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

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Speaker 2: And this is Joe McCormick, and we are bringing you

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Speaker 2: an older episode of Weird House Cinema today. This is

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Speaker 2: The Brain Eaters. Oh, this one's got a young Leonard

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Speaker 2: Nimoy in it, doesn't it.

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Speaker 1: That's right. That's why we picked it for rerun duties

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Speaker 1: today because it is of course Star Trek Week here

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Speaker 1: on Stuff to Blow Your Mind.

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Speaker 2: This episode originally published February eleventh, twenty twenty two.

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Speaker 3: Enjoy Welcome to Stuff to Blow Your Mind, a production

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Speaker 3: of iHeartRadio.

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

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Speaker 2: And this is Joe McCormick. And today we are doing

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Speaker 2: a movie that I'm so excited for. I've had it

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Speaker 2: on the list for a while, mainly because it has

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Speaker 2: one of my all time favorite nineteen fifties drive in

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Speaker 2: movie posters, and I'm kind of a connoisseur of nineteen

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Speaker 2: fifties drive in horror movie posters. In fact, I'm sort

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Speaker 2: of surrounded by them right now. I've got the It

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Speaker 2: Conquered the World poster, the Attack of the Crab Monster's poster.

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Speaker 2: But this movie I'd say the poster is the best

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Speaker 2: of them all. It is a nineteen fifty eight film

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Speaker 2: called The Brain Eaters.

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Speaker 1: Yes, and if you haven't seen the poster for this,

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Speaker 1: look it up, you know, go to any go to

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Speaker 1: the IMDb page for it, look it up on Wikipedia,

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Speaker 1: just do an image search. You'll see this fabulous poster.

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Speaker 1: You've probably seen it before, and it is just gorgeous.

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Speaker 2: It's this gigantic face like a lady's head, her eyes

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Speaker 2: wide open in a kind of desperate anguish, but instead

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Speaker 2: of regular eyes, they're just pure yellow, these yellow voids.

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Speaker 2: And then she's got fangs like a vampire, and like

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Speaker 2: very red lips, like vampires are often depicted in color

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Speaker 2: films of the time. But then also so her skull

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Speaker 2: is cracked open to reveal the brain underneath, and the

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Speaker 2: brain is like exploding. There are shafts of light or

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Speaker 2: power or something shooting out of the brain. And then

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Speaker 2: it has the title in yellow, The Brain Eaters. It

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Speaker 2: shows people scattering below the face as if they're fleeing

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Speaker 2: in terror from this yellow eyed vampire lady, and it

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Speaker 2: says crawling, slimy things terror bent on destroying the world.

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Speaker 2: I don't know what terror bent means the brain eaters.

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Speaker 1: Maybe they couldn't put hell on the posters, so they're like,

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Speaker 1: I still like the bent part. Can we just let's

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Speaker 1: go with terror Bent?

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Speaker 2: Yeah? Exactly. So, Rob, can you describe what movie you

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Speaker 2: would think you were about to see based on the

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Speaker 2: title of this movie and the poster alone?

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Speaker 1: Okay, so yeah, having looked at this poster over the

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Speaker 1: years and never having having seen the film into this week,

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Speaker 1: I would say that I look at this poster and

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Speaker 1: I think it's about a lady who gets like an

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Speaker 1: earth woman who gets you know, altered by some sort

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Speaker 1: of cosmic ray. It gives her some sort of psychic

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Speaker 1: power so that there's like you know, mind blast firing

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Speaker 1: out of her brain. Maybe her brain is exposed, maybe not,

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Speaker 1: but then she has this vampire thirst for human brains

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Speaker 1: or like or maybe like you know, just like neural

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Speaker 1: juices or something spinal fluid.

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Speaker 2: Yeah.

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Speaker 1: Yeah, so she's just, you know, she can't stop this hunger.

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Speaker 1: She's just and as we see in the bottom part

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Speaker 1: of the poster here, law enforcement and the general public

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Speaker 1: they're having to swoop in to try and stop her.

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Speaker 2: Unfortunately, every single bit of that is entirely misleading. The

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Speaker 2: lady on the poster does not appear in the film,

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Speaker 2: and the movie The Brain Eaters has no brain eating

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Speaker 2: in it.

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Speaker 1: Right, no brain So if you have you look at

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Speaker 1: this poster and you're like, I don't know about this.

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Speaker 1: I don't want to watch brains get eaten. Don't worry.

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Speaker 1: There's there are no brains in this picture. They're no really,

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Speaker 1: I don't think they're exposed brains either.

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Speaker 4: No.

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Speaker 2: I mean the closest thing is this movie does feature

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Speaker 2: alien parasites that like jack into your spine, and so

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Speaker 2: I don't know. I guess the spine is connected to

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Speaker 2: the brains. That's as close as you can get.

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Speaker 1: Yeah, it's kind of like if they'd called the movie

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Speaker 1: The Social Network the Brain Eaters, it would be just

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Speaker 1: as accurate. Like, yes, okay, technically it's about eating brains,

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Speaker 1: but not in a not literally.

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Speaker 2: Yeah, not in the physical way that we were imagining.

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Speaker 2: So do you want to know why it was called

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Speaker 2: The Brain Eaters despite the fact that there's no brain eating.

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Speaker 1: Oh, let's have it. I'm guessing it has something to

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Speaker 1: do with the studio.

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Speaker 2: Oh yeah, well, I don't know. This is actually rather

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Speaker 2: independent production. But it has something to do with an

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Speaker 2: uncredited producer. So I found the answer to this question

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Speaker 2: in an interview with the named producer of this film

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Speaker 2: and leading actor, Edwin Nelson, who's come up on this

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Speaker 2: show before. Definitely we talked about him because he was

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Speaker 2: one of the people who operated the crab suits in

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Speaker 2: Attack of the Crab Monsters.

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Speaker 1: That's right. He worked with Roger Corman quite a bit.

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Speaker 2: Yes, And so it turns out that this movie also,

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Speaker 2: despite the fact that Corman is not credited on it,

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Speaker 2: it was created under the uncredited auspices of the schlock

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Speaker 2: Father himself, Roger Corman. And so I was reading about

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Speaker 2: a little of the backstory of this movie in an

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Speaker 2: interview with the producer and lead actor ed Nelson in

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Speaker 2: a book by the horror historian Tom Weaver. And let

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Speaker 2: me look up the title of that book real quick,

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Speaker 2: just in case you want to look at up yourself.

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Speaker 2: It's called Double Feature Creature Attack, a monster merger of

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Speaker 2: two more volumes of classic interviews, published in two thousand

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Speaker 2: and three. And in this interview ed Nelson explains in

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Speaker 2: his own words, he says The Brain Eaters was originally

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Speaker 2: not called the Brain Eaters Roger, meaning Roger Corman loved

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Speaker 2: our original title so much that he took the title

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Speaker 2: off of it. And Bruno that's Bruno Visoda, the director,

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Speaker 2: and I had to make up the brain Eaters. The

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Speaker 2: original title of the brain Eaters was Attack of the

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Speaker 2: Blood Leeches. That was the title Roger loved, so he

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Speaker 2: took the title to make another picture, which ended up

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Speaker 2: being Attack of the Giant Leeches. He got somebody to

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Speaker 2: hack out a script for him, and yeah, that's putting

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Speaker 2: you in the right zone of this era of filmmaking.

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Speaker 2: Very title first, very poster first. We can get a

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Speaker 2: script out this weekend and we'll just make it Attack.

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Speaker 1: Of the Giant Leeches. By the way, that one was

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Speaker 1: riffed on Mystery Science Theater three thousand back in the day.

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Speaker 1: Kind of a kind of terrible garbage bag giant leech effects,

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Speaker 1: but a very grimy film, and there was always something

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Speaker 1: about it. It kind of creeped me out, like it

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Speaker 1: felt there's something legitimately creepy about that film.

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Speaker 2: I can't remember. Is that the one that has dogs

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Speaker 2: with like carpet on them, or is that the Killer Shrews.

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Speaker 1: That's the Killer Shrews. That's the one Killer Shrews is

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Speaker 1: where then they build like a weird suit of armor

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Speaker 1: to try and survive the Trews. This one has all

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Speaker 1: these like really grimy, mucky scenes where the giant leeches

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Speaker 1: have like kidnapped people and taken them back to their

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Speaker 1: their their layer. That's like underwater, underground, and I don't know,

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Speaker 1: there's something legitimately creepy about those sequences, even though it's

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Speaker 1: you know that the costumes are not the avery realistic

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Speaker 1: as if, as if realism can even really be applied

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Speaker 1: to something like a giant leech.

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Speaker 2: Well, anyway, while the movie itself on its own terms

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Speaker 2: is a lot of fun and I'm really excited to

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Speaker 2: talk about it, I do also just want to have

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Speaker 2: like a moment of silence for the for the movie

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Speaker 2: that is implied but never realized by the poster entitle.

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Speaker 1: There's still time though they could. They could basically come

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Speaker 1: back take this post. The people are always looking for

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Speaker 1: things to adapt into films like come back get this one.

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Speaker 1: Just take the title, take that cover image. You can

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Speaker 1: leave the rest of the film, but just take those

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Speaker 1: two things and run with it. It wouldn't be the

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Speaker 1: first time someone took a Roger Corman related picture and

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Speaker 1: just took either the title or the poster. I believe

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Speaker 1: this was the case with The Fast and the Furious. Correct.

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Speaker 2: Oh, maybe that actually sounds right, but I don't know

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Speaker 2: much about that. I do think that there is there

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Speaker 2: was an earlier film called that It was long before

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Speaker 2: Vin Diesel Walk to this Earth.

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Speaker 1: Yes, The Fast and the Furious nineteen fifty four, let's see,

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Speaker 1: based on a story by Roger Corman, produced by Roger Corman.

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Speaker 2: Okay, Well, then using that principle, I would say it'd

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Speaker 2: be great to apply to the brain eaters, because once

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Speaker 2: again this poster is an awesome, gobsmacking thing of beauty.

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Speaker 1: Yes, so I was looking into this because I'm like,

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Speaker 1: all right, well, what's the story on this. Well, the

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Speaker 1: person responsible for this poster is Albert Callus, That's ka

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Speaker 1: l Lis. Not only did he do this poster, but

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Speaker 1: he's responsible for a lot of classic movie poster goodness

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Speaker 1: from this period. If you want to see some of these,

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Speaker 1: there's there's an excellent blog that I've been visiting for

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Speaker 1: a while titled monster Brains and at monster brains dot

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Speaker 1: blogspot dot com. If you look up go there and

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Speaker 1: look for Callous k A L. L. I. S. You'll

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Speaker 1: find at least one gallery from twenty eleven of these

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Speaker 1: various posters that he put together nice high qualities, so

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Speaker 1: you can admire them. But they include such films as

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Speaker 1: I Was a teenage Frankenstein, Attack of the Crab Monsters,

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Speaker 1: Invasion of the Saucermen, Not of This Earth, which we

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Speaker 1: covered on here before, a Weird House conquer let's say

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Speaker 1: it conquered the world.

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Speaker 2: How to make a monster?

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Speaker 1: Yeah, that's a good one. The Astounding she Monster, that's

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Speaker 1: a really eye catching one, and so many more. Now

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Speaker 1: this is inincidentally, this is also the same Albert Callous

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Speaker 1: of the Albert and Trudy Callous Foundation, which is responsible

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Speaker 1: for various documentaries. So he was only really in the

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Speaker 1: poster game for you know, a certain number of years

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Speaker 1: and then moved on to other things.

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Speaker 2: Well, he's one of the I love that style. I

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Speaker 2: wish that style of movie poster would come back, you know,

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Speaker 2: the great hand painted drive in movie style poster that

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Speaker 2: often has nothing to do.

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Speaker 1: With the movie. Yeah. Absolutely, these are gorgeous. Though I

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Speaker 1: will say that some of his other posters do feature

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Speaker 1: creatures or version variations of the creatures that are actually

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Speaker 1: in the film, so they're not all as oh yes,

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Speaker 1: as deceptive as this and certainly any deception. I'm not

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Speaker 1: going to place the blame on the poster artist, but anyway,

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Speaker 1: they're beautiful posters.

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Speaker 2: Now the other two Corman posters of his I have

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Speaker 2: or they're on target. Like Attack of the Crab Monsters,

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Speaker 2: it's got that crab and it conquered the world. It

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Speaker 2: has the killer artichoke, it's right there, right But anyway,

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Speaker 2: to bring everything back to the brain eaters. While this

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Speaker 2: movie may not in fact have brain eating it, it

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Speaker 2: has nearly everything you could want of a drive in Deluxe.

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Speaker 2: Apparently this one was a double feature that was often

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Speaker 2: paired with Earth versus the Spider, the Bert Eye Gordon movie,

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Speaker 2: Mister Big and So. Of course, like Attack of the

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Speaker 2: Crab Monsters and other great movies of this caliber, it

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Speaker 2: is mercifully short. This is a sixty one minute long movie.

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Speaker 2: That's another thing I want people to bring back. Give

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Speaker 2: me hour long movies. There is no reason to try

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Speaker 2: to pad everything out to ninety minutes if it doesn't

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Speaker 2: need to be that long. A sixty minute movie is fine.

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Speaker 1: Absolutely. I think that's why I'm so drawn to some

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Speaker 1: of these outer Limits episodes because they get in, they

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Speaker 1: get what needs to be done in less than an hour,

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Speaker 1: and this, you know, we're just talking a little over

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Speaker 1: an hour. You watch this film twice and you ended

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Speaker 1: up spending less time watching it than some of the

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Speaker 1: pictures that are out there, especially some of the modern

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Speaker 1: films one might view totally.

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Speaker 2: And they packed so much in So this movie has

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Speaker 2: an anomalous cone. It has an elfin looking murder boy

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Speaker 2: who runs around transporting mysterious globes. It has Leonard knee

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Speaker 2: Moy sitting in a garage full of fog dressed as

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Speaker 2: a wizard. It has no sense heroics from a senator

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Speaker 2: named Walter k Powers, whose name is uttered at least

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Speaker 2: thirty times in this movie. It has the fact that

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Speaker 2: every single character is armed with a loaded revolver at

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Speaker 2: all times and is constantly shooting at things. And the

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Speaker 2: monsters in it are Tinglers, just like in The Tingler,

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Speaker 2: and I love watching these tinglers creep around. They got

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Speaker 2: a little pipe cleaner an tinny. I want to know

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Speaker 2: what is the secret of the Cone. I can't deny it.

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Speaker 2: I love the brain eaters.

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Speaker 1: That'd be fair to the Tingler. These are kind of

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Speaker 1: like your bargain basement tinglers.

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Speaker 2: These these are not on the level of the Tingler

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Speaker 2: as far as creature effects go. These, in fact were

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Speaker 2: made with little wind up toys. That's another thing that

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Speaker 2: Ed Nelson talks about in that interview. In fact, I

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Speaker 2: read from it directly. Nelson says, quote, we made the

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Speaker 2: creatures out of a little toy wind up beetle that

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Speaker 2: was around in toy stores at the time and quite plentiful.

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Speaker 2: They had antennae, and if they bumped into a piece

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Speaker 2: of furniture, they would turn and go the other way.

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Speaker 2: We put crepe hair on them. I'm not sure what

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Speaker 2: crpe hair is, crape like the food or crep. However,

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Speaker 2: you say that we put crepe hair on them and

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Speaker 2: pipe cleaners for their antennae, and there you go, that's

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Speaker 2: that's your movie. Monster.

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Speaker 1: Yeah. Well, when I looked this movie up in Michael

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Speaker 1: Weldon's books, one thing he said was, yeah, the effects

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Speaker 1: are not good, but it's a fun sci fi film nonetheless.

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Speaker 1: And yeah, I think I have to agree. Like sometimes

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Speaker 1: we say, oh, well, you know, this film did a

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Speaker 1: really good job with the effects for the time or

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Speaker 1: for the budget. I mean, I'm not saying I was

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Speaker 1: insulted by the effects in this film. It's not that level.

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Speaker 1: But I'm gonna I'm not gonna spend a lot of

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Speaker 1: time defending them or pro or finding nice things to

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Speaker 1: say about them. I guess they get the job done well.

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Speaker 2: I mean, this movie was i'd say on the border

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Speaker 2: of micro budget. I'm not sure exactly what the cutoff

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Speaker 2: is there, but I think this was in nineteen fifty

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Speaker 2: eight and it was made for just a few tens

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Speaker 2: of thousands of dollars. Yeah, so yeah, they were not

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Speaker 2: pumping money into the effects budget. I think they were

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Speaker 2: pumping money into like catering for the crew.

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Speaker 1: Yeah, they managed to not insult the audience with them,

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Speaker 1: So that's a success given the size of this picture.

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Speaker 2: You're ready for the elevator pitch, Let's have it. When

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Speaker 2: a mysterious cone appears in the woods outside Riverdale, Illinois,

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Speaker 2: it's up to a ragtag team of scientists, local bureaucrats,

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Speaker 2: and senators to shoot everything suspicious until they solve the

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Speaker 2: secret of the cone.

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Speaker 1: Yeah. These are some action packed senators. Like they just

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Speaker 1: just show up on the scene and it just just

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Speaker 1: really It's almost like they ran on UFOs and strange

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Speaker 1: cones as one. Yeah, they're you know, one of their

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Speaker 1: major campaign points.

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Speaker 2: I can well, so you say that it's action packed senators,

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Speaker 2: but the senator in this movie literally says I want action,

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Speaker 2: like seven times. And I'm imagining that says campaign slogan.

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Speaker 2: Can you see the posters. They've got Walter k Powers

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Speaker 2: wearing that weird double layered coat and it just says

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Speaker 2: I want action.

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Speaker 1: Yeah.

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Speaker 4: Oh.

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Speaker 2: And also, to complete the elevator pitch, there are these

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Speaker 2: furry little alien leeches that are going to turn our

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Speaker 2: nation's precious telegraph operators into mindless space thralls.

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Speaker 1: That are again apparently made from toys in the same

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Speaker 1: way that the Martians in Santa Claus Versus the Martians

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Speaker 1: are using whammo air guns.

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Speaker 2: Let's hear some trailer audio.

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Speaker 4: Ejected from Unexplored Secret Strutus. This giant, harder than steel

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Speaker 4: piston disgorges strange creatures inundating our world, twisting the emotions

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Speaker 4: of women, distorting our men.

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Speaker 2: These things take over a man's mind.

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Speaker 4: It becomes a robot, a machine, taking orders. Join the

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Speaker 4: hunt for the hiding place of terror, find the breeding

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Speaker 4: place of these gloves of destruction. It's an adventure that,

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Speaker 4: of course your blood vessels with suspense see the brain eaters.

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Speaker 1: All right. Sounds sounds good, sounds like drive in material.

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Speaker 1: All right.

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Speaker 2: So we've already said that Roger Corman was an unofficial

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Speaker 2: producer on this. It was at least basically, you know,

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Speaker 2: a Corman Mafia type production, but his name does not

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Speaker 2: appear on the film. The lead the lead producer credit

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Speaker 2: goes to Ed Nelson, that we can talk about in

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Speaker 2: a minute. But let's see, the actual director was somebody

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Speaker 2: named Bruno Visota.

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Speaker 1: Yes, born nineteen twenty two, so like one hundred years

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Speaker 1: ago and died in nineteen seventy six. Mostly an actor

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Speaker 1: active in the fifties, sixties, and early seventies. He apparently

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Speaker 1: showed up as a bartender on Bonanza a lot, the

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Speaker 1: old TV western. He directed a handful of films, including

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Speaker 1: such titles as Female Jungle from nineteen fifty five, in

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Speaker 1: Invasion of the Star Creatures from nineteen sixty two, and

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Speaker 1: he also acted in Roger Corman's or Roger Corman produced

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Speaker 1: Attack of the Giant Leeches from nineteen fifty nine.

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Speaker 2: Oh, that was the movie that stole the original title

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Speaker 2: of this movie.

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Speaker 1: Yeah, so he got to be there for it, just

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Speaker 1: as you know an actor. All right. Now, the screenplay

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Speaker 1: credit goes to Gordon Orkhart, who lived nineteen twenty two

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Speaker 1: through nineteen fifty seven. He acted in Female Jungle, but

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Speaker 1: this is his only screenplay credit.

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Speaker 2: Oh wow, that's short. So did he die the year

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Speaker 2: before this movie was released?

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Speaker 1: Looks like it? Yeah, oh no, yeah, he was only

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Speaker 1: thirty three. All right. Coming back to our producer, one

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Speaker 1: of our producers, and of course our leading man. Let's

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Speaker 1: talk a little bit about Ed Nelson here playing doctor

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Speaker 1: Paul Kettering Edwin.

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Speaker 2: You know, he's handsome. He says his lines with vigor

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Speaker 2: and confidence. Maybe not a whole lot of nuance, but

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Speaker 2: I like him.

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Speaker 1: Yeah, yeah, I mean he's one of these Sometimes the

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Speaker 1: lead in a picture like this, you're like, who is

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Speaker 1: this black hole of charisma that you like cattle prodded

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Speaker 1: in front of the cameras. But no, Ed Nelson's got

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Speaker 1: He's got this kind of Hammy Shatner esque charisma that

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Speaker 1: works in a picture of this caliber.

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Speaker 2: Yes, he is Hammy in a way that I like.

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Speaker 2: This movie is not big on character nuance. There are

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Speaker 2: actually a couple of scenes that are more subtle than

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Speaker 2: the rest of the movie, But in general they're not

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Speaker 2: Paul Kettering, they're not the character and Ed Nelson's just

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Speaker 2: there to be the dashing scientist hero, to be the

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Speaker 2: calm voice of reason and the face of bravery.

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Speaker 1: Yeah, you say that character development nonsense for the seventy

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Speaker 1: minute pictures. We don't have time for this. We're trying

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Speaker 1: to get in and out in an hour.

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Speaker 2: But now are the other main performance we've seen of

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Speaker 2: Ed Nelson's that we've talked about before. You actually don't

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Speaker 2: get to see his face at all. It's when he's

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Speaker 2: operating the crab suit and attack of the crab monsters.

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Speaker 2: And I saw you had a note where you thought

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Speaker 2: there was a question about whether it was him operating

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Speaker 2: the crab suit. I think maybe you're remembering our question

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Speaker 2: of whether, in addition to Ed Nelson, Jack Nicholson. Yeah

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Speaker 2: sometimes operated those crabs.

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Speaker 1: Okay, yeah, yeah, the Nicholson part is in question. There's

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Speaker 1: still still time for Nicholson to come forward.

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Speaker 2: If you're interviewing Jack Nicholson, ask him about this. Get

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Speaker 2: the final word.

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Speaker 1: So Nelson was a new Orleans born actor who ultimately

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Speaker 1: did just about everything in film. He seemed to really

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Speaker 1: get in there on these productions. I mean, case in

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Speaker 1: point was inside a giant crab costume and I think

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Speaker 1: he had didn't he have a human role in that

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Speaker 1: as well? I saw him listed as Lieutenant Quinnlan.

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Speaker 2: Oh, that might be right. A number of crew members

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Speaker 2: and stuff for Attack of the Crab Monsters also had

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Speaker 2: short on screen roles, like I think Charles B. Griffith,

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Speaker 2: who wrote the script for Attack of the Crab Monster

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Speaker 2: was the navy boy who gets his head chopped off

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Speaker 2: by the crab at the beginning.

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Speaker 1: Oh yes, yes, well he did so. Ed Here did

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Speaker 1: a lot more acting. Eventually had a long TV career,

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Speaker 1: a lot of Westerns, but also which I guess is

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Speaker 1: unavoidable given the time period. See that was the number

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Speaker 1: of these actors. But he also pops up on classic

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Speaker 1: series that are fondly remembered today, like The Twilight Zone,

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Speaker 1: the Original Outer Limits, Alfred Hitchcock hour Gun Smoke. He

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Speaker 1: played the elusive Robert Dendy in nineteen seventy six's Writing

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Speaker 1: with Death, which MST three K fans may finally remember,

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Speaker 1: and he played Governor Nielsen in Police Academy three from

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Speaker 1: nineteen eighty six. De Brayley Scott from Death Moon was

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Speaker 1: also in that one.

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Speaker 2: Oh, but unfortunately Ed Nelson was not in Death Moon.

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Speaker 2: We will never get to see him as the work beast.

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Speaker 1: Oh, you can't replace the work beast. Ed would have

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Speaker 1: had to have played like his boss or something, the

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Speaker 1: advertising agency or whatever wherever he was supposed to work.

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Speaker 2: Okay, So how did ed Nelson end up being the

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Speaker 2: producer on The Brain Eaters and not just an actor

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Speaker 2: in it? Well this is addressed in the in the

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Speaker 2: interview from that Tom Weaver book, So I'm gonna read

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Speaker 2: ed Nelson's own words. The question is what was it

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Speaker 2: about working with Roger Corman that made so many of

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Speaker 2: his coworkers feel that they should be out making movies

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Speaker 2: on their own, Because this is a you know, the

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Speaker 2: people who worked with Corman at the time would end

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Speaker 2: up going out and doing their own, low budget independent

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Speaker 2: movies in the fifties, and Ed Nelson says, I don't know.

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Speaker 2: I suppose they thought that if Roger could do it,

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Speaker 2: anybody could. Obviously that's not true. I never felt that way.

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Speaker 2: I never wanted to do it. I mean, I produced

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Speaker 2: The Brain Eaters only because I needed the money. I

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Speaker 2: knew I could do it. I could always produce a picture,

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Speaker 2: but I just don't like it. It's not my bag.

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Speaker 1: That's it's good to hear that, you know.

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Speaker 2: But so yeah, apparently Corman came to Ed Nelson and

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Speaker 2: was like, hey, you know, Bruno Soda is going to

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Speaker 2: direct this movie about killer leeches and I need a producer.

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Speaker 2: Do you want to do it? And Nelson was like okay.

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Speaker 2: And so a lot of the producer work on this

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Speaker 2: seemed to be like going It was in Pomona, California,

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Speaker 2: and so they would like go around to the local

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Speaker 2: hospital and say, hey, if we make a small donation

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Speaker 2: to the nurses charity, can we shoot inside your hospital?

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Speaker 2: Or they would go to the police station and say, hey,

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Speaker 2: if we make a small donation to the police fund,

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Speaker 2: can we like use your guns and stuff. So it

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Speaker 2: looks like that's about how it worked.

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Speaker 1: Well, they got enough guns with this picture.

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Speaker 2: Yes, they did. Their guns runneth over.

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Speaker 1: All. Right, So let's talk about some other humans in

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Speaker 1: this picture. We have an actor by the name of

434
00:22:57,480 --> 00:23:04,240
Speaker 1: Cornelius keith A appearing here as Jack Hill. Playing Senator

435
00:23:04,320 --> 00:23:09,679
Speaker 1: Walter K. Powers The Powerhouse. Yes, he was born nineteen

436
00:23:09,840 --> 00:23:12,960
Speaker 1: hundred died in nineteen seventy two. This is a guy

437
00:23:12,960 --> 00:23:16,960
Speaker 1: that was acting during the mid nineteen twenties, and this

438
00:23:17,119 --> 00:23:18,920
Speaker 1: turned out to be his final film role. I think

439
00:23:18,960 --> 00:23:23,600
Speaker 1: basically he had been active, you know, many many years earlier,

440
00:23:23,600 --> 00:23:26,600
Speaker 1: and had kind of recently come back as Jack Hill.

441
00:23:26,640 --> 00:23:28,400
Speaker 1: I don't know. I don't know why I don't because

442
00:23:28,400 --> 00:23:31,200
Speaker 1: I think Cornelius Keith is a is a great name.

443
00:23:31,280 --> 00:23:31,919
Speaker 1: It sticks with you.

444
00:23:32,280 --> 00:23:35,680
Speaker 2: Well. He plays Senator Walter K. Powers with tremendous gusto.

445
00:23:36,160 --> 00:23:40,200
Speaker 1: Yeah, he has this kind of frantic, rudy Giuliani skull

446
00:23:40,240 --> 00:23:43,359
Speaker 1: about to jump out of his face energy. Yes, but

447
00:23:43,520 --> 00:23:48,120
Speaker 1: also with this just intriguing mustache.

448
00:23:48,359 --> 00:23:51,920
Speaker 2: Yeah. So I spent about half the movie just trying

449
00:23:51,960 --> 00:23:54,240
Speaker 2: to figure out if Senator Walter K Powers had a

450
00:23:54,320 --> 00:23:58,520
Speaker 2: mustache or not. He has a mustache that I don't know.

451
00:23:58,560 --> 00:24:01,800
Speaker 2: If it's because the movies in black and white, it's there,

452
00:24:01,880 --> 00:24:04,280
Speaker 2: but it's like invisible half the time.

453
00:24:04,760 --> 00:24:07,560
Speaker 1: Yeah, and or you know, maybe he just felt compelled

454
00:24:07,560 --> 00:24:09,479
Speaker 1: to grow one and just wasn't very good at it.

455
00:24:09,520 --> 00:24:11,640
Speaker 1: I mean, I can I can understand that. I can

456
00:24:11,680 --> 00:24:14,960
Speaker 1: I can sympathize with that, but it is it is.

457
00:24:15,000 --> 00:24:17,480
Speaker 1: It is a faint ghost of a mustache.

458
00:24:17,560 --> 00:24:19,480
Speaker 2: Well, I think it's one of those that doesn't he

459
00:24:19,760 --> 00:24:22,760
Speaker 2: decided not to let it cover the entire upper lip.

460
00:24:22,800 --> 00:24:26,119
Speaker 2: It's like one of those little kind of sculpted, thin ones.

461
00:24:26,520 --> 00:24:29,840
Speaker 2: But it like follows the what's the name of the

462
00:24:29,880 --> 00:24:32,560
Speaker 2: little indentation on your upper lip? What's that called the

463
00:24:32,600 --> 00:24:35,760
Speaker 2: lip dip? It follows the little edges of the lip dip,

464
00:24:35,840 --> 00:24:37,920
Speaker 2: and then it goes along the top of the upper

465
00:24:37,960 --> 00:24:40,040
Speaker 2: lip just a little bit. But it's it's tiny.

466
00:24:41,040 --> 00:24:42,480
Speaker 1: I'll tell you what he could be. It could be

467
00:24:42,560 --> 00:24:45,520
Speaker 1: that this is a style of mustache that he always wore,

468
00:24:46,040 --> 00:24:48,199
Speaker 1: and as he grew older, it was just harder for

469
00:24:48,280 --> 00:24:51,520
Speaker 1: it to be that that that you know, well defined,

470
00:24:51,760 --> 00:24:54,520
Speaker 1: because I think I've seen interviews with John John Waters

471
00:24:54,920 --> 00:24:56,960
Speaker 1: where he says much the same thing. It's like, oh,

472
00:24:57,040 --> 00:24:59,240
Speaker 1: you know, the pencil thin mustache is my thing. But

473
00:24:59,359 --> 00:25:01,399
Speaker 1: the older, I guess, the more work it takes to

474
00:25:01,760 --> 00:25:02,880
Speaker 1: make sure that it's visible.

475
00:25:03,119 --> 00:25:04,119
Speaker 2: I can understand that.

476
00:25:04,800 --> 00:25:09,280
Speaker 1: All right. We also have Joanna Lee in this, an

477
00:25:09,320 --> 00:25:11,720
Speaker 1: actor who lived nineteen thirty one through two thousand and three.

478
00:25:11,840 --> 00:25:15,720
Speaker 1: Playing Alice Summers. I don't remember which character this is.

479
00:25:15,800 --> 00:25:18,440
Speaker 2: Oh, Alice Summers. She will so I think she works

480
00:25:18,440 --> 00:25:20,359
Speaker 2: in the Mayor's office at the beginning of the movie.

481
00:25:20,680 --> 00:25:25,840
Speaker 2: But then she becomes Paul Kettering's research assistant. Yeah, and

482
00:25:25,880 --> 00:25:28,320
Speaker 2: they like figure out the leeches together, and then they

483
00:25:28,359 --> 00:25:31,119
Speaker 2: fall in love, and then she is and then she

484
00:25:31,240 --> 00:25:33,840
Speaker 2: is zombified by the leeches, and then at the end

485
00:25:33,920 --> 00:25:36,520
Speaker 2: she's the one saying like, come come with me, we

486
00:25:36,600 --> 00:25:41,280
Speaker 2: can be happy forever living under alien tyranny. And he's like, no, Well.

487
00:25:41,119 --> 00:25:43,000
Speaker 1: She's as close to the lady on the poster as

488
00:25:43,000 --> 00:25:43,480
Speaker 1: we get then.

489
00:25:43,840 --> 00:25:45,840
Speaker 2: I mean, but she didn't look like her.

490
00:25:46,000 --> 00:25:49,520
Speaker 1: True true But a lot of people might remember her

491
00:25:49,600 --> 00:25:53,040
Speaker 1: from a lesser but more famous picture she was in.

492
00:25:53,600 --> 00:25:57,680
Speaker 1: She played the alien Tanna in Plan nine from Outer

493
00:25:57,800 --> 00:26:01,240
Speaker 1: Space ed Woods nineteen fifty seven and Masterpiece.

494
00:26:01,520 --> 00:26:05,000
Speaker 2: Oh yeah, yeah, were you hesitating on the word masterpiece?

495
00:26:05,040 --> 00:26:07,800
Speaker 2: And I don't know why you said that's a lesser film.

496
00:26:08,200 --> 00:26:10,960
Speaker 1: Well, it depends how you're judging, It depends what your

497
00:26:10,960 --> 00:26:14,919
Speaker 1: criteria is, but certainly a film that sticks with you.

498
00:26:15,000 --> 00:26:17,960
Speaker 1: So she's in that film. She's one of the two aliens.

499
00:26:18,000 --> 00:26:21,000
Speaker 1: I mainly remember her male counterpart, because he's the one,

500
00:26:21,359 --> 00:26:25,360
Speaker 1: isn't he That's like your stupid live, stupid stupid.

501
00:26:25,520 --> 00:26:28,760
Speaker 2: Yeah, they're the two main alien. Yeah, he's like your

502
00:26:28,840 --> 00:26:32,600
Speaker 2: stupid earth minds, stupid, stupid bid.

503
00:26:34,400 --> 00:26:37,880
Speaker 1: We also have Jody Fair in this, playing Elaine Cameron

504
00:26:37,960 --> 00:26:41,919
Speaker 1: born nineteen thirty four. Active during the late fifties and

505
00:26:41,960 --> 00:26:44,320
Speaker 1: early sixties, she was mostly in a bunch of sort

506
00:26:44,359 --> 00:26:47,000
Speaker 1: of youth panic movies of that time period. It seems

507
00:26:47,080 --> 00:26:50,919
Speaker 1: like titled like High School Confidential, Hot Rob Gang, Ghost

508
00:26:50,960 --> 00:26:55,240
Speaker 1: of Dragstrip, Hollow Girls, Town Sex, Kittens, Go to College,

509
00:26:55,359 --> 00:26:57,480
Speaker 1: and then ultimately some TV Westerns.

510
00:26:58,320 --> 00:27:02,000
Speaker 2: Yep, everything comes back to Westerns. Everybody we look at

511
00:27:02,040 --> 00:27:04,280
Speaker 2: in these fifties drive in movies, it seems like did

512
00:27:04,320 --> 00:27:05,560
Speaker 2: mostly Westerns.

513
00:27:05,800 --> 00:27:08,520
Speaker 1: Yeah, and you know, the same can be said for

514
00:27:08,680 --> 00:27:11,640
Speaker 1: the next name we want to talk about, Leonard Nimoy.

515
00:27:13,119 --> 00:27:15,679
Speaker 2: Wait, did you mean the same cannot be said? Or can?

516
00:27:15,880 --> 00:27:19,760
Speaker 1: Candy said? Yes, Like, you know, sixty six is when

517
00:27:19,800 --> 00:27:23,720
Speaker 1: Star Trek came out and Nimoy had been acting for

518
00:27:23,880 --> 00:27:25,800
Speaker 1: you know, years and years prior to that, and a

519
00:27:25,800 --> 00:27:27,080
Speaker 1: lot of it was Westerns.

520
00:27:27,400 --> 00:27:30,560
Speaker 2: Wow, I somehow I've never seen any of those, But yes,

521
00:27:30,680 --> 00:27:33,399
Speaker 2: Leonard Nimoy is in this. It's a small role. He

522
00:27:33,440 --> 00:27:35,359
Speaker 2: doesn't show up until the end of the movie, and

523
00:27:35,400 --> 00:27:38,400
Speaker 2: so you can even going into it knowing that he's

524
00:27:38,440 --> 00:27:40,119
Speaker 2: going to be there. At some point, you kind of

525
00:27:40,160 --> 00:27:43,399
Speaker 2: forget about it until he appears at the end in

526
00:27:43,480 --> 00:27:46,399
Speaker 2: a bank of fog, dressed as like gandal for his

527
00:27:46,560 --> 00:27:50,120
Speaker 2: God or something, talking about how we will force men

528
00:27:50,280 --> 00:27:51,680
Speaker 2: kind to live in Utopia.

529
00:27:52,080 --> 00:27:55,760
Speaker 1: Yeah. So as A Nimoy was born in nineteen thirty

530
00:27:55,760 --> 00:28:00,560
Speaker 1: one died in twenty fifteen, is mostly famous and four

531
00:28:00,640 --> 00:28:04,360
Speaker 1: playing Spock on the original Star Trek and various Star

532
00:28:04,400 --> 00:28:09,639
Speaker 1: Trek films and Star Trek related things later on. You know,

533
00:28:09,760 --> 00:28:12,919
Speaker 1: legendary role, iconic role, will always be remembered for that.

534
00:28:13,080 --> 00:28:15,879
Speaker 1: But this at this point, I think this was his

535
00:28:16,000 --> 00:28:20,240
Speaker 1: twentieth film and TV credit, So this is about like

536
00:28:20,280 --> 00:28:23,880
Speaker 1: eight years into him actually appearing on screens of one

537
00:28:23,960 --> 00:28:26,439
Speaker 1: sort or the other. He'd eventually go on to do

538
00:28:26,560 --> 00:28:30,320
Speaker 1: Twilight Zone and Outer Limits in sixty six once more,

539
00:28:30,359 --> 00:28:34,119
Speaker 1: once again Star Trek starts up. But you know, he

540
00:28:34,160 --> 00:28:36,560
Speaker 1: wanted to do other non Star Trek things as well.

541
00:28:36,600 --> 00:28:38,560
Speaker 1: He was in the nineteen seventy eight Invasion of the

542
00:28:38,560 --> 00:28:39,520
Speaker 1: Body Snatchers.

543
00:28:39,880 --> 00:28:42,560
Speaker 2: I love that movie and he's great in it.

544
00:28:42,560 --> 00:28:44,080
Speaker 1: It's still on my list to see. I haven't watched

545
00:28:44,120 --> 00:28:44,680
Speaker 1: that one yet.

546
00:28:44,880 --> 00:28:46,080
Speaker 2: Yeah, I think he'll love it. Man.

547
00:28:46,880 --> 00:28:51,600
Speaker 1: He later had roles in Let's See Night Gallery, the

548
00:28:51,680 --> 00:28:54,080
Speaker 1: nineties Outer Limits series, which I don't think I've seen

549
00:28:54,160 --> 00:28:59,400
Speaker 1: his episode yet. He was in the ninety seven TV

550
00:28:59,520 --> 00:29:02,520
Speaker 1: miniseries He's David in. This is like a biblical movie

551
00:29:02,520 --> 00:29:06,000
Speaker 1: in which he plays Samuel. This is not the one

552
00:29:06,040 --> 00:29:08,520
Speaker 1: where George Eastman shows up his Goliath, but he does

553
00:29:08,640 --> 00:29:13,680
Speaker 1: have Frank o'neiro as Nathan, so it has at least,

554
00:29:13,960 --> 00:29:15,840
Speaker 1: you know, one euro actor in there.

555
00:29:16,320 --> 00:29:20,880
Speaker 2: Wow. So another thing ed Nelson reveals in that interview

556
00:29:20,920 --> 00:29:23,320
Speaker 2: from the Tom Weaver book is that he was supposed

557
00:29:23,360 --> 00:29:25,959
Speaker 2: to pay Leonard Nimoy forty five dollars to be in

558
00:29:25,960 --> 00:29:29,360
Speaker 2: this movie, but he never gave him his money. Also,

559
00:29:29,440 --> 00:29:32,240
Speaker 2: his name is misspelled in the credits in E M

560
00:29:32,360 --> 00:29:33,680
Speaker 2: O Y for some reason.

561
00:29:34,160 --> 00:29:36,160
Speaker 1: Wow. So what forty five dollars?

562
00:29:36,240 --> 00:29:38,240
Speaker 2: You say, Yes, never gave it to him.

563
00:29:38,480 --> 00:29:40,400
Speaker 1: I wondered they should have. He should have done you know,

564
00:29:40,480 --> 00:29:42,560
Speaker 1: later on Nimoy did in search of He should have

565
00:29:42,600 --> 00:29:45,000
Speaker 1: done an episode in search of the forty five dollars

566
00:29:45,600 --> 00:29:46,840
Speaker 1: that that add owes me.

567
00:29:47,400 --> 00:29:49,520
Speaker 2: Where is my brain eaters money?

568
00:29:51,560 --> 00:29:54,280
Speaker 1: All right, we have one more name to mention here

569
00:29:54,320 --> 00:29:57,840
Speaker 1: because it's kind of a fun, weird, uncredited cameo. I mean,

570
00:29:57,880 --> 00:30:00,120
Speaker 1: it wasn't a cameo at the time. It was just

571
00:30:00,360 --> 00:30:05,360
Speaker 1: this individual's first appearance in anything. But we have Hampton

572
00:30:05,440 --> 00:30:06,720
Speaker 1: Fancher showing up.

573
00:30:07,160 --> 00:30:10,720
Speaker 2: Is he playing the kind of elfin looking guy who

574
00:30:10,800 --> 00:30:13,880
Speaker 2: keeps like carrying around globes and then attacking people.

575
00:30:14,360 --> 00:30:17,960
Speaker 1: I don't think he is the main globe holder. He

576
00:30:18,080 --> 00:30:24,719
Speaker 1: is the thinner, handsomer of the troubled, brainwashed youths that

577
00:30:24,760 --> 00:30:27,520
Speaker 1: we see. So he's the really young one with kind

578
00:30:27,560 --> 00:30:29,760
Speaker 1: of a kind of a lean and hungry look to him.

579
00:30:29,960 --> 00:30:32,360
Speaker 2: Huh, well, I guess I would say that's the main one.

580
00:30:32,440 --> 00:30:33,600
Speaker 2: I guess that's kind of the one I'm in.

581
00:30:33,840 --> 00:30:35,600
Speaker 1: Which other one, the win who crawls up to the

582
00:30:35,600 --> 00:30:38,200
Speaker 1: window insteady okay, Yeah, that's him.

583
00:30:38,360 --> 00:30:39,000
Speaker 2: Oh okay.

584
00:30:39,280 --> 00:30:43,080
Speaker 1: So Fancher was born in nineteen thirty eight, and I

585
00:30:43,080 --> 00:30:46,160
Speaker 1: believe it's still very much around and has actually been

586
00:30:46,200 --> 00:30:52,040
Speaker 1: active in fairly recent years. This was his first screen

587
00:30:52,120 --> 00:30:55,000
Speaker 1: role as an uncredited quote unquote zombie, though I don't

588
00:30:55,040 --> 00:30:58,280
Speaker 1: think he's really a zombie, but that's what's listed on IMDb.

589
00:30:58,800 --> 00:31:01,800
Speaker 2: This movie is just full of like sketchy guys who

590
00:31:01,880 --> 00:31:05,080
Speaker 2: are carrying globes around and doing what the aliens say.

591
00:31:05,120 --> 00:31:07,880
Speaker 2: I guess because they've got tinglers on them.

592
00:31:08,240 --> 00:31:13,800
Speaker 1: It's kind of the youth danger element of this picture, right, Yeah. Yeah,

593
00:31:14,160 --> 00:31:16,360
Speaker 1: So I don't think he has any lines in this,

594
00:31:16,520 --> 00:31:18,960
Speaker 1: but he's you know, he has a certain screen presence.

595
00:31:20,720 --> 00:31:22,760
Speaker 1: Would he would have been I think twenty years old

596
00:31:22,800 --> 00:31:25,480
Speaker 1: at the time or around that. He went into act

597
00:31:25,600 --> 00:31:27,840
Speaker 1: in a lot of stuff, mostly TV through the sixties

598
00:31:27,880 --> 00:31:30,840
Speaker 1: and seventies. He was at one point married to Sue Lyon,

599
00:31:30,920 --> 00:31:35,680
Speaker 1: who played Lolita in Stanley Kubrick's adaptation of that novel Huh.

600
00:31:35,720 --> 00:31:39,600
Speaker 1: But he's most notable for his work on the screenplay

601
00:31:40,040 --> 00:31:42,760
Speaker 1: for Ridley Scott's nineteen eighty two classic Blade Runner.

602
00:31:43,080 --> 00:31:43,960
Speaker 2: Oh Wow.

603
00:31:44,240 --> 00:31:47,000
Speaker 1: Yeah. This was, of course a loose adaptation of Philip K.

604
00:31:47,080 --> 00:31:49,200
Speaker 1: Dix do Android's Dream of Electric Sheep.

605
00:31:49,560 --> 00:31:50,560
Speaker 2: I did not know that.

606
00:31:51,120 --> 00:31:53,840
Speaker 1: He also worked on the screenplay for Blade Runner twenty

607
00:31:53,880 --> 00:31:56,680
Speaker 1: forty nine and twenty eighteen, as well as some of

608
00:31:56,680 --> 00:31:59,400
Speaker 1: the related like shorter film projects that were kind of

609
00:31:59,440 --> 00:32:04,920
Speaker 1: attached and revolving around that picture Like Moons, he didn't

610
00:32:04,920 --> 00:32:09,200
Speaker 1: do a ton else in terms of writing and directing.

611
00:32:09,240 --> 00:32:12,080
Speaker 1: He adapted the screenplay for nineteen eighty nine's The Mighty

612
00:32:12,160 --> 00:32:13,960
Speaker 1: Quinn starring Denzel Washington.

613
00:32:14,480 --> 00:32:16,560
Speaker 2: Oh, it's been a long time since I saw that,

614
00:32:16,600 --> 00:32:18,920
Speaker 2: but I remember liking it as kind of a noir

615
00:32:19,120 --> 00:32:20,000
Speaker 2: detective movie.

616
00:32:20,160 --> 00:32:24,479
Speaker 1: Yeah, yeah, very much so. And he also directed and

617
00:32:24,600 --> 00:32:28,280
Speaker 1: wrote the screenplay for nineteen ninety nine's The Minus Man.

618
00:32:29,040 --> 00:32:31,320
Speaker 1: This was adapted from the novel by Lou McCreary. Are

619
00:32:31,360 --> 00:32:32,040
Speaker 1: you familiar with this.

620
00:32:32,000 --> 00:32:34,440
Speaker 2: Picture, Joe, I know of it, but I've never seen it.

621
00:32:34,920 --> 00:32:37,520
Speaker 1: I watched it, I guess when it came out, and

622
00:32:37,560 --> 00:32:39,720
Speaker 1: I remember really liking it, and I read the book

623
00:32:39,760 --> 00:32:43,120
Speaker 1: as well, which was pretty good, as I recall. But yeah,

624
00:32:43,120 --> 00:32:45,960
Speaker 1: it's an indie serial killer flick with a really great cast.

625
00:32:46,360 --> 00:32:50,400
Speaker 1: Owen Wilson in the lead is the sort of you know,

626
00:32:50,480 --> 00:32:55,600
Speaker 1: mild mannered, quaint serial murderer who's I've seen him compared

627
00:32:56,080 --> 00:33:01,400
Speaker 1: to both Chancey, Chauncey Gardner and and of course Norman Bates.

628
00:33:01,880 --> 00:33:06,880
Speaker 1: Oh okay, but that film also stars Jennine Garofflo Brian Cox,

629
00:33:07,000 --> 00:33:07,960
Speaker 1: Mercedes rule.

630
00:33:08,240 --> 00:33:09,520
Speaker 2: I mean, Brian Cox, I'm there.

631
00:33:09,800 --> 00:33:12,120
Speaker 1: Yeah, but also just just to be on the safe side,

632
00:33:12,240 --> 00:33:17,640
Speaker 1: they throw in Dwight Yoakam, John Carrol Lynch, Larry Miller.

633
00:33:17,840 --> 00:33:21,320
Speaker 1: Isn't it Wow? And I think Sheryl Crow is actually

634
00:33:21,320 --> 00:33:23,000
Speaker 1: in it as well. It's it's it's a it's a

635
00:33:23,040 --> 00:33:25,600
Speaker 1: it's an interesting cast and yeah, Brian Cox is great

636
00:33:25,600 --> 00:33:26,560
Speaker 1: and everybody's great.

637
00:33:27,000 --> 00:33:29,040
Speaker 2: All the names you just mentioned get murdered.

638
00:33:29,840 --> 00:33:32,760
Speaker 1: I don't think, you know, I don't remember how many

639
00:33:32,800 --> 00:33:36,480
Speaker 1: people actually get murdered. A lot of it is, it's

640
00:33:36,520 --> 00:33:38,680
Speaker 1: not it's not really that kind of a serial killer

641
00:33:38,760 --> 00:33:42,600
Speaker 1: movie's Oh, it's a slower paced kind of indie thing.

642
00:33:42,960 --> 00:33:44,920
Speaker 1: You I feel like a lot of characters are in

643
00:33:45,040 --> 00:33:48,440
Speaker 1: danger and there's this always this this feeling that like

644
00:33:48,480 --> 00:33:50,680
Speaker 1: he could kill any one of these people, but I

645
00:33:50,680 --> 00:33:54,479
Speaker 1: don't remember, like, for instance, if Larry Miller gets gets murdered.

646
00:33:55,440 --> 00:33:57,840
Speaker 1: All right, well let's uh, let's break into the plot

647
00:33:57,880 --> 00:33:58,440
Speaker 1: on this one.

648
00:33:58,600 --> 00:34:01,160
Speaker 2: Well, I like this movie Becase because it's got a

649
00:34:01,200 --> 00:34:04,040
Speaker 2: cold open. So before we even get the title sequence,

650
00:34:04,320 --> 00:34:07,240
Speaker 2: it's a cold open on a deserted street corner in

651
00:34:07,280 --> 00:34:11,480
Speaker 2: the dark with ominous music, and immediately voiceover narration just

652
00:34:11,560 --> 00:34:15,480
Speaker 2: kicks right in and it says, a few weeks ago, Riverdale,

653
00:34:15,520 --> 00:34:20,480
Speaker 2: Illinois was just another quiet small town. Then on that Saturday,

654
00:34:20,719 --> 00:34:24,200
Speaker 2: what's Saturday, I don't know. Shortly after midnight, a living

655
00:34:24,400 --> 00:34:28,400
Speaker 2: nightmare began and we see two people about to cross

656
00:34:28,400 --> 00:34:30,760
Speaker 2: paths on the sidewalk or they're going around a corner.

657
00:34:31,200 --> 00:34:33,440
Speaker 2: One is I think an older man and like a

658
00:34:33,480 --> 00:34:37,280
Speaker 2: heavy coat, and the other is I think Himpton Fancher.

659
00:34:37,280 --> 00:34:40,680
Speaker 2: It's a young man with sort of elfin features, carrying

660
00:34:40,719 --> 00:34:45,080
Speaker 2: a transparent globe that is beaming light from inside, and

661
00:34:45,120 --> 00:34:47,960
Speaker 2: he's got a cloth draped over it. And they bump

662
00:34:48,000 --> 00:34:51,280
Speaker 2: into each other on the sidewalk. Elf Boy drops the globe.

663
00:34:51,360 --> 00:34:55,400
Speaker 2: It shatters everywhere, and then and then elf Boy viciously

664
00:34:55,480 --> 00:34:56,680
Speaker 2: throttles the older man.

665
00:34:57,080 --> 00:34:58,560
Speaker 1: It's an intriguing opening. Yeah.

666
00:34:58,840 --> 00:35:01,640
Speaker 2: Yeah, we see some kind of dark goo pouring out

667
00:35:01,640 --> 00:35:05,799
Speaker 2: of the glass ball as it's lying fractured on the concrete.

668
00:35:06,080 --> 00:35:07,880
Speaker 1: Oh, in a picture like this, we never know is

669
00:35:07,920 --> 00:35:10,520
Speaker 1: it blood, is it oil? It's all kind of the same.

670
00:35:10,719 --> 00:35:11,840
Speaker 1: Hershey chocolate syrup.

671
00:35:12,000 --> 00:35:15,000
Speaker 2: Yeah, of course, it's a hot fudge Sunday on the sidewalk,

672
00:35:15,160 --> 00:35:17,600
Speaker 2: and we hear a hissing sound that will recur throughout

673
00:35:17,600 --> 00:35:20,400
Speaker 2: the movie. But then we go to the title and

674
00:35:20,480 --> 00:35:25,120
Speaker 2: credit sequence, which looked very stylistically familiar to me.

675
00:35:25,719 --> 00:35:29,839
Speaker 1: Yeah, it looks really good. I was looking it up

676
00:35:30,080 --> 00:35:32,319
Speaker 1: in the credit to see, well, who did this, who

677
00:35:32,360 --> 00:35:35,480
Speaker 1: did the opening scroll? And it's this guy, Robert Balser,

678
00:35:35,719 --> 00:35:40,359
Speaker 1: who lived nineteen twenty seven through twenty sixteen, who is

679
00:35:40,440 --> 00:35:43,239
Speaker 1: known for his work in the animation department. I'm both

680
00:35:43,320 --> 00:35:47,200
Speaker 1: nineteen sixty eight's a Yellow Submarine and nineteen eighty one's

681
00:35:47,239 --> 00:35:47,880
Speaker 1: Heavy Metal.

682
00:35:48,239 --> 00:35:50,600
Speaker 2: Just looking him up, I see that he apparently worked

683
00:35:50,640 --> 00:35:55,160
Speaker 2: under Saul Bass, the director of Phase four, and I

684
00:35:55,200 --> 00:35:57,640
Speaker 2: don't see evidence of this directly, but I got to

685
00:35:57,680 --> 00:36:00,880
Speaker 2: say that the art style is very familiar to me

686
00:36:01,520 --> 00:36:04,640
Speaker 2: from the credits of other Roger Corman drive in movies

687
00:36:04,680 --> 00:36:07,560
Speaker 2: of the fifties, like Attack of the Crab Monsters and

688
00:36:07,719 --> 00:36:09,959
Speaker 2: Not of This Earth, So I wonder if he also

689
00:36:10,080 --> 00:36:11,719
Speaker 2: did those, but I don't know.

690
00:36:12,000 --> 00:36:14,719
Speaker 1: Yeah, either way, it's certainly I catching well.

691
00:36:14,719 --> 00:36:19,520
Speaker 2: Anyway. After the credits finished, rather hilariously, the narration resumes

692
00:36:19,760 --> 00:36:22,120
Speaker 2: in the first person. I don't know if this caught

693
00:36:22,120 --> 00:36:24,120
Speaker 2: you off guard the same way did me, so like

694
00:36:24,680 --> 00:36:26,960
Speaker 2: at first, it's like God is speaking, it's just you know,

695
00:36:27,080 --> 00:36:32,800
Speaker 2: disembodied narrator describing events. But then it's the same voice saying,

696
00:36:32,920 --> 00:36:36,120
Speaker 2: on Sunday, about an hour before nightfall, my fiance and

697
00:36:36,160 --> 00:36:38,359
Speaker 2: I were returning from a trip to her family's home

698
00:36:38,400 --> 00:36:39,040
Speaker 2: in the country.

699
00:36:40,080 --> 00:36:43,920
Speaker 1: Yeah, the voiceovers in this film are kind of out

700
00:36:43,960 --> 00:36:46,040
Speaker 1: of control. It brings me back to what we were

701
00:36:46,080 --> 00:36:48,279
Speaker 1: talking about recently about Blade Runner. You know, some people

702
00:36:48,280 --> 00:36:50,680
Speaker 1: are like, oh, I don't want any narration, and other

703
00:36:50,719 --> 00:36:53,360
Speaker 1: people are like, I'm fine with the narration. That's what

704
00:36:53,520 --> 00:36:58,480
Speaker 1: the first version I saw. You know, narration doesn't mean

705
00:36:58,480 --> 00:37:03,600
Speaker 1: that something's broken in the film necessarily. I believe it

706
00:37:03,640 --> 00:37:06,600
Speaker 1: is there because something is broken because audio didn't work

707
00:37:06,680 --> 00:37:07,600
Speaker 1: in some scenes.

708
00:37:08,000 --> 00:37:10,120
Speaker 2: They didn't get sound in a scene, so they just

709
00:37:10,160 --> 00:37:12,640
Speaker 2: fill it in with narration. Because there are a number

710
00:37:12,680 --> 00:37:15,960
Speaker 2: of scenes in this movie where the narration is not

711
00:37:16,200 --> 00:37:19,640
Speaker 2: filling in gaps. It's just telling you what's happening in

712
00:37:19,680 --> 00:37:23,320
Speaker 2: a scene that you are currently watching without live sound.

713
00:37:23,600 --> 00:37:26,440
Speaker 1: Right, And I have to admit sometimes that I'm glad

714
00:37:26,440 --> 00:37:28,640
Speaker 1: it was there. I'm glad there was the voice of

715
00:37:28,640 --> 00:37:30,839
Speaker 1: God was present to fill me in on what these

716
00:37:30,920 --> 00:37:31,640
Speaker 1: characters are doing.

717
00:37:31,920 --> 00:37:34,440
Speaker 2: But the funniest thing. Also, Rachel pointed this out when

718
00:37:34,440 --> 00:37:36,600
Speaker 2: we were watching it, and I had to concur I

719
00:37:36,600 --> 00:37:40,840
Speaker 2: thought the same thing. The narrator sounds exactly like the

720
00:37:40,920 --> 00:37:44,520
Speaker 2: Gene Shepherd narration in a Christmas story.

721
00:37:44,680 --> 00:37:47,480
Speaker 1: Yeah. I didn't catch this when I watched it initially,

722
00:37:47,560 --> 00:37:50,360
Speaker 1: but on your urging I went back and listened to

723
00:37:50,400 --> 00:37:52,239
Speaker 1: part of it, and yeah, yeah, I can title to

724
00:37:52,239 --> 00:37:55,840
Speaker 1: get it. This sounds like a grown up ralfie. Yeah.

725
00:37:55,880 --> 00:37:57,680
Speaker 2: But also I thought it was funny because so the

726
00:37:57,760 --> 00:38:00,640
Speaker 2: narration is going, like, you know, oh, our wedding date

727
00:38:00,680 --> 00:38:03,080
Speaker 2: was set, everything was right with the world. Meanwhile the

728
00:38:03,160 --> 00:38:08,200
Speaker 2: car is just peeling around corners on this country road now.

729
00:38:08,239 --> 00:38:09,919
Speaker 2: But the narration says, we were on the way back

730
00:38:09,960 --> 00:38:12,040
Speaker 2: to town to tell the good news to my father,

731
00:38:13,040 --> 00:38:15,279
Speaker 2: and then for some reason, they just suddenly stop and

732
00:38:15,280 --> 00:38:17,279
Speaker 2: get out of the car. And I don't think I

733
00:38:17,360 --> 00:38:20,680
Speaker 2: understood why. I maybe it implies they have engine trouble,

734
00:38:20,719 --> 00:38:21,920
Speaker 2: but that was not clear to me.

735
00:38:22,320 --> 00:38:23,640
Speaker 1: Yeah, I'm not sure on that.

736
00:38:23,920 --> 00:38:27,719
Speaker 2: Another thing about the first person narration is that the

737
00:38:27,840 --> 00:38:32,480
Speaker 2: narration is from a character who doesn't really make sense

738
00:38:32,600 --> 00:38:34,880
Speaker 2: to be the narrator, because I would say he's not

739
00:38:35,400 --> 00:38:38,680
Speaker 2: the main character of the movie. He's like a secondary

740
00:38:38,800 --> 00:38:42,040
Speaker 2: lead and he doesn't really have any special insights. So

741
00:38:42,200 --> 00:38:46,840
Speaker 2: the character is the character Glenn Cameron played by Alan J. Factor,

742
00:38:47,239 --> 00:38:50,239
Speaker 2: whose role in this movie is that he's the son

743
00:38:50,560 --> 00:38:54,200
Speaker 2: of the mayor of this town and the actor who

744
00:38:54,239 --> 00:38:56,440
Speaker 2: plays him looks sort of like a young Richard Nixon.

745
00:38:58,560 --> 00:39:01,000
Speaker 1: Yeah, otherwise, not much of a fact in this picture.

746
00:39:01,800 --> 00:39:04,160
Speaker 1: Like I didn't even list him because I was looking

747
00:39:04,160 --> 00:39:08,560
Speaker 1: at his IMDb profile and nothing was really jumping out

748
00:39:08,560 --> 00:39:08,759
Speaker 1: of me.

749
00:39:09,520 --> 00:39:11,600
Speaker 2: Yeah, so he's the narrator, but you kind of forgot

750
00:39:11,640 --> 00:39:12,400
Speaker 2: he was in the movie.

751
00:39:12,840 --> 00:39:13,360
Speaker 1: Yeah.

752
00:39:13,680 --> 00:39:17,080
Speaker 2: Well, anyway, so Glenn and his fiance Elaine played by

753
00:39:17,120 --> 00:39:19,959
Speaker 2: Jody Fair, they go wandering off into the woods after

754
00:39:20,000 --> 00:39:22,759
Speaker 2: their car stops, and going by the lighting, it would

755
00:39:22,800 --> 00:39:25,200
Speaker 2: seem that they wander for days. But I don't think

756
00:39:25,239 --> 00:39:28,040
Speaker 2: that's what it's supposed to be. This movie just switches

757
00:39:28,680 --> 00:39:32,919
Speaker 2: frantically between daytime and nighttime shots with no apparent rhyme

758
00:39:33,000 --> 00:39:35,920
Speaker 2: or reason. It's just they just do it. Scenes that

759
00:39:36,000 --> 00:39:39,719
Speaker 2: are supposed to be totally continuous repeatedly switched between day

760
00:39:39,760 --> 00:39:42,200
Speaker 2: and night. But anyway, so I think this is just

761
00:39:42,200 --> 00:39:44,880
Speaker 2: supposed to be moments later that they bumble around in

762
00:39:44,920 --> 00:39:47,279
Speaker 2: the woods and they come across a clearing full of

763
00:39:47,360 --> 00:39:48,200
Speaker 2: dead animals.

764
00:39:48,640 --> 00:39:50,880
Speaker 1: Yeah, yeah, this is a move. And I have to

765
00:39:50,920 --> 00:39:55,200
Speaker 1: admit when this was happening on the screen and I

766
00:39:55,239 --> 00:39:57,640
Speaker 1: was watching in really good quality. I rented it through

767
00:39:57,680 --> 00:40:01,000
Speaker 1: Amazon Prime, so I feel like I was watching it

768
00:40:01,000 --> 00:40:02,800
Speaker 1: in as good a quality as possible. But I couldn't

769
00:40:02,800 --> 00:40:05,040
Speaker 1: tell what some of the animals were, and the only

770
00:40:05,080 --> 00:40:06,719
Speaker 1: one we really get a good look at is a

771
00:40:06,719 --> 00:40:09,120
Speaker 1: dead dog. So at first I heard this is a

772
00:40:09,160 --> 00:40:13,200
Speaker 1: movie that is not only unafraid to kick things off

773
00:40:13,320 --> 00:40:15,279
Speaker 1: with a dead dog, but it seems to have like

774
00:40:15,640 --> 00:40:17,400
Speaker 1: a field full of dead dogs.

775
00:40:17,800 --> 00:40:21,600
Speaker 2: Right. But then right next to this slaughterhouse we meet

776
00:40:22,160 --> 00:40:25,240
Speaker 2: the cone. They immediately they look up and they see,

777
00:40:25,600 --> 00:40:28,880
Speaker 2: in all its glory, gleaming in the sunlight, with its

778
00:40:29,000 --> 00:40:34,600
Speaker 2: apex like a claw reaching out of the earth. The Cone.

779
00:40:35,120 --> 00:40:36,600
Speaker 1: Yeah. My son was in the room when I was

780
00:40:36,640 --> 00:40:40,280
Speaker 1: watching this part, and he's like, what's happening, what's this about?

781
00:40:40,320 --> 00:40:42,160
Speaker 1: And so I was like, I don't know. I think

782
00:40:42,160 --> 00:40:44,640
Speaker 1: that this cone just messed up a whole field of dogs.

783
00:40:45,880 --> 00:40:47,680
Speaker 1: So I don't know, But it was okay that he

784
00:40:47,760 --> 00:40:50,160
Speaker 1: was watching this film because I noticed the rating on

785
00:40:50,200 --> 00:40:52,680
Speaker 1: this film when I started watching it on Amazon was

786
00:40:53,280 --> 00:40:55,759
Speaker 1: seven plus. So as long as seven years old, you're

787
00:40:55,800 --> 00:40:56,920
Speaker 1: good to go. I don't know.

788
00:40:56,960 --> 00:40:59,080
Speaker 2: I mean, it doesn't have any bad words or anything,

789
00:40:59,120 --> 00:41:01,759
Speaker 2: but this film that's an awful lot of like dead

790
00:41:01,800 --> 00:41:04,480
Speaker 2: animals and people just randomly shooting it stuff.

791
00:41:05,040 --> 00:41:09,520
Speaker 1: Yeah, and it did not capture my son's attention. He

792
00:41:09,600 --> 00:41:11,960
Speaker 1: was like okay, and he left, but he agreed with

793
00:41:11,960 --> 00:41:15,279
Speaker 1: me that the Cone, the Fabulous Cone, does look like

794
00:41:15,360 --> 00:41:18,960
Speaker 1: something you might see in a really interesting playground. Like

795
00:41:19,000 --> 00:41:22,080
Speaker 1: a lot of playgrounds these days have the same very

796
00:41:22,200 --> 00:41:24,760
Speaker 1: nice playground equipment made by kind of the same company,

797
00:41:24,760 --> 00:41:27,200
Speaker 1: and it's good stuff, but you'll still occasionally find one

798
00:41:27,200 --> 00:41:29,600
Speaker 1: that's a bit you know, avant garde or you know,

799
00:41:29,800 --> 00:41:32,680
Speaker 1: was futuristic when it was first built, you know, maybe

800
00:41:32,800 --> 00:41:35,560
Speaker 1: ten or fifteen years ago. And this is what this

801
00:41:35,640 --> 00:41:38,000
Speaker 1: looks like. You're like, oh, that's a cool playground. I

802
00:41:38,080 --> 00:41:38,920
Speaker 1: kind of want to visit that.

803
00:41:39,480 --> 00:41:41,799
Speaker 2: I look at playgrounds now and all the slides and

804
00:41:42,200 --> 00:41:46,040
Speaker 2: everything made out of this like soft plastic without sharp edges.

805
00:41:46,160 --> 00:41:49,319
Speaker 2: It's kind of gently curved and looks like it's not

806
00:41:49,360 --> 00:41:51,800
Speaker 2: going to slice your legs up, like the metal equipment

807
00:41:51,840 --> 00:41:53,880
Speaker 2: I remember from my youth. This is this is the

808
00:41:53,920 --> 00:41:57,440
Speaker 2: old school. This is metal playground equipment that will it

809
00:41:57,520 --> 00:42:00,120
Speaker 2: will annihilate your thighs.

810
00:42:00,120 --> 00:42:04,239
Speaker 1: And kill every animal within several yards. Here.

811
00:42:12,840 --> 00:42:14,920
Speaker 2: Well, I like it. So they discover the cone and

812
00:42:14,920 --> 00:42:17,920
Speaker 2: then immediately cut to Washington, d C. Establishing shot of

813
00:42:17,960 --> 00:42:20,440
Speaker 2: the Capitol building. We know where we are, and the

814
00:42:21,040 --> 00:42:25,320
Speaker 2: narrator goes. Forty eight hours later, in Washington, a hastily

815
00:42:25,360 --> 00:42:29,120
Speaker 2: summoned UFO committee anxiously awaited to see a special screening

816
00:42:29,440 --> 00:42:32,840
Speaker 2: of top secret army films. Delaying the proceeding was the

817
00:42:32,920 --> 00:42:37,720
Speaker 2: late arrival of Senator Walter k. Powers. And then Senator

818
00:42:37,760 --> 00:42:41,040
Speaker 2: Walter k Powers busts into the room wearing a hat

819
00:42:41,080 --> 00:42:45,520
Speaker 2: and large overcoat. He's immediately chopping. Next, this guy is

820
00:42:45,880 --> 00:42:48,680
Speaker 2: every room he goes into, he's immediately in charge.

821
00:42:49,000 --> 00:42:49,879
Speaker 1: Yep, oh oh.

822
00:42:49,920 --> 00:42:52,000
Speaker 2: But then he just sits down. They watch the film strip.

823
00:42:52,040 --> 00:42:54,279
Speaker 2: So we get a movie within a movie, and I'm

824
00:42:54,320 --> 00:42:56,080
Speaker 2: going to do the narration from it because it basically

825
00:42:56,120 --> 00:42:58,480
Speaker 2: sets up the whole premise. This movie front loads all

826
00:42:58,520 --> 00:43:01,359
Speaker 2: of the exposition and then it just turns into people

827
00:43:01,400 --> 00:43:05,560
Speaker 2: shooting at things later on. So the narration goes like this.

828
00:43:05,680 --> 00:43:08,600
Speaker 2: It says, a ravine six miles south of the town

829
00:43:08,640 --> 00:43:12,240
Speaker 2: of Riverdale, Illinois, forty eight hours ago, discovery was made

830
00:43:12,360 --> 00:43:16,720
Speaker 2: of a great cone shaped object. The cone stands fifty

831
00:43:16,719 --> 00:43:19,920
Speaker 2: feet high as a base diameter of fifty feet. The

832
00:43:20,000 --> 00:43:23,680
Speaker 2: nature of the cone undetermined. I like how they were

833
00:43:23,680 --> 00:43:26,560
Speaker 2: gonna say unknown, but that would have rhymed with cone,

834
00:43:26,680 --> 00:43:30,360
Speaker 2: so they changed it to undetermined. You know, like, you

835
00:43:30,360 --> 00:43:33,279
Speaker 2: can't say the nature of the cone unknown, but then

836
00:43:33,320 --> 00:43:37,200
Speaker 2: they say origin unknown. Efforts made to determine the composition

837
00:43:37,280 --> 00:43:40,799
Speaker 2: of the cone by doctor Paul Kettering, principal scientists for

838
00:43:40,920 --> 00:43:44,640
Speaker 2: Project Damper, have proven futile. The surface of the cone

839
00:43:44,640 --> 00:43:49,440
Speaker 2: has proven resistant to pressure, heat, acid. Coincidental with the

840
00:43:49,480 --> 00:43:52,520
Speaker 2: discovery of the cone is the brutal slaying of several

841
00:43:52,520 --> 00:43:54,279
Speaker 2: of the town's leading citizens.

842
00:43:54,480 --> 00:43:57,480
Speaker 1: We don't see the right Wait, what we don't see

843
00:43:57,640 --> 00:43:59,879
Speaker 1: the brutal Well, I guess we saw. We saw.

844
00:43:59,920 --> 00:44:02,320
Speaker 2: It's all the guy getting shaken on the street corner.

845
00:44:02,600 --> 00:44:03,760
Speaker 2: He dropped the globe.

846
00:44:03,920 --> 00:44:07,520
Speaker 1: Was he a leading citizen though? I suppose, Oh, okay.

847
00:44:07,520 --> 00:44:11,240
Speaker 2: It doesn't tell us who he was, but oh yeah,

848
00:44:11,280 --> 00:44:13,960
Speaker 2: But then we also learned that some townspeople are saying

849
00:44:14,000 --> 00:44:16,640
Speaker 2: that they've seen chariots of fire flying through the sky.

850
00:44:17,160 --> 00:44:19,640
Speaker 1: I like that. I did like that that detail I did.

851
00:44:19,719 --> 00:44:21,759
Speaker 2: And yet it shows just a couple people kind of

852
00:44:21,800 --> 00:44:25,080
Speaker 2: like without sound, just going like wow, brow and pointing

853
00:44:25,120 --> 00:44:30,360
Speaker 2: off camera. And then finally it says, all reports inconclusive.

854
00:44:30,760 --> 00:44:33,279
Speaker 2: As of this report, the origin and nature of the

855
00:44:33,280 --> 00:44:38,080
Speaker 2: cone remain unknown. And meanwhile, like, so it's showing you

856
00:44:38,120 --> 00:44:40,600
Speaker 2: the film strip they're all watching, but occasionally it cuts

857
00:44:40,640 --> 00:44:44,680
Speaker 2: to these like very square Washington guys watching the movie

858
00:44:44,960 --> 00:44:47,759
Speaker 2: and they look exactly that. They're all wearing these dark

859
00:44:47,800 --> 00:44:51,160
Speaker 2: suits with the glasses on, and I'm just imagining, you know,

860
00:44:51,160 --> 00:44:53,360
Speaker 2: they're whispering. Do you think it's a cone? Looks like

861
00:44:53,400 --> 00:44:56,760
Speaker 2: a cone to me. But anyway, right after the movie finishes,

862
00:44:56,800 --> 00:44:59,200
Speaker 2: Walter k Powers takes charge. He gets up in front

863
00:44:59,239 --> 00:45:02,000
Speaker 2: of the room. He's like, okay, look, everybody, the President

864
00:45:02,080 --> 00:45:04,719
Speaker 2: has ordered me to take the lead on this cone.

865
00:45:05,160 --> 00:45:08,200
Speaker 2: And he says, quote, I want some action. I have

866
00:45:08,320 --> 00:45:10,359
Speaker 2: the people's interests at heart, but I will not have

867
00:45:10,440 --> 00:45:13,359
Speaker 2: my hands bound by lack of all the facts. So

868
00:45:13,440 --> 00:45:15,719
Speaker 2: he announces he's going to fly to Riverdale and see

869
00:45:15,719 --> 00:45:18,359
Speaker 2: this thing for himself and then he just bolts out

870
00:45:18,360 --> 00:45:19,360
Speaker 2: of the room.

871
00:45:19,840 --> 00:45:23,440
Speaker 1: Yeah, you'd think they'd maybe send in the National Guard

872
00:45:23,520 --> 00:45:26,480
Speaker 1: or something I don't know, or maybe some sort of

873
00:45:26,640 --> 00:45:28,440
Speaker 1: you know, an X Files type crew, but it's no.

874
00:45:28,800 --> 00:45:31,520
Speaker 1: Let's say the Senator is going to arrive and actually

875
00:45:31,560 --> 00:45:33,640
Speaker 1: like look in on things, not just do a photo op.

876
00:45:34,239 --> 00:45:37,440
Speaker 2: Why is Walter k Powers part of the fact finding

877
00:45:37,480 --> 00:45:39,200
Speaker 2: mission about the Cone? I don't know.

878
00:45:40,560 --> 00:45:42,640
Speaker 1: Must be an election year. Has to be an election year.

879
00:45:42,640 --> 00:45:45,000
Speaker 2: Right, Oh, and then I like, also we see Walter

880
00:45:45,120 --> 00:45:49,000
Speaker 2: K Powers doing some sneaky power moves while he's trying

881
00:45:49,000 --> 00:45:52,200
Speaker 2: to keep the Cone under his jurisdiction, Like he's sending

882
00:45:52,200 --> 00:45:54,719
Speaker 2: his underlings off to like if they try to get

883
00:45:54,719 --> 00:45:57,480
Speaker 2: at the Cone, make sure that they know there's a

884
00:45:57,520 --> 00:46:01,160
Speaker 2: thread of investigation of their activities and that'll keep them

885
00:46:01,200 --> 00:46:03,719
Speaker 2: out of the Cone. And then he says, I'm going

886
00:46:03,760 --> 00:46:06,480
Speaker 2: to poke so many holes in that spaceship fairy tale.

887
00:46:06,480 --> 00:46:09,600
Speaker 2: The lit'll be off in twenty four hours. So Walter K.

888
00:46:09,680 --> 00:46:12,680
Speaker 2: Powers is not a Cone believer. He's a Cone skeptic.

889
00:46:13,640 --> 00:46:16,040
Speaker 2: And so he's got to fly to Riverdale. He flies

890
00:46:16,080 --> 00:46:18,400
Speaker 2: out there by a little plane and he meets he

891
00:46:18,440 --> 00:46:22,799
Speaker 2: meets Glenn little Nixon, and he asks, hey, why was

892
00:46:22,840 --> 00:46:26,719
Speaker 2: the mayor not sent to meet me? And Glenn Cameron explains, well,

893
00:46:26,760 --> 00:46:29,640
Speaker 2: there have been some disturbing developments. The mayor, who happens

894
00:46:29,640 --> 00:46:32,960
Speaker 2: to be my father, has disappeared, and so here I

895
00:46:33,000 --> 00:46:35,840
Speaker 2: am instead, and then we just cut. This is not

896
00:46:35,960 --> 00:46:38,319
Speaker 2: explained at all. So they're at the airport, and then

897
00:46:38,360 --> 00:46:41,080
Speaker 2: it just cuts to a shot of this super shady

898
00:46:41,160 --> 00:46:44,760
Speaker 2: globe guy holding a globe and making the funniest face.

899
00:46:44,760 --> 00:46:45,840
Speaker 2: I wish I could explain.

900
00:46:46,800 --> 00:46:50,200
Speaker 1: Yeah, it's almost like three stooges, ask as he's looking

901
00:46:50,239 --> 00:46:53,560
Speaker 1: side to side. This would make for a wonderful little

902
00:46:54,239 --> 00:46:55,799
Speaker 1: looping animation type deal.

903
00:46:56,080 --> 00:46:58,759
Speaker 2: Yeah, he looks. He looks like they're not going to

904
00:46:58,840 --> 00:46:59,640
Speaker 2: get my globe.

905
00:47:00,320 --> 00:47:01,600
Speaker 1: It's like he stole the sun.

906
00:47:02,000 --> 00:47:04,960
Speaker 2: Well, so anyway, the Glenn Cameron narration continues as he

907
00:47:05,040 --> 00:47:08,200
Speaker 2: takes Walter k Powers to meet the head scientist at

908
00:47:08,239 --> 00:47:12,439
Speaker 2: the Cone site, doctor Kettering. Doctor Kettering again, is that's

909
00:47:12,560 --> 00:47:15,600
Speaker 2: Ed Nelson? That's our sort of leading man. We also

910
00:47:15,640 --> 00:47:18,800
Speaker 2: meet the character of Alice Summers played by jo Anna Lee,

911
00:47:19,000 --> 00:47:22,520
Speaker 2: who is helping doctor Kettering with his research, and as

912
00:47:22,560 --> 00:47:25,160
Speaker 2: soon as Walter k Powers shows up, he is throwing

913
00:47:25,160 --> 00:47:27,920
Speaker 2: his weight around. He's like, why has nobody been inside

914
00:47:27,960 --> 00:47:31,040
Speaker 2: the cone yet? And Alice explains very calmly that it

915
00:47:31,080 --> 00:47:35,319
Speaker 2: could be dangerous, but he wants answers. So Walter k

916
00:47:35,360 --> 00:47:37,960
Speaker 2: Powers goes up to meet ed Nelson. There's all this

917
00:47:38,280 --> 00:47:42,920
Speaker 2: scaffolding next to the cone that they're constantly climbing up

918
00:47:42,920 --> 00:47:47,440
Speaker 2: and down and shooting scenes on. So Walter k Powers

919
00:47:47,480 --> 00:47:51,440
Speaker 2: he just climbs up this fifty foot pile of scaffolding

920
00:47:51,480 --> 00:47:55,400
Speaker 2: to the top himself, and then he finds kettering up

921
00:47:55,440 --> 00:47:58,080
Speaker 2: there at the top working with his assistant, and he says,

922
00:47:58,160 --> 00:48:02,960
Speaker 2: you know why I'm here? I want action? What do

923
00:48:03,000 --> 00:48:05,600
Speaker 2: you think he's imagining when he says action, Like what

924
00:48:05,800 --> 00:48:07,400
Speaker 2: is the action he's talking about?

925
00:48:07,880 --> 00:48:10,400
Speaker 1: It's almost like he is this is just political theater,

926
00:48:10,600 --> 00:48:14,560
Speaker 1: Like it's just about demanding the action. Actual action is,

927
00:48:15,520 --> 00:48:17,560
Speaker 1: you know, given any kind of situation is a lot

928
00:48:17,600 --> 00:48:20,360
Speaker 1: more complicated, like like, what do you mean are we

929
00:48:20,400 --> 00:48:23,439
Speaker 1: going to try and make? You know, see, if there's

930
00:48:23,440 --> 00:48:25,880
Speaker 1: intelligent life inside, she would be trying to communicate with it.

931
00:48:25,920 --> 00:48:28,320
Speaker 1: She would be setting up all sorts of sensitive equipment.

932
00:48:28,360 --> 00:48:30,440
Speaker 1: I guess they're supposed to have some sensitive equipment set

933
00:48:30,520 --> 00:48:34,160
Speaker 1: up here. But uh, yeah, I don't really know exactly

934
00:48:34,239 --> 00:48:35,960
Speaker 1: what he wants. He just wants to bust in like

935
00:48:36,080 --> 00:48:36,520
Speaker 1: g men.

936
00:48:36,560 --> 00:48:41,200
Speaker 2: I guess, yeah, yeah, action. And so Ed Nelson does

937
00:48:41,239 --> 00:48:43,560
Speaker 2: seem to understand what he's talking about because he just

938
00:48:43,640 --> 00:48:46,640
Speaker 2: launches into a bunch of fake scientific technobabble. You know,

939
00:48:46,719 --> 00:48:49,800
Speaker 2: the ship is indestructible. You can't mark it with diamond

940
00:48:49,800 --> 00:48:52,920
Speaker 2: bit drills or metal eating acids. Nothing can affect it.

941
00:48:53,920 --> 00:48:56,640
Speaker 2: So they try another test that they, I guess haven't

942
00:48:56,640 --> 00:48:58,759
Speaker 2: tried yet. They're like, well, let's just shoot a gun

943
00:48:58,800 --> 00:49:02,720
Speaker 2: into this hole and see what. Yeah, so they shoot

944
00:49:02,760 --> 00:49:05,359
Speaker 2: a gun into the hole and it ricochets around, which

945
00:49:05,400 --> 00:49:08,960
Speaker 2: they say proves that the tunnel is It sounds like

946
00:49:08,960 --> 00:49:11,520
Speaker 2: they're saying psychic, but that doesn't make any sense. I

947
00:49:11,600 --> 00:49:15,440
Speaker 2: think they're saying cyclic, like it's a circle and it

948
00:49:15,480 --> 00:49:16,920
Speaker 2: comes back to the beginning.

949
00:49:17,280 --> 00:49:20,720
Speaker 1: Yeah, it's yeah, it's a crazy scene. It just seems

950
00:49:20,760 --> 00:49:24,040
Speaker 1: to ricochet forever in there, and I love why. It's

951
00:49:24,040 --> 00:49:26,359
Speaker 1: almost immediately that he's like, you got to get in there,

952
00:49:26,680 --> 00:49:28,319
Speaker 1: and then they're like, make sure you bring a gun

953
00:49:28,360 --> 00:49:30,360
Speaker 1: with you so that yeah, clearly if you have to

954
00:49:30,400 --> 00:49:32,440
Speaker 1: fire it or it goes off by accident, it will

955
00:49:32,480 --> 00:49:36,960
Speaker 1: just ricochet endlessly in there, right, and no doubt hit

956
00:49:36,960 --> 00:49:37,680
Speaker 1: you at least once.

957
00:49:37,960 --> 00:49:40,239
Speaker 2: Right. Oh, but before they send Kettering into the hole,

958
00:49:40,280 --> 00:49:43,399
Speaker 2: I love Walter k. Powers gives a speech where he says,

959
00:49:43,440 --> 00:49:45,560
Speaker 2: I can do without the double talk. I don't like

960
00:49:45,600 --> 00:49:48,040
Speaker 2: to push you, Kettering, but you science boys tend to

961
00:49:48,040 --> 00:49:50,440
Speaker 2: get all wrapped up in your test tubes and the

962
00:49:50,520 --> 00:49:53,480
Speaker 2: obvious things escape your attention. I've got to have something

963
00:49:53,520 --> 00:49:56,440
Speaker 2: to report. I want action, not theories. I want to

964
00:49:56,480 --> 00:49:59,680
Speaker 2: know what's inside that ship. So he commands Kettering to

965
00:49:59,719 --> 00:50:02,200
Speaker 2: go in inside the ship, and Kettering gets a gun

966
00:50:02,360 --> 00:50:05,520
Speaker 2: and crawls on into the hole. But then this is

967
00:50:05,640 --> 00:50:08,120
Speaker 2: utterly uneventful because later he just crawls out of the

968
00:50:08,120 --> 00:50:09,720
Speaker 2: hole and he's like, yep, nothing to report.

969
00:50:09,920 --> 00:50:11,799
Speaker 1: Yeah, there's no reveal of what the inside of this

970
00:50:11,840 --> 00:50:13,319
Speaker 1: thing is. Like. He's just like comes out and it's

971
00:50:13,320 --> 00:50:15,000
Speaker 1: like yeap, just goes around in circles.

972
00:50:15,320 --> 00:50:18,799
Speaker 2: Yeah, yeah, up and down. Nothing really going on in there. Oh.

973
00:50:18,840 --> 00:50:20,759
Speaker 2: But then it cuts to they get a call that

974
00:50:20,800 --> 00:50:23,560
Speaker 2: the mayors showed up again. Remember the mayor had disappeared,

975
00:50:24,560 --> 00:50:27,319
Speaker 2: and Walter k Powers did not like that news at all.

976
00:50:27,400 --> 00:50:30,240
Speaker 2: He was like, the mayor shouldn't it sounds like everybody

977
00:50:30,239 --> 00:50:33,600
Speaker 2: here is bungling this. It's not time to take a

978
00:50:33,640 --> 00:50:36,160
Speaker 2: leave of absence. But so the mayor shows back up.

979
00:50:36,320 --> 00:50:39,799
Speaker 2: He's in his office having some kind of horrible anguish,

980
00:50:39,920 --> 00:50:43,040
Speaker 2: like pointing a gun at himself and then removing it

981
00:50:43,120 --> 00:50:47,960
Speaker 2: and like sweating profusely, And everybody goes to the mayor's

982
00:50:47,960 --> 00:50:50,920
Speaker 2: office for some reason. Oh, and there's a brief power

983
00:50:50,960 --> 00:50:54,400
Speaker 2: squabble between the mayor and Walter k Powers. The mayor

984
00:50:54,480 --> 00:50:57,120
Speaker 2: is like, this is my jurisdiction, and Walter k Powers

985
00:50:57,200 --> 00:50:59,239
Speaker 2: is like, I'll bring in the National Guard, I'll take

986
00:50:59,280 --> 00:51:04,120
Speaker 2: over this tow. But while they're arguing, doctor Kettering observes it.

987
00:51:04,200 --> 00:51:05,960
Speaker 2: He looks at the mayor and he's like, you don't

988
00:51:06,000 --> 00:51:10,840
Speaker 2: look well. And the mayor doesn't like being scrutinized like that,

989
00:51:10,960 --> 00:51:13,360
Speaker 2: and so he's like, Kettering, I order you out of town.

990
00:51:13,440 --> 00:51:15,680
Speaker 2: You can't be in this town anymore. And then the

991
00:51:15,680 --> 00:51:18,120
Speaker 2: mayor freaks out. He pulls the gun out of his

992
00:51:18,239 --> 00:51:22,279
Speaker 2: desk and starts pointing it at everybody. And Kettering is

993
00:51:22,800 --> 00:51:25,080
Speaker 2: very calm manner. He's like as calm as the t

994
00:51:25,239 --> 00:51:28,040
Speaker 2: one thousand. He says, what is that on the back

995
00:51:28,080 --> 00:51:31,640
Speaker 2: of your neck, Mayor? And the mayor says, there's nothing

996
00:51:31,680 --> 00:51:34,359
Speaker 2: on my neck, and he says, I say there is,

997
00:51:34,520 --> 00:51:37,239
Speaker 2: mind if I take a look at it. Well, they

998
00:51:37,320 --> 00:51:39,680
Speaker 2: almost get him to calm down, but then I don't

999
00:51:39,680 --> 00:51:42,920
Speaker 2: remember what triggers it, but suddenly everybody just starts running

1000
00:51:42,960 --> 00:51:43,800
Speaker 2: around and shooting.

1001
00:51:44,239 --> 00:51:47,680
Speaker 1: Yes, this is probably as good a time as any,

1002
00:51:47,800 --> 00:51:52,840
Speaker 1: Just to mention that I believe the allegation was that

1003
00:51:52,920 --> 00:51:57,680
Speaker 1: this film borrowed the plot from The puppet Masters.

1004
00:51:58,239 --> 00:52:02,200
Speaker 2: Oh yeah, yeah, the Heinland novel. And apparently Heinlend was

1005
00:52:02,239 --> 00:52:04,560
Speaker 2: gonna sue them and got a settlement. He got some

1006
00:52:04,640 --> 00:52:06,759
Speaker 2: cash out of them, but did not want his name

1007
00:52:06,800 --> 00:52:07,880
Speaker 2: attached to the film.

1008
00:52:08,520 --> 00:52:12,279
Speaker 1: Right, But certainly, if you're looking up things about adaptations

1009
00:52:12,280 --> 00:52:14,880
Speaker 1: of The puppet Masters, or you're just looking up Heinlend

1010
00:52:14,920 --> 00:52:18,040
Speaker 1: on IMDb, you'll see this film listed as an adaptation

1011
00:52:18,160 --> 00:52:20,600
Speaker 1: of that book. Even and I have to admit I

1012
00:52:20,640 --> 00:52:22,480
Speaker 1: haven't read The Puppet Masters and I have not seen

1013
00:52:22,520 --> 00:52:26,600
Speaker 1: the Donald Sutherland adaptation. I guess Donald Sutherland was really

1014
00:52:26,600 --> 00:52:30,560
Speaker 1: into alien invasion parasite films.

1015
00:52:30,960 --> 00:52:32,640
Speaker 2: Oh yeah, yeah, Well.

1016
00:52:32,520 --> 00:52:34,040
Speaker 1: I mean he was in two of them, so I

1017
00:52:34,080 --> 00:52:36,640
Speaker 1: don't know at any rate. I haven't seen it or

1018
00:52:36,680 --> 00:52:38,960
Speaker 1: read it, so I can't really comment on how closely

1019
00:52:39,000 --> 00:52:41,160
Speaker 1: this mirror is it, but I know that both involve

1020
00:52:41,360 --> 00:52:44,040
Speaker 1: like next slugs that take over your brain or something.

1021
00:52:44,320 --> 00:52:46,799
Speaker 2: Well, anyway, in this scene, everybody shoots the mayor and

1022
00:52:46,840 --> 00:52:50,200
Speaker 2: then they inspect the mayor's dead body and there is

1023
00:52:50,320 --> 00:52:52,960
Speaker 2: indeed something horrifying on the back of his neck that

1024
00:52:53,040 --> 00:52:55,880
Speaker 2: we don't get to see it. The characters all go

1025
00:52:56,000 --> 00:52:59,880
Speaker 2: like oh, and an autopsy confirms it. And I just

1026
00:53:00,080 --> 00:53:01,880
Speaker 2: wanted to point out rob I took a screen grab

1027
00:53:01,920 --> 00:53:05,360
Speaker 2: of this. Ed Nelson is in the autopsy room with

1028
00:53:05,480 --> 00:53:08,800
Speaker 2: the coroner doing the autopsy and looking at the next slug,

1029
00:53:08,880 --> 00:53:13,000
Speaker 2: the Tingler thing, and he's he's got like muscle scrubs.

1030
00:53:13,040 --> 00:53:16,680
Speaker 2: He's wearing scrubs that are sleeveless with his biceps hanging out.

1031
00:53:17,120 --> 00:53:18,879
Speaker 1: I don't know, he's just really going to get in there.

1032
00:53:18,880 --> 00:53:20,120
Speaker 1: I don't know, is that.

1033
00:53:20,120 --> 00:53:21,560
Speaker 2: A thing muscle scrubs?

1034
00:53:23,120 --> 00:53:24,320
Speaker 1: Well, I haven't seen it before.

1035
00:53:24,560 --> 00:53:26,520
Speaker 2: Well I like it. So everybody's hanging out. Then the

1036
00:53:26,560 --> 00:53:29,359
Speaker 2: coroner comes out to assure everybody. He's like, look, none

1037
00:53:29,400 --> 00:53:33,080
Speaker 2: of you should feel bad at all about shooting the

1038
00:53:33,080 --> 00:53:35,839
Speaker 2: mayor because he had an alien slug on his neck

1039
00:53:35,880 --> 00:53:38,759
Speaker 2: and that would have killed him anyway. So we get

1040
00:53:38,800 --> 00:53:42,520
Speaker 2: some scenes where they explore these these tinglers. They say, okay, well,

1041
00:53:42,560 --> 00:53:45,960
Speaker 2: they've got two little antennafhangs, and these little antenna fangs

1042
00:53:46,520 --> 00:53:49,000
Speaker 2: pierce into the spine at the base of the neck,

1043
00:53:49,120 --> 00:53:52,600
Speaker 2: and they inject acid that will kill you if they're detached,

1044
00:53:52,600 --> 00:53:54,640
Speaker 2: so you can't just take them off of somebody, though.

1045
00:53:55,320 --> 00:53:58,319
Speaker 2: They will extract a hefty price, a fatal price from

1046
00:53:58,360 --> 00:54:01,320
Speaker 2: the victim if they're removed, kind of like the face hugger.

1047
00:54:01,640 --> 00:54:04,520
Speaker 1: Yeah, yeah, yeah, try and cut the face hugger off.

1048
00:54:04,520 --> 00:54:07,600
Speaker 1: The alien's going to alien blood is going to burn you,

1049
00:54:07,600 --> 00:54:09,040
Speaker 1: you know, try and pull it off. It's going to

1050
00:54:09,120 --> 00:54:10,520
Speaker 1: strangle them with the tail.

1051
00:54:11,040 --> 00:54:13,640
Speaker 2: But they give the expository set up. They're like, once

1052
00:54:13,719 --> 00:54:16,560
Speaker 2: this thing attaches itself to the victim's back, the victim

1053
00:54:16,719 --> 00:54:20,840
Speaker 2: is not human anymore. They become they are under the

1054
00:54:20,880 --> 00:54:25,080
Speaker 2: command of this of this tinkler. And so the movie

1055
00:54:25,120 --> 00:54:27,680
Speaker 2: is front loaded with a lot of expository setup. But

1056
00:54:27,719 --> 00:54:29,520
Speaker 2: you know, there are a lot more horror and action

1057
00:54:29,800 --> 00:54:32,759
Speaker 2: action scenes to follow, and the next thing indeed is

1058
00:54:32,800 --> 00:54:35,320
Speaker 2: one of these. So we get like a scene of

1059
00:54:35,360 --> 00:54:37,960
Speaker 2: a I think it's the sheriff. There's some kind of

1060
00:54:38,000 --> 00:54:40,520
Speaker 2: cop out driving on the road at night, and then

1061
00:54:40,560 --> 00:54:42,759
Speaker 2: there's a guy lying in the middle of the road

1062
00:54:42,800 --> 00:54:45,239
Speaker 2: as the police car approaches, so the officer gets out

1063
00:54:45,239 --> 00:54:48,200
Speaker 2: to investigate. But then the guy it's a surprise attack.

1064
00:54:48,239 --> 00:54:51,080
Speaker 2: He ambushes him and he starts punching him, and then

1065
00:54:51,120 --> 00:54:53,800
Speaker 2: they do some kind of globe magic on the cop,

1066
00:54:53,920 --> 00:54:55,440
Speaker 2: like this other guy comes in with one of the

1067
00:54:55,520 --> 00:54:59,560
Speaker 2: glowing orbs and that they get the cop cone zombified.

1068
00:55:00,080 --> 00:55:02,520
Speaker 2: And you know what, there's not much about this movie

1069
00:55:02,560 --> 00:55:06,800
Speaker 2: that's really like effective on the level that it's trying

1070
00:55:06,800 --> 00:55:09,399
Speaker 2: to be. I'd say the closest thing is this scene.

1071
00:55:09,320 --> 00:55:13,000
Speaker 1: You're talking about, the scene at night with the cop. Yeah.

1072
00:55:13,080 --> 00:55:15,759
Speaker 2: Yeah, Like with they showed the siren going around and

1073
00:55:15,880 --> 00:55:18,239
Speaker 2: as the spooky guys are approaching with the globe. It's

1074
00:55:18,239 --> 00:55:19,560
Speaker 2: a little bit creepy, I guess.

1075
00:55:19,480 --> 00:55:21,600
Speaker 1: Yeah, yeah, I think so. Yeah, the scene where they're

1076
00:55:21,640 --> 00:55:24,919
Speaker 1: milling about there after they got him and you got

1077
00:55:25,200 --> 00:55:29,520
Speaker 1: hamped in there, you know, looking all again kind of loopine.

1078
00:55:29,680 --> 00:55:34,720
Speaker 1: You have globe guy milling about. Yeah, yeah, they're building

1079
00:55:34,800 --> 00:55:35,480
Speaker 1: up their forces.

1080
00:55:35,880 --> 00:55:38,839
Speaker 2: There's also a scene somewhere around here where Alice and

1081
00:55:39,080 --> 00:55:42,400
Speaker 2: Kettering start falling in love while they're dissecting the slug

1082
00:55:42,440 --> 00:55:45,920
Speaker 2: and the lab and Kettering says, you cut a snake

1083
00:55:46,000 --> 00:55:48,279
Speaker 2: in half and it's two pieces will go off in

1084
00:55:48,320 --> 00:55:52,400
Speaker 2: different directions, And I was thinking, is that true?

1085
00:55:53,280 --> 00:55:55,680
Speaker 1: Yeah? I was iffy about that as well. It's like,

1086
00:55:55,680 --> 00:55:58,040
Speaker 1: I know that's really how snakes work. Oh my god.

1087
00:55:58,120 --> 00:56:00,560
Speaker 2: But this scene had one of the funniest in the

1088
00:56:00,719 --> 00:56:04,160
Speaker 2: entire movie. We were shrieking when one of the tinglers

1089
00:56:04,800 --> 00:56:08,640
Speaker 2: crawls up on the table and it attacks Kettering's arm

1090
00:56:08,680 --> 00:56:11,440
Speaker 2: and he starts screaming. He's like, ah, hit it. And

1091
00:56:11,520 --> 00:56:14,759
Speaker 2: then Alice just starts batting at it with a clipboard.

1092
00:56:15,160 --> 00:56:18,319
Speaker 1: Yeah yeah, and I think he burn it off with

1093
00:56:18,320 --> 00:56:19,160
Speaker 1: a Bunsen burner.

1094
00:56:19,440 --> 00:56:23,160
Speaker 2: Yes, yeah, really funny. But eventually we get a big,

1095
00:56:23,200 --> 00:56:27,239
Speaker 2: fat theorizing scene. They take their knowledge and apply it

1096
00:56:27,320 --> 00:56:30,120
Speaker 2: to what's going on with these parasites. They say that

1097
00:56:30,200 --> 00:56:33,920
Speaker 2: the parasites must have initially tried to infect the animals,

1098
00:56:33,960 --> 00:56:37,360
Speaker 2: remember that all the dead animals around the cone, but

1099
00:56:37,440 --> 00:56:40,800
Speaker 2: it didn't work. They say they tried animals out of ignorance.

1100
00:56:40,920 --> 00:56:44,080
Speaker 2: They didn't know which animal, including man, was best suited

1101
00:56:44,080 --> 00:56:48,560
Speaker 2: for this environment, so they experimented trial and error. And

1102
00:56:48,600 --> 00:56:52,360
Speaker 2: then Alice says, you mean they can think, And Glenn Cameron,

1103
00:56:52,440 --> 00:56:55,640
Speaker 2: the little nixony looking guy, says, you mean these things

1104
00:56:55,680 --> 00:56:58,760
Speaker 2: can take over a man's mind and he becomes a robot.

1105
00:57:00,320 --> 00:57:04,120
Speaker 1: I love a good robot line in a picture. Yeah,

1106
00:57:04,120 --> 00:57:05,759
Speaker 1: And in this I guess we're getting into the you know,

1107
00:57:05,800 --> 00:57:11,480
Speaker 1: the obvious. You know, communism comparison to be taken here,

1108
00:57:11,560 --> 00:57:14,040
Speaker 1: that the parasites are communism. And of course, as we

1109
00:57:14,080 --> 00:57:17,720
Speaker 1: all know, communism was first tried on animals and it

1110
00:57:17,800 --> 00:57:21,240
Speaker 1: did not work, you know, and many of the animals died.

1111
00:57:21,400 --> 00:57:24,520
Speaker 1: I didn't work on goats, it didn't work on dogs.

1112
00:57:25,280 --> 00:57:28,040
Speaker 1: But then but then it tried people, and you know,

1113
00:57:28,080 --> 00:57:28,760
Speaker 1: here we are.

1114
00:57:28,920 --> 00:57:31,360
Speaker 2: Well this is we get these parallels in all these

1115
00:57:31,360 --> 00:57:34,400
Speaker 2: movies from the fifties, Invasion of the Body Snatchers and

1116
00:57:35,160 --> 00:57:37,720
Speaker 2: it conquered the world. It's the same plot in almost

1117
00:57:37,800 --> 00:57:41,240
Speaker 2: all these or some kind of mind control parasitic alien

1118
00:57:41,360 --> 00:57:44,120
Speaker 2: or something that comes in and says, you will have peace,

1119
00:57:44,280 --> 00:57:46,640
Speaker 2: there will be no more conflict if you just let

1120
00:57:46,760 --> 00:57:49,920
Speaker 2: us take over your minds, and I think it's pretty

1121
00:57:49,920 --> 00:57:52,680
Speaker 2: clear what the what the allegories are supposed to be there.

1122
00:57:52,880 --> 00:57:55,000
Speaker 1: So in this picture, you know, I don't know if

1123
00:57:55,000 --> 00:57:57,880
Speaker 1: they're necessarily thinking too much about them, and they're just

1124
00:57:57,960 --> 00:58:01,080
Speaker 1: sort of painting with some of the same shades that

1125
00:58:01,120 --> 00:58:03,600
Speaker 1: were popular in genre fiction at the time.

1126
00:58:03,920 --> 00:58:04,640
Speaker 2: Yeah, exactly.

1127
00:58:05,040 --> 00:58:05,200
Speaker 1: Oh.

1128
00:58:05,200 --> 00:58:07,520
Speaker 2: But the other thing they figure out that they're like, hey,

1129
00:58:07,640 --> 00:58:11,560
Speaker 2: this spaceship, the cone, it must actually just be one

1130
00:58:11,720 --> 00:58:14,000
Speaker 2: section of a larger hole. And what we need to

1131
00:58:14,040 --> 00:58:17,000
Speaker 2: do is because they think, well, this section of the cone,

1132
00:58:17,040 --> 00:58:20,600
Speaker 2: maybe it's just like a fuel storage portion, and we

1133
00:58:20,680 --> 00:58:23,920
Speaker 2: need to find the control portion of the ship, and

1134
00:58:23,960 --> 00:58:26,320
Speaker 2: in order to do that, we better split up into

1135
00:58:26,360 --> 00:58:29,920
Speaker 2: groups and go look forward individually. So they do that

1136
00:58:29,960 --> 00:58:32,200
Speaker 2: and we get some funny scenes, like one is Walter

1137
00:58:32,280 --> 00:58:35,320
Speaker 2: k Powers riding in a car with his assistant and

1138
00:58:35,400 --> 00:58:38,040
Speaker 2: one of the other scientists, and the scientist says to

1139
00:58:38,400 --> 00:58:41,400
Speaker 2: his assistant, he's like, you don't talk much, do you,

1140
00:58:41,480 --> 00:58:44,120
Speaker 2: And Walter k Power says, that's why he's my assistant.

1141
00:58:44,400 --> 00:58:49,200
Speaker 2: Now you take parrots, great talkers, lousy flyers. It's like,

1142
00:58:49,320 --> 00:58:52,400
Speaker 2: what does that mean? Is his assistant a good flyer?

1143
00:58:52,960 --> 00:58:55,760
Speaker 1: Yeah? Or is he saying that he's essentially a parrot,

1144
00:58:55,960 --> 00:58:58,000
Speaker 1: that he's the talker, but he can't fly.

1145
00:58:58,600 --> 00:59:01,760
Speaker 2: It's strange, it's lousy flyers. I don't even know if

1146
00:59:01,800 --> 00:59:02,440
Speaker 2: I believe that.

1147
00:59:02,760 --> 00:59:05,439
Speaker 1: I don't. I don't know. I don't think that's that's

1148
00:59:05,440 --> 00:59:08,920
Speaker 1: actually true either. That's that's pulled from the same animal

1149
00:59:08,960 --> 00:59:10,280
Speaker 1: fact book is the snake thing.

1150
00:59:10,800 --> 00:59:14,160
Speaker 2: But basically everybody investigates, they find nothing. There's a scene

1151
00:59:14,160 --> 00:59:16,000
Speaker 2: where Glenn in a lane they go, they go and

1152
00:59:16,040 --> 00:59:18,320
Speaker 2: look around in a shack and then they hear that

1153
00:59:18,440 --> 00:59:20,760
Speaker 2: hissing sound we've heard a few times and then they

1154
00:59:20,800 --> 00:59:23,520
Speaker 2: see I think it's Hampton Vancher at the window with

1155
00:59:23,560 --> 00:59:26,880
Speaker 2: the globe. But fortunately Glenn is armed and he shoots

1156
00:59:26,920 --> 00:59:30,720
Speaker 2: it all movement until everything is set right. And then

1157
00:59:30,760 --> 00:59:33,320
Speaker 2: everybody comes back and they're like, nope, we didn't find anything.

1158
00:59:33,400 --> 00:59:36,680
Speaker 2: And then there's a I enjoyed the long telegraph scene

1159
00:59:36,720 --> 00:59:40,080
Speaker 2: where Walter k Powers is trying to send a telegraph

1160
00:59:40,080 --> 00:59:44,320
Speaker 2: to the governor. That's like, I don't remember exactly, He's like,

1161
00:59:44,720 --> 00:59:49,480
Speaker 2: everything is ruined. Stop aliens invading parasite. Stop, you know,

1162
00:59:49,640 --> 00:59:53,200
Speaker 2: send army immediately. But then we cut to the guy

1163
00:59:53,200 --> 00:59:55,920
Speaker 2: at the telegraph office, and what he actually sends is

1164
00:59:56,040 --> 01:00:01,000
Speaker 2: everything peaceful here, spaceship pure bunk. So they've gotten to

1165
01:00:01,040 --> 01:00:02,400
Speaker 2: our telegraph operators.

1166
01:00:02,840 --> 01:00:03,440
Speaker 1: Yeah.

1167
01:00:03,480 --> 01:00:06,160
Speaker 2: Oh, and also later that night, the parasite zombies they

1168
01:00:06,160 --> 01:00:09,920
Speaker 2: attack Alice. Whoops, whoops. They go and they put one

1169
01:00:09,920 --> 01:00:12,040
Speaker 2: of the tinglers in her room and it gets on

1170
01:00:12,080 --> 01:00:13,720
Speaker 2: her neck and now she's zombified.

1171
01:00:14,280 --> 01:00:16,480
Speaker 1: What I loved about this scene though, is that this

1172
01:00:16,600 --> 01:00:19,760
Speaker 1: is basically the same scene that we get in Attack

1173
01:00:19,800 --> 01:00:24,080
Speaker 1: of the Clones when the assassin tries to take out

1174
01:00:24,080 --> 01:00:28,040
Speaker 1: this Amadala and then Anakin you know, leaps in with

1175
01:00:28,080 --> 01:00:30,400
Speaker 1: the lightsaber to stop her. It's the same thing. The

1176
01:00:31,080 --> 01:00:35,280
Speaker 1: shape shifting assassin puts some sort of a strange killer,

1177
01:00:35,640 --> 01:00:38,200
Speaker 1: you know, toxic slug into the room with her, maybe

1178
01:00:38,240 --> 01:00:41,160
Speaker 1: a couple of them if I remember correctly, And yeah,

1179
01:00:41,200 --> 01:00:43,640
Speaker 1: it's it's it's very similar. I would not be surprised

1180
01:00:43,640 --> 01:00:46,320
Speaker 1: if Lucas might have been thinking back on this sequence

1181
01:00:46,360 --> 01:00:48,000
Speaker 1: when when putting that film together.

1182
01:00:48,440 --> 01:00:50,320
Speaker 2: Oh, I do think Brain Eaters is one of his

1183
01:00:50,320 --> 01:00:54,600
Speaker 2: favorite films. He said, so, no, I made that up.

1184
01:00:54,920 --> 01:00:57,280
Speaker 1: Well, but I mean he Lucas was always you know,

1185
01:00:57,360 --> 01:01:00,760
Speaker 1: throwing in various you know, homages to old or pictures.

1186
01:01:00,960 --> 01:01:04,640
Speaker 1: Oh yeah, yeah, so I wouldn't be surprised, but yeah,

1187
01:01:04,760 --> 01:01:06,480
Speaker 1: I was expecting Anakin to jump in with the light

1188
01:01:06,520 --> 01:01:08,320
Speaker 1: staber and start cutting slugs in half.

1189
01:01:08,720 --> 01:01:10,600
Speaker 2: Well, I would love to find out that we're true

1190
01:01:10,720 --> 01:01:14,160
Speaker 2: A good inspiration from from nineteen fifties B sci fi.

1191
01:01:14,600 --> 01:01:25,880
Speaker 5: Yeah, oh, but I totally forgot until we just got

1192
01:01:25,880 --> 01:01:26,120
Speaker 5: to this.

1193
01:01:26,440 --> 01:01:28,960
Speaker 2: They go back to the cone and then there's a

1194
01:01:29,120 --> 01:01:32,520
Speaker 2: dying man lying outside the cone in the dirt, and

1195
01:01:32,560 --> 01:01:35,360
Speaker 2: they recognize him. They're like, hey, he's that famous scientist

1196
01:01:35,400 --> 01:01:36,920
Speaker 2: who mysteriously disappeared.

1197
01:01:38,400 --> 01:01:40,160
Speaker 1: That was a moment I was where I was wanting.

1198
01:01:40,240 --> 01:01:43,000
Speaker 1: Was I just not paying attention to the setup from this?

1199
01:01:43,200 --> 01:01:46,640
Speaker 2: Okay, never appeared in the movie before, never been referenced.

1200
01:01:46,720 --> 01:01:49,360
Speaker 2: So they're just like, hey, we all know who you are.

1201
01:01:49,840 --> 01:01:51,440
Speaker 2: It's like you go up to the cone and it's like,

1202
01:01:51,920 --> 01:01:53,720
Speaker 2: that's Carl Sagan lying in the dirt.

1203
01:01:55,560 --> 01:01:55,760
Speaker 1: Yeah.

1204
01:01:56,000 --> 01:01:59,720
Speaker 2: Anyway, so they say, well, he disappeared on an expedition

1205
01:01:59,760 --> 01:02:02,120
Speaker 2: five years ago and looks like he had one of

1206
01:02:02,160 --> 01:02:04,840
Speaker 2: these parasites on him and was inside the cone somehow.

1207
01:02:04,880 --> 01:02:07,200
Speaker 2: But now the parasite is off of him, so he's dying.

1208
01:02:07,240 --> 01:02:10,360
Speaker 2: Because remember if you take the parasite off you die,

1209
01:02:10,560 --> 01:02:13,120
Speaker 2: and they take him back to the hospital and we

1210
01:02:13,160 --> 01:02:16,720
Speaker 2: get this scene where they're they're interrogating this this frail

1211
01:02:16,800 --> 01:02:20,000
Speaker 2: dying man, and they say, where is doctor Cole who

1212
01:02:20,120 --> 01:02:23,560
Speaker 2: vanished with you? And oh oh. The other questions they say,

1213
01:02:23,720 --> 01:02:26,480
Speaker 2: are the parasites from the cone? What is the secret

1214
01:02:26,560 --> 01:02:30,040
Speaker 2: of the cone? And the man's he has like two

1215
01:02:30,040 --> 01:02:33,800
Speaker 2: more words before he dies. One of them he says carboniferous.

1216
01:02:34,320 --> 01:02:37,600
Speaker 2: It sounds like carnivorous, but no, he says carboniferous, referring

1217
01:02:37,680 --> 01:02:42,760
Speaker 2: to the geologic epoch. And they're like, oh, okay. So

1218
01:02:42,800 --> 01:02:46,080
Speaker 2: he says carboniferous. That means that these parasites are from

1219
01:02:46,080 --> 01:02:49,240
Speaker 2: the ancient past. They're from Earth, and they were under

1220
01:02:49,240 --> 01:02:52,680
Speaker 2: the Earth all this time. Walter k Powers deduces, then

1221
01:02:52,720 --> 01:02:54,800
Speaker 2: it's not a spaceship, it's from below.

1222
01:02:55,240 --> 01:02:58,680
Speaker 1: Oh so this is like like a drill device that

1223
01:02:58,720 --> 01:03:00,520
Speaker 1: has drilled its way up through crust.

1224
01:03:00,920 --> 01:03:04,280
Speaker 2: Right, it was created by aliens from the carboniferous era

1225
01:03:04,800 --> 01:03:08,360
Speaker 2: of Earth to me a few hundred million years ago

1226
01:03:08,440 --> 01:03:08,840
Speaker 2: or whatever.

1227
01:03:09,600 --> 01:03:09,760
Speaker 1: Oh.

1228
01:03:09,800 --> 01:03:13,400
Speaker 2: And then the scientist also he says, as he dies,

1229
01:03:13,480 --> 01:03:22,560
Speaker 2: he goes death. That's a good one, yes, famous last words.

1230
01:03:23,480 --> 01:03:25,880
Speaker 2: And then there's like, I love the scenes where they

1231
01:03:25,920 --> 01:03:28,840
Speaker 2: just discover that all of their infrastructure has been taken

1232
01:03:28,880 --> 01:03:32,720
Speaker 2: over by the Globe zombies. Because Walter k Powers is

1233
01:03:32,760 --> 01:03:35,760
Speaker 2: trying to call somebody to get the I don't know,

1234
01:03:35,760 --> 01:03:38,000
Speaker 2: he's trying to call the governor or something, and the

1235
01:03:38,040 --> 01:03:40,720
Speaker 2: phone operator just keeps saying, I'm sorry, sir, that line

1236
01:03:40,760 --> 01:03:43,800
Speaker 2: is busy no matter who he tries to call. So

1237
01:03:43,840 --> 01:03:46,560
Speaker 2: they've got our telephone operators too. And then following up

1238
01:03:46,560 --> 01:03:50,480
Speaker 2: from this, Kettering and Glenn Cameron go to the telegraph

1239
01:03:50,560 --> 01:03:52,680
Speaker 2: office to beat up the guy who works there.

1240
01:03:53,040 --> 01:03:55,280
Speaker 1: Oh, and this is where we get a big cowboy

1241
01:03:55,360 --> 01:03:57,600
Speaker 1: style martial arts fight. Right. I think there is a

1242
01:03:57,800 --> 01:04:00,840
Speaker 1: which I always love in a picture from there's like

1243
01:04:00,880 --> 01:04:03,280
Speaker 1: a I mean, it's a wide period of time, I

1244
01:04:03,320 --> 01:04:06,360
Speaker 1: want to say, like upwards of like twenty years where

1245
01:04:06,400 --> 01:04:09,280
Speaker 1: all these fights have kind of the same choreography. If

1246
01:04:09,320 --> 01:04:12,680
Speaker 1: there's a table, somebody's going over it, and then there'll

1247
01:04:12,720 --> 01:04:15,480
Speaker 1: be a few karate chops in there, and there's one

1248
01:04:15,560 --> 01:04:19,560
Speaker 1: karate chop thrown by by our hero here by doctor

1249
01:04:19,640 --> 01:04:21,680
Speaker 1: Kettering right to somebody's back, right.

1250
01:04:21,760 --> 01:04:25,000
Speaker 2: Yeah, yeah, it always happened. So the bad person in

1251
01:04:25,040 --> 01:04:27,440
Speaker 2: the fight goes head down and then tries to kind

1252
01:04:27,440 --> 01:04:29,600
Speaker 2: of tackle, like goes into the mid section of the

1253
01:04:29,640 --> 01:04:32,240
Speaker 2: good character, and then the good character has to like

1254
01:04:32,360 --> 01:04:35,000
Speaker 2: chop at their back until they like knock them down.

1255
01:04:35,480 --> 01:04:36,880
Speaker 1: Yeah, I love it.

1256
01:04:37,080 --> 01:04:37,840
Speaker 2: Is it always like that?

1257
01:04:38,520 --> 01:04:44,280
Speaker 1: I don't know, there's just something about there. I really

1258
01:04:44,320 --> 01:04:46,160
Speaker 1: should research it at some point, Like what is it

1259
01:04:46,160 --> 01:04:48,840
Speaker 1: about fight choreography from films from this time period? Is

1260
01:04:48,840 --> 01:04:51,160
Speaker 1: it just like the sort of the same group of

1261
01:04:51,560 --> 01:04:54,360
Speaker 1: choreographers that were doing everything? Is it how much of

1262
01:04:54,400 --> 01:04:58,080
Speaker 1: it is like a holdover from like vaudeville or silent era.

1263
01:04:58,520 --> 01:04:59,040
Speaker 1: I don't know.

1264
01:05:00,240 --> 01:05:04,200
Speaker 2: I'm wondering. I wonder if delivering blows to the back

1265
01:05:04,680 --> 01:05:10,560
Speaker 2: is easier to make look realistic while risking less injury

1266
01:05:10,640 --> 01:05:12,480
Speaker 2: than other types of fighting moves.

1267
01:05:13,120 --> 01:05:15,240
Speaker 1: That is probably a big part of it. Yeah, because

1268
01:05:15,280 --> 01:05:18,720
Speaker 1: I know that, Yeah, you know, you can you can

1269
01:05:18,760 --> 01:05:20,560
Speaker 1: have like more of a a flat blow to the

1270
01:05:20,600 --> 01:05:23,400
Speaker 1: back and it's going to be less intensive. You know.

1271
01:05:23,520 --> 01:05:27,720
Speaker 1: You can do some uh some mock strangling, uh and

1272
01:05:27,720 --> 01:05:30,400
Speaker 1: and so forth, some some basic like headlock stuff and

1273
01:05:30,440 --> 01:05:31,360
Speaker 1: it'll look pretty good.

1274
01:05:31,760 --> 01:05:34,320
Speaker 2: Speaking of headlocks, did you did you pick up on

1275
01:05:34,360 --> 01:05:36,360
Speaker 2: the thing throughout the movie where the people who were

1276
01:05:36,360 --> 01:05:40,280
Speaker 2: infected by the parasites often have a lump under the

1277
01:05:40,360 --> 01:05:42,480
Speaker 2: collar on the back of their shirt that is like

1278
01:05:42,640 --> 01:05:43,880
Speaker 2: throbbing or pulsing.

1279
01:05:44,760 --> 01:05:48,240
Speaker 1: I did yeah, which again I guess this is the

1280
01:05:48,240 --> 01:05:49,600
Speaker 1: presence of the slug.

1281
01:05:49,320 --> 01:05:51,840
Speaker 2: Right right, it is, yeah, and so like it's a

1282
01:05:51,840 --> 01:05:54,480
Speaker 2: giveaway in some scenes. So uh, you know, the phones

1283
01:05:54,520 --> 01:05:58,000
Speaker 2: don't work, the telegraph won't work because zombies have taken

1284
01:05:58,000 --> 01:06:00,480
Speaker 2: over whatever they are, the you know, the parasite controlled

1285
01:06:00,520 --> 01:06:03,160
Speaker 2: humans have taken over all those things. And then Walter

1286
01:06:03,240 --> 01:06:05,600
Speaker 2: k Powers tries to go to the radio station to

1287
01:06:05,760 --> 01:06:10,200
Speaker 2: send out a broadcast about the cone, but apparently they're

1288
01:06:10,240 --> 01:06:13,200
Speaker 2: not transmitting because the guy operating the radio station you

1289
01:06:13,240 --> 01:06:16,040
Speaker 2: see under his shirt, he's got this wan want thing

1290
01:06:16,080 --> 01:06:16,959
Speaker 2: going on back there.

1291
01:06:17,440 --> 01:06:21,120
Speaker 1: It reminds me of the later Battlecarclactica remake where the

1292
01:06:21,160 --> 01:06:24,200
Speaker 1: spines of the cylons had like glows. I don't know

1293
01:06:24,200 --> 01:06:27,040
Speaker 1: if anyone, any actual characters ever notice it, but the

1294
01:06:27,120 --> 01:06:28,240
Speaker 1: viewer is to notice it.

1295
01:06:28,640 --> 01:06:30,320
Speaker 2: Oh, I didn't even remember that.

1296
01:06:30,840 --> 01:06:33,280
Speaker 1: But also this makes me realize the karate chopper in

1297
01:06:33,280 --> 01:06:35,480
Speaker 1: the earlier scene that was a karate chop right to

1298
01:06:35,520 --> 01:06:38,040
Speaker 1: the sluck. That was the spot on martial arts.

1299
01:06:38,160 --> 01:06:40,800
Speaker 2: Yeah, that was a pressure point strike right to the Tingler.

1300
01:06:41,800 --> 01:06:43,720
Speaker 1: It's really a flaw in the plan. Like the Tingler

1301
01:06:43,720 --> 01:06:47,720
Speaker 1: at least is an indo parasite, this one's an exo parasite.

1302
01:06:47,760 --> 01:06:51,640
Speaker 1: Even though it's altering behavior, it leaves it susceptible to

1303
01:06:52,000 --> 01:06:53,000
Speaker 1: karate chops like this.

1304
01:06:53,600 --> 01:06:56,600
Speaker 2: Right, So we know in the end that ultimately Kettering

1305
01:06:56,680 --> 01:06:58,479
Speaker 2: is going to have to venture into the Cone again

1306
01:06:58,560 --> 01:07:01,960
Speaker 2: to learn the secret of the Cone. And so Kettering

1307
01:07:02,040 --> 01:07:04,080
Speaker 2: does go. Oh, before he goes into the cone, there's

1308
01:07:04,120 --> 01:07:06,080
Speaker 2: some guards that have been stationed there. I think they're

1309
01:07:06,120 --> 01:07:09,400
Speaker 2: police officers to protect the cone, but of course they're

1310
01:07:09,440 --> 01:07:12,120
Speaker 2: infected to so they start shooting at Kettering and then

1311
01:07:12,120 --> 01:07:16,000
Speaker 2: everybody starts shooting at everybody because everybody is armed. But

1312
01:07:16,080 --> 01:07:19,480
Speaker 2: Kettering gets inside the cone and meets Leonard Nimoy.

1313
01:07:19,920 --> 01:07:22,919
Speaker 1: Yeah, and this is the whole scene here is nice

1314
01:07:22,920 --> 01:07:25,440
Speaker 1: and weird. Like at this point you're like, Okay, this

1315
01:07:25,600 --> 01:07:28,360
Speaker 1: was worth the fifty minute journey to get here.

1316
01:07:28,640 --> 01:07:32,760
Speaker 2: Sure. Leonard Nimoy surrounded by fog, dressed like Gandalf with

1317
01:07:32,920 --> 01:07:36,400
Speaker 2: long beard and was supposed to be long hair or

1318
01:07:36,400 --> 01:07:38,000
Speaker 2: a hood. I think it's a hood. Yeah, we see

1319
01:07:38,040 --> 01:07:40,400
Speaker 2: it close up, and he's got a hood on, and

1320
01:07:40,440 --> 01:07:42,720
Speaker 2: I'm wondering, why is he dressed like that? Because he's

1321
01:07:42,760 --> 01:07:46,320
Speaker 2: supposed to be Professor Cole the other scientists who vanished

1322
01:07:46,360 --> 01:07:50,520
Speaker 2: with the guy we met earlier. But was Professor Cole

1323
01:07:50,720 --> 01:07:53,640
Speaker 2: carrying like wearing robes with a hood when he went

1324
01:07:53,760 --> 01:07:54,560
Speaker 2: into the ship.

1325
01:07:55,280 --> 01:07:58,760
Speaker 1: Now he must be lower ranking in the new order

1326
01:07:58,800 --> 01:08:00,680
Speaker 1: that has arisen a depths here.

1327
01:08:00,880 --> 01:08:02,840
Speaker 2: But where did the robes of the hood come from?

1328
01:08:02,880 --> 01:08:05,720
Speaker 2: Did the did the aliens make it? Did the did

1329
01:08:05,720 --> 01:08:07,400
Speaker 2: the slugs make the robe?

1330
01:08:08,000 --> 01:08:11,120
Speaker 1: I guess? So you know, the robes were supplied and

1331
01:08:11,160 --> 01:08:15,160
Speaker 1: the other professor did not want to wear a robe,

1332
01:08:15,240 --> 01:08:16,680
Speaker 1: and they were like, well, if you're not gonna wear

1333
01:08:16,680 --> 01:08:18,639
Speaker 1: a robe, you're gonna have to leave, and he did

1334
01:08:18,800 --> 01:08:20,680
Speaker 1: and then he died. That's my read on it.

1335
01:08:20,800 --> 01:08:23,960
Speaker 2: Well, anyway, so Kettering gets down there and he confronts

1336
01:08:24,000 --> 01:08:28,080
Speaker 2: Professor Cole Lenner Niemoy, and Nimoy says, we are in

1337
01:08:28,160 --> 01:08:32,360
Speaker 2: complete harmony, We are inseparable. There is no conflict. We

1338
01:08:32,400 --> 01:08:35,479
Speaker 2: will not engage in combat, no violence of any kind.

1339
01:08:35,760 --> 01:08:39,120
Speaker 2: Why should we when we can scatter quietly like seeds

1340
01:08:39,160 --> 01:08:42,320
Speaker 2: in the wind. I was like, oh, the writing got

1341
01:08:42,439 --> 01:08:47,080
Speaker 2: slightly better for a moment, yeah, But then then he

1342
01:08:47,120 --> 01:08:50,679
Speaker 2: starts talking about in a slightly more awkward way. He's saying, like, let's,

1343
01:08:50,760 --> 01:08:53,600
Speaker 2: you know, let's replace all this messy, flawed humanity with

1344
01:08:53,720 --> 01:08:57,760
Speaker 2: the exactitude of mathematics. It's like, is that what these

1345
01:08:57,760 --> 01:08:59,880
Speaker 2: slugs are about. They're into mathematics.

1346
01:09:01,680 --> 01:09:07,720
Speaker 1: Well, they built a giant drill spaceship cone thing, Yeah,

1347
01:09:07,840 --> 01:09:10,320
Speaker 1: I have an assumed math with an assuming math was involved.

1348
01:09:10,800 --> 01:09:13,519
Speaker 2: So Niemoy says, you know, we're going to force upon

1349
01:09:13,640 --> 01:09:18,400
Speaker 2: man a life free from strife and turmoil. And again,

1350
01:09:18,479 --> 01:09:21,240
Speaker 2: this is very similar theme we've seen in other movies.

1351
01:09:21,240 --> 01:09:24,240
Speaker 2: It conquered the world and so forth. And so they

1352
01:09:24,280 --> 01:09:26,160
Speaker 2: talk for a bit and then eventually the scientists just

1353
01:09:26,200 --> 01:09:29,680
Speaker 2: start shooting everything, and so how do they So they

1354
01:09:29,720 --> 01:09:32,840
Speaker 2: start shooting at Leonard Dymoy and shooting at the tinglers,

1355
01:09:33,280 --> 01:09:36,120
Speaker 2: and they get out of the cone, and so they're

1356
01:09:36,160 --> 01:09:38,280
Speaker 2: back outside and like, how do they defeat the cone?

1357
01:09:38,280 --> 01:09:42,240
Speaker 2: In the end, it's a nineteen fifties movie. It's indestructible

1358
01:09:42,320 --> 01:09:45,120
Speaker 2: alien enemy. Give you one guess, how do they beat it?

1359
01:09:45,280 --> 01:09:48,280
Speaker 1: Sodium? That's that's another movie.

1360
01:09:48,080 --> 01:09:52,559
Speaker 2: Though, electricity. They beat it with electricity, and luckily, why

1361
01:09:52,600 --> 01:09:53,519
Speaker 2: didn't I think of that?

1362
01:09:54,760 --> 01:09:56,760
Speaker 1: Yeah, this is the same thing they did in the

1363
01:09:56,800 --> 01:09:59,480
Speaker 1: Thing from Another World, right, electropads?

1364
01:10:00,120 --> 01:10:02,000
Speaker 2: That's right, yep, that is what they do.

1365
01:10:02,360 --> 01:10:05,360
Speaker 1: Yeah, the aliens never see that coming. They're like electricity.

1366
01:10:05,800 --> 01:10:06,599
Speaker 1: Who would have thought?

1367
01:10:07,000 --> 01:10:09,280
Speaker 2: But luckily they don't know about electricity.

1368
01:10:09,320 --> 01:10:11,000
Speaker 1: They go yeah, or they've forgotten about it. They move

1369
01:10:11,080 --> 01:10:15,000
Speaker 1: past it to their detriment. But luckily the narrator here

1370
01:10:15,200 --> 01:10:17,840
Speaker 1: is here is back to walk us through every step

1371
01:10:17,880 --> 01:10:21,559
Speaker 1: of this plan because it involves a harpoon gun. Then

1372
01:10:22,240 --> 01:10:24,320
Speaker 1: they say that, well, this is your standard issue for

1373
01:10:24,400 --> 01:10:28,280
Speaker 1: folks doing like electrical line work if they need to

1374
01:10:28,720 --> 01:10:30,320
Speaker 1: run something over difficult terrain.

1375
01:10:30,720 --> 01:10:33,120
Speaker 2: I got to say, the logistics part of the final

1376
01:10:33,560 --> 01:10:36,599
Speaker 2: the final ten minutes of the movie really slowed down.

1377
01:10:36,680 --> 01:10:38,559
Speaker 2: I think that was not a highlight of the film,

1378
01:10:38,720 --> 01:10:41,479
Speaker 2: Like you can just speed through this now, we get it.

1379
01:10:42,360 --> 01:10:45,400
Speaker 1: Yeah, normally you know it. Guess it's stylistically kind of

1380
01:10:45,439 --> 01:10:47,800
Speaker 1: interesting because a lot of times, like how are you

1381
01:10:47,840 --> 01:10:50,799
Speaker 1: going to do the final comeuppance of the alien? You're

1382
01:10:50,840 --> 01:10:52,439
Speaker 1: going to have like a plan and it's going to

1383
01:10:52,479 --> 01:10:55,320
Speaker 1: be planned out and explained, liking the Thing from Another

1384
01:10:55,360 --> 01:10:57,559
Speaker 1: World or many pictures. It's going to be kind of

1385
01:10:57,600 --> 01:11:00,200
Speaker 1: a gut instinct on the part of the hero, like

1386
01:11:00,200 --> 01:11:02,840
Speaker 1: where he suddenly remembers something and the weakness comes to

1387
01:11:02,920 --> 01:11:05,360
Speaker 1: him and he makes it happen. This was, Yeah, this

1388
01:11:05,439 --> 01:11:08,000
Speaker 1: is a little bit more drawn out. It's basically in

1389
01:11:08,280 --> 01:11:12,200
Speaker 1: the neighborhood of the Thing from Another World, except I

1390
01:11:12,200 --> 01:11:14,280
Speaker 1: don't know, there's no real tension. You know it's going

1391
01:11:14,320 --> 01:11:16,880
Speaker 1: to work in the Thing from Another World, You're not

1392
01:11:16,960 --> 01:11:17,479
Speaker 1: so certain.

1393
01:11:17,800 --> 01:11:19,840
Speaker 2: Oh, but it's sort of like the Thing from Another

1394
01:11:19,880 --> 01:11:23,720
Speaker 2: World this movie, the final confrontation with the monster involves

1395
01:11:24,479 --> 01:11:29,559
Speaker 2: a sort of like a flawed temptation towards human connection

1396
01:11:29,720 --> 01:11:34,800
Speaker 2: with the beast because Alice comes out. Remember Alice comes

1397
01:11:34,800 --> 01:11:38,840
Speaker 2: out of the cone. She's been parasite zombified, and she

1398
01:11:38,880 --> 01:11:41,880
Speaker 2: says to Kettering, she's like, hey, you know, don't you

1399
01:11:41,880 --> 01:11:44,120
Speaker 2: remember me? Want to come party with me and Leonard

1400
01:11:44,160 --> 01:11:47,280
Speaker 2: Nimoy and we'll live for two hundred million years? And

1401
01:11:47,360 --> 01:11:50,760
Speaker 2: he's like, no, no, we can't, and so she gets

1402
01:11:50,840 --> 01:11:52,840
Speaker 2: really mad at him and she says, I can't believe

1403
01:11:52,880 --> 01:11:55,479
Speaker 2: I ever loved you, and she shoots him, and then

1404
01:11:55,680 --> 01:11:58,400
Speaker 2: Kettering is yelling out to his friends he's like fire

1405
01:11:58,600 --> 01:12:03,120
Speaker 2: that harpoon gun. So they do and we watch, we

1406
01:12:03,160 --> 01:12:06,160
Speaker 2: watch the I guess they're just a bunch of tinglers,

1407
01:12:06,200 --> 01:12:09,720
Speaker 2: little slug things with the antennae, like rolling around getting electrified,

1408
01:12:10,400 --> 01:12:13,120
Speaker 2: and we see all the human characters shielding their eyes.

1409
01:12:13,200 --> 01:12:16,360
Speaker 2: I guess because it's it's bright. And that's it. They

1410
01:12:16,479 --> 01:12:19,559
Speaker 2: defeat the cone YEP and one of the last lines

1411
01:12:19,600 --> 01:12:22,639
Speaker 2: of dialogue is is Walter K Power is saying something

1412
01:12:22,680 --> 01:12:27,160
Speaker 2: about how something or you don't know, Walter K Powers.

1413
01:12:27,640 --> 01:12:29,599
Speaker 1: Got to get his name in one more time, one

1414
01:12:29,640 --> 01:12:31,200
Speaker 1: more time, just in case you forgot it.

1415
01:12:31,320 --> 01:12:34,560
Speaker 2: That's Walter k Powers dot com. And we take donations

1416
01:12:34,600 --> 01:12:37,679
Speaker 2: in ten, twenty fifty or whatever you want to give,

1417
01:12:37,840 --> 01:12:41,480
Speaker 2: whatever you can spare, it's Walter k Powers dot com.

1418
01:12:41,840 --> 01:12:42,519
Speaker 2: I want action.

1419
01:12:43,000 --> 01:12:45,040
Speaker 1: And then and then you're done, like you're You're in

1420
01:12:45,120 --> 01:12:47,120
Speaker 1: and out on this picture in about an hour, like

1421
01:12:47,160 --> 01:12:49,680
Speaker 1: we I think we've we've talked more in this episode

1422
01:12:49,920 --> 01:12:51,519
Speaker 1: than the movie actually lasts.

1423
01:12:52,080 --> 01:12:56,840
Speaker 2: This episode is like twenty eight minutes longer than the movie.

1424
01:12:57,760 --> 01:12:59,760
Speaker 1: So this is a film that you know and moved

1425
01:12:59,800 --> 01:13:04,120
Speaker 1: right along, had a pretty fun sci fi plot, great poster.

1426
01:13:06,200 --> 01:13:09,439
Speaker 1: I feel like if this movie had had a more

1427
01:13:09,479 --> 01:13:13,679
Speaker 1: memorable looking creature or effect in it. It would have been,

1428
01:13:15,040 --> 01:13:17,760
Speaker 1: It would be better remembered, you know. Yes, like I

1429
01:13:17,800 --> 01:13:20,360
Speaker 1: think of some of these other pictures that we've discussed

1430
01:13:20,400 --> 01:13:22,280
Speaker 1: or talked about, there'll be some sort of practical effect

1431
01:13:22,280 --> 01:13:25,439
Speaker 1: in there that it works on some level, or is

1432
01:13:25,479 --> 01:13:28,400
Speaker 1: even goofy enough to where it throws, you know, it

1433
01:13:28,439 --> 01:13:32,559
Speaker 1: goes over the top enough that it becomes memorable. So

1434
01:13:32,640 --> 01:13:34,360
Speaker 1: I'm not going to say it's a failing of the picture,

1435
01:13:34,360 --> 01:13:36,760
Speaker 1: because the slugs and the cone are all great in

1436
01:13:36,760 --> 01:13:40,920
Speaker 1: their own way, but it's lacking that one like super

1437
01:13:40,960 --> 01:13:43,320
Speaker 1: weird visual thing that pushes it over the hedge.

1438
01:13:43,400 --> 01:13:46,240
Speaker 2: I agree. If it had a puppet like the artichoke

1439
01:13:46,479 --> 01:13:48,960
Speaker 2: and it conquered the world, or like the crab in

1440
01:13:49,080 --> 01:13:51,679
Speaker 2: Attack of the Crab Monsters, this would be an all

1441
01:13:51,720 --> 01:13:53,720
Speaker 2: time great drive in movie. I mean, this is not

1442
01:13:53,840 --> 01:13:56,919
Speaker 2: a good movie by any means, but it's highly amusing.

1443
01:13:57,400 --> 01:14:00,519
Speaker 2: It's only sixty minutes long. It moves right along. There

1444
01:14:00,560 --> 01:14:03,120
Speaker 2: are a few boring stretches, but they're over pretty quick.

1445
01:14:03,479 --> 01:14:04,880
Speaker 2: It's h This is a good one.

1446
01:14:05,200 --> 01:14:07,800
Speaker 1: Yeah, yeah, I mean an hour picture. You're you're not

1447
01:14:07,840 --> 01:14:10,439
Speaker 1: gonna be bored for long. It does have some fun

1448
01:14:10,479 --> 01:14:14,400
Speaker 1: cameos and yeah, it's just a just an enjoyable, enjoyable

1449
01:14:14,400 --> 01:14:18,080
Speaker 1: little picture. Yeah. Worth it for the Nimoy reveal at

1450
01:14:18,080 --> 01:14:19,200
Speaker 1: the end, for sure.

1451
01:14:19,240 --> 01:14:22,280
Speaker 2: The warning you can barely tell it's him, like he's

1452
01:14:22,320 --> 01:14:24,880
Speaker 2: he's hiding behind a lot of fog and a big,

1453
01:14:24,920 --> 01:14:25,679
Speaker 2: big old beard.

1454
01:14:26,000 --> 01:14:28,559
Speaker 1: Yeah. Yeah, it's best no to know going into it. Yeah,

1455
01:14:28,640 --> 01:14:31,080
Speaker 1: nim Oy will appear. You just got to give him time.

1456
01:14:31,360 --> 01:14:34,320
Speaker 2: But he still never got his forty five dollars.

1457
01:14:33,600 --> 01:14:38,880
Speaker 1: Still didn't get paid. Yeah, way to go ed. All right, Well,

1458
01:14:38,960 --> 01:14:41,439
Speaker 1: if you want to watch this movie as well, you

1459
01:14:41,479 --> 01:14:43,400
Speaker 1: can find it in various places. I found that I

1460
01:14:43,880 --> 01:14:47,200
Speaker 1: couldn't find it some places, and I found it other places.

1461
01:14:47,240 --> 01:14:49,439
Speaker 1: So I found it on Amazon Prime. I was able

1462
01:14:49,479 --> 01:14:51,559
Speaker 1: to You can rener by it there at least as

1463
01:14:51,600 --> 01:14:55,240
Speaker 1: of this recording in the United States. You can probably

1464
01:14:55,240 --> 01:14:58,080
Speaker 1: find it in some other places as well. I want

1465
01:14:58,080 --> 01:15:00,680
Speaker 1: to say, like Pluto or two B looked like they

1466
01:15:00,720 --> 01:15:03,280
Speaker 1: had it, so you know, shop around. It's out there.

1467
01:15:03,280 --> 01:15:05,280
Speaker 1: It's it's not completely forgotten.

1468
01:15:05,560 --> 01:15:07,880
Speaker 2: You can get it as a complimentary digital download with

1469
01:15:07,960 --> 01:15:13,600
Speaker 2: any donation at Walterkpowers dot com Walter k Powers for America.

1470
01:15:14,360 --> 01:15:16,799
Speaker 1: It is also on DVD. You can get it on DVD,

1471
01:15:17,000 --> 01:15:19,639
Speaker 1: and and people are selling the poster. You can get

1472
01:15:19,640 --> 01:15:22,640
Speaker 1: that vintage poster. I would say that the poster is

1473
01:15:22,680 --> 01:15:26,800
Speaker 1: probably better well known than the movie. I think that's

1474
01:15:26,560 --> 01:15:29,240
Speaker 1: that's that's fair to say, because especially in this age

1475
01:15:29,240 --> 01:15:31,760
Speaker 1: of you know, like Tumbler and so forth, and you know,

1476
01:15:31,800 --> 01:15:34,479
Speaker 1: in blogs like Monster Brains, you know, you get the

1477
01:15:34,479 --> 01:15:37,760
Speaker 1: instant satisfaction of looking at this stellar poster, and not

1478
01:15:37,840 --> 01:15:40,600
Speaker 1: everybody's going to be inclined to actually check out the

1479
01:15:40,640 --> 01:15:43,280
Speaker 1: motion picture behind it. All right, well we're going to

1480
01:15:43,320 --> 01:15:44,640
Speaker 1: go and close it out here. If you want to

1481
01:15:44,680 --> 01:15:47,880
Speaker 1: check out other episodes of Weird House Cinema, it comes

1482
01:15:47,880 --> 01:15:50,040
Speaker 1: out every Friday and the Stuff to Blow your Mind

1483
01:15:50,120 --> 01:15:54,559
Speaker 1: podcast feed We're normally a science podcast with episodes core

1484
01:15:54,600 --> 01:15:57,479
Speaker 1: episodes on Tuesdays and Thursdays, but on Fridays we set

1485
01:15:57,520 --> 01:16:00,400
Speaker 1: most of that aside and talk about a weird picture

1486
01:16:00,479 --> 01:16:03,240
Speaker 1: like this one. On Wednesdays we do a short form

1487
01:16:03,320 --> 01:16:05,959
Speaker 1: artifact episode. On Mondays, it's listener mail.

1488
01:16:06,080 --> 01:16:09,240
Speaker 2: Huge thanks as always to our excellent audio producer Seth

1489
01:16:09,360 --> 01:16:11,840
Speaker 2: Nicholas Johnson. If you would like to get in touch

1490
01:16:11,880 --> 01:16:14,280
Speaker 2: with us with feedback on this episode or any other.

1491
01:16:14,400 --> 01:16:16,680
Speaker 2: To suggest a topic for the future, or just to

1492
01:16:16,680 --> 01:16:19,599
Speaker 2: say hello, you can email us at contact at stuff

1493
01:16:19,640 --> 01:16:28,240
Speaker 2: to Blow your Mind dot com.

1494
01:16:28,360 --> 01:16:31,320
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1495
01:16:31,400 --> 01:16:34,200
Speaker 3: more podcasts from my heart Radio, visit the iHeartRadio app,

1496
01:16:34,320 --> 01:16:37,520
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.