's something.

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Speaker 3: To look up. Okay, should we get some trailer audio?

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Speaker 2: Yeah, let's listen to a little bit of trailer audio.

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Speaker 1: Here.

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Speaker 4: These eyes peer out through time, through space to a

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Speaker 4: land beyond imagination.

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Speaker 3: These are the Eyes of the Tiger.

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Speaker 4: Follow their gaze back back to where legends first began,

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Speaker 4: where fantasy is real and the land of the Lost

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Speaker 4: is rediscovered. Journey across the oceans of antiquity to the

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Speaker 4: northern edge of the ancient world. As Sindbad battles with

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Speaker 4: both human depths of the Earth, I command you Arise

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Speaker 4: and supernatural even filmed in the Miracle of Dynorama. Come

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Speaker 4: face to face with the prehistoric Trogue. See the Sorceress

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Speaker 4: bring life to the all powerful Minoton. See Sinbad battle

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Speaker 4: saber Tooth Tiger, Regardian of the Secret Shrine. Join Sindbad,

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Speaker 4: the greatest of all adventurers, in his biggest adventure of all,

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Speaker 4: Sindbad and the Eye.

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Speaker 3: Of the Tiger.

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Speaker 2: All right, well, you may be wondering at this point,

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Speaker 2: how can I watch Sindbad and the Eye of the Tiger. Well,

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Speaker 2: I mean, unless you have the same bootleg VHS that

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Speaker 2: Joe had in his childhood, you're gonna have to find

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Speaker 2: some other way to watch it. I had the pleasure

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Speaker 2: of seeing this one on the big screen at Atlanta's

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Speaker 2: Historic Plaza Theater as part of the Silver Screams Spook

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Speaker 2: Show series. Look it up. Their next show is going

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Speaker 2: to be Frankenstein Meets the wolf Man on October third.

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Speaker 2: But there's also a great looking indicator Blu Ray that

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Speaker 2: has tons of extras that seems to be a great

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Speaker 2: physical media choice. It's region free as well. You can

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Speaker 2: also get this one as part of Ray Harryhausen The

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Speaker 2: Ultimate Collection, which also looks great. And there may be

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Speaker 2: other Harry Housen box sets out there as well.

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Speaker 3: Let me look and see what mine is. I watched

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Speaker 3: it on a four disc Blu Ray set called The

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Speaker 3: Fantastic Films of Ray Harry Housen, and this set comes

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Speaker 3: with Jason and the Argonauts, Golden Voyage of Sinbad, Seventh

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Speaker 3: Voyage of Sinbad, and this one.

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Speaker 2: That's a nice collection right here.

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Speaker 3: Yeah, we could come back and do Golden Voyage sometime

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Speaker 3: as well, because that one, I think is also a hit.

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Speaker 3: Also has amazing monsters and has Tom Baker in it

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Speaker 3: as the villain.

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Speaker 2: Yes, Tom Baker. And that's one that I saw many

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Speaker 2: years ago at a drive in movie theater here in

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Speaker 2: the Atlanta area, So it's been a long time since

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Speaker 2: I've seen it at this point, but I remember it's

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Speaker 2: a nice, sweaty movie. I think of it as an

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Speaker 2: outdoor viewing experience in the summer totally. All right, let's

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Speaker 2: talk about the folks behind this picture. Will start with

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Speaker 2: the director Sam Wannamaker, who we mentioned earlier, lived nineteen

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Speaker 2: nineteen through nineteen ninety three a veteran American actor and

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Speaker 2: director who spent most of his career in the UK

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Speaker 2: to avoid the blacklist in America during the nineteen fifties.

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Speaker 2: He had Broadway roots in the US and then played

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Speaker 2: an important role revitalizing the Globe Theater in London during

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Speaker 2: his time there. His TV and screen credits go back

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Speaker 2: to nineteen forty eight and include nineteen sixty five, The

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Speaker 2: Spy Who Came In from the Cold, nineteen seventy eight's

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Speaker 2: Death on the Nile, nineteen eighty six is raw Deal?

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Speaker 2: Oh Oh, nineteen eighty seven Superman for the Quest for Peace.

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Speaker 3: Raw Deal. That's a Schwarzenegger film, isn't it.

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Speaker 2: Yeah. I don't know if that's one I've seen, but

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Speaker 2: that I'm very familiar with the cover art for that one,

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Speaker 2: where it's like Schwarzenegger holding a shotgun.

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Speaker 3: Yeah, and the tagline is I think it is they

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Speaker 3: gave him a raw deal. No one gives him a

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Speaker 3: raw deal.

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Speaker 2: Wanta Maker's TV credits include a role on the original

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Speaker 2: Outer Limits, A feasibility study is the episode, and he

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Speaker 2: was also nominated for an Emmy Award for his performance

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Speaker 2: in the nineteen seventy eight Holocaust mini series. As a director,

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Speaker 2: he worked on various TV shows and directed such films

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Speaker 2: as nineteen seventies The Executioner, seventy one's Cat Low, and Owen.

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Speaker 2: He is also father of British actress Zoey Wanta Maker,

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Speaker 2: some of you might remember from the Harry Potter movies.

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Speaker 2: So I was reading a little bit about this. Apparently,

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Speaker 2: given his skills as both an actor and a director,

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Speaker 2: the studio brought him on expressly to perhaps pull a

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Speaker 2: good performance out of some of the maybe stiffer members

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Speaker 2: of the cast. Was he successful, Maybe not. But I

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Speaker 2: think also, as we'll discuss, maybe this just isn't the

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Speaker 2: sort of movie where you're going to be able to

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Speaker 2: do that, Like you're kind of setting anybody up for

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Speaker 2: a challenge given some of the constraints involved here.

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Speaker 3: Yeah, and as I think I said earlier, I mean

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Speaker 3: Patrick Wayne's wood in this achieves a kind of excellence

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Speaker 3: of its Yeah.

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Speaker 2: Yeah, Like at the end of the day, do I

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Speaker 2: want someone more convincing in the role? Well, yes in

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Speaker 2: some ways, but in other ways absolutely not. Like it

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Speaker 2: was he's given it is all and we'll talk about

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Speaker 2: him in a minute, but yeah, I enjoy his performance.

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Speaker 3: Yeah me too.

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Speaker 2: Also worth noting, apparently, you know, you look at his

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Speaker 2: other films, he did not direct films like this, He

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Speaker 2: didn't direct big fantasy adventure films. He apparently took this

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Speaker 2: project in large part to help finance his work with

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Speaker 2: the Globe Theater. So you know, even if the acting

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Speaker 2: in this film is not always top notch, well you know,

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Speaker 2: maybe the end result is the money involved here helped

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Speaker 2: support some great theater in London. All right, now, story credit,

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Speaker 2: producer credit, and of course creator of visual effects. We

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Speaker 2: have the great Ray Harry Howsen, who we've talked about

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Speaker 2: on the show before, because of course we talked about

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Speaker 2: Clash of the Titans, which was the film that he

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Speaker 2: did right after this one. Harry Housen lived nineteen twenty

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Speaker 2: through twenty thirteen. He was an American British Oscar winning

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Speaker 2: animator and special effects creator. Who I mean, it's really

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Speaker 2: hard to overstress his importance. He just a major pioneer

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Speaker 2: in the industry. So thinking for instance, about Star Wars

402
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Speaker 2: coming along and sort of pushing films like this into

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Speaker 2: the past and making films like this seem increasingly old fashioned.

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Speaker 2: Like everyone involved in the special effects on Star Wars

405
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Speaker 2: was inevitably inspired by Ray Harry Housen, like he is

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Speaker 2: just he is a legend, and everything that came after him,

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Speaker 2: everything that kind of two varying degrees replaced the style

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Speaker 2: of old fashioned stop motion that he was bringing to

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Speaker 2: the screen, like they wouldn't exist without his work.

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Speaker 3: And genuinely, Ray Harry Housen's stop motion work does not

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Speaker 3: look old and dated to me. I mean it always

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Speaker 3: looks fresh and exciting in a way that a lot

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Speaker 3: of more cutting edge techniques don't hold up as well.

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Speaker 2: Right, Yeah, particularly like early CGI or even like really

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Speaker 2: cutting edge CGI, because I think, as we've talked about before,

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Speaker 2: a lot of it, as you can say this about

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Speaker 2: a lot of practical effects, but I think especially about

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Speaker 2: really well done stop motion, is that you feel like

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Speaker 2: you can touch it. It has this tangible quality to it.

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Speaker 2: It really does come alive in the way that I

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Speaker 2: mean it gets down down to the medium and art

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Speaker 2: of puppetry throughout human history, like the basic twin powers

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Speaker 2: of human artistry and imagination to make that which is

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Speaker 2: lifeless take on.

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Speaker 3: Life, beautifully said, and I agree. And again, when I'm

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Speaker 3: looking at stop motion effects, I'm also enjoying them for

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Speaker 3: more than just a desire that they look realistic. You know,

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Speaker 3: it's not just I want to believe this is a

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Speaker 3: real monster on the scene. I mean, stop motion to

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Speaker 3: me feels like an art form and I can appreciate

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Speaker 3: its own dimensions of esthetic virtue. It is an art

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Speaker 3: unto itself, and it's beautiful in that way.

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Speaker 2: Like you want to see the slight flaws in it,

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Speaker 2: in the same way that you want to see the puppeteer.

435
00:24:07,119 --> 00:24:09,480
Speaker 2: You know, you don't have to hide the puppeteer. With puppetry,

436
00:24:09,840 --> 00:24:12,760
Speaker 2: a lot of the time, the puppeteer is visible, and

437
00:24:12,840 --> 00:24:15,200
Speaker 2: it's just it's part of the performance. And you know,

438
00:24:15,320 --> 00:24:17,840
Speaker 2: we're going to suspend disbelief and we're going to also,

439
00:24:18,040 --> 00:24:20,639
Speaker 2: you know, see life and what has been created theatrically

440
00:24:20,640 --> 00:24:21,159
Speaker 2: for us.

441
00:24:21,200 --> 00:24:22,800
Speaker 3: Right in the same way that like if I'm looking

442
00:24:22,800 --> 00:24:25,120
Speaker 3: at a great sculpture, I'm not bothered by the fact

443
00:24:25,160 --> 00:24:28,520
Speaker 3: that it's not indistinguishable from a living human being. Like

444
00:24:28,640 --> 00:24:30,679
Speaker 3: I'm enjoying it for what it looks like as a

445
00:24:30,720 --> 00:24:33,480
Speaker 3: piece of marble or rock, that has been made into

446
00:24:33,520 --> 00:24:35,440
Speaker 3: an image that that is its own thing.

447
00:24:35,880 --> 00:24:39,560
Speaker 2: Absolutely. So I'm not going to list all the different

448
00:24:39,560 --> 00:24:41,679
Speaker 2: films that Ray Harry Housen was involved in, but just

449
00:24:41,720 --> 00:24:44,719
Speaker 2: to mention a few. You've got films like Mighty Joe

450
00:24:44,800 --> 00:24:48,840
Speaker 2: Young from forty nine. You have twenty Million Miles to

451
00:24:48,880 --> 00:24:52,280
Speaker 2: Earth from fifty seven against seven, Voyage of Sindbad from

452
00:24:52,320 --> 00:24:56,000
Speaker 2: fifty eight, Mysterious Island from sixty one, one Million Years

453
00:24:56,040 --> 00:24:58,359
Speaker 2: BC from nineteen sixty six. I want to say that

454
00:24:58,440 --> 00:25:02,159
Speaker 2: was a hammer picture. I may be misremembering the Golden

455
00:25:02,200 --> 00:25:05,080
Speaker 2: Voyage of Sindbad from seventy three. The predecessor did this film,

456
00:25:05,520 --> 00:25:07,320
Speaker 2: and then Sinbad in the Eye of the Tiger from

457
00:25:07,320 --> 00:25:09,920
Speaker 2: seventy seven, and then eighty one's Clash of the Titans,

458
00:25:09,920 --> 00:25:13,199
Speaker 2: which we previously talked about in the show. That was

459
00:25:13,400 --> 00:25:16,680
Speaker 2: his swan song essentially, and that one features I think

460
00:25:16,720 --> 00:25:20,280
Speaker 2: eight different stop motion creatures. Tied with one Million Years

461
00:25:20,359 --> 00:25:23,280
Speaker 2: BC for the most creatures in a Harry Housen film.

462
00:25:23,280 --> 00:25:26,040
Speaker 2: I believe today's selection is pretty close. There are a

463
00:25:26,080 --> 00:25:27,960
Speaker 2: lot of a lot of creatures in here.

464
00:25:28,200 --> 00:25:30,240
Speaker 3: Yeah, I didn't count them. Do you count the ghouls

465
00:25:30,280 --> 00:25:33,240
Speaker 3: as three creatures or as one because it's one sequence.

466
00:25:33,359 --> 00:25:35,119
Speaker 2: I think they're an act right, Okay.

467
00:25:35,200 --> 00:25:40,080
Speaker 3: Yeah, but I agree, I think just as for Raw Virtues.

468
00:25:40,119 --> 00:25:43,520
Speaker 3: As a film, this is not the best Ray Harryhausen

469
00:25:43,680 --> 00:25:45,760
Speaker 3: movie I've seen. I think I like Golden Voyage of

470
00:25:45,800 --> 00:25:49,040
Speaker 3: Sindbad better, and I might like I might ultimately like

471
00:25:49,040 --> 00:25:51,879
Speaker 3: Clash of the Titans better. But this is some of

472
00:25:51,880 --> 00:25:54,720
Speaker 3: the best stop motion work. Like the monsters in here

473
00:25:54,760 --> 00:25:57,359
Speaker 3: are you know, on the top shelf with the other ones.

474
00:25:57,720 --> 00:25:59,640
Speaker 2: Yeah, And it's what you come to this film to see.

475
00:25:59,680 --> 00:26:02,280
Speaker 2: These are the stars of the film, without a doubt,

476
00:26:03,000 --> 00:26:05,680
Speaker 2: all right. The screenwriter on this picture was Beverly Cross.

477
00:26:06,040 --> 00:26:13,560
Speaker 2: That's the British Beverly, the masculine Beverly name Beverly Cross,

478
00:26:13,840 --> 00:26:16,520
Speaker 2: who lived nineteen thirty one through nineteen ninety eight English

479
00:26:16,600 --> 00:26:22,639
Speaker 2: playwright and screenwriter, longtime husband of the actress Maggie Smith

480
00:26:23,200 --> 00:26:27,399
Speaker 2: till Beverly's death. His screenplays include nineteen sixty three's Jason

481
00:26:27,400 --> 00:26:30,840
Speaker 2: and the Argonauts, nineteen sixty five's Ginghis Khan That would

482
00:26:30,840 --> 00:26:31,800
Speaker 2: started with marsha Reef.

483
00:26:32,080 --> 00:26:33,720
Speaker 3: When I first saw that credit, by the way, I

484
00:26:33,800 --> 00:26:37,119
Speaker 3: was briefly terrified that this was the screenplay for the

485
00:26:37,160 --> 00:26:39,200
Speaker 3: movie where John Wayne plays Jingis.

486
00:26:38,920 --> 00:26:44,119
Speaker 2: Khan, thankfully not this one released ted O Marshariff, and

487
00:26:44,160 --> 00:26:46,600
Speaker 2: then of course Today's film, as well as Clash of

488
00:26:46,640 --> 00:26:50,280
Speaker 2: the Titans. So we briefly mentioned Beverly Cross before in

489
00:26:50,320 --> 00:26:51,880
Speaker 2: our Clash of the Titans episode.

490
00:26:52,040 --> 00:26:55,840
Speaker 3: Okay, but no, I think the John Wayne Jingis Khan

491
00:26:55,920 --> 00:26:58,800
Speaker 3: movie was The Conqueror, which I've never seen but have

492
00:26:59,280 --> 00:27:02,320
Speaker 3: heard it is one of the most ludicrous films ever made.

493
00:27:02,480 --> 00:27:07,040
Speaker 2: Yeah, some notorious miscasting there, all right, Well, since we're

494
00:27:07,040 --> 00:27:09,760
Speaker 2: talking about the Duke, Yeah, let's talk about the son

495
00:27:09,840 --> 00:27:13,720
Speaker 2: of the Duke, Patrick Wayne, who plays Sindbad in this picture.

496
00:27:15,000 --> 00:27:18,520
Speaker 2: Born nineteen thirty nine. It is indeed the son of

497
00:27:18,720 --> 00:27:25,359
Speaker 2: John Wayne, the legendary American Western actor, here playing the

498
00:27:25,400 --> 00:27:27,920
Speaker 2: Middle Eastern mariner from Arabic literature.

499
00:27:28,359 --> 00:27:30,800
Speaker 3: This casting choice one of the elements I alluded to

500
00:27:30,840 --> 00:27:32,560
Speaker 3: earlier that has not aged well.

501
00:27:32,960 --> 00:27:35,320
Speaker 2: Right, This would not be the last time by far

502
00:27:35,720 --> 00:27:40,159
Speaker 2: that a white actor would play a Middle Eastern character.

503
00:27:40,560 --> 00:27:42,720
Speaker 2: But I think you'd be hard pressed to find a

504
00:27:42,760 --> 00:27:48,200
Speaker 2: wider actor portraying such a character in a film. It's

505
00:27:48,240 --> 00:27:52,200
Speaker 2: just such a mispatch. Wayne's screen credits here go back

506
00:27:52,240 --> 00:27:54,720
Speaker 2: to I believe nineteen fifty when he started doing kid

507
00:27:54,760 --> 00:27:58,639
Speaker 2: cameos in his father's pictures, which eventually led to larger

508
00:27:58,720 --> 00:28:01,720
Speaker 2: roles in these productions, including nineteen fifty eighth The Searchers,

509
00:28:02,359 --> 00:28:05,640
Speaker 2: for which he won a Golden Globe for Most Promising Newcomer.

510
00:28:06,080 --> 00:28:09,000
Speaker 2: His first starring role came with nineteen fifty nine's The

511
00:28:09,080 --> 00:28:12,399
Speaker 2: Young Land That One co starred Dennis Hopper and Dan O'Hurley,

512
00:28:13,400 --> 00:28:16,000
Speaker 2: and yet, needless to say, I should come as a

513
00:28:16,000 --> 00:28:20,760
Speaker 2: shock to nobody. Patrick Wayne mostly worked in westerns. His

514
00:28:20,840 --> 00:28:24,160
Speaker 2: filmography is mostly westerns, following the footsteps of his dad,

515
00:28:24,600 --> 00:28:26,840
Speaker 2: but in the nineteen seventies he did branch out more

516
00:28:27,160 --> 00:28:30,680
Speaker 2: and appeared in a trio of sci fi films. Oh

517
00:28:30,680 --> 00:28:35,119
Speaker 2: there's nineteen seventy threes Beyond Atlantis, which is just stupendous.

518
00:28:35,600 --> 00:28:41,000
Speaker 2: It's an outrageous movie co stars Sid Hague. Definitely check

519
00:28:41,080 --> 00:28:44,000
Speaker 2: that one out if you haven't, There's this film, And

520
00:28:44,040 --> 00:28:46,280
Speaker 2: there's also nineteen seventy seven's The People at the Time

521
00:28:46,320 --> 00:28:48,520
Speaker 2: Forgot co starring Doug McClure.

522
00:28:48,640 --> 00:28:50,400
Speaker 3: I haven't seen either of those other ones. I kind

523
00:28:50,440 --> 00:28:53,720
Speaker 3: of feel a calling to I wonder, is I think

524
00:28:53,800 --> 00:28:56,800
Speaker 3: this is the only Patrick Wayne movie I've seen is

525
00:28:57,320 --> 00:28:58,960
Speaker 3: he always like he is here?

526
00:29:00,680 --> 00:29:05,440
Speaker 2: You know, well, I guess so, so I barely remember

527
00:29:05,520 --> 00:29:07,640
Speaker 2: him at all from Beyond Atlantis. I was a little

528
00:29:07,640 --> 00:29:09,360
Speaker 2: shocked that he was in it. But he's like the star,

529
00:29:09,720 --> 00:29:13,320
Speaker 2: so he's okay. I mainly remembered said, hey, getting munched

530
00:29:13,360 --> 00:29:18,120
Speaker 2: on by crabs. Oh okay. But it seems like he

531
00:29:18,120 --> 00:29:20,400
Speaker 2: probably has a good co star and Doug McClure from

532
00:29:20,560 --> 00:29:22,720
Speaker 2: the People the Time for Good. Haven't seen that one yet.

533
00:29:23,360 --> 00:29:25,560
Speaker 2: That things that I've never seen any of his westerns.

534
00:29:25,840 --> 00:29:28,360
Speaker 2: I'm I'm gonna give him benefit of the doubt and

535
00:29:28,400 --> 00:29:30,320
Speaker 2: say that maybe he's more at home in a Western,

536
00:29:30,440 --> 00:29:31,960
Speaker 2: you know, maybe he fits there better.

537
00:29:32,480 --> 00:29:34,680
Speaker 3: I mean, if this makes any sense, even though he's

538
00:29:34,800 --> 00:29:39,080
Speaker 3: very wooden in the role of Sindbad, he does feel comfortable.

539
00:29:39,160 --> 00:29:41,720
Speaker 3: It doesn't feel like there's anything like really like catching

540
00:29:41,840 --> 00:29:45,480
Speaker 3: or twanging or sticking out at you. Instead, it's just

541
00:29:45,520 --> 00:29:51,600
Speaker 3: these very stiff, kind of uninflected line deliveries and just

542
00:29:51,680 --> 00:29:56,240
Speaker 3: general beef slab energy. It's he's it doesn't feel like

543
00:29:56,280 --> 00:29:59,240
Speaker 3: he's doing a lot of acting, if that makes any sense.

544
00:29:59,280 --> 00:30:00,760
Speaker 3: He's just sort of a presence.

545
00:30:01,240 --> 00:30:04,400
Speaker 2: Yeah, yeah, I mean it's I don't know, there's there's

546
00:30:04,400 --> 00:30:06,920
Speaker 2: a hamminess to it. Yeah, and there's a there are

547
00:30:06,920 --> 00:30:09,880
Speaker 2: plenty of moments where I kind of giggled or laughed,

548
00:30:09,880 --> 00:30:13,080
Speaker 2: you know. It's just as it's it's fun if you

549
00:30:13,280 --> 00:30:16,719
Speaker 2: like these kind of performances. But yeah, but yeah, I mean,

550
00:30:16,760 --> 00:30:18,160
Speaker 2: on the other hand, there are a lot of other

551
00:30:18,280 --> 00:30:21,320
Speaker 2: great actors that I would not even begin to cast

552
00:30:21,360 --> 00:30:24,640
Speaker 2: as Sindbad the Sailor. Like, I mean, Harry Dean Stanton

553
00:30:24,760 --> 00:30:27,360
Speaker 2: is great, but can you imagine harryding Stanton playing Sinbad.

554
00:30:27,840 --> 00:30:31,080
Speaker 2: I can't really wouldn't do that either. Yeah, yeah, And

555
00:30:31,160 --> 00:30:33,320
Speaker 2: it's also worth noting that Wayne he had pretty big

556
00:30:33,360 --> 00:30:36,800
Speaker 2: boots to fill here because John Phillip Law played Sindbad

557
00:30:36,840 --> 00:30:39,240
Speaker 2: in the previous film. You know, seventy three is the

558
00:30:39,280 --> 00:30:42,360
Speaker 2: Golden Voyage of Sindbad, and John Phillip Law, of course,

559
00:30:42,480 --> 00:30:47,520
Speaker 2: was also an American non Arabic actor, but much more established,

560
00:30:48,120 --> 00:30:50,960
Speaker 2: I think, in many ways, more experienced at least without

561
00:30:51,000 --> 00:30:55,240
Speaker 2: like a different sorts of genre films anyway, and arguably

562
00:30:55,280 --> 00:30:56,880
Speaker 2: a more charismatic performer.

563
00:30:57,200 --> 00:31:01,480
Speaker 3: Yeah. Not trying to beat up on Patrick Wayne, but yeah, yeah,

564
00:31:01,480 --> 00:31:02,120
Speaker 3: I agree.

565
00:31:02,480 --> 00:31:05,400
Speaker 2: All right, moving on to Sindbad's love interest. We have

566
00:31:05,440 --> 00:31:06,480
Speaker 2: this character.

567
00:31:06,440 --> 00:31:10,120
Speaker 3: Farah, princess they call they pronounce her name different ways

568
00:31:10,160 --> 00:31:13,080
Speaker 3: throughout the movie. Some characters call her Farah, some call

569
00:31:13,160 --> 00:31:18,240
Speaker 3: her Farrah, but she's Princess Farah or Farrah far Ah.

570
00:31:18,280 --> 00:31:20,720
Speaker 3: This is the character played by Jane Seymour.

571
00:31:20,720 --> 00:31:24,200
Speaker 2: Yes born nineteen fifty one, British actress, probably best known

572
00:31:24,240 --> 00:31:26,880
Speaker 2: for her roles first of all, in the James Bond

573
00:31:26,920 --> 00:31:30,480
Speaker 2: film Live and Let Die from seventy three. For those

574
00:31:30,520 --> 00:31:32,240
Speaker 2: of you who don't remember it, this is the sort

575
00:31:32,240 --> 00:31:38,920
Speaker 2: of blaxploitation inspired Bond film which featured Yafit Koto Haryding

576
00:31:39,000 --> 00:31:43,640
Speaker 2: Stanton's co star from Alien as the villain doctor Kanaga

577
00:31:44,760 --> 00:31:47,600
Speaker 2: Kang Kananga. I'm sorry, Kananga. Been a while since I've

578
00:31:47,600 --> 00:31:50,880
Speaker 2: seen this one. Also, of course, it had an amazing

579
00:31:50,920 --> 00:31:54,240
Speaker 2: theme song as well, Live and Let dyings. Yeah, yeah,

580
00:31:54,240 --> 00:31:56,520
Speaker 2: that's gotta be one of my tops right there.

581
00:31:57,960 --> 00:31:59,440
Speaker 3: You mean, as far as Bond songs go.

582
00:31:59,480 --> 00:32:01,440
Speaker 2: As long as yeah, as far as Bond songs go,

583
00:32:01,520 --> 00:32:03,840
Speaker 2: I would put that up with you know, Duran, Duran's

584
00:32:03,840 --> 00:32:04,600
Speaker 2: a view to a kill.

585
00:32:04,960 --> 00:32:07,840
Speaker 3: Yeah yeah. Livin Let Die was the first Roger Moore

586
00:32:07,960 --> 00:32:09,000
Speaker 3: James Bond movie.

587
00:32:09,080 --> 00:32:11,360
Speaker 2: I need to receive it. I feel like it's a

588
00:32:11,360 --> 00:32:15,440
Speaker 2: weird one. It is. But Jane Seymour is also known

589
00:32:15,440 --> 00:32:17,680
Speaker 2: to many of you for her role on her title

590
00:32:17,720 --> 00:32:20,400
Speaker 2: role on the TV series Doctor Quinn Medicine Woman from

591
00:32:20,480 --> 00:32:23,400
Speaker 2: nineteen ninety three through nineteen ninety eight. Other genre credits

592
00:32:23,440 --> 00:32:27,160
Speaker 2: include nineteen seventy three's Frankenstein The True Story and nineteen

593
00:32:27,200 --> 00:32:29,959
Speaker 2: eighty three is The Phantom of the Opera, among many others.

594
00:32:30,280 --> 00:32:34,000
Speaker 2: She was also a Broadway actress, having performed in Amadeus

595
00:32:34,080 --> 00:32:37,320
Speaker 2: during its original Broadway run from nineteen eighty through nineteen

596
00:32:37,320 --> 00:32:37,880
Speaker 2: eighty three.

597
00:32:38,360 --> 00:32:41,120
Speaker 3: I'm gonna say, as with Patrick Quayne, I'm not trying

598
00:32:41,120 --> 00:32:44,000
Speaker 3: to beat up on anybody here, but Jane Seymour is

599
00:32:44,040 --> 00:32:47,400
Speaker 3: not spellbinding in this role. She's kind of she feels

600
00:32:47,400 --> 00:32:49,080
Speaker 3: like she's kind of just wandering through it.

601
00:32:49,760 --> 00:32:53,320
Speaker 2: Yeah, and you know, I granted they brought a director

602
00:32:53,400 --> 00:32:56,640
Speaker 2: on to, you know, to help the human actors, but

603
00:32:57,160 --> 00:32:59,480
Speaker 2: it's hard to deny that a film like this was

604
00:32:59,520 --> 00:33:03,000
Speaker 2: not created with the human actors in mind. Yeah. So,

605
00:33:03,200 --> 00:33:06,840
Speaker 2: unless you're a stop motion effect or a villain or

606
00:33:06,880 --> 00:33:10,000
Speaker 2: an interesting side character, I don't know, you're kind of

607
00:33:10,240 --> 00:33:13,680
Speaker 2: facing an uphill battle. I think in a picture like this, Yes.

608
00:33:13,520 --> 00:33:17,800
Speaker 3: And sometimes sometimes Jane Seymour's most awkward moments are not

609
00:33:17,880 --> 00:33:20,320
Speaker 3: even her fault. There's one part I want to talk

610
00:33:20,320 --> 00:33:23,920
Speaker 3: about later where she something scary happens and she screams,

611
00:33:24,360 --> 00:33:27,360
Speaker 3: and they sample her scream twice in a row, like

612
00:33:27,440 --> 00:33:30,200
Speaker 3: they play her scream and then they cut to silence

613
00:33:30,200 --> 00:33:32,480
Speaker 3: and then they play the exact same scream again. So

614
00:33:32,520 --> 00:33:35,440
Speaker 3: that was not her choice to scream twice the same way.

615
00:33:36,320 --> 00:33:38,560
Speaker 3: The reason it's funny is an editing choice. I don't

616
00:33:38,560 --> 00:33:41,640
Speaker 3: know why they did that, but I'm kind of glad

617
00:33:41,680 --> 00:33:43,560
Speaker 3: it's left in. I mean, it's.

618
00:33:43,400 --> 00:33:55,440
Speaker 2: Good, all right. Up next, we have another character by

619
00:33:55,440 --> 00:33:58,520
Speaker 2: the name of Diany. She is the daughter of the

620
00:33:59,440 --> 00:34:03,560
Speaker 2: wizard we'll get to him in a second, Melanthius, and

621
00:34:03,880 --> 00:34:06,800
Speaker 2: she is played by Tarran Power, who lived nineteen fifty

622
00:34:06,840 --> 00:34:10,719
Speaker 2: three through twenty twenty. Actress and a daughter of American

623
00:34:10,880 --> 00:34:15,320
Speaker 2: actor Tyrone Power and Mexican actress Linda Christian. Her acting

624
00:34:15,880 --> 00:34:19,240
Speaker 2: career was not extensive that it encompassed a string of credits,

625
00:34:19,239 --> 00:34:22,440
Speaker 2: mostly from the nineteen seventies, but they included a major

626
00:34:22,520 --> 00:34:26,400
Speaker 2: role in nineteen seventy six tracks. This starred Dennis Hopper

627
00:34:26,719 --> 00:34:29,120
Speaker 2: and a supporting role in the nineteen seventy five TP

628
00:34:29,239 --> 00:34:30,920
Speaker 2: adaptation of The Count of Money Christo.

629
00:34:31,680 --> 00:34:34,360
Speaker 3: This is kind of a strange character. I think Tarren

630
00:34:34,400 --> 00:34:36,719
Speaker 3: Power does pretty well with this role, but it's a

631
00:34:36,760 --> 00:34:40,040
Speaker 3: weird character because they kind of introduce things about her

632
00:34:40,239 --> 00:34:44,280
Speaker 3: that then these plot threads are not paid off on later, Like, yeah,

633
00:34:44,320 --> 00:34:48,239
Speaker 3: the fact that she's telepathic that doesn't go anywhere, or

634
00:34:48,400 --> 00:34:50,680
Speaker 3: the fact that she's falling in love with the baboon

635
00:34:50,760 --> 00:34:54,480
Speaker 3: prince is only briefly. You only get the briefest little

636
00:34:54,960 --> 00:34:57,680
Speaker 3: glimpse that that might be going somewhere at the end.

637
00:34:58,320 --> 00:35:01,479
Speaker 2: Yeah. Yeah, When they first introduced telepathy, I'm like, oh wow,

638
00:35:01,600 --> 00:35:04,760
Speaker 2: this is nice and weird. We're getting into some strange

639
00:35:04,840 --> 00:35:07,640
Speaker 2: territory here. But they're not really as much not really

640
00:35:07,719 --> 00:35:08,480
Speaker 2: much as made of it.

641
00:35:08,520 --> 00:35:10,640
Speaker 3: Does it ever come up again after that scene?

642
00:35:11,080 --> 00:35:15,040
Speaker 2: There may be one other scene of telepathy, but yeah,

643
00:35:15,080 --> 00:35:17,960
Speaker 2: for the most part, it's not a major plot point.

644
00:35:18,719 --> 00:35:21,279
Speaker 2: All right, Well, let's get to our central villain in

645
00:35:21,320 --> 00:35:26,960
Speaker 2: this picture. It is Zenobia, the Sorceress the Witch, played

646
00:35:26,960 --> 00:35:30,720
Speaker 2: by Margaret whitting who lived nineteen thirty three through twenty

647
00:35:30,760 --> 00:35:34,799
Speaker 2: twenty three, the British actress of stage, screen and TV, who, yeah,

648
00:35:34,880 --> 00:35:37,680
Speaker 2: really gets to witch it up big time here. It's

649
00:35:37,719 --> 00:35:41,279
Speaker 2: a I think it gets a completely over the top performance,

650
00:35:41,320 --> 00:35:43,960
Speaker 2: which is not a bad thing. In a movie like this.

651
00:35:44,960 --> 00:35:49,680
Speaker 2: You are competing with and acting alongside stop motion effects,

652
00:35:49,960 --> 00:35:52,280
Speaker 2: and you need to be an effect, a special effect

653
00:35:52,280 --> 00:35:55,000
Speaker 2: in your own right, and I believe that's what she

654
00:35:55,080 --> 00:35:56,920
Speaker 2: brings to the performance of Zenobia.

655
00:35:56,960 --> 00:35:59,160
Speaker 3: You're correct, she does not hold back at all.

656
00:36:01,040 --> 00:36:04,040
Speaker 2: She worked mostly in British television and her credits include

657
00:36:04,239 --> 00:36:07,799
Speaker 2: Artemis eighty one, which caught my eye. I have not

658
00:36:07,880 --> 00:36:10,759
Speaker 2: seen this, but apparently a weird British television play which

659
00:36:10,760 --> 00:36:17,080
Speaker 2: also features Dana Harley Sting and Daniel day Lewis. We'll

660
00:36:17,120 --> 00:36:19,160
Speaker 2: have more to say about this performance when we get

661
00:36:19,160 --> 00:36:21,759
Speaker 2: into the character in the plot, because this is a

662
00:36:21,760 --> 00:36:25,880
Speaker 2: pretty this is a pretty wild villain character and also

663
00:36:25,960 --> 00:36:28,160
Speaker 2: one that I don't know. There's a lot of bumbling

664
00:36:28,200 --> 00:36:31,160
Speaker 2: here from our magic users, yes, which will be fun

665
00:36:31,200 --> 00:36:31,800
Speaker 2: to talk about.

666
00:36:32,000 --> 00:36:35,600
Speaker 3: From her and Malanthias. It's like our two smartest characters,

667
00:36:35,640 --> 00:36:37,799
Speaker 3: the ones who are supposed to be outsmarting everybody else,

668
00:36:37,880 --> 00:36:39,640
Speaker 3: make these really dumb mistakes.

669
00:36:39,880 --> 00:36:42,680
Speaker 2: Yes, sometimes right on top of each other, like one

670
00:36:42,760 --> 00:36:45,560
Speaker 2: is like, ah, you messed up. Now allow me to

671
00:36:45,680 --> 00:36:47,960
Speaker 2: roll the natural one and they just do it back

672
00:36:47,960 --> 00:36:48,440
Speaker 2: and forth.

673
00:36:48,920 --> 00:36:50,839
Speaker 3: That's a good metaphor. Yeah, well wait, so let's talk

674
00:36:50,880 --> 00:36:53,520
Speaker 3: about Malanthias also rolling ones right back at her.

675
00:36:54,040 --> 00:36:57,640
Speaker 2: That's right. Played by Patrick Throutin, who lived nineteen twenty

676
00:36:57,640 --> 00:37:02,840
Speaker 2: through nineteen eighty seven, British actor, best remembered by a

677
00:37:02,840 --> 00:37:05,760
Speaker 2: lot of you as the second incarnation of the Doctor

678
00:37:05,880 --> 00:37:09,760
Speaker 2: on Doctor Who, so they followed up on the previous

679
00:37:09,800 --> 00:37:13,520
Speaker 2: picture by casting a previous Doctor Who in the movie.

680
00:37:13,880 --> 00:37:16,400
Speaker 2: He was the second incarnation of the Doctor from nineteen

681
00:37:16,440 --> 00:37:19,840
Speaker 2: sixty six through sixty nine, but then he would reprise

682
00:37:19,960 --> 00:37:23,920
Speaker 2: this a few times later in subsequent decades. He was

683
00:37:23,960 --> 00:37:28,000
Speaker 2: a fairly highly regarded actor whose many credits include a

684
00:37:28,040 --> 00:37:32,680
Speaker 2: delightful mix of Shakespearean drama in horror films, particularly Hammer horror.

685
00:37:33,080 --> 00:37:37,640
Speaker 2: So His credits generally supporting roles include nineteen fifty five's

686
00:37:37,680 --> 00:37:41,120
Speaker 2: Richard the Third That One starred Lawrence Olivier, nineteen sixty

687
00:37:41,120 --> 00:37:44,400
Speaker 2: two's The Phantom of the Opera starring Herbert Lohm, sixty

688
00:37:44,400 --> 00:37:48,239
Speaker 2: four is The Gorgon nineteen seventies The Scars of Dracula

689
00:37:48,560 --> 00:37:51,319
Speaker 2: nineteen seventy fours, Frankenstein in The Monster from Hell and

690
00:37:51,480 --> 00:37:54,400
Speaker 2: nineteen seventy six is the omen in which he played

691
00:37:54,480 --> 00:37:57,160
Speaker 2: Father Brennan, who has a very memorable death.

692
00:37:57,400 --> 00:38:00,319
Speaker 3: Oh, is he the guy who gets the stake during

693
00:38:00,320 --> 00:38:00,800
Speaker 3: the storm?

694
00:38:01,000 --> 00:38:03,320
Speaker 2: Yeah? It's like, what, like a lightning rod or something

695
00:38:03,400 --> 00:38:06,080
Speaker 2: falls off the top of a cathedral and like skewers

696
00:38:06,120 --> 00:38:07,200
Speaker 2: him standing up in the.

697
00:38:07,200 --> 00:38:09,759
Speaker 3: Okay, I didn't. I didn't realize that was the same guy.

698
00:38:10,640 --> 00:38:14,040
Speaker 3: I really love Patrick Troughton as Melanthius. This is one

699
00:38:14,080 --> 00:38:17,000
Speaker 3: of the most fun performances in the film. He's a

700
00:38:17,120 --> 00:38:21,600
Speaker 3: nice combination of krusty and jovial.

701
00:38:21,600 --> 00:38:26,040
Speaker 2: Yes, and certainly bumbling. The character is a great bumbling vibe,

702
00:38:26,719 --> 00:38:30,560
Speaker 2: tremendous fun chewing it up there on the screen. Since

703
00:38:30,800 --> 00:38:35,680
Speaker 2: he is a previous doctor on Doctor Who. I checked

704
00:38:35,719 --> 00:38:37,680
Speaker 2: in with my uncle in law, who is a longtime

705
00:38:37,719 --> 00:38:40,200
Speaker 2: Doctor Who fan for his thoughts, and he said this

706
00:38:40,239 --> 00:38:43,600
Speaker 2: was his favorite Patrick Throtton movie and that his favorite

707
00:38:43,640 --> 00:38:48,840
Speaker 2: Doctor Who episode involved this plot where where he's playing

708
00:38:49,040 --> 00:38:53,759
Speaker 2: both the doctor and a character known as Salamander. The

709
00:38:53,960 --> 00:38:56,719
Speaker 2: episode is apparently titled The Enemy of the World, in

710
00:38:56,760 --> 00:39:00,240
Speaker 2: which quote, the doctor impersonates Salamander to spy on him,

711
00:39:00,400 --> 00:39:04,239
Speaker 2: and Salamander impersonates the doctor to steal the tartis. This

712
00:39:04,280 --> 00:39:08,400
Speaker 2: is apparently like a dual roles situation. I haven't seen it,

713
00:39:08,440 --> 00:39:10,640
Speaker 2: so I can't comment too much on it, but I

714
00:39:10,680 --> 00:39:13,600
Speaker 2: think the idea is that Salamander just happens to look

715
00:39:13,760 --> 00:39:17,520
Speaker 2: like the doctor and then that enables them to swap

716
00:39:17,560 --> 00:39:19,880
Speaker 2: places with each other. But I can imagine how that

717
00:39:19,880 --> 00:39:21,239
Speaker 2: would be a lot of fun, you know, from an

718
00:39:21,239 --> 00:39:22,920
Speaker 2: acting standpoint, and then as.

719
00:39:22,760 --> 00:39:25,360
Speaker 3: A viewer that I'm sure doing it that way saves

720
00:39:25,360 --> 00:39:26,240
Speaker 3: on the makeup budget.

721
00:39:26,520 --> 00:39:30,720
Speaker 2: Yeah, all right. Up next we have Nudem Sowala playing

722
00:39:30,800 --> 00:39:35,440
Speaker 2: Hassan born nineteen thirty three, a Jordanian British actor who

723
00:39:35,520 --> 00:39:38,360
Speaker 2: also appeared in such films as nineteen seventy four as Vampira,

724
00:39:38,560 --> 00:39:41,319
Speaker 2: seventy five Is The Wind and the Lion, and also

725
00:39:41,360 --> 00:39:43,640
Speaker 2: Return of the Pink Panther from the same year, seventy

726
00:39:43,680 --> 00:39:46,359
Speaker 2: seven's The Spy Who Loved Me nineteen eighty five's Young

727
00:39:46,360 --> 00:39:48,960
Speaker 2: Sherlock Holmes nineteen eighty seven is The Living Daylight. So

728
00:39:49,040 --> 00:39:51,360
Speaker 2: that's two Bond films, and then later on he was

729
00:39:51,360 --> 00:39:53,759
Speaker 2: in such picture as this two thousand and five Syriana.

730
00:39:54,160 --> 00:39:57,560
Speaker 3: So this guy is I would say Sinbad's main like

731
00:39:57,719 --> 00:39:59,960
Speaker 3: lieutenant sort of on his boat. Maybe the I don't

732
00:40:00,080 --> 00:40:02,200
Speaker 3: know if they actually ever announced their offices, so I

733
00:40:02,239 --> 00:40:04,160
Speaker 3: don't think they say he's first made or anything. But

734
00:40:04,200 --> 00:40:06,520
Speaker 3: he's like one of the crew members we see most

735
00:40:06,560 --> 00:40:09,920
Speaker 3: often doing things along with Maroof, and all of the

736
00:40:09,960 --> 00:40:12,920
Speaker 3: crew members are sort of buffoonish in this movie. They're

737
00:40:12,960 --> 00:40:16,640
Speaker 3: sort of like Bottoms Gang in Midsommer Night's stream. You know,

738
00:40:17,640 --> 00:40:20,280
Speaker 3: they are often there for comedy. But I like Nadim

739
00:40:20,280 --> 00:40:23,960
Speaker 3: Suwala in his scenes and he, you know, he leans

740
00:40:24,000 --> 00:40:25,759
Speaker 3: into the buffoonery in a pleasant way.

741
00:40:26,200 --> 00:40:28,799
Speaker 2: Yeah. Yeah, it's a fun supporting role that, along with

742
00:40:28,840 --> 00:40:32,040
Speaker 2: the character of Maroof, brings some much needed but not

743
00:40:32,280 --> 00:40:35,520
Speaker 2: nearly enough diversity to a very whitewashed film. And clearly

744
00:40:35,560 --> 00:40:38,680
Speaker 2: he's a charismatic actor. You want to see more from him,

745
00:40:38,680 --> 00:40:41,960
Speaker 2: but you know, given what little he's allowed to do

746
00:40:42,000 --> 00:40:43,960
Speaker 2: in the picture, he still does a great job. Now

747
00:40:44,000 --> 00:40:47,879
Speaker 2: turning to Maroof. Maroof was played by Salami Kocher, who

748
00:40:47,920 --> 00:40:52,520
Speaker 2: lived nineteen forty five through nineteen ninety two. Again small

749
00:40:52,560 --> 00:40:56,920
Speaker 2: supporting role, but memorable screen presence a lot of the time. Yeah,

750
00:40:57,120 --> 00:41:00,640
Speaker 2: where like Patrick Wayne is in the forefront, But we're

751
00:41:00,640 --> 00:41:02,719
Speaker 2: really more interested in, well, what are a Hassan and

752
00:41:02,760 --> 00:41:07,360
Speaker 2: Maroof doing? Would love to see more of their antics.

753
00:41:07,719 --> 00:41:10,759
Speaker 2: Coker Woods the Sierra Leone born actor who trained in

754
00:41:10,760 --> 00:41:13,120
Speaker 2: the UK and was part of the cast for a

755
00:41:13,239 --> 00:41:17,400
Speaker 2: nineteen seventy two production of Macbeth titled The Black Macbeth

756
00:41:17,680 --> 00:41:21,040
Speaker 2: at the Roundhouse Theater. I looked up some information on this.

757
00:41:21,120 --> 00:41:23,640
Speaker 2: He played that production's version of McDuff.

758
00:41:24,000 --> 00:41:24,760
Speaker 3: Oh okay.

759
00:41:25,160 --> 00:41:27,840
Speaker 2: He also wrote and directed plays and appeared in the

760
00:41:27,880 --> 00:41:32,040
Speaker 2: TV series Born Free in nineteen seventy four. He died

761
00:41:32,120 --> 00:41:36,480
Speaker 2: during the Sierra Leonian Civil War. All right, This movie

762
00:41:37,040 --> 00:41:39,720
Speaker 2: is a lot of the plot centers around the character

763
00:41:39,840 --> 00:41:43,880
Speaker 2: of Cassine, who, in his human form is played by

764
00:41:43,960 --> 00:41:47,640
Speaker 2: Damian Thomas, who lived nineteen forty two through twenty twenty five.

765
00:41:47,920 --> 00:41:52,160
Speaker 3: Oh my god, it's Count Carnstein. If we've talked about

766
00:41:52,200 --> 00:41:54,040
Speaker 3: I'm sure he's come up on Weird House before, but

767
00:41:54,120 --> 00:41:55,839
Speaker 3: I know Rob, you and I have talked about him

768
00:41:55,840 --> 00:42:00,120
Speaker 3: off Mike, because he's in these Hammer horror movies like

769
00:42:00,160 --> 00:42:03,560
Speaker 3: Twins of Evil where he's playing this recurring character of

770
00:42:03,600 --> 00:42:07,080
Speaker 3: the vampire Count Carnstein. And there's a great scene in

771
00:42:07,520 --> 00:42:10,160
Speaker 3: Twins of Evil where he's having this dinner with all

772
00:42:10,200 --> 00:42:12,719
Speaker 3: these evil guests who were gathered around his table, and

773
00:42:12,760 --> 00:42:16,560
Speaker 3: he raises a glass and he says to Satan.

774
00:42:18,880 --> 00:42:21,160
Speaker 2: Yeah, he's a lot of fun. We don't really. He

775
00:42:21,200 --> 00:42:23,680
Speaker 2: doesn't really do much in this picture though. His main

776
00:42:23,760 --> 00:42:26,319
Speaker 2: job is to look handsome whenever. His character is not

777
00:42:26,400 --> 00:42:31,120
Speaker 2: a stop motion baboon, but he's more impressive in other works.

778
00:42:31,880 --> 00:42:34,960
Speaker 3: Does he have lines as the non baboon version.

779
00:42:36,080 --> 00:42:38,960
Speaker 2: You know, I honestly can't remember if he does. If

780
00:42:38,960 --> 00:42:41,200
Speaker 2: he does, he doesn't say much. I think he maybe

781
00:42:41,239 --> 00:42:43,200
Speaker 2: has a line or two at the beginning, and then

782
00:42:43,239 --> 00:42:46,480
Speaker 2: it's mostly baboon form. But yeah. Best known for his

783
00:42:46,640 --> 00:42:49,400
Speaker 2: roles in seventy one's Twins of Evil, he was in

784
00:42:49,480 --> 00:42:52,680
Speaker 2: nineteen seventy six Is the Message, and also the nineteen

785
00:42:52,719 --> 00:42:57,240
Speaker 2: eighty TV adaptation of Showgun. His later credits included twenty

786
00:42:57,280 --> 00:43:00,080
Speaker 2: tens Never Let Me Go on the Small Screen I.

787
00:43:00,280 --> 00:43:03,239
Speaker 2: He also appeared in one of my absolute favorite episodes

788
00:43:03,239 --> 00:43:06,799
Speaker 2: of the Granada Sherlock Holme series starring Jeremy Brett, the

789
00:43:06,880 --> 00:43:10,480
Speaker 2: Devil's Foot episode he plays more to more treganous in that.

790
00:43:11,520 --> 00:43:14,319
Speaker 2: This is This is the if anyone doesn't remember this,

791
00:43:14,320 --> 00:43:17,640
Speaker 2: this is the one where Sherlock is investigating a case

792
00:43:17,640 --> 00:43:20,920
Speaker 2: where it seems like some people dining in a home

793
00:43:21,360 --> 00:43:25,480
Speaker 2: were frightened to death or madness by something appearing at

794
00:43:25,480 --> 00:43:28,319
Speaker 2: the window, and so it seems like there might be

795
00:43:28,360 --> 00:43:31,840
Speaker 2: some sort of supernatural element in play. But it turns

796
00:43:31,880 --> 00:43:35,480
Speaker 2: out it's not. It's something more in a way, more

797
00:43:35,560 --> 00:43:38,560
Speaker 2: mysterious and interesting. Anyway, that's great.

798
00:43:38,600 --> 00:43:39,880
Speaker 3: Is it an orangutin?

799
00:43:40,120 --> 00:43:42,879
Speaker 2: It is not an a rangute? Okay, we've actually talked

800
00:43:42,920 --> 00:43:44,919
Speaker 2: about this one on the show before. I think we've

801
00:43:44,920 --> 00:43:47,719
Speaker 2: talked about poisons. Basically, it turns out to be some

802
00:43:47,760 --> 00:43:52,759
Speaker 2: sort of a hallucinogenic poison that is used against them. Okay. Now,

803
00:43:52,920 --> 00:43:55,319
Speaker 2: note Thomas was born in Egypt, but he was of

804
00:43:55,320 --> 00:43:58,680
Speaker 2: British and French heritage, but was often called on to

805
00:43:58,760 --> 00:44:02,839
Speaker 2: play a host of foreign roles in British productions. Now,

806
00:44:03,360 --> 00:44:06,880
Speaker 2: of note, the Minton, of course, is everyone's favorite. The

807
00:44:06,920 --> 00:44:10,480
Speaker 2: minaton is depicted in two ways. We see a stop

808
00:44:10,520 --> 00:44:13,080
Speaker 2: motion minton primarily, but there's also a version of the

809
00:44:13,120 --> 00:44:16,640
Speaker 2: minton that involves a human in a suit that human.

810
00:44:16,920 --> 00:44:21,200
Speaker 2: Peter Mayhew nineteen forty four through twenty nineteen, the seven

811
00:44:21,200 --> 00:44:24,000
Speaker 2: foot three actor best known for his portrayal of Chewbacca.

812
00:44:24,120 --> 00:44:28,920
Speaker 3: So wait, he had two big movies in seventy seventies. Yeah.

813
00:44:29,080 --> 00:44:31,520
Speaker 2: Yeah, one way or another, it was going to be

814
00:44:31,520 --> 00:44:33,880
Speaker 2: Peter Mayhew's year. It just turned out to be the

815
00:44:33,960 --> 00:44:36,279
Speaker 2: year of Star Wars and not Simbad in the Eye

816
00:44:36,320 --> 00:44:36,800
Speaker 2: of the Tiger.

817
00:44:36,960 --> 00:44:38,600
Speaker 3: I would love to hear his thoughts on that, Like

818
00:44:38,640 --> 00:44:40,360
Speaker 3: did he think maybe Sindbad was going to be a

819
00:44:40,360 --> 00:44:40,839
Speaker 3: bigger hit?

820
00:44:42,680 --> 00:44:46,200
Speaker 2: Who knows? Yeah, I mean Simbad, Simbada and the Eye

821
00:44:46,200 --> 00:44:49,000
Speaker 2: of the Tiger. As we've discussed and we'll continue to discuss,

822
00:44:49,239 --> 00:44:52,560
Speaker 2: it is a very old fashioned picture. Like you can

823
00:44:52,600 --> 00:44:55,799
Speaker 2: tell that, like it feels like a picture of the

824
00:44:55,880 --> 00:45:00,800
Speaker 2: nineteen sixties as opposed to the nineteen seventies, almost the

825
00:45:00,920 --> 00:45:06,680
Speaker 2: nineteen eighties. But in that you can imagine some people thinking, like,

826
00:45:06,719 --> 00:45:09,160
Speaker 2: this is what a movie's about, Like this is this

827
00:45:09,200 --> 00:45:11,719
Speaker 2: is a return to the basics. This is what people want.

828
00:45:11,920 --> 00:45:15,680
Speaker 3: Yeah, my swashes are buckled with this one. I don't

829
00:45:15,719 --> 00:45:17,040
Speaker 3: know what a death star is.

830
00:45:19,080 --> 00:45:22,000
Speaker 2: All right? And finally, the score here the musical score

831
00:45:22,040 --> 00:45:24,200
Speaker 2: is by Roy Budd, who of the nineteen forty seven

832
00:45:24,239 --> 00:45:28,719
Speaker 2: through nineteen ninety three highly talented composer and musician who

833
00:45:28,800 --> 00:45:32,320
Speaker 2: died tragically young, but was nominated for a Golden Globe

834
00:45:33,480 --> 00:45:36,960
Speaker 2: for Best Original Song for nineteen seventy six is Paper Tiger.

835
00:45:37,920 --> 00:45:41,759
Speaker 2: He also composed the Get Carter theme song, which, if

836
00:45:41,760 --> 00:45:44,320
Speaker 2: you haven't listened to it, it's pretty stellar. You've probably

837
00:45:44,360 --> 00:45:47,600
Speaker 2: heard it somewhere. In addition to nineteen seventy ones Get Carter,

838
00:45:47,719 --> 00:45:50,920
Speaker 2: his other scores include seventy ones Cat Low and seventy

839
00:45:50,960 --> 00:45:54,040
Speaker 2: three's The Stone Killer, which has some nice synths in it.

840
00:45:55,360 --> 00:45:57,520
Speaker 2: The score for Simbat and The Eye of the Tiger

841
00:45:57,719 --> 00:46:01,080
Speaker 2: is like a sweeping adventure score. It's it does its

842
00:46:01,120 --> 00:46:04,880
Speaker 2: job perfectly. But listening to some of these other scores

843
00:46:04,920 --> 00:46:07,399
Speaker 2: that Bud did, I get the impression that maybe he

844
00:46:07,880 --> 00:46:10,719
Speaker 2: was at his best on films that enabled him to

845
00:46:10,760 --> 00:46:14,600
Speaker 2: explore more modern Nineteen seventy sounds like something a little

846
00:46:14,680 --> 00:46:18,320
Speaker 2: cynthy but also jazzy. That seems to be a sweet spot,

847
00:46:18,360 --> 00:46:20,880
Speaker 2: because that Get Carter theme song is tremendous.

848
00:46:21,360 --> 00:46:22,759
Speaker 3: I don't know if I know it, I'll have to

849
00:46:22,800 --> 00:46:24,879
Speaker 3: go listen to it after this, But yeah, I would

850
00:46:24,920 --> 00:46:27,920
Speaker 3: say the sindbad score does not really stand out to

851
00:46:28,000 --> 00:46:29,800
Speaker 3: me much in either direction.

852
00:46:30,480 --> 00:46:32,160
Speaker 2: Yeah, but it does its job.

853
00:46:32,360 --> 00:46:34,719
Speaker 3: Yeah, well it actually, you know, there's some good music

854
00:46:34,760 --> 00:46:36,520
Speaker 3: cues in it now that I think about it, especially

855
00:46:36,560 --> 00:46:39,000
Speaker 3: in the scary scenes. It's like the creepy scenes with

856
00:46:39,040 --> 00:46:42,360
Speaker 3: the minoton have some really nicely complimentary music.

857
00:46:42,360 --> 00:46:44,560
Speaker 2: Oh yeah, like when they've just finished baking his.

858
00:46:44,560 --> 00:46:47,480
Speaker 3: Heart, yes, and like the heartbeat is playing and you

859
00:46:47,520 --> 00:46:50,120
Speaker 3: get those creepy kind of woo things.

860
00:46:50,239 --> 00:46:51,040
Speaker 2: That's good stuff.

861
00:46:51,200 --> 00:46:55,840
Speaker 4: That is good.

862
00:47:00,080 --> 00:47:02,000
Speaker 3: All right, Are you ready to talk about the plot?

863
00:47:02,080 --> 00:47:02,879
Speaker 2: Let's get into it.

864
00:47:03,480 --> 00:47:07,879
Speaker 3: So we open with a shot of fireworks showing there's

865
00:47:07,880 --> 00:47:11,239
Speaker 3: a great celebration going on, and we get an establishing

866
00:47:11,280 --> 00:47:15,240
Speaker 3: shot of a city on a coast with beautiful Islamic

867
00:47:15,360 --> 00:47:18,799
Speaker 3: architecture and a full moon rising behind the city. So

868
00:47:18,840 --> 00:47:21,160
Speaker 3: along the skyline in the moonlight we can see white

869
00:47:21,160 --> 00:47:26,400
Speaker 3: city walls, minarets, pyramid shaped roofs, domes, and then we

870
00:47:26,440 --> 00:47:29,360
Speaker 3: cut to inside the palace in this city. This is

871
00:47:29,680 --> 00:47:32,960
Speaker 3: the kingdom we will later learn it's called Shirak. So

872
00:47:33,120 --> 00:47:35,920
Speaker 3: inside the palace in the capital of Shirak, there is

873
00:47:36,120 --> 00:47:39,799
Speaker 3: a procession going on where the Sharrak is about to

874
00:47:39,960 --> 00:47:43,840
Speaker 3: crown a new Khliph. And in this part of the

875
00:47:43,840 --> 00:47:46,520
Speaker 3: movie we see several main characters all in their formal

876
00:47:46,600 --> 00:47:50,959
Speaker 3: court attire. They've got veils, turbans, lots of jewelry. And

877
00:47:51,040 --> 00:47:54,320
Speaker 3: in this scene you've got Prince Cassim played by Damian Thomaskin.

878
00:47:54,400 --> 00:47:58,680
Speaker 3: That's Count Carnstein for you Hammer fans. This is the

879
00:47:58,719 --> 00:48:01,160
Speaker 3: noble young prince who's about to ascend to the throne.

880
00:48:01,160 --> 00:48:04,920
Speaker 3: He's about to be crowned Caliph Cassim's beautiful and kind

881
00:48:04,960 --> 00:48:09,279
Speaker 3: hearted sister for Ra played by Jane Seymour, Cassim's stepmother,

882
00:48:09,520 --> 00:48:13,920
Speaker 3: Zenobia played by Margaret Whitting and again she's the very

883
00:48:14,280 --> 00:48:16,759
Speaker 3: first moment you see her. It's a case of like, okay,

884
00:48:16,840 --> 00:48:19,360
Speaker 3: which one of you is the evil witch? Like she's

885
00:48:19,400 --> 00:48:23,200
Speaker 3: just always she's got her nose upturned at everyone, permanent

886
00:48:23,239 --> 00:48:26,600
Speaker 3: witch sneer. In fact, I think I could make a

887
00:48:26,640 --> 00:48:29,800
Speaker 3: distinction here. Maybe there are more categories than this, but broadly,

888
00:48:29,840 --> 00:48:33,560
Speaker 3: if you're going to take movie witches, I think there

889
00:48:33,560 --> 00:48:37,080
Speaker 3: are like two big streams that you can split them into,

890
00:48:37,400 --> 00:48:41,720
Speaker 3: and it's going to be like woods witch versus Castle Witch,

891
00:48:42,239 --> 00:48:45,080
Speaker 3: and so you've got your more kind of earthy, ground

892
00:48:45,239 --> 00:48:50,239
Speaker 3: level nature associated or independently operating, which is that's kind

893
00:48:50,280 --> 00:48:53,440
Speaker 3: of your woods witch. And then you've got your aristocratic

894
00:48:53,480 --> 00:48:57,719
Speaker 3: witches who are doing depraved evil magic. And these tend

895
00:48:57,760 --> 00:49:00,440
Speaker 3: to be you know, rich schemers who are trying to,

896
00:49:00,560 --> 00:49:03,680
Speaker 3: you know, protect their power. And Zenobia in this movie

897
00:49:03,719 --> 00:49:06,839
Speaker 3: is very much in the ladder camp. She is an

898
00:49:06,880 --> 00:49:09,640
Speaker 3: evil queen witch and aristocratic witch.

899
00:49:10,160 --> 00:49:14,960
Speaker 2: Yeah, absolutely, get you your goop witch, I guess yeah.

900
00:49:14,960 --> 00:49:18,319
Speaker 3: And then also you have Zenobia's son, Raffi, played by

901
00:49:18,960 --> 00:49:22,120
Speaker 3: Kurt Christian, who is doing his best to look like

902
00:49:22,160 --> 00:49:23,680
Speaker 3: he is scheming at all times.

903
00:49:23,680 --> 00:49:23,879
Speaker 2: Here.

904
00:49:23,960 --> 00:49:28,240
Speaker 3: Yes, So the procession leads into the throne room. Prince

905
00:49:28,280 --> 00:49:30,960
Speaker 3: Cassim assumes the position at the head of the hall

906
00:49:31,000 --> 00:49:33,920
Speaker 3: and there's a big ceremonial brazier of charcoal smoking in

907
00:49:33,960 --> 00:49:36,880
Speaker 3: front of him, and then a cleric steps up behind

908
00:49:36,960 --> 00:49:40,719
Speaker 3: Cassim to place the crown on his head. But as

909
00:49:40,760 --> 00:49:44,120
Speaker 3: the crown is descending, we cut to Zenobia and then

910
00:49:44,120 --> 00:49:46,799
Speaker 3: we see her eyes and she's looking very intense as

911
00:49:46,840 --> 00:49:50,840
Speaker 3: if she's casting a spell on Cassim, and the moment

912
00:49:50,960 --> 00:49:53,920
Speaker 3: the crown touches his head, the brazier flares up and

913
00:49:53,960 --> 00:49:56,560
Speaker 3: these flames leap to the ceiling and you hear a

914
00:49:56,600 --> 00:49:59,960
Speaker 3: clamor break out in the room and Princess Farros screen

915
00:50:00,800 --> 00:50:03,080
Speaker 3: and this is the moment I was talking about earlier.

916
00:50:03,080 --> 00:50:06,600
Speaker 3: In a quite funny editing choice, we get the exact

917
00:50:06,640 --> 00:50:10,879
Speaker 3: same scream played twice, so it goes scream awkward, cut

918
00:50:10,880 --> 00:50:14,000
Speaker 3: to silence for a second. Then the clamor resumes and

919
00:50:14,080 --> 00:50:19,760
Speaker 3: the same scream plays, scream and scream again. Okay, yeah, exactly. However,

920
00:50:19,880 --> 00:50:22,200
Speaker 3: we don't see yet what was so horrifying. We can't

921
00:50:22,200 --> 00:50:24,720
Speaker 3: see what she sees. We cut away to some time.

922
00:50:24,600 --> 00:50:27,240
Speaker 2: Later, which I thought was kind of a confusing cut

923
00:50:27,400 --> 00:50:30,520
Speaker 2: because I knew I knew about some of the stop

924
00:50:30,520 --> 00:50:32,840
Speaker 2: motion creatures that I was in store for, and I

925
00:50:32,880 --> 00:50:34,759
Speaker 2: thought maybe they were about to jump out, or we

926
00:50:34,800 --> 00:50:38,000
Speaker 2: would find out later that they jumped out, But that's

927
00:50:38,000 --> 00:50:41,160
Speaker 2: not really what happened either. Will reveal if.

928
00:50:41,080 --> 00:50:43,080
Speaker 3: I had gone to the theater, Like if I'd seen

929
00:50:43,320 --> 00:50:45,719
Speaker 3: a preview for this and had gone to the theater,

930
00:50:45,800 --> 00:50:48,680
Speaker 3: I would be expecting. Okay, Jane Seymour just screamed, We're

931
00:50:48,680 --> 00:50:52,000
Speaker 3: about to see the minoton but yeah no, So next

932
00:50:52,040 --> 00:50:55,120
Speaker 3: we meet our other main characters, the brave Captain Sindbad

933
00:50:55,160 --> 00:50:58,680
Speaker 3: played by Patrick Wayne, and his crew of lovable scoundrels.

934
00:50:58,719 --> 00:51:02,440
Speaker 3: They anchor their ship in the harbor off the coast

935
00:51:02,480 --> 00:51:05,600
Speaker 3: of the capital city of Shirak Heir, and they row

936
00:51:05,680 --> 00:51:09,200
Speaker 3: ashore talking about how excited they are to eat roasted

937
00:51:09,239 --> 00:51:12,680
Speaker 3: sheep's eyeballs, to meet some local women, and to have

938
00:51:12,760 --> 00:51:15,799
Speaker 3: some wine to chill out at the inn. But that's

939
00:51:15,800 --> 00:51:18,400
Speaker 3: what the sailors are into. Sindbad himself is here for

940
00:51:18,440 --> 00:51:21,719
Speaker 3: a specific purpose. He is in love with the Princess

941
00:51:21,760 --> 00:51:24,759
Speaker 3: Farrah and he wants to ask her father's blessing for

942
00:51:24,840 --> 00:51:26,160
Speaker 3: the two of them to get married.

943
00:51:26,360 --> 00:51:29,799
Speaker 2: Yeah, he is sort of higher goals, like not sheep

944
00:51:29,880 --> 00:51:34,480
Speaker 2: eye eyeballs, but maybe sheep ears and not just any women,

945
00:51:34,600 --> 00:51:36,280
Speaker 2: but the princess herself.

946
00:51:36,000 --> 00:51:37,839
Speaker 3: That's right. Or actually, I don't know if he wants

947
00:51:37,840 --> 00:51:40,759
Speaker 3: to ask her father, he might know that. I think

948
00:51:40,800 --> 00:51:43,319
Speaker 3: it's that he wants to ask Cassim, her brother, for

949
00:51:43,400 --> 00:51:47,080
Speaker 3: her hand in marriage. Yeah. So anyway, when when Sinbad

950
00:51:47,120 --> 00:51:49,200
Speaker 3: comes to the entrance to the city, he finds the

951
00:51:49,200 --> 00:51:52,000
Speaker 3: gates closed and the walls of the city are dark

952
00:51:52,040 --> 00:51:54,120
Speaker 3: and silent. He tries to call out to the captain

953
00:51:54,160 --> 00:51:58,120
Speaker 3: of the guard. Nobody comes. What's wrong? Well, behind him,

954
00:51:58,160 --> 00:52:01,320
Speaker 3: a man appears claiming to be a and he warns

955
00:52:01,320 --> 00:52:03,759
Speaker 3: Sindbad that the city is under curfew due to an

956
00:52:03,800 --> 00:52:07,960
Speaker 3: outbreak of the plague. Now we the audience can see

957
00:52:08,000 --> 00:52:11,000
Speaker 3: the so called merchant is actually Raffi, the queen's and

958
00:52:11,040 --> 00:52:14,520
Speaker 3: obious son, and he tells Sindbad that he will not

959
00:52:14,600 --> 00:52:17,319
Speaker 3: be able to pass the city gates until daybreak, and

960
00:52:17,440 --> 00:52:20,560
Speaker 3: until then he offers Sinbad and his men the comfort

961
00:52:20,640 --> 00:52:23,640
Speaker 3: of his tent to share wine and food and a fire,

962
00:52:24,800 --> 00:52:28,520
Speaker 3: so Sindbad accepts. Next thing, they are all hanging out

963
00:52:28,560 --> 00:52:32,160
Speaker 3: around this fire, eating meat and watching belly dancers. There's

964
00:52:32,200 --> 00:52:34,160
Speaker 3: one crew member here. I don't remember who this is,

965
00:52:34,200 --> 00:52:36,719
Speaker 3: but he gets a great close up that is very

966
00:52:36,800 --> 00:52:38,960
Speaker 3: much like a D and D dwarf with chicken and

967
00:52:39,000 --> 00:52:44,239
Speaker 3: his beard thing. He's simultaneously like cartoon wolf ogling the

968
00:52:44,239 --> 00:52:47,360
Speaker 3: belly dancer in front of him and cramming some disintegrating

969
00:52:47,400 --> 00:52:52,680
Speaker 3: white food into his mouth. So Raffi offers the other

970
00:52:53,080 --> 00:52:55,480
Speaker 3: all the sailor's wine, and you know, they take their

971
00:52:55,520 --> 00:52:58,000
Speaker 3: glasses and Sindbad is about to drink, but then another

972
00:52:58,040 --> 00:53:00,799
Speaker 3: sailor who has already drank the wine, starts screaming and

973
00:53:00,800 --> 00:53:03,400
Speaker 3: they figure out the wine is poisoned, so a sword

974
00:53:03,400 --> 00:53:07,239
Speaker 3: fight breaks out between Sindbad and Raffi. Sinbad quickly gets

975
00:53:07,239 --> 00:53:09,360
Speaker 3: the upper hand and he demands to know who Raffi

976
00:53:09,440 --> 00:53:11,840
Speaker 3: really is and why he tried to kill them, But

977
00:53:12,040 --> 00:53:15,200
Speaker 3: before he can get an answer, a strange feeling comes

978
00:53:15,200 --> 00:53:17,960
Speaker 3: over everyone in the tent, and there's a cold wind

979
00:53:18,080 --> 00:53:21,400
Speaker 3: howling from outside, and then a woman covered all in

980
00:53:21,520 --> 00:53:24,080
Speaker 3: black except for just a strip where you can see

981
00:53:24,080 --> 00:53:26,920
Speaker 3: her eyes, parts the flaps of the tent and steps

982
00:53:26,960 --> 00:53:30,359
Speaker 3: into their midst and eerie music starts to play. There

983
00:53:30,400 --> 00:53:33,040
Speaker 3: is a sort of unstable witch theme that we hear

984
00:53:33,080 --> 00:53:38,080
Speaker 3: throughout the film associated with Zenobia here and despite her disguise,

985
00:53:38,120 --> 00:53:40,640
Speaker 3: obviously we the audience know this must be who this is.

986
00:53:41,320 --> 00:53:43,719
Speaker 3: But the camera zooms in on her face where only

987
00:53:43,719 --> 00:53:47,000
Speaker 3: her eyes are exposed, and then her eyes fade and

988
00:53:47,080 --> 00:53:51,279
Speaker 3: are superimposed with non human eyes with vertical slits like

989
00:53:51,320 --> 00:53:53,680
Speaker 3: a cat's eye. So I think they're trying to give

990
00:53:53,680 --> 00:53:55,560
Speaker 3: you a little payoff in the title there yea the

991
00:53:55,640 --> 00:53:57,920
Speaker 3: Eye of the Tiger. This like sheet her eyes turn

992
00:53:58,000 --> 00:53:58,800
Speaker 3: into cat eyes.

993
00:53:59,120 --> 00:54:02,080
Speaker 2: Yeah, there's not much to it. It happens because she's

994
00:54:02,120 --> 00:54:05,479
Speaker 2: doing magic, and maybe it's sort of foreshadowing something to come,

995
00:54:05,520 --> 00:54:07,520
Speaker 2: but also not really so.

996
00:54:07,640 --> 00:54:11,040
Speaker 3: In a booming, echoing voice, she says, from the depths

997
00:54:11,040 --> 00:54:14,399
Speaker 3: of the earth, I command you a rise, kill them,

998
00:54:14,920 --> 00:54:18,799
Speaker 3: kill Sinbad, and she points down to the campfire, and

999
00:54:18,960 --> 00:54:23,240
Speaker 3: out of the fire emerge three creatures, our first stop

1000
00:54:23,280 --> 00:54:25,520
Speaker 3: motion monsters of the film, so it didn't take too

1001
00:54:25,560 --> 00:54:29,600
Speaker 3: long to get to them. These monsters are sort of

1002
00:54:29,760 --> 00:54:35,359
Speaker 3: clay fleshed insectoid ghoules. There are three of them, bipedal,

1003
00:54:35,640 --> 00:54:40,440
Speaker 3: basically human in form. They are very skinny. They're like skeletons,

1004
00:54:40,520 --> 00:54:43,200
Speaker 3: but with a little bit of skin and sinew stretched

1005
00:54:43,239 --> 00:54:46,440
Speaker 3: over the bones, with a texture that looks somewhere between

1006
00:54:46,560 --> 00:54:49,800
Speaker 3: clay but also sort of rubber and sort of wood.

1007
00:54:50,280 --> 00:54:52,280
Speaker 3: And they are armed. One of them has a sword,

1008
00:54:52,320 --> 00:54:54,640
Speaker 3: another has an axe, and I think one has a club.

1009
00:54:55,040 --> 00:54:57,759
Speaker 3: And then on their heads they have mouths that are

1010
00:54:57,800 --> 00:55:01,760
Speaker 3: fixed in permanent gaping frown like they don't move their mouths,

1011
00:55:01,760 --> 00:55:07,160
Speaker 3: they're just gaping frown shaped with wrinkled cheek skin drooping

1012
00:55:07,200 --> 00:55:09,279
Speaker 3: on either side of the mouth. And then they've got

1013
00:55:09,320 --> 00:55:12,320
Speaker 3: these pairs of nubby horns or buds on top of

1014
00:55:12,360 --> 00:55:17,200
Speaker 3: their heads, and huge saucer sized, bulbous eyes with no pupils,

1015
00:55:17,280 --> 00:55:20,200
Speaker 3: no color differentiation in the eyes, just each a solid

1016
00:55:20,239 --> 00:55:23,000
Speaker 3: color all the way across. One of them has black eyes,

1017
00:55:23,120 --> 00:55:26,920
Speaker 3: one red, and one green. I loved these ghouls when

1018
00:55:26,960 --> 00:55:28,680
Speaker 3: I was a kid, and I love them now. I

1019
00:55:29,040 --> 00:55:31,759
Speaker 3: think this is a really fun design and once the

1020
00:55:31,800 --> 00:55:34,000
Speaker 3: fight breaks out, this one is a hoot.

1021
00:55:34,320 --> 00:55:36,640
Speaker 2: Yeah, these creatures look great. They you know, there's a

1022
00:55:36,760 --> 00:55:39,279
Speaker 2: there's a bit of the devil to them. They're kind

1023
00:55:39,280 --> 00:55:44,359
Speaker 2: of like skeletons and then and also like bugs too.

1024
00:55:44,440 --> 00:55:46,239
Speaker 2: They they remind they have a little bit of an

1025
00:55:46,320 --> 00:55:49,280
Speaker 2: Edgar Riis Burrows vibe to them. I could easily imagine

1026
00:55:49,280 --> 00:55:52,920
Speaker 2: them on the side of a van in the nineteen seventies.

1027
00:55:52,920 --> 00:55:54,800
Speaker 2: You know, they remind me a lot of things I

1028
00:55:55,600 --> 00:55:59,399
Speaker 2: remember from I remember seeing a nineteen seventies fantasy art,

1029
00:55:59,520 --> 00:56:02,160
Speaker 2: so they had They have a great visual flair for sure,

1030
00:56:02,800 --> 00:56:05,560
Speaker 2: and then the fight sequence is full of that Ray

1031
00:56:05,600 --> 00:56:09,520
Speaker 2: Harry hows and human versus stop motion sword fight effects.

1032
00:56:09,560 --> 00:56:10,160
Speaker 2: It's wonderful.

1033
00:56:10,280 --> 00:56:13,000
Speaker 3: Yeah, and I love that stuff, even when the edges

1034
00:56:13,040 --> 00:56:15,319
Speaker 3: are a little bit patchy. Still I love it. So

1035
00:56:15,440 --> 00:56:19,120
Speaker 3: Sindbad and his men fight bravely, but the Ghules are magical.

1036
00:56:19,239 --> 00:56:22,360
Speaker 3: So one of the men, it might be San stabs

1037
00:56:22,360 --> 00:56:24,799
Speaker 3: a Ghul through the chest with a sword and the

1038
00:56:24,840 --> 00:56:27,640
Speaker 3: ghule just kind of looks down like what was that? Well,

1039
00:56:27,680 --> 00:56:30,480
Speaker 3: never mind, and then just keeps on fighting. So we

1040
00:56:30,560 --> 00:56:32,840
Speaker 3: get the idea, you're not going to beat these guys

1041
00:56:32,880 --> 00:56:35,799
Speaker 3: with a few jabs of a sword, that you can't

1042
00:56:35,800 --> 00:56:39,200
Speaker 3: beat them that way, And the fight proceeds outside of

1043
00:56:39,200 --> 00:56:41,960
Speaker 3: the tent into the open port in the moonlight, and

1044
00:56:42,040 --> 00:56:45,680
Speaker 3: eventually it's just Sindbad versus these three monsters. So how

1045
00:56:45,760 --> 00:56:47,520
Speaker 3: is he going to beat them if his sword is

1046
00:56:47,520 --> 00:56:50,640
Speaker 3: basically useless? He uses a cool trick. This is the

1047
00:56:50,719 --> 00:56:52,480
Speaker 3: kind of thing I like in a fight scene. I

1048
00:56:52,600 --> 00:56:55,560
Speaker 3: like when a fight scene is not just like application

1049
00:56:55,680 --> 00:56:58,239
Speaker 3: of weapon back and forth until somebody wins. I like

1050
00:56:58,280 --> 00:57:00,600
Speaker 3: it when there's somebody figures out an in iron mental

1051
00:57:00,680 --> 00:57:03,640
Speaker 3: trick or something. And that's what Maybe I like that

1052
00:57:03,719 --> 00:57:07,200
Speaker 3: because I grew up watching movies like this. So Sindbad

1053
00:57:07,280 --> 00:57:11,000
Speaker 3: realizes there is a giant pile of timber logs stacked

1054
00:57:11,040 --> 00:57:12,680
Speaker 3: up on the shore. I guess they've just been loaded

1055
00:57:12,680 --> 00:57:15,880
Speaker 3: off of a ship here, and Sindbad cuts the rope

1056
00:57:15,960 --> 00:57:19,200
Speaker 3: holding the logs in place, and then they tumble out

1057
00:57:19,240 --> 00:57:23,520
Speaker 3: of their pile, falling on crushing and burying the ghules underneath.

1058
00:57:23,560 --> 00:57:25,280
Speaker 3: And that's a flawless victory.

1059
00:57:25,320 --> 00:57:28,280
Speaker 2: I think it's probably worth noting here that the ghules

1060
00:57:28,560 --> 00:57:34,439
Speaker 2: are at least vaguely connected to Middle Eastern lore here,

1061
00:57:34,640 --> 00:57:36,360
Speaker 2: as opposed to I think pretty much any of the

1062
00:57:36,400 --> 00:57:40,560
Speaker 2: other monsters in the picture. We've talked about ghules on

1063
00:57:40,600 --> 00:57:44,040
Speaker 2: the show before, though these are I guess essentially ghules

1064
00:57:44,040 --> 00:57:45,160
Speaker 2: and name only I don't know.

1065
00:57:45,960 --> 00:57:48,560
Speaker 3: I don't think we see them eating grave flesh or anything.

1066
00:57:49,040 --> 00:57:49,200
Speaker 2: Right.

1067
00:57:49,680 --> 00:57:51,720
Speaker 3: So Sinbad is about to run back to his ship,

1068
00:57:51,800 --> 00:57:54,919
Speaker 3: but suddenly a woman in a pink veil calls out

1069
00:57:54,920 --> 00:57:57,960
Speaker 3: to him. He turns and it is his beloved. It's

1070
00:57:58,000 --> 00:58:02,440
Speaker 3: Princess Farah played by Jane Seymour, and so they have

1071
00:58:02,520 --> 00:58:04,720
Speaker 3: a brief reunion, but the witch is still about. So

1072
00:58:04,920 --> 00:58:07,640
Speaker 3: Sinbad sees a figure clad in black watching them, and

1073
00:58:07,640 --> 00:58:09,960
Speaker 3: there's no time to talk. They run and jump into

1074
00:58:09,960 --> 00:58:13,080
Speaker 3: the bay and all begin swimming out to Sinbad's ship. Also,

1075
00:58:13,120 --> 00:58:15,880
Speaker 3: his sailor friends are in the dinghy and they're rowing

1076
00:58:15,920 --> 00:58:18,000
Speaker 3: back to the ship as well. They're going out there

1077
00:58:18,080 --> 00:58:21,000
Speaker 3: to you until the morning comes when things will be safer.

1078
00:58:22,120 --> 00:58:25,200
Speaker 3: But back on the ship, Farah fills Sinbad in as

1079
00:58:25,240 --> 00:58:27,800
Speaker 3: she says it's not true that the city is under plague.

1080
00:58:27,920 --> 00:58:31,360
Speaker 3: Her brother Cassim has come under a terrible curse quote

1081
00:58:31,480 --> 00:58:35,080
Speaker 3: worse than a thousand plagues, and she needs Sinbad's help

1082
00:58:35,120 --> 00:58:38,280
Speaker 3: to break it, and Sinbad says, oh, he owes Cassim

1083
00:58:38,360 --> 00:58:41,280
Speaker 3: his life from previous adventures. I guess, so he promises

1084
00:58:41,320 --> 00:58:44,360
Speaker 3: to do anything he can to help. In this scene,

1085
00:58:44,400 --> 00:58:47,440
Speaker 3: we also learn a bit about their relationship. Sinbad and

1086
00:58:47,480 --> 00:58:50,200
Speaker 3: Pharah have been in love, but they couldn't marry because

1087
00:58:50,200 --> 00:58:52,640
Speaker 3: they couldn't get on the same page. Sinbad refused to

1088
00:58:52,640 --> 00:58:55,280
Speaker 3: give up his life at sea, Farah refused to give

1089
00:58:55,360 --> 00:58:59,400
Speaker 3: up her life at court, and upon their meeting, Sinbad says, hey, okay,

1090
00:58:59,560 --> 00:59:02,040
Speaker 3: I'm ready to live on land, and she said, well,

1091
00:59:02,200 --> 00:59:05,040
Speaker 3: I'm ready to live at sea. So I don't know

1092
00:59:05,120 --> 00:59:07,680
Speaker 3: which way they're going to compromise now, or maybe maybe

1093
00:59:07,680 --> 00:59:08,840
Speaker 3: they're at an impass again.

1094
00:59:09,040 --> 00:59:13,479
Speaker 2: They've gifted the magi, so it would have.

1095
00:59:13,360 --> 00:59:15,920
Speaker 3: Been would have been a happy reunion one way or another,

1096
00:59:15,920 --> 00:59:18,280
Speaker 3: I guess, if not for the curse worse than a

1097
00:59:18,360 --> 00:59:23,880
Speaker 3: thousand plagues. So the next day, Fora's uncle Balsora, who

1098
00:59:23,880 --> 00:59:26,160
Speaker 3: seems to be kind of regent for the time being,

1099
00:59:26,360 --> 00:59:29,400
Speaker 3: he comes to meet them at Sindbad's ship and he

1100
00:59:29,680 --> 00:59:33,040
Speaker 3: says that they have consulted all of the wisest doctors

1101
00:59:33,080 --> 00:59:36,720
Speaker 3: and astrologers from here to Alexandria, and no one knows

1102
00:59:36,720 --> 00:59:39,560
Speaker 3: how to help Cassim.

1103
00:59:40,480 --> 00:59:43,840
Speaker 2: Balsora here is played by Bruno Barnaby, who lived nineteen

1104
00:59:43,840 --> 00:59:46,720
Speaker 2: oh five through nineteen ninety eight, a British actor of

1105
00:59:46,760 --> 00:59:50,080
Speaker 2: stage and screen. He was also in nineteen seventy six

1106
00:59:50,160 --> 00:59:54,160
Speaker 2: Is The Message, which starred Anthony Quinn.

1107
00:59:55,400 --> 00:59:59,880
Speaker 3: So Balsaura explains that unless Prince Cassim is able to

1108
00:59:59,880 --> 01:00:03,320
Speaker 3: be crowned Caliph within the next seven full moons, he

1109
01:00:03,400 --> 01:00:06,560
Speaker 3: will forever lose his right to ascend to the throne.

1110
01:00:07,000 --> 01:00:09,080
Speaker 3: And I think that it's implied that the crown will

1111
01:00:09,120 --> 01:00:12,400
Speaker 3: then pass to Raffi's and Obia's son, and it's like,

1112
01:00:12,520 --> 01:00:14,840
Speaker 3: is there anybody here who can break the spell? Before

1113
01:00:14,880 --> 01:00:17,800
Speaker 3: then they talk about it and Sindbad has an idea.

1114
01:00:18,360 --> 01:00:20,920
Speaker 3: He says, if there's anyone who knows how to cure Cassim.

1115
01:00:21,160 --> 01:00:25,080
Speaker 3: It could only be a Greek wise man named Melanthius,

1116
01:00:25,160 --> 01:00:29,479
Speaker 3: who is a hermit, natural philosopher, and alchemist who lives

1117
01:00:29,520 --> 01:00:32,480
Speaker 3: on an island called Caskar off the coast of Phrygia.

1118
01:00:33,360 --> 01:00:36,040
Speaker 3: Sinbad says his deeds are legendary and he may not

1119
01:00:36,160 --> 01:00:36,880
Speaker 3: even exist.

1120
01:00:38,520 --> 01:00:41,680
Speaker 2: It seems like a very far fetched plan. It's the

1121
01:00:41,760 --> 01:00:45,200
Speaker 2: kind of thing you'd instantly go for in dungeons and dragons. Obviously,

1122
01:00:45,280 --> 01:00:48,400
Speaker 2: you know, but practically it's like, our only hope is

1123
01:00:48,440 --> 01:00:50,160
Speaker 2: someone who might not exist at all.

1124
01:00:50,400 --> 01:00:53,920
Speaker 3: But it was your idea. But he might not exist,

1125
01:00:54,760 --> 01:00:56,880
Speaker 3: And so he says the journey will not be easy.

1126
01:00:57,200 --> 01:00:59,200
Speaker 3: That the crew talk about it, they say his island

1127
01:00:59,240 --> 01:01:01,960
Speaker 3: is ringed with dead reefs, and it's full of savages

1128
01:01:02,000 --> 01:01:04,880
Speaker 3: who eat human flesh and worship Malanthius as a god.

1129
01:01:05,520 --> 01:01:07,960
Speaker 3: And then also they say that some people, some say

1130
01:01:08,000 --> 01:01:13,560
Speaker 3: that Melanthius himself, if he exists, is mad. But Balsora promises,

1131
01:01:13,680 --> 01:01:17,320
Speaker 3: He's like, okay, let's do that. Yeah. He promises to

1132
01:01:17,360 --> 01:01:21,680
Speaker 3: sind treasure for Sinbad's crew and for Melanthius. But before

1133
01:01:21,760 --> 01:01:24,400
Speaker 3: they can get underway, we have to have a meeting

1134
01:01:24,760 --> 01:01:27,880
Speaker 3: between the hero and the villain. So Zenobia arrives in

1135
01:01:27,960 --> 01:01:31,640
Speaker 3: like she's being carried in like a little compartment, and

1136
01:01:31,720 --> 01:01:33,960
Speaker 3: when she shows up, all the horses whinny with fear,

1137
01:01:34,480 --> 01:01:37,920
Speaker 3: and she starts off kind of playing coy with She's like, oh, sinbad,

1138
01:01:38,040 --> 01:01:40,000
Speaker 3: why you know, what are you doing here? There is

1139
01:01:40,040 --> 01:01:42,640
Speaker 3: nothing that can be done about Cassim. But by the

1140
01:01:42,720 --> 01:01:44,800
Speaker 3: end of the scene she's just full on yelling at them.

1141
01:01:44,880 --> 01:01:49,200
Speaker 3: She tells them abandon hope. Cassim is doomed forever. And

1142
01:01:49,240 --> 01:01:53,040
Speaker 3: then Jane Seymour gets very upset at Zenobia because they

1143
01:01:53,040 --> 01:01:56,440
Speaker 3: do not have a friendly relationship, and she grabs a

1144
01:01:56,520 --> 01:01:59,000
Speaker 3: knife and she says, let me cut that smile from

1145
01:01:59,000 --> 01:02:02,560
Speaker 3: her face. But Valsa reminds her, you are not allowed

1146
01:02:02,600 --> 01:02:05,080
Speaker 3: to draw one drop of blood from a member of

1147
01:02:05,120 --> 01:02:08,760
Speaker 3: the royal family or it has been prophesied. I guess

1148
01:02:08,840 --> 01:02:11,800
Speaker 3: you will bring down an eternal curse on your head.

1149
01:02:12,400 --> 01:02:14,800
Speaker 3: And then Fara says, well, that's the only reason she

1150
01:02:14,880 --> 01:02:18,520
Speaker 3: has an outright murdered Cassim. She says, as cunning is

1151
01:02:18,560 --> 01:02:21,520
Speaker 3: a snake, as malicious as a shark, Rafi will never

1152
01:02:21,560 --> 01:02:24,480
Speaker 3: be Caliph. Zenobia says, there is no one who can

1153
01:02:24,480 --> 01:02:28,640
Speaker 3: prevent it, and Fara says Melanthius will prevent it, and

1154
01:02:28,800 --> 01:02:32,240
Speaker 3: this hits Zenobia is shaken. She stops for a moment

1155
01:02:32,320 --> 01:02:35,240
Speaker 3: to think, and she tries to dismiss it. She says

1156
01:02:35,240 --> 01:02:37,440
Speaker 3: Melanthius is a myth and his powers are a legend.

1157
01:02:37,560 --> 01:02:40,520
Speaker 3: He does not exist, but I guess we'll find out,

1158
01:02:40,800 --> 01:02:43,520
Speaker 3: and Zenobia retreats, oh do we want to mention? In

1159
01:02:43,560 --> 01:02:46,280
Speaker 3: the scene, we also meet a Hinchman kind of character

1160
01:02:46,400 --> 01:02:49,560
Speaker 3: I think named Zabeide who is Balsaura's guard captain with

1161
01:02:49,600 --> 01:02:51,000
Speaker 3: an eyepatch very well, oh.

1162
01:02:50,920 --> 01:02:53,960
Speaker 2: Yeah, played by Bernard Kay who lived nineteen twenty eight

1163
01:02:54,000 --> 01:02:57,360
Speaker 2: through twenty fourteen, a British character actor who also appeared

1164
01:02:57,360 --> 01:02:58,040
Speaker 2: on Doctor Who.

1165
01:02:58,320 --> 01:03:01,880
Speaker 3: Yeah. So, sind Farrah and the crew get ready to

1166
01:03:02,120 --> 01:03:05,280
Speaker 3: set sail for the island of Kaskar. Meanwhile, we get

1167
01:03:05,320 --> 01:03:08,120
Speaker 3: a scene of the witch Zenobia and her son Raffi

1168
01:03:08,320 --> 01:03:13,640
Speaker 3: together in private discussing their schemes. Zenobia is disturbed by

1169
01:03:13,640 --> 01:03:17,280
Speaker 3: Sindbad's plan. She says if Melantheus exists, he is the

1170
01:03:17,280 --> 01:03:20,720
Speaker 3: only person who she fears could undo her magic, and

1171
01:03:20,840 --> 01:03:23,600
Speaker 3: Raffi is kind of whiny. He's like, but you promised

1172
01:03:23,600 --> 01:03:26,240
Speaker 3: me it was my turn to be Khalif. But Mom,

1173
01:03:27,240 --> 01:03:31,720
Speaker 3: yeah exactly. Uh, but yeah, so they discuss. She's like,

1174
01:03:31,800 --> 01:03:33,760
Speaker 3: I will make sure that you it is your turn

1175
01:03:33,800 --> 01:03:37,000
Speaker 3: to be Khalif. So they go to check on a project.

1176
01:03:37,400 --> 01:03:41,040
Speaker 3: Zenobia's got a sort of medieval blast door on her

1177
01:03:41,120 --> 01:03:43,760
Speaker 3: laboratory here where you can look through the glass window

1178
01:03:43,800 --> 01:03:47,080
Speaker 3: into a furnace that's firing something. And in fact, it

1179
01:03:47,120 --> 01:03:49,600
Speaker 3: reminds me of the radiation room in The Devil Bat

1180
01:03:49,600 --> 01:03:52,240
Speaker 3: where Bella Goosi is looking through the square window while

1181
01:03:52,240 --> 01:03:53,520
Speaker 3: he microwaves bats.

1182
01:03:54,520 --> 01:03:54,760
Speaker 4: Yeah.

1183
01:03:54,840 --> 01:03:58,240
Speaker 2: Yeah, there's there's definitely a mad science vibe to a

1184
01:03:58,280 --> 01:04:01,000
Speaker 2: lot of what she has going on here. Well, Malathius

1185
01:04:01,040 --> 01:04:03,320
Speaker 2: as well Milanthius as well as wolf. See.

1186
01:04:03,560 --> 01:04:06,480
Speaker 3: Yeah. So she says Sindbad may have a ship and

1187
01:04:06,520 --> 01:04:09,280
Speaker 3: a crew, and Balsora may have his palace guards. But

1188
01:04:09,480 --> 01:04:12,200
Speaker 3: then she stares through the window into the furnace and says,

1189
01:04:12,560 --> 01:04:17,200
Speaker 3: that will be our army. What is it we see inside?

1190
01:04:17,480 --> 01:04:21,040
Speaker 3: And it appears to be a white, hot metal form

1191
01:04:21,680 --> 01:04:27,360
Speaker 3: of a minotaur, a man's body, muscular, big shoulders, with

1192
01:04:27,480 --> 01:04:31,040
Speaker 3: the head of a bull, all made of bronze, glowing

1193
01:04:31,080 --> 01:04:32,000
Speaker 3: with heat.

1194
01:04:32,320 --> 01:04:32,600
Speaker 2: Ah.

1195
01:04:32,840 --> 01:04:37,000
Speaker 3: The Menotan meanwhile, Raffi has been working on something too.

1196
01:04:37,040 --> 01:04:41,560
Speaker 3: He's been crafting a golden heart covered with clockwork gears

1197
01:04:41,600 --> 01:04:45,120
Speaker 3: and jewels, and so we get this awakening scene. And

1198
01:04:45,160 --> 01:04:47,840
Speaker 3: I love this scene. I remember how scary it was

1199
01:04:47,880 --> 01:04:51,320
Speaker 3: when I was a little kid. I was mesmerized. So

1200
01:04:51,600 --> 01:04:54,360
Speaker 3: the bronze Minotaur this is a little bit later, and

1201
01:04:54,400 --> 01:04:57,200
Speaker 3: the minataar is removed from the furnace and laid out

1202
01:04:57,200 --> 01:05:00,840
Speaker 3: on a stone slab in Zenobia's chambers. On the soundtrack

1203
01:05:00,880 --> 01:05:03,920
Speaker 3: there is this steady rhythmic heart beat and some creepy

1204
01:05:03,920 --> 01:05:08,600
Speaker 3: atmospheric music. Then Zenobia holds up the clockwork heart with

1205
01:05:08,640 --> 01:05:12,440
Speaker 3: its little gears pumping and milling around, and she says, Oh,

1206
01:05:12,480 --> 01:05:16,080
Speaker 3: brave and proud bull, whose heart my son has fashioned

1207
01:05:16,080 --> 01:05:19,400
Speaker 3: of purest gold, beat with the power as only I

1208
01:05:19,600 --> 01:05:23,640
Speaker 3: command you, Oh mighty Abu Slem, you who rule over

1209
01:05:23,680 --> 01:05:27,200
Speaker 3: a thousand devils by all the fires of hell and darkness,

1210
01:05:27,520 --> 01:05:31,360
Speaker 3: give strength in life to this your creature, min Oton

1211
01:05:32,280 --> 01:05:35,760
Speaker 3: min Oton. And as she says this, she pours little

1212
01:05:35,800 --> 01:05:39,040
Speaker 3: streams of a blood red potion out of a bottle

1213
01:05:39,520 --> 01:05:43,280
Speaker 3: onto the bronze statue's head, and the blood runs down

1214
01:05:43,360 --> 01:05:46,160
Speaker 3: like tears from the corner of the bull's eye and

1215
01:05:46,200 --> 01:05:51,040
Speaker 3: then slowly the creature's eyelids creak open. And I don't

1216
01:05:51,080 --> 01:05:54,280
Speaker 3: know why this is so creepy, but this really hit

1217
01:05:54,320 --> 01:05:57,479
Speaker 3: me when I was young. The eyelids open, and then

1218
01:05:57,600 --> 01:06:02,160
Speaker 3: underneath them, the eyes are the same bronze material as

1219
01:06:02,200 --> 01:06:04,960
Speaker 3: the lids, and they're just blank. So it's like something

1220
01:06:05,040 --> 01:06:06,520
Speaker 3: opening and there's nothing.

1221
01:06:07,360 --> 01:06:10,640
Speaker 2: Yeah. Yeah, this is just such a great sequence. I

1222
01:06:10,680 --> 01:06:13,200
Speaker 2: really enjoyed seeing this this on the big screen, and

1223
01:06:13,800 --> 01:06:16,000
Speaker 2: I'm I'm glad that this is a family project. Like

1224
01:06:16,560 --> 01:06:19,080
Speaker 2: so many things seem to be just Zenobia's doing, like

1225
01:06:19,120 --> 01:06:21,600
Speaker 2: she's doing all the leg work to try and get

1226
01:06:22,640 --> 01:06:26,920
Speaker 2: Raffi the throne. But here we learn, you know that

1227
01:06:26,960 --> 01:06:29,959
Speaker 2: he has also done his part. He has created the heart,

1228
01:06:29,960 --> 01:06:33,040
Speaker 2: he has crafted the heart, and therefore you know it's

1229
01:06:33,080 --> 01:06:35,840
Speaker 2: a it's a family effort to bring the menton into existence.

1230
01:06:35,960 --> 01:06:39,360
Speaker 3: That's right. He is a crafter of clockwork, which you

1231
01:06:39,360 --> 01:06:41,800
Speaker 3: wouldn't you wouldn't guess based on the other things he

1232
01:06:41,840 --> 01:06:44,280
Speaker 3: does in the movie. Because generally, as Zenobia is the

1233
01:06:44,320 --> 01:06:45,840
Speaker 3: brains of the operation.

1234
01:06:46,640 --> 01:06:49,320
Speaker 2: And I to it in a larger extent, I think

1235
01:06:49,320 --> 01:06:52,880
Speaker 2: it's it's worth noting that I think Zenobia has taken

1236
01:06:52,920 --> 01:06:55,880
Speaker 2: on too much in this quest. I feel like she's

1237
01:06:55,920 --> 01:06:59,480
Speaker 2: a very confident woman. She's a very capable witch, but

1238
01:06:59,600 --> 01:07:02,600
Speaker 2: she is trying to do a lot, mostly all by

1239
01:07:02,640 --> 01:07:06,600
Speaker 2: herself or via the efforts of things that she has

1240
01:07:06,760 --> 01:07:10,520
Speaker 2: directly created. And you're just gonna you're gonna have mistakes

1241
01:07:10,760 --> 01:07:12,480
Speaker 2: if you try and take on too many things. You

1242
01:07:12,560 --> 01:07:16,000
Speaker 2: just can't do everything effectively. And so she is going

1243
01:07:16,040 --> 01:07:17,480
Speaker 2: to begin to stumble here and there.

1244
01:07:17,880 --> 01:07:19,560
Speaker 3: We'll get to a really good stumble in a bit,

1245
01:07:19,560 --> 01:07:22,480
Speaker 3: but I'd say right now, she's still cooking like she's

1246
01:07:22,640 --> 01:07:23,720
Speaker 3: ten for ten at this point.

1247
01:07:23,800 --> 01:07:26,280
Speaker 2: Yeah, at this point, she's very confident and with good reason.

1248
01:07:26,440 --> 01:07:29,440
Speaker 2: Everything seems to be going her way, with the possible

1249
01:07:30,080 --> 01:07:33,520
Speaker 2: exception of this quest that she's about to squash. But hey,

1250
01:07:33,560 --> 01:07:35,760
Speaker 2: she has the Minton, the one man army of the

1251
01:07:35,760 --> 01:07:36,480
Speaker 2: menton here.

1252
01:07:37,040 --> 01:07:40,160
Speaker 3: So back on Sindbad's ship, there's one scene where they're

1253
01:07:40,200 --> 01:07:43,720
Speaker 3: like they're bringing a crate on board for the journey.

1254
01:07:43,760 --> 01:07:45,840
Speaker 3: This is before they leave, and it topples over and

1255
01:07:45,960 --> 01:07:48,960
Speaker 3: reveals that it's actually a cage with a living thing inside,

1256
01:07:49,320 --> 01:07:53,280
Speaker 3: a large baboon creature, and the baboon grunts and gets

1257
01:07:53,320 --> 01:07:57,320
Speaker 3: agitated until Princess Farrago's to calm it. She is bringing

1258
01:07:57,360 --> 01:08:00,520
Speaker 3: this baboon with her on the journey. Later, a member

1259
01:08:00,560 --> 01:08:04,120
Speaker 3: of the crew, Hassan, is working on ropes on the

1260
01:08:04,160 --> 01:08:06,760
Speaker 3: outside of the ship and he spies through the window

1261
01:08:06,840 --> 01:08:10,640
Speaker 3: into the captain's quarters to see Princess Farah playing chess

1262
01:08:10,960 --> 01:08:11,720
Speaker 3: with the baboon.

1263
01:08:11,960 --> 01:08:14,120
Speaker 2: Ah, this is such a great reveal.

1264
01:08:14,040 --> 01:08:17,240
Speaker 3: Yes, And Hassan comes into the cabin and the baboon

1265
01:08:17,360 --> 01:08:21,599
Speaker 3: reacts violently before retreating to his cage. Then Sindbad also

1266
01:08:21,640 --> 01:08:24,200
Speaker 3: comes in and Hassan's like trying to tattle tale. He's

1267
01:08:24,320 --> 01:08:28,080
Speaker 3: like Captain, the baboon was playing, and Sinbad says, chess,

1268
01:08:28,160 --> 01:08:29,719
Speaker 3: I know he's beaten me twice.

1269
01:08:30,760 --> 01:08:33,719
Speaker 2: The baboon. To be clear, is is a Ray Harry

1270
01:08:33,720 --> 01:08:37,000
Speaker 2: Housen effect. Yes, and there's no live baboon used here,

1271
01:08:37,160 --> 01:08:40,120
Speaker 2: and it's clear that it's not a live babboon. But again,

1272
01:08:40,320 --> 01:08:43,719
Speaker 2: through the magic of Ray Harry Housen's craft, it feels

1273
01:08:43,760 --> 01:08:47,760
Speaker 2: completely alive. It feels like an authentic character with a

1274
01:08:47,800 --> 01:08:52,479
Speaker 2: complete internal state going on. It's wonderful, totally.

1275
01:08:52,560 --> 01:08:56,200
Speaker 3: Yes, it is there in the room, and I don't

1276
01:08:56,240 --> 01:08:58,000
Speaker 3: see how this is possible. I mean, I think it

1277
01:08:58,040 --> 01:09:00,200
Speaker 3: looks wonderful. I don't see how this is possible. Well,

1278
01:09:00,240 --> 01:09:03,280
Speaker 3: but I have read that some audience members mistook it

1279
01:09:03,360 --> 01:09:06,320
Speaker 3: for being like a real live creature in the in

1280
01:09:06,400 --> 01:09:08,959
Speaker 3: this set. I mean, I don't think I could possibly

1281
01:09:08,960 --> 01:09:10,840
Speaker 3: think that about it. But it looks great, and it

1282
01:09:11,439 --> 01:09:13,679
Speaker 3: really does it has drama within it.

1283
01:09:13,960 --> 01:09:16,200
Speaker 2: Yeah, I well, I'll just take it. I think we'll

1284
01:09:16,240 --> 01:09:21,280
Speaker 2: take that as the compliment that it probably was. I mean,

1285
01:09:21,320 --> 01:09:23,280
Speaker 2: I can't imagine being upset about that where they're like,

1286
01:09:23,360 --> 01:09:27,240
Speaker 2: I thought it was a real bad damn you, Harry Housen.

1287
01:09:28,840 --> 01:09:31,679
Speaker 3: So anyway, the import of the scene is the baboon

1288
01:09:31,760 --> 01:09:34,479
Speaker 3: is not just a baboon. It is actually Prince Cassim.

1289
01:09:34,680 --> 01:09:37,880
Speaker 3: This is the curse. The Witch transformed him from man

1290
01:09:37,960 --> 01:09:41,280
Speaker 3: into baboon, and to prove it, the baboon writes on

1291
01:09:41,320 --> 01:09:44,040
Speaker 3: the wall with a pencil, he writes, I am Cassim.

1292
01:09:44,520 --> 01:09:45,160
Speaker 2: Yeah.

1293
01:09:45,200 --> 01:09:47,800
Speaker 3: After this, we get our first scene of the minoton

1294
01:09:48,000 --> 01:09:51,559
Speaker 3: in action. This is good. So some guards left behind

1295
01:09:51,560 --> 01:09:54,720
Speaker 3: to watch Zenobia's castle. I think this includes Zabid, the

1296
01:09:54,840 --> 01:09:57,960
Speaker 3: character with the ipatch we mentioned earlier. They see a

1297
01:09:58,080 --> 01:10:02,120
Speaker 3: boat emerging from under the fortification, of Zenobia's castle and

1298
01:10:02,240 --> 01:10:05,920
Speaker 3: it is a boat traveling without sails. Instead. It has

1299
01:10:06,040 --> 01:10:09,839
Speaker 3: many rows of oars pumping in the water, but only

1300
01:10:09,960 --> 01:10:14,400
Speaker 3: one oarsman, a single giant figure on the deck working

1301
01:10:14,439 --> 01:10:18,280
Speaker 3: a single mechanism that powers all of the oars at once.

1302
01:10:19,040 --> 01:10:23,600
Speaker 3: This is the Minoton rowing the galley by himself. The

1303
01:10:23,640 --> 01:10:25,320
Speaker 3: guards say they're going to go out and try to

1304
01:10:25,320 --> 01:10:27,360
Speaker 3: get aboard the boat, so they head out in the

1305
01:10:27,360 --> 01:10:30,720
Speaker 3: little dinghy. It does not go well. Zenobia sees them

1306
01:10:30,720 --> 01:10:33,639
Speaker 3: and orders the Minoton to steer the galley straight into

1307
01:10:33,640 --> 01:10:37,120
Speaker 3: the dinghy. It rams and crushes their boat. One of

1308
01:10:37,160 --> 01:10:39,559
Speaker 3: the men is left alive in the water, calling for help,

1309
01:10:39,880 --> 01:10:42,400
Speaker 3: and then she commands the Minoton to finish him. So

1310
01:10:42,479 --> 01:10:44,840
Speaker 3: the Minoton goes. He gets its long spear and he

1311
01:10:44,920 --> 01:10:47,360
Speaker 3: stabs the guy and like heaves him up over the

1312
01:10:47,360 --> 01:10:50,080
Speaker 3: top of the boat onto the other side. Chilling scene.

1313
01:10:50,120 --> 01:10:52,000
Speaker 3: Another one that scared me when I was a kid.

1314
01:10:52,200 --> 01:10:57,080
Speaker 2: Yeah, quality kill. Minoton looks very strong here, and watching

1315
01:10:57,080 --> 01:10:59,240
Speaker 2: it for the first time, I'm like, we're building up

1316
01:10:59,280 --> 01:11:01,559
Speaker 2: to that battle with Menaton and Sindbat. I don't know

1317
01:11:01,560 --> 01:11:02,760
Speaker 2: how he's gonna pull it off.

1318
01:11:10,800 --> 01:11:14,000
Speaker 3: Okay, So next thing, our heroes arrive at the Isle

1319
01:11:14,040 --> 01:11:17,160
Speaker 3: of Caskar Sinbad and his companions. They get there, they

1320
01:11:17,160 --> 01:11:19,680
Speaker 3: go on shore and explore, and I really like the

1321
01:11:19,720 --> 01:11:23,040
Speaker 3: location shots here. There are some beautiful desert canyons and

1322
01:11:23,640 --> 01:11:27,120
Speaker 3: use of real rock cut ruins. I'm almost certain this

1323
01:11:27,200 --> 01:11:30,320
Speaker 3: is Petra in Jordan. It really looks like it.

1324
01:11:30,320 --> 01:11:34,479
Speaker 2: It is, yes. The what al Casne Mazwet Mausoleum is

1325
01:11:34,479 --> 01:11:37,920
Speaker 2: a popular tourist site and a frequent filming location. I

1326
01:11:37,960 --> 01:11:41,120
Speaker 2: think most people may remember this from this location from

1327
01:11:41,120 --> 01:11:43,960
Speaker 2: Indiana Jones in the Last Crusade, but it also shows

1328
01:11:44,000 --> 01:11:45,800
Speaker 2: up in films like Mortal Kombat Annihilation.

1329
01:11:47,680 --> 01:11:50,320
Speaker 3: That is a mat I do not remember that from Annihilation.

1330
01:11:50,439 --> 01:11:54,000
Speaker 3: I'm gonna have to watch that one again. So as

1331
01:11:54,040 --> 01:11:56,920
Speaker 3: they approach the temple of Melanthius, suddenly all of our

1332
01:11:57,000 --> 01:12:00,880
Speaker 3: heroes are pelted with rocks by people on the cliffs above.

1333
01:12:01,040 --> 01:12:03,000
Speaker 3: But then they are saved by the intervention of a

1334
01:12:03,040 --> 01:12:06,200
Speaker 3: young woman. This young woman with blonde hair comes out

1335
01:12:06,200 --> 01:12:09,400
Speaker 3: of the temple and orders the people to stop throwing rocks.

1336
01:12:09,400 --> 01:12:13,439
Speaker 3: She interrogates the travelers. This is Diany. We will later

1337
01:12:13,560 --> 01:12:19,320
Speaker 3: learn Malanthius's daughter, and after Sindbad, he gets through to her.

1338
01:12:19,640 --> 01:12:22,120
Speaker 3: He's like, we have to meet Malanthius and she's like why,

1339
01:12:22,760 --> 01:12:26,080
Speaker 3: and he says it's a matter of great urgency and importance.

1340
01:12:28,200 --> 01:12:31,160
Speaker 3: She's like, oh, well, in that case, good enough. We'll

1341
01:12:31,160 --> 01:12:34,519
Speaker 3: go see Malanthius then. And here's where we learned that

1342
01:12:34,560 --> 01:12:39,759
Speaker 3: Melanthius and Diany can communicate telepathically. I did not remember

1343
01:12:39,800 --> 01:12:41,960
Speaker 3: this detail from when I watched the movie as a kid.

1344
01:12:42,840 --> 01:12:46,160
Speaker 3: You know, they we see them have a conversation while

1345
01:12:46,160 --> 01:12:48,679
Speaker 3: they're on like, you know, not within speaking distance. They're

1346
01:12:48,680 --> 01:12:51,680
Speaker 3: on opposite sides of this great distance, and they're like,

1347
01:12:51,680 --> 01:12:54,160
Speaker 3: what is that? And she says, my father taught me.

1348
01:12:54,200 --> 01:12:58,679
Speaker 3: He calls it telepathia, and again does not really seem

1349
01:12:58,720 --> 01:13:02,280
Speaker 3: to come up again in the film, but Malanthius explains

1350
01:13:02,400 --> 01:13:04,920
Speaker 3: that when they meet. He explains he already knows who

1351
01:13:04,960 --> 01:13:10,040
Speaker 3: Sinbad is because thought is transferable and it can travel

1352
01:13:10,120 --> 01:13:15,280
Speaker 3: through time and space. Okay, maybe that's more telepathic stuff.

1353
01:13:16,200 --> 01:13:19,680
Speaker 3: But so we have introductions all around. Farrah and Sinbad

1354
01:13:19,760 --> 01:13:25,040
Speaker 3: introduce the baboon cassium to Malanthius here and Malanthius reacts well,

1355
01:13:25,080 --> 01:13:27,720
Speaker 3: he says, the scientific name of the baboon, and he's

1356
01:13:27,800 --> 01:13:31,040
Speaker 3: very happy to see the baboon. The baboon also takes

1357
01:13:31,040 --> 01:13:35,479
Speaker 3: a liking to Diany. It licks her hand, and so

1358
01:13:35,560 --> 01:13:39,160
Speaker 3: Malanthius takes Cassim back to his laboratory to examine him.

1359
01:13:39,560 --> 01:13:42,719
Speaker 3: He explains that as an alchemist, he knows that metals

1360
01:13:42,760 --> 01:13:46,040
Speaker 3: can be changed, one transforming into another, and by the

1361
01:13:46,080 --> 01:13:49,280
Speaker 3: same principle, he believes it's possible that one creature can

1362
01:13:49,320 --> 01:13:52,960
Speaker 3: be transformed into another. He gets a mirror and he

1363
01:13:53,000 --> 01:13:56,479
Speaker 3: gives it to Cassim, and this is basically the ancient

1364
01:13:56,479 --> 01:14:00,479
Speaker 3: Greek version of the mirror self recognition test. Cassim looks

1365
01:14:00,479 --> 01:14:03,760
Speaker 3: in the mirror in his baboon form and is distressed

1366
01:14:03,840 --> 01:14:07,400
Speaker 3: and then saddened, and the baboon cries, and Malanthius says,

1367
01:14:07,439 --> 01:14:10,080
Speaker 3: by all the gods, a true baboon would have attacked

1368
01:14:10,120 --> 01:14:12,479
Speaker 3: the mirror, thinking it an enemy, and would not have

1369
01:14:12,560 --> 01:14:16,800
Speaker 3: recognized itself or have been moved to grief. So Malanthius

1370
01:14:16,800 --> 01:14:19,559
Speaker 3: here is shaken. He says this black magic is more

1371
01:14:19,560 --> 01:14:23,479
Speaker 3: powerful than he's ever seen before. He does accept Prince

1372
01:14:23,520 --> 01:14:27,240
Speaker 3: Cassim's identity and he shakes the baboon hand. So they

1373
01:14:27,240 --> 01:14:29,720
Speaker 3: start kind of brainstorming about what can be done to

1374
01:14:30,000 --> 01:14:34,080
Speaker 3: save Cassim. They it is mentioned that they're having mint tea.

1375
01:14:34,320 --> 01:14:35,840
Speaker 3: I thought that was interesting. I was like, Oh, I

1376
01:14:35,880 --> 01:14:39,680
Speaker 3: wonder how far back mint tea actually goes practice. Is

1377
01:14:39,720 --> 01:14:41,360
Speaker 3: that an ancient world thing? I don't know.

1378
01:14:41,680 --> 01:14:44,280
Speaker 2: It's depicted here, so we have to just believe it

1379
01:14:44,280 --> 01:14:45,000
Speaker 2: at face value.

1380
01:14:45,160 --> 01:14:50,400
Speaker 3: Yes, it's canon. Diany brings Cassim bananas, and I was thinking, like, wait,

1381
01:14:50,800 --> 01:14:52,880
Speaker 3: is this a joke about how he's a baboon? Do

1382
01:14:52,960 --> 01:14:56,040
Speaker 3: they associate bananas with primates?

1383
01:14:56,080 --> 01:14:57,640
Speaker 2: I don't know. I guess it's a joke. But on

1384
01:14:57,680 --> 01:14:59,240
Speaker 2: the other hand, it's like everyone loves bananas.

1385
01:14:59,320 --> 01:15:03,759
Speaker 3: Yeah, I love ban But Melanthius explains that the longer

1386
01:15:03,800 --> 01:15:07,000
Speaker 3: Cassim stays in this form, the less of his mind

1387
01:15:07,040 --> 01:15:10,719
Speaker 3: will remain and the more his animal nature will take over.

1388
01:15:12,000 --> 01:15:15,040
Speaker 3: And also, he finally recalls, he's like, wait a minute,

1389
01:15:15,040 --> 01:15:16,800
Speaker 3: I think there may be one way to cure him.

1390
01:15:17,200 --> 01:15:22,400
Speaker 3: He says, an ancient advanced civilization, now lost, known as

1391
01:15:22,479 --> 01:15:26,559
Speaker 3: the rmas Pi, once knew the secrets of transforming matter

1392
01:15:26,680 --> 01:15:30,880
Speaker 3: one into another for alchemy purposes. Their machines by those

1393
01:15:30,880 --> 01:15:34,320
Speaker 3: same principles, may be able to transform Cassim back into

1394
01:15:34,400 --> 01:15:39,080
Speaker 3: his true form. He says that the aramass Pi lived

1395
01:15:39,160 --> 01:15:43,400
Speaker 3: in Hyperborea, the great Northern Continent, a warm and green

1396
01:15:43,560 --> 01:15:47,360
Speaker 3: valley surrounded by glaciers on all sides. And he says

1397
01:15:47,400 --> 01:15:49,880
Speaker 3: if they could find the great shrine in the temple

1398
01:15:49,920 --> 01:15:52,360
Speaker 3: of the ramass Pi, cassium might be saved.

1399
01:15:53,439 --> 01:15:56,759
Speaker 2: So mentions of Hyperborea date back apparently to the writings

1400
01:15:56,800 --> 01:16:00,720
Speaker 2: of Herododus, but its use here probably still from more

1401
01:16:00,800 --> 01:16:05,160
Speaker 2: modern usage and esoteric, the esoteric thought and more to

1402
01:16:05,200 --> 01:16:09,000
Speaker 2: the point, weird fiction. So Hyperborea may be more familiar

1403
01:16:09,040 --> 01:16:10,479
Speaker 2: with a number of you out there because it shows

1404
01:16:10,560 --> 01:16:13,160
Speaker 2: up and say the writings of Roberty Howard as well

1405
01:16:13,200 --> 01:16:15,320
Speaker 2: as Clark Ashton Smith and others.

1406
01:16:15,960 --> 01:16:18,240
Speaker 3: And I think the aram Aspi are also mentioned in

1407
01:16:18,320 --> 01:16:21,519
Speaker 3: ancient Greek writings, Like doesn't Herodotus mention them as like

1408
01:16:21,560 --> 01:16:24,599
Speaker 3: the people who get gems from Gryffins or something like that?

1409
01:16:24,640 --> 01:16:27,000
Speaker 2: Oh, yes, yes, yes, I think we've talked about that

1410
01:16:27,080 --> 01:16:30,000
Speaker 2: on the show before, haven't we like a valley of

1411
01:16:30,040 --> 01:16:32,640
Speaker 2: the gems and Griffins or the others. There are a

1412
01:16:32,640 --> 01:16:34,920
Speaker 2: few different stories and with different creatures involved.

1413
01:16:34,960 --> 01:16:37,320
Speaker 3: Yes, yeah, I may be misremembering, but that's what I

1414
01:16:37,360 --> 01:16:42,280
Speaker 3: associated with. Also, the the the Ara Masspi scrolls which

1415
01:16:42,280 --> 01:16:44,040
Speaker 3: they're going to use to guide them to this place.

1416
01:16:44,080 --> 01:16:46,600
Speaker 3: They're being kept in a basket with a bunch of gerbils.

1417
01:16:46,680 --> 01:16:49,479
Speaker 2: Yes, I love this. This This got a great chuckle

1418
01:16:49,760 --> 01:16:52,960
Speaker 2: by the love from the live audience. So at my viewing, yeah,

1419
01:16:53,000 --> 01:16:55,080
Speaker 2: you just keep those in there with the with the rodents.

1420
01:16:55,160 --> 01:16:59,360
Speaker 3: It's fine little rodent toilet paper containing the ancient lost secrets.

1421
01:17:00,680 --> 01:17:03,280
Speaker 3: But anyway, so there's a moment here where I didn't

1422
01:17:03,320 --> 01:17:06,920
Speaker 3: fully get the the causality, like why one thing leads

1423
01:17:06,960 --> 01:17:10,960
Speaker 3: to another, But quickly Melanthius like builds a laser and

1424
01:17:11,000 --> 01:17:14,799
Speaker 3: then he tests it. Then he considers the principle proven

1425
01:17:15,000 --> 01:17:17,240
Speaker 3: and he agrees he will go with Sindbad and Farrah

1426
01:17:17,320 --> 01:17:18,120
Speaker 3: to Hyperborea.

1427
01:17:18,600 --> 01:17:21,719
Speaker 2: Yeah, he builds this death ray laser thing, and you, yeah,

1428
01:17:21,720 --> 01:17:23,479
Speaker 2: you kind of assume this will be more important, like

1429
01:17:23,520 --> 01:17:26,280
Speaker 2: all right, we're laying it out. This is this canon

1430
01:17:26,360 --> 01:17:29,320
Speaker 2: is going to be important later on, but not really.

1431
01:17:30,000 --> 01:17:31,920
Speaker 3: I think it was just to make sure that he

1432
01:17:31,960 --> 01:17:37,520
Speaker 3: accepted the principle that transformation of a creature could happen, right. Yeah.

1433
01:17:37,560 --> 01:17:39,639
Speaker 3: So the next sequence we get is a fun one.

1434
01:17:39,720 --> 01:17:42,719
Speaker 3: This is Zenobia the Spy here's where we get both

1435
01:17:42,840 --> 01:17:47,720
Speaker 3: Zenobia and Malanthius kind of bumbling. So Zenobia, Raffi, and

1436
01:17:47,760 --> 01:17:51,000
Speaker 3: the Minoton remain in hot pursuit of Sindbad's ship, and

1437
01:17:51,120 --> 01:17:53,560
Speaker 3: Zenobia decides that she has to know their plan. She

1438
01:17:53,640 --> 01:17:57,240
Speaker 3: has to know what advice Malanthius has given them, So

1439
01:17:57,680 --> 01:18:01,599
Speaker 3: she drinks from her vial of blood Poe recites a spell,

1440
01:18:01,760 --> 01:18:05,599
Speaker 3: and then she transforms into a seagull, and in her

1441
01:18:05,680 --> 01:18:09,000
Speaker 3: gull form, she flies to Sindbad's ship, where she then

1442
01:18:09,120 --> 01:18:13,240
Speaker 3: retransforms into herself, but in tiny form, So it's attack

1443
01:18:13,280 --> 01:18:16,120
Speaker 3: of the puppet people's stuff. She's doll sized, running around

1444
01:18:16,120 --> 01:18:19,559
Speaker 3: on the floor and spying. Now while she's doing this,

1445
01:18:19,640 --> 01:18:24,080
Speaker 3: I think it's actually Cassim in baboon form who notices her.

1446
01:18:24,600 --> 01:18:28,200
Speaker 3: And then, with the Baboon's help, Malanthius captures puppet sized

1447
01:18:28,400 --> 01:18:30,920
Speaker 3: Zenobia and puts her in a jar. So it's kind

1448
01:18:30,920 --> 01:18:33,960
Speaker 3: of Doctor Pretorius bride of Frankenstein.

1449
01:18:34,080 --> 01:18:34,280
Speaker 4: Now.

1450
01:18:34,479 --> 01:18:37,320
Speaker 2: Yeah, so she's already screwed up royally in an attempt

1451
01:18:37,360 --> 01:18:42,280
Speaker 2: to spy on her enemies. She is miniaturized, deep powered,

1452
01:18:42,360 --> 01:18:44,880
Speaker 2: and captured by her enemies, and now she's in a

1453
01:18:44,960 --> 01:18:45,960
Speaker 2: jar on their table.

1454
01:18:46,400 --> 01:18:49,439
Speaker 3: Yeah, so Melanthius is left alone in the room with

1455
01:18:49,520 --> 01:18:53,320
Speaker 3: the homunculus Zenobia to interrogate her. He threatens to put

1456
01:18:53,360 --> 01:18:55,679
Speaker 3: a bee in the jar with her if she does

1457
01:18:55,760 --> 01:18:58,280
Speaker 3: not answer him. I was like, whoa, that is brutal.

1458
01:18:58,479 --> 01:19:01,200
Speaker 2: Yeah, so yeah, like this, there's a these two don't

1459
01:19:01,240 --> 01:19:01,800
Speaker 2: know each other.

1460
01:19:02,040 --> 01:19:03,800
Speaker 3: Yeah, I mean, you've never met.

1461
01:19:03,600 --> 01:19:06,280
Speaker 2: But it's this. This already seems like they are like

1462
01:19:06,520 --> 01:19:09,639
Speaker 2: long time enemies. Here if he's already like, all right,

1463
01:19:09,640 --> 01:19:12,360
Speaker 2: I'm just gonna put a wild to you giant be

1464
01:19:12,479 --> 01:19:14,000
Speaker 2: in there, and we'll just see what happens when it

1465
01:19:14,040 --> 01:19:14,479
Speaker 2: stings you.

1466
01:19:15,360 --> 01:19:18,880
Speaker 3: She knows of him by reputation. I wonder if he

1467
01:19:18,960 --> 01:19:21,680
Speaker 3: also knows of her by reputation. I don't think that's

1468
01:19:21,760 --> 01:19:22,960
Speaker 3: clear night.

1469
01:19:23,360 --> 01:19:26,320
Speaker 2: Or you know, he's the guy who lives mostly alone

1470
01:19:26,320 --> 01:19:29,439
Speaker 2: in the middle of an island far from humanity. Maybe

1471
01:19:29,439 --> 01:19:31,960
Speaker 2: he just distrusts everyone. He treats everyone like this, and

1472
01:19:32,000 --> 01:19:32,920
Speaker 2: that's why he's alone.

1473
01:19:33,400 --> 01:19:33,599
Speaker 4: Yeah.

1474
01:19:33,680 --> 01:19:36,040
Speaker 3: Yeah, but anyway, so he's trying to figure out what

1475
01:19:36,080 --> 01:19:37,720
Speaker 3: she wants. He goes, why did you come here to

1476
01:19:37,760 --> 01:19:40,160
Speaker 3: get a look at these? And then he holds up

1477
01:19:40,240 --> 01:19:43,960
Speaker 3: the scrolls and show where they're going. Yeah, long enough

1478
01:19:43,960 --> 01:19:46,120
Speaker 3: for her to get a good solid look at them,

1479
01:19:46,400 --> 01:19:49,200
Speaker 3: and then he's also like, do you know that we're

1480
01:19:49,240 --> 01:19:52,120
Speaker 3: going to the Shrine of the RMS by well now she.

1481
01:19:52,160 --> 01:19:55,360
Speaker 2: Does, yeah, where you'll need this key and he holds

1482
01:19:55,400 --> 01:19:58,160
Speaker 2: that up as well, and she hit The movie is

1483
01:19:58,200 --> 01:20:00,400
Speaker 2: wise to what's going on, because she's like she's wide

1484
01:20:00,400 --> 01:20:03,040
Speaker 2: eyed over this, and she's like, oh, you know, I'm

1485
01:20:03,040 --> 01:20:05,479
Speaker 2: gonna memorize this really quickly. Oh that key, okay, I

1486
01:20:05,520 --> 01:20:10,560
Speaker 2: need to steal that later. So massive bumbling from Melanthius

1487
01:20:10,560 --> 01:20:11,120
Speaker 2: here as well.

1488
01:20:11,200 --> 01:20:13,240
Speaker 3: He kind of catches himself like after he does it,

1489
01:20:13,240 --> 01:20:17,840
Speaker 3: he covers his mouth like ooops. And then she starts

1490
01:20:17,880 --> 01:20:20,880
Speaker 3: trying to hypnotize Melanthius and send him to sleep, but

1491
01:20:21,280 --> 01:20:22,920
Speaker 3: it works for a minute, but he kind of snaps

1492
01:20:22,960 --> 01:20:26,840
Speaker 3: out of it. But then Melanthius recovers the vial of

1493
01:20:26,960 --> 01:20:30,200
Speaker 3: magic blood potion that Zenobia dropped in the room. He

1494
01:20:30,280 --> 01:20:33,440
Speaker 3: thinks it may be possible to use it to transform

1495
01:20:33,520 --> 01:20:37,519
Speaker 3: Cassim back to himself, and he decides to test it

1496
01:20:37,600 --> 01:20:40,760
Speaker 3: on the bee that he was messing with earlier, and

1497
01:20:41,160 --> 01:20:44,240
Speaker 3: Zenobia is screaming the whole time. She's like, no, that's mine,

1498
01:20:44,320 --> 01:20:47,679
Speaker 3: I need it. But then the bee experiment goes very bad.

1499
01:20:47,760 --> 01:20:50,320
Speaker 3: The bee laps up the potion and then it starts

1500
01:20:50,320 --> 01:20:54,000
Speaker 3: growing and growing and growing. And now you've just got

1501
01:20:54,040 --> 01:20:57,080
Speaker 3: a monster killer bee in the room. Yes, and Zenobia

1502
01:20:57,160 --> 01:20:59,479
Speaker 3: is yelling at it. She's like, yes, kill the Greek.

1503
01:20:59,680 --> 01:21:04,080
Speaker 3: Kill antheus. So while he is busy being attacked by

1504
01:21:04,080 --> 01:21:08,639
Speaker 3: the bee, Zenobia escapes her jar, drinks more potion, shifts

1505
01:21:08,680 --> 01:21:11,559
Speaker 3: back into gull form, and then flies back to her ship.

1506
01:21:12,479 --> 01:21:16,080
Speaker 3: But then when she arrives back at her ship, she

1507
01:21:16,080 --> 01:21:18,679
Speaker 3: she has to transform back into human shape with more

1508
01:21:18,720 --> 01:21:23,120
Speaker 3: of the potion, and unfortunately there was not enough left.

1509
01:21:23,560 --> 01:21:28,160
Speaker 3: She is like ninety five percent transformed back into human shape,

1510
01:21:28,400 --> 01:21:30,360
Speaker 3: but she still has a seagull foot.

1511
01:21:30,840 --> 01:21:34,559
Speaker 2: Oh, shades of the fly here. Yeah, And my wife

1512
01:21:34,560 --> 01:21:37,120
Speaker 2: mentioned that when she she remembered this scene from she

1513
01:21:37,240 --> 01:21:40,280
Speaker 2: remembered two scenes from saying this as a kid, the

1514
01:21:40,320 --> 01:21:43,320
Speaker 2: baboon playing chess and then the witch being stuck with

1515
01:21:43,400 --> 01:21:44,360
Speaker 2: a gull's foot.

1516
01:21:44,720 --> 01:21:47,400
Speaker 3: This one. This scene also made a major impression on

1517
01:21:47,439 --> 01:21:50,479
Speaker 3: me as a kid. I found this. Now, this scene's

1518
01:21:50,520 --> 01:21:52,200
Speaker 3: kind of funny, but it was scary when I.

1519
01:21:52,160 --> 01:21:52,559
Speaker 4: Was a kid.

1520
01:21:52,840 --> 01:21:55,080
Speaker 3: I mean, the idea of being stuck with a gull's

1521
01:21:55,080 --> 01:21:56,360
Speaker 3: foot is actually scary.

1522
01:21:56,600 --> 01:21:59,160
Speaker 2: Yeah, it's it's horrifying, and it really makes you kind

1523
01:21:59,160 --> 01:22:01,040
Speaker 2: of feel for Zo be A. Here. This is where

1524
01:22:01,080 --> 01:22:03,479
Speaker 2: I begin to think, like, oh, this, this poor woman

1525
01:22:03,520 --> 01:22:07,479
Speaker 2: has taken too much on and and she's not going

1526
01:22:07,560 --> 01:22:09,320
Speaker 2: to be able to pull this off. She's already having

1527
01:22:09,360 --> 01:22:13,320
Speaker 2: some massive setbacks here. And in general, this whole sequence

1528
01:22:13,560 --> 01:22:17,400
Speaker 2: is fascinating because it was clearly they clearly set out

1529
01:22:17,439 --> 01:22:20,040
Speaker 2: to have both of these characters fumbling all over the place.

1530
01:22:20,400 --> 01:22:23,800
Speaker 2: Everybody thinks they're out to each each side thinks they're

1531
01:22:23,800 --> 01:22:27,360
Speaker 2: out smarting the other, but end up losing in the process,

1532
01:22:27,439 --> 01:22:30,480
Speaker 2: Like both sides have experienced massive setbacks.

1533
01:22:30,600 --> 01:22:36,759
Speaker 3: Yes, yes, So eventually they reach Hyperborea, Sindbad's ship reaches

1534
01:22:36,800 --> 01:22:39,320
Speaker 3: the ice. There are these huge ice bergs in the water,

1535
01:22:39,920 --> 01:22:42,920
Speaker 3: and Sindbad discovers that they have to take the long

1536
01:22:43,000 --> 01:22:45,240
Speaker 3: route over the top of the ice because there was

1537
01:22:45,320 --> 01:22:47,719
Speaker 3: going to be a hidden tunnel passage to the valley

1538
01:22:47,720 --> 01:22:49,800
Speaker 3: of the armas By, but it's too small for their

1539
01:22:49,840 --> 01:22:53,960
Speaker 3: ship to sail through. So eventually the ice brings Sinbad's

1540
01:22:53,960 --> 01:22:56,640
Speaker 3: ship to a stop and they load up sledges that

1541
01:22:56,680 --> 01:23:00,599
Speaker 3: they have fashioned according to Melanthius's designs, and they travel

1542
01:23:00,680 --> 01:23:04,120
Speaker 3: overland or over ice. Along the way, we get another

1543
01:23:04,160 --> 01:23:07,960
Speaker 3: stop motion creature battle where they battle a killer walrus.

1544
01:23:08,600 --> 01:23:11,880
Speaker 3: This is yet another actually kind of sympathy for the villain. Here,

1545
01:23:11,920 --> 01:23:14,320
Speaker 3: this monster walrus comes up out of the ice and

1546
01:23:14,360 --> 01:23:17,320
Speaker 3: it attacks their camp, so they have to they have

1547
01:23:17,400 --> 01:23:19,680
Speaker 3: to fight it. But I remember thinking when I was

1548
01:23:19,680 --> 01:23:22,080
Speaker 3: a kid and I saw this the way they're like,

1549
01:23:22,920 --> 01:23:25,200
Speaker 3: it just seems like a big animal here, and they're

1550
01:23:25,200 --> 01:23:27,240
Speaker 3: like poking it with these sticks and stuff, and I

1551
01:23:27,280 --> 01:23:29,320
Speaker 3: was like, oh, I bet that hurts the walrus. I

1552
01:23:29,360 --> 01:23:30,760
Speaker 3: remember having that thought.

1553
01:23:30,760 --> 01:23:33,320
Speaker 2: Yeah, it just wants to eat like mollusks and stuff.

1554
01:23:33,360 --> 01:23:35,479
Speaker 2: But here these humans are messing with it.

1555
01:23:36,400 --> 01:23:38,640
Speaker 3: But there is a good moment of peril here. I

1556
01:23:38,640 --> 01:23:41,200
Speaker 3: think it is Maroof who gets like tangled and the

1557
01:23:41,400 --> 01:23:44,559
Speaker 3: rope says they like they sort of drive it away

1558
01:23:44,600 --> 01:23:46,639
Speaker 3: by poking at it, and it starts trying to retreat

1559
01:23:46,680 --> 01:23:49,759
Speaker 3: and go back into the water. But Maroof is tangled

1560
01:23:49,760 --> 01:23:51,519
Speaker 3: in these ropes that are hanging off the back of

1561
01:23:51,560 --> 01:23:53,240
Speaker 3: the walrus, and it's like it's going to drag him

1562
01:23:53,320 --> 01:23:55,080
Speaker 3: under the water, and they've just managed to cut him

1563
01:23:55,120 --> 01:23:56,639
Speaker 3: loose in time before it dives.

1564
01:23:57,160 --> 01:23:59,519
Speaker 2: Yeah, I'm glad they were able to save Marouf so

1565
01:23:59,560 --> 01:24:02,559
Speaker 2: that he can unceremoniously die later in the picture.

1566
01:24:03,000 --> 01:24:05,120
Speaker 3: Yeah, in the final conflict.

1567
01:24:05,200 --> 01:24:07,160
Speaker 2: Yeah, true, at least it's the final conflict.

1568
01:24:07,400 --> 01:24:09,720
Speaker 3: This, by the way, we as we mentioned earlier, this

1569
01:24:09,760 --> 01:24:12,000
Speaker 3: is one of those scenes where I think the cinematography like,

1570
01:24:12,040 --> 01:24:14,200
Speaker 3: it's too dark. There needs to be more light here.

1571
01:24:14,240 --> 01:24:15,840
Speaker 3: I know it's supposed to take place at night, but

1572
01:24:15,880 --> 01:24:18,720
Speaker 3: it's just like blue, Blue Blue, you can barely see

1573
01:24:18,720 --> 01:24:21,920
Speaker 3: who anybody is. So next they go to the valley

1574
01:24:21,920 --> 01:24:25,880
Speaker 3: of the Aramas Pai and Sindbad and his companions. They

1575
01:24:25,880 --> 01:24:28,840
Speaker 3: make the journey on foot, while Zenobia, Raffi and the

1576
01:24:28,920 --> 01:24:32,120
Speaker 3: Minoton are able to use a hidden ice tunnel to

1577
01:24:32,200 --> 01:24:35,839
Speaker 3: access the valley. The Sinbad's crew crosses over a snowy

1578
01:24:35,840 --> 01:24:39,720
Speaker 3: mountain and they see the Aurora borealis. Malanthius explains what

1579
01:24:39,800 --> 01:24:43,280
Speaker 3: it is. He says that in Greek mythology it's known

1580
01:24:43,280 --> 01:24:46,040
Speaker 3: as something that maybe the crown of Apollo or something

1581
01:24:46,080 --> 01:24:49,880
Speaker 3: like that. And once in the warm valley, everybody has

1582
01:24:49,920 --> 01:24:52,519
Speaker 3: a bath in a nice river. Everybody starts, of course,

1583
01:24:52,600 --> 01:24:58,800
Speaker 3: you know, skinny dipping. Malanthius observes that Cassim is turning carnivorous,

1584
01:24:58,800 --> 01:25:00,920
Speaker 3: and he says it will soon be too late to

1585
01:25:01,080 --> 01:25:05,040
Speaker 3: change him back. Meanwhile, Diany and Farrah are bathing in

1586
01:25:05,080 --> 01:25:08,720
Speaker 3: a pool when they meet a new character, Trog, the

1587
01:25:08,800 --> 01:25:09,719
Speaker 3: lovable Trog.

1588
01:25:10,400 --> 01:25:14,439
Speaker 2: Trog is great because Trog is I guess, supposed to

1589
01:25:14,479 --> 01:25:16,960
Speaker 2: be some sort of it is a trogoldye, that's what

1590
01:25:17,439 --> 01:25:18,640
Speaker 2: the word is referring to here.

1591
01:25:18,680 --> 01:25:20,240
Speaker 3: The name is referring to weller.

1592
01:25:20,080 --> 01:25:24,720
Speaker 2: Yeah, cave dweller. But is again, don't don't draw. I

1593
01:25:24,800 --> 01:25:29,680
Speaker 2: don't assume that anything here matches up with with with

1594
01:25:29,800 --> 01:25:33,000
Speaker 2: actual real world organisms past or present. Because it is

1595
01:25:33,200 --> 01:25:38,160
Speaker 2: a horned humanoid. It is. He's kind of like he's

1596
01:25:38,160 --> 01:25:42,519
Speaker 2: reminiscent of the cyclops from from an earlier Harry Howsen picture.

1597
01:25:42,720 --> 01:25:45,240
Speaker 3: It's like a ten foot tall humanoid and a pelt

1598
01:25:45,280 --> 01:25:46,320
Speaker 3: with a horn on his head.

1599
01:25:46,600 --> 01:25:50,479
Speaker 2: Yeah, he's got this. Uh, he's kind of like he's

1600
01:25:50,520 --> 01:25:53,559
Speaker 2: got this nice head of hair and very thoughtful eyes.

1601
01:25:53,920 --> 01:25:55,800
Speaker 2: I guess at first you don't pick it up on

1602
01:25:55,880 --> 01:25:57,679
Speaker 2: this as much because it seems like he is a threat.

1603
01:25:57,720 --> 01:26:01,400
Speaker 2: He's going to probably try and and abduct these women

1604
01:26:01,479 --> 01:26:05,479
Speaker 2: or something. But instead you quickly learn like, no, Trog

1605
01:26:05,600 --> 01:26:11,080
Speaker 2: is afraid and has a heart and really is one

1606
01:26:11,120 --> 01:26:13,719
Speaker 2: of the most beloved characters in the film totally.

1607
01:26:13,840 --> 01:26:16,400
Speaker 3: So when they first meet him, of course, the two

1608
01:26:16,439 --> 01:26:19,000
Speaker 3: women run away and Trog sort of walks after them,

1609
01:26:19,640 --> 01:26:22,960
Speaker 3: and then Sinbad comes up, you know, with his sword

1610
01:26:23,040 --> 01:26:26,240
Speaker 3: drawn and faces off against him, but Melanthius convinces Sindbad

1611
01:26:26,280 --> 01:26:29,720
Speaker 3: to lower his weapon, explaining that this guy is one

1612
01:26:29,760 --> 01:26:34,800
Speaker 3: of Man's ancestors. They're called Trogladites, and so Diany once

1613
01:26:34,840 --> 01:26:37,960
Speaker 3: again is able to make friends. They immediately name him Trog.

1614
01:26:38,040 --> 01:26:42,000
Speaker 3: They're calling him Trog within a couple sentences, and we

1615
01:26:42,120 --> 01:26:48,160
Speaker 3: learn that Cassim and Trog can communicate. Melanthius like draws

1616
01:26:48,200 --> 01:26:50,960
Speaker 3: a picture of the shrine they're looking for in the sand,

1617
01:26:51,080 --> 01:26:54,840
Speaker 3: and then Cassim asks Trog where it is, and Trog

1618
01:26:54,960 --> 01:26:58,240
Speaker 3: knows and offers to lead them to it. So he's friend.

1619
01:26:58,680 --> 01:27:01,800
Speaker 2: Yeah, Trog doesn't speak with language, but he makes these

1620
01:27:02,120 --> 01:27:05,960
Speaker 2: adorable sounds. There's kind of like kind of sounds you

1621
01:27:06,000 --> 01:27:09,040
Speaker 2: know that they're they're they're reminiscent of like some of

1622
01:27:09,120 --> 01:27:12,519
Speaker 2: like the soft sounds that a pet might make, like

1623
01:27:12,600 --> 01:27:15,280
Speaker 2: not full on barking or meowling, but some of those

1624
01:27:15,720 --> 01:27:18,800
Speaker 2: those more subtle sounds that our animals make around us.

1625
01:27:19,320 --> 01:27:22,040
Speaker 3: They really went out of their way to make Trog sweet,

1626
01:27:22,080 --> 01:27:25,160
Speaker 3: and it's tragic what's going to happen to him as well? Yes,

1627
01:27:34,560 --> 01:27:37,040
Speaker 3: so we're leading up to the final showdown. So both

1628
01:27:37,080 --> 01:27:39,679
Speaker 3: groups are headed for the shrine of the Aramas Pie,

1629
01:27:40,040 --> 01:27:42,720
Speaker 3: which turns out to be in a giant pyramid that

1630
01:27:42,800 --> 01:27:46,480
Speaker 3: makes crackling electricity sounds because it's got the Aurora borealis

1631
01:27:46,640 --> 01:27:50,520
Speaker 3: right over the top of it. And Trog helps Sinbad's

1632
01:27:50,520 --> 01:27:54,439
Speaker 3: group get through the gate, but Zenobia's team goes faster

1633
01:27:54,600 --> 01:27:56,840
Speaker 3: because they have access to the tunnel. And I like

1634
01:27:56,880 --> 01:27:58,960
Speaker 3: the creepy scene as they're passing through the tunnel in

1635
01:27:59,000 --> 01:28:01,519
Speaker 3: their boat and they're looking at these graves in the

1636
01:28:01,560 --> 01:28:04,880
Speaker 3: walls of all these kind of mummified figures, and I

1637
01:28:04,920 --> 01:28:07,839
Speaker 3: think rafi asques are these the last of the armas

1638
01:28:07,880 --> 01:28:12,080
Speaker 3: bay And Zenobia is like, who knows, there's a nice

1639
01:28:12,080 --> 01:28:15,160
Speaker 3: little mystery there. But Zenobia's team makes it to the

1640
01:28:15,200 --> 01:28:21,599
Speaker 3: pyramid first and oh no, no, Minoton no. So because

1641
01:28:21,640 --> 01:28:26,000
Speaker 3: they don't have the key to get inside, Zenobia uses

1642
01:28:26,040 --> 01:28:29,439
Speaker 3: some magic explosives and then now that one of the

1643
01:28:29,560 --> 01:28:33,400
Speaker 3: giant pyramid blocks is loosened, the Minoton has to manually

1644
01:28:33,479 --> 01:28:36,519
Speaker 3: remove it, so he's like scooting this huge stone cube

1645
01:28:37,400 --> 01:28:39,320
Speaker 3: out of the side of the pyramid in order to

1646
01:28:39,360 --> 01:28:42,640
Speaker 3: get through. But the block falls on top of the

1647
01:28:42,680 --> 01:28:46,920
Speaker 3: Minoton and crushes it. And it's a horrible moment.

1648
01:28:47,200 --> 01:28:49,720
Speaker 2: It is I was I was crushed watching this in

1649
01:28:49,760 --> 01:28:52,960
Speaker 2: the theater, just the Menoton is just doing what he

1650
01:28:53,080 --> 01:28:55,080
Speaker 2: is told over and over again, road all the way

1651
01:28:55,120 --> 01:28:58,240
Speaker 2: here has pulled this block out and then it just

1652
01:28:58,280 --> 01:29:01,080
Speaker 2: falls on him and he's crushed. And then is Zenobia

1653
01:29:01,160 --> 01:29:03,559
Speaker 2: is just like he's served his purpose or something to

1654
01:29:03,600 --> 01:29:05,479
Speaker 2: that effect, and they just leave him. They just leave

1655
01:29:05,520 --> 01:29:08,400
Speaker 2: him there. And I kept hoping, well, he'll come back, like,

1656
01:29:09,080 --> 01:29:10,840
Speaker 2: you know, either he'll come back and turn the tide

1657
01:29:10,880 --> 01:29:13,640
Speaker 2: or at least he'll come back and continue his programming

1658
01:29:13,680 --> 01:29:17,000
Speaker 2: to protect protect Zenobia and Rafi. But he does not.

1659
01:29:17,160 --> 01:29:18,839
Speaker 2: He's just stuck under that block forever.

1660
01:29:19,080 --> 01:29:21,120
Speaker 3: I think what she says is his work is done

1661
01:29:21,439 --> 01:29:21,760
Speaker 3: or something.

1662
01:29:21,840 --> 01:29:24,760
Speaker 2: Yeah, yeah, man, and I have some again. I think

1663
01:29:24,840 --> 01:29:27,439
Speaker 2: Zenobia is absolutely wrong here and we're going to see

1664
01:29:27,439 --> 01:29:29,479
Speaker 2: why in a minute. Because she's like, we don't need

1665
01:29:30,240 --> 01:29:36,640
Speaker 2: the military support of our unbeatable automaton anymore. You and me,

1666
01:29:36,720 --> 01:29:39,680
Speaker 2: we've got this Rafi. It's not really going to work

1667
01:29:39,720 --> 01:29:40,240
Speaker 2: out that way.

1668
01:29:40,760 --> 01:29:43,160
Speaker 3: So Zenobia and Rafi make their way into the temple,

1669
01:29:44,200 --> 01:29:47,800
Speaker 3: shortly followed by our heroes. Upon arriving, Melanthius explains that

1670
01:29:47,880 --> 01:29:51,800
Speaker 3: because the block was removed by the minoton, the integrity

1671
01:29:51,840 --> 01:29:54,360
Speaker 3: of the shrine has been compromised, and now its power

1672
01:29:54,439 --> 01:29:57,080
Speaker 3: is out of balance and it's about to collapse.

1673
01:29:57,120 --> 01:29:57,200
Speaker 4: Like.

1674
01:29:57,200 --> 01:29:58,639
Speaker 3: They have to hurry if they want to be able

1675
01:29:58,640 --> 01:29:59,080
Speaker 3: to use it.

1676
01:30:00,200 --> 01:30:03,000
Speaker 2: A moment in viewing the film where I was thinking

1677
01:30:03,000 --> 01:30:06,440
Speaker 2: about the fact that here they have traveled vast distances

1678
01:30:06,880 --> 01:30:11,800
Speaker 2: to a place that houses an ancient power of perhaps

1679
01:30:11,840 --> 01:30:16,720
Speaker 2: like world breaking intensity, in order to solve a very

1680
01:30:16,760 --> 01:30:18,320
Speaker 2: regional conflict.

1681
01:30:18,640 --> 01:30:21,720
Speaker 3: In order to get this baboon eligible for royal for

1682
01:30:21,760 --> 01:30:26,200
Speaker 3: the royal throat. Yes, so inside the shrine, the decor

1683
01:30:26,320 --> 01:30:29,439
Speaker 3: is kind of ice Egyptian in theme, like that there

1684
01:30:29,439 --> 01:30:35,160
Speaker 3: are hieroglyphics and stalactites like ice slacta icicles. There is

1685
01:30:35,200 --> 01:30:39,559
Speaker 3: a giant machine that is sucking the aurora from the

1686
01:30:39,600 --> 01:30:43,120
Speaker 3: sky into a beam that flows into this big pool

1687
01:30:43,160 --> 01:30:46,280
Speaker 3: of water. And then there is a cage on a

1688
01:30:46,400 --> 01:30:49,599
Speaker 3: chain that can be cranked into the flow of the beam.

1689
01:30:49,760 --> 01:30:52,160
Speaker 3: So the idea is they've got to put Cassim into

1690
01:30:52,240 --> 01:30:54,880
Speaker 3: the cage and put him in the beam. But first

1691
01:30:55,040 --> 01:30:57,880
Speaker 3: Zenobia comes out. She's like, the gods have abandoned you.

1692
01:30:58,400 --> 01:31:02,840
Speaker 3: Now Rafi kill Milanus. They are helpless without him. So Raffi,

1693
01:31:03,040 --> 01:31:04,920
Speaker 3: who this is all about. Raffi, by the way, the

1694
01:31:04,920 --> 01:31:07,479
Speaker 3: whole point is like get him on the throne. He

1695
01:31:07,760 --> 01:31:10,840
Speaker 3: runs at Melanthius with a knife and tries to kill him,

1696
01:31:11,000 --> 01:31:15,000
Speaker 3: but the baboon Cassim attacks Raffi. They tumble down the

1697
01:31:15,040 --> 01:31:18,280
Speaker 3: stairs and then Raffi lies dead at the bottom, his

1698
01:31:18,360 --> 01:31:18,960
Speaker 3: neck broken.

1699
01:31:19,479 --> 01:31:21,840
Speaker 2: Yeah, and this is this is a case where yes, okay,

1700
01:31:21,960 --> 01:31:24,880
Speaker 2: as Zenobia points out, he Raffi only has to kill

1701
01:31:24,920 --> 01:31:29,040
Speaker 2: Melanthius because he's the brains of this, this whole scheme

1702
01:31:29,080 --> 01:31:31,479
Speaker 2: they're trying to pull off. But it still kind of

1703
01:31:31,479 --> 01:31:35,280
Speaker 2: breaks down to, Okay, Raffi defeat like five people at once,

1704
01:31:35,760 --> 01:31:39,080
Speaker 2: like this is where the minoton would have been essential,

1705
01:31:39,520 --> 01:31:42,599
Speaker 2: and you discarded him. And this is a ridiculous ask

1706
01:31:42,680 --> 01:31:45,080
Speaker 2: of Raffi, even though he's clearly, you know, a capable

1707
01:31:45,160 --> 01:31:47,040
Speaker 2: fighter and schemer in his own right, and you know,

1708
01:31:47,080 --> 01:31:52,479
Speaker 2: certainly a quite a capable alchemist or whatever as well,

1709
01:31:52,520 --> 01:31:56,040
Speaker 2: but like he's just doomed to failure here because the

1710
01:31:56,080 --> 01:31:57,439
Speaker 2: task is too much.

1711
01:31:58,560 --> 01:32:01,760
Speaker 3: Something has gone wrong and you like see the the

1712
01:32:01,760 --> 01:32:05,799
Speaker 3: wise witch here has become foolish. Yeah, she's giving impossible orders.

1713
01:32:06,000 --> 01:32:09,679
Speaker 3: So now and now he's dead, and so she sort

1714
01:32:09,680 --> 01:32:11,800
Speaker 3: of goes down to his side and she's distraught. And

1715
01:32:12,360 --> 01:32:15,800
Speaker 3: meanwhile Cassim goes into the pulley cage. Sindbad cranks him

1716
01:32:15,800 --> 01:32:21,000
Speaker 3: into the beam and magic happens. Melanthius praised to both

1717
01:32:21,000 --> 01:32:25,519
Speaker 3: Apollo and to the Great Mystery, and Cassim comes back

1718
01:32:25,560 --> 01:32:30,840
Speaker 3: down smoking and he's Captain Karnstein again. Farah is overjoyed.

1719
01:32:31,080 --> 01:32:34,760
Speaker 3: Fully clothed too, Yeah, he's fully clothed. Good point. And

1720
01:32:34,840 --> 01:32:38,640
Speaker 3: I think Dione is Diany is like hubba hubba. She

1721
01:32:39,040 --> 01:32:40,720
Speaker 3: likes Count Carnstein here.

1722
01:32:41,200 --> 01:32:42,920
Speaker 2: She's like, I was just going to marry the baboon,

1723
01:32:43,000 --> 01:32:44,000
Speaker 2: but now look at him.

1724
01:32:44,240 --> 01:32:49,879
Speaker 3: So he's transformed back. But now Zenobia wants revenge. Nearby

1725
01:32:50,240 --> 01:32:52,280
Speaker 3: the whole time they've been there, there has been this

1726
01:32:52,520 --> 01:32:57,760
Speaker 3: massive frozen figure in cased in ice. It is a

1727
01:32:57,800 --> 01:33:02,280
Speaker 3: saber toothed cat, a smile It on Zenobia turns herself

1728
01:33:02,320 --> 01:33:06,320
Speaker 3: into green smoke and then possesses the smilod on, causing

1729
01:33:06,360 --> 01:33:09,200
Speaker 3: it to hatch out of the ice and attack. And

1730
01:33:09,240 --> 01:33:11,880
Speaker 3: this is our final fight scene. So this is a

1731
01:33:11,920 --> 01:33:16,519
Speaker 3: stop motion smileo On that first starts attacking Sindbad and

1732
01:33:16,560 --> 01:33:20,280
Speaker 3: the crew. Meanwhile the temple is collapsing all around them

1733
01:33:20,439 --> 01:33:22,720
Speaker 3: and it really looks like there's no chance they're going

1734
01:33:22,760 --> 01:33:26,080
Speaker 3: to win this fight. But then to the rescue comes

1735
01:33:26,120 --> 01:33:30,640
Speaker 3: Trog wielding the Minoton's spear. Nice, and so this is

1736
01:33:30,680 --> 01:33:34,439
Speaker 3: an excellent fight. It feels really visceral, like you can

1737
01:33:34,479 --> 01:33:37,599
Speaker 3: see the trog is wrestling and the cat is attacking

1738
01:33:37,640 --> 01:33:40,840
Speaker 3: and it's like viciously like scratching at his back and

1739
01:33:40,880 --> 01:33:43,280
Speaker 3: cutting up his muscles while he's trying to wrestle it

1740
01:33:43,320 --> 01:33:46,240
Speaker 3: to the ground and choke it. And I don't know,

1741
01:33:46,600 --> 01:33:48,559
Speaker 3: I think this is like an all time great stop

1742
01:33:48,560 --> 01:33:49,120
Speaker 3: motion fight.

1743
01:33:49,240 --> 01:33:52,200
Speaker 2: Yeah, this is an all time great monster battle. And

1744
01:33:53,080 --> 01:33:55,480
Speaker 2: it's just a work of art, Like this is a masterpiece.

1745
01:33:55,520 --> 01:33:57,760
Speaker 2: This is a Harry House and masterpiece. Yeah, no matter

1746
01:33:57,800 --> 01:33:59,680
Speaker 2: what you think about the rest of the film, the

1747
01:33:59,720 --> 01:34:02,360
Speaker 2: rest the film is worth it for this sequence alone.

1748
01:34:02,560 --> 01:34:05,360
Speaker 3: But it ends very sadly because We're all on Trog's

1749
01:34:05,360 --> 01:34:08,120
Speaker 3: side at this point. Everybody loves Trog. It's impossible not

1750
01:34:08,160 --> 01:34:08,679
Speaker 3: to love Trog.

1751
01:34:08,880 --> 01:34:11,160
Speaker 2: Yeah, even if you're on team Menoton. Like Trog and

1752
01:34:11,160 --> 01:34:15,720
Speaker 2: Meneton neverack in anything. Trog has literally picked up the

1753
01:34:15,760 --> 01:34:18,320
Speaker 2: weapon of the Meneton and is continuing his legacy.

1754
01:34:18,520 --> 01:34:22,840
Speaker 3: Yes, but Trog unfortunately is killed by the Smilodon. It

1755
01:34:23,479 --> 01:34:26,160
Speaker 3: goes for the Jugular and he lies dead. But he's

1756
01:34:26,160 --> 01:34:28,320
Speaker 3: bought them a lot of time, a lot of I

1757
01:34:28,360 --> 01:34:31,439
Speaker 3: think several of the people escape, but then Sindbad and

1758
01:34:31,720 --> 01:34:34,000
Speaker 3: a couple of the crew are still left there in

1759
01:34:34,080 --> 01:34:38,120
Speaker 3: the room, and so then the Smilodon attacks the remaining humans,

1760
01:34:38,160 --> 01:34:42,519
Speaker 3: including Sinbad, I think, is it Maroof is killed and

1761
01:34:42,600 --> 01:34:43,720
Speaker 3: Hassan survives.

1762
01:34:44,000 --> 01:34:47,960
Speaker 2: Yes, Yes, sadly we lose Maroof, but Hassan lives on.

1763
01:34:48,280 --> 01:34:51,080
Speaker 3: But Sinbad is able to defeat the Smilodon in the

1764
01:34:51,240 --> 01:34:54,080
Speaker 3: end via a spear maneuver. He kind of gets under

1765
01:34:54,120 --> 01:34:56,360
Speaker 3: it on the stairs and then when it lunges at him,

1766
01:34:56,360 --> 01:34:59,120
Speaker 3: he holds the spear up and kind of like vaults

1767
01:34:59,160 --> 01:35:01,439
Speaker 3: it over him with the dab and then does a

1768
01:35:01,479 --> 01:35:05,280
Speaker 3: dagger to the heart and the evil witch possessed Smilodon

1769
01:35:05,520 --> 01:35:06,160
Speaker 3: is defeated.

1770
01:35:06,640 --> 01:35:08,640
Speaker 2: Yeah, it's a Symbat movie, so he should get the

1771
01:35:08,760 --> 01:35:09,880
Speaker 2: he should get the final kill.

1772
01:35:10,320 --> 01:35:13,720
Speaker 3: And then they high tail it back to Hirak. It's

1773
01:35:13,800 --> 01:35:17,120
Speaker 3: just very quick wrap up after this, actually almost comically

1774
01:35:17,200 --> 01:35:20,000
Speaker 3: quick after the fight is over, how fast they wrap

1775
01:35:20,080 --> 01:35:21,960
Speaker 3: up over like, oh, we're back in Chirac. Now here's

1776
01:35:22,000 --> 01:35:25,839
Speaker 3: the city and here's the ceremony where where we're seeing

1777
01:35:26,560 --> 01:35:30,000
Speaker 3: Cassim being crowned, and it's just a happy ending all around,

1778
01:35:30,040 --> 01:35:33,760
Speaker 3: sindbad and for a kiss. The way they're dressed up

1779
01:35:33,800 --> 01:35:36,240
Speaker 3: in this final scene looks very funny. I've got a

1780
01:35:36,240 --> 01:35:37,400
Speaker 3: screenshot for you to look out.

1781
01:35:37,720 --> 01:35:37,920
Speaker 2: Yeah.

1782
01:35:38,640 --> 01:35:41,680
Speaker 3: Uh, and they're just wearing like Teal clothes.

1783
01:35:42,000 --> 01:35:43,120
Speaker 2: It's like bath Matt Teal.

1784
01:35:43,439 --> 01:35:48,400
Speaker 3: Yes. And then I think it's implied maybe Diany is

1785
01:35:48,439 --> 01:35:51,280
Speaker 3: going to be Cassim's queen, but that they don't make

1786
01:35:51,320 --> 01:35:53,519
Speaker 3: anything very clear there but just the end.

1787
01:35:54,400 --> 01:35:56,280
Speaker 2: Oh, but we do get a stinger at the very

1788
01:35:56,360 --> 01:36:00,519
Speaker 2: end your brief, very brief credits and then the Eyes

1789
01:36:00,560 --> 01:36:03,680
Speaker 2: of the Tiger, the Eyes of Zenobia. Will there be

1790
01:36:03,720 --> 01:36:06,640
Speaker 2: a sequel, No, there won't be, but it gives you

1791
01:36:06,640 --> 01:36:11,200
Speaker 2: that idea. Maybe you know the creature she inhabited survived.

1792
01:36:11,200 --> 01:36:14,720
Speaker 2: But what else is possible? Oh? Is it possible that

1793
01:36:14,800 --> 01:36:18,400
Speaker 2: the green spirit essence of Zenobia, if it can't return

1794
01:36:18,439 --> 01:36:21,200
Speaker 2: to her own form, maybe it goes to the Minoton.

1795
01:36:21,520 --> 01:36:24,880
Speaker 2: Maybe we have Minoton Zenobia emerging from the rock, or

1796
01:36:24,960 --> 01:36:27,280
Speaker 2: just stuck under the rock for alternity. I guess that

1797
01:36:27,320 --> 01:36:28,320
Speaker 2: would be fitting in its.

1798
01:36:28,240 --> 01:36:31,519
Speaker 3: Own I would love to see some other filmmaker pick

1799
01:36:31,600 --> 01:36:34,320
Speaker 3: up the mantle of the Minoton and have us get

1800
01:36:34,360 --> 01:36:37,559
Speaker 3: another minoton, give us another crack at the minoton in

1801
01:36:37,600 --> 01:36:38,439
Speaker 3: a story like this.

1802
01:36:39,080 --> 01:36:41,240
Speaker 2: Absolutely yeah, I love the Menoton here.

1803
01:36:41,600 --> 01:36:44,519
Speaker 3: Okay, one last reflection on At the beginning, I was

1804
01:36:44,560 --> 01:36:48,640
Speaker 3: talking about what defines adventure as opposed to other genres

1805
01:36:48,800 --> 01:36:52,919
Speaker 3: like action. This movie is very much adventure. And adventure

1806
01:36:53,080 --> 01:36:55,760
Speaker 3: I think has to do with a sense of discovery

1807
01:36:55,800 --> 01:37:01,240
Speaker 3: and amazement. And yet the discovery and amazement, it's permissible

1808
01:37:01,280 --> 01:37:04,600
Speaker 3: for that to be only really present in the audience

1809
01:37:04,760 --> 01:37:08,639
Speaker 3: rather than the main character. Does Sindbad in the movie

1810
01:37:08,800 --> 01:37:13,680
Speaker 3: ever act amazed. He doesn't ever to me seem all

1811
01:37:13,680 --> 01:37:14,920
Speaker 3: that impressed by anything.

1812
01:37:15,400 --> 01:37:19,040
Speaker 2: Well, he's very he's very confident, he's very capable, and

1813
01:37:19,200 --> 01:37:22,840
Speaker 2: he's goal oriented. He has a mission. So I guess

1814
01:37:22,840 --> 01:37:26,840
Speaker 2: on one level. Yeah, he doesn't stop to he doesn't

1815
01:37:26,840 --> 01:37:30,000
Speaker 2: need to stop to acknowledge the wonders that he's traveling through.

1816
01:37:30,040 --> 01:37:32,280
Speaker 2: And he's seen a lot like this is Sindbad the Sailor.

1817
01:37:32,920 --> 01:37:36,599
Speaker 2: He's not his first rodeo, even if it is his

1818
01:37:36,680 --> 01:37:42,240
Speaker 2: first trip to the strange, forgotten temples of Hyperborea. But yeah,

1819
01:37:42,240 --> 01:37:44,679
Speaker 2: I guess it is a good point that the wonder

1820
01:37:44,920 --> 01:37:48,559
Speaker 2: is mostly for us, the audience. We don't have scenes

1821
01:37:48,600 --> 01:37:51,679
Speaker 2: of him going whoa and looking up to the temple walls.

1822
01:37:52,080 --> 01:37:57,080
Speaker 3: I guess Melanthius and Diony both show amazement. Yeah, Yeah,

1823
01:37:57,160 --> 01:38:00,559
Speaker 3: they've got that scientific temperament, you know, appreciation the wonders

1824
01:38:00,560 --> 01:38:01,120
Speaker 3: of the world.

1825
01:38:01,439 --> 01:38:05,000
Speaker 2: Yeah, probably a good thing that the technologies of Hyperborea

1826
01:38:05,000 --> 01:38:08,439
Speaker 2: didn't fall into either of their hands. Though, Yeah, maybe

1827
01:38:08,439 --> 01:38:12,000
Speaker 2: there's nothing left for Melanthius to bring back and inevitably bumble.

1828
01:38:12,439 --> 01:38:14,920
Speaker 3: Oh wait. You know who does show amazement a little

1829
01:38:14,920 --> 01:38:17,559
Speaker 3: bit is Raffi. When he's like when they're in the

1830
01:38:17,560 --> 01:38:20,800
Speaker 3: tunnels and they're looking at the mummies and stuff, he

1831
01:38:20,840 --> 01:38:21,919
Speaker 3: seems a little amazed.

1832
01:38:22,680 --> 01:38:26,400
Speaker 2: Are we prepared to admit that maybe Raffi would have

1833
01:38:26,400 --> 01:38:28,920
Speaker 2: made a good Khlief. We don't really know he's never

1834
01:38:28,920 --> 01:38:32,080
Speaker 2: given a chance to rule, even if his method of

1835
01:38:32,120 --> 01:38:36,000
Speaker 2: achieving the throne is less than honest. I don't know,

1836
01:38:36,080 --> 01:38:38,400
Speaker 2: maybe he would have ushered in a new golden age.

1837
01:38:38,439 --> 01:38:41,680
Speaker 3: We get no comparison whatsoever between the like sort of

1838
01:38:41,720 --> 01:38:46,960
Speaker 3: policy outlook of Raffi versus Cassim.

1839
01:38:47,080 --> 01:38:49,080
Speaker 2: So yeah, maybe Cassino idea is going to be a

1840
01:38:49,160 --> 01:38:52,880
Speaker 2: terrible ruler. Like right after the picture ends, he lifts

1841
01:38:52,880 --> 01:38:54,760
Speaker 2: the chalice and says to Satan.

1842
01:38:54,640 --> 01:38:58,599
Speaker 3: Iron fist, yeah to Satan.

1843
01:39:00,960 --> 01:39:04,120
Speaker 2: All right. Well, that is Sinbad and the Eye of

1844
01:39:04,160 --> 01:39:07,240
Speaker 2: the Tiger. It's a lot of fun. If you haven't

1845
01:39:07,240 --> 01:39:10,560
Speaker 2: seen it, highly recommend it. Great monster mash, great effects,

1846
01:39:11,000 --> 01:39:13,759
Speaker 2: with some plenty of cheese spread in there as well.

1847
01:39:14,400 --> 01:39:16,160
Speaker 2: So we'd love to hear from everyone out there. Do

1848
01:39:16,240 --> 01:39:19,840
Speaker 2: you have thoughts or reflections on Sinbad in the Eye

1849
01:39:19,840 --> 01:39:22,280
Speaker 2: of the Tiger right in because we would love to

1850
01:39:22,320 --> 01:39:24,360
Speaker 2: hear from you. Do you have a favorite Ray Harry

1851
01:39:24,360 --> 01:39:28,240
Speaker 2: house and film or favorite Ray Harry Housen creature or effect.

1852
01:39:28,640 --> 01:39:31,200
Speaker 2: We'd also love to hear your thoughts on that. Just

1853
01:39:31,200 --> 01:39:33,280
Speaker 2: a reminder that Stuff to Blow your Mind is primarily

1854
01:39:33,320 --> 01:39:35,719
Speaker 2: a science and culture podcast with core episodes on Tuesdays

1855
01:39:35,720 --> 01:39:38,000
Speaker 2: and Thursdays, but on Fridays we set aside most serious

1856
01:39:38,000 --> 01:39:40,200
Speaker 2: concerns to just talk about a weird film here on

1857
01:39:40,280 --> 01:39:44,440
Speaker 2: Weird House Cinema. You can follow Weird House Cinema specifically

1858
01:39:44,960 --> 01:39:48,759
Speaker 2: on letterboxed dot com. Our user name there is weird House,

1859
01:39:49,000 --> 01:39:51,519
Speaker 2: and wherever you get your podcasts, you can get Weird

1860
01:39:51,520 --> 01:39:55,880
Speaker 2: House Cinema in its regularly occurring spot in the Stuff

1861
01:39:55,920 --> 01:39:59,320
Speaker 2: to Blow your Mind podcast feed. The Weird House Cinema

1862
01:39:59,400 --> 01:40:03,680
Speaker 2: can also be own on any of these podcast services

1863
01:40:04,240 --> 01:40:08,080
Speaker 2: under its own listing, So either way, we appreciate you

1864
01:40:08,520 --> 01:40:11,320
Speaker 2: subscribing and downloading and listening to the show.

1865
01:40:11,920 --> 01:40:15,879
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1866
01:40:16,320 --> 01:40:17,960
Speaker 3: If you would like to get in touch with us

1867
01:40:17,960 --> 01:40:20,479
Speaker 3: with feedback on this episode or any other, to suggest

1868
01:40:20,479 --> 01:40:22,559
Speaker 3: a topic for the future, or just to say hello,

1869
01:40:22,680 --> 01:40:25,320
Speaker 3: you can email us at contact at stuff to Blow

1870
01:40:25,360 --> 01:40:32,840
Speaker 3: your Mind dot com.

1871
01:40:32,960 --> 01:40:35,920
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1872
01:40:36,000 --> 01:40:38,800
Speaker 1: more podcasts from My Heart Radio, visit the iHeartRadio app,

1873
01:40:38,960 --> 01:40:42,240
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.