1 00:00:03,000 --> 00:00:05,400 Speaker 1: Welcome to Stuff to Blow your Mind production of My 2 00:00:05,519 --> 00:00:15,840 Speaker 1: Heart Radio. Hey, welcome to Weird How Cinema. This is 3 00:00:15,920 --> 00:00:19,840 Speaker 1: Rob Lamb and I'm Joe McCormick and for today's episode. 4 00:00:19,880 --> 00:00:23,520 Speaker 1: Oh I I feel so excited. I'm literally tingling. I 5 00:00:23,960 --> 00:00:27,720 Speaker 1: I feel like we have unearthed a holy artifact that 6 00:00:27,920 --> 00:00:30,840 Speaker 1: was I guess maybe known by many by many others before, 7 00:00:30,960 --> 00:00:35,600 Speaker 1: but this was my first time seeing today's selection, and 8 00:00:36,080 --> 00:00:38,760 Speaker 1: it has filled me with such light and hope and 9 00:00:39,240 --> 00:00:45,240 Speaker 1: goodwill and cheer. Uh. Today's selection is Inframan, also known 10 00:00:45,280 --> 00:00:51,280 Speaker 1: as the Super Inframan, a nineteen Hong Kong cinema extravaganza 11 00:00:51,800 --> 00:00:55,560 Speaker 1: that truly must be seen to be believed. This movie 12 00:00:55,640 --> 00:00:58,680 Speaker 1: has um. I was trying to think it has an 13 00:00:58,720 --> 00:01:02,720 Speaker 1: ineffability about the experience of watching it, similar to a 14 00:01:02,840 --> 00:01:06,760 Speaker 1: religious or psychedelic experiences. I think you can when you 15 00:01:06,880 --> 00:01:10,080 Speaker 1: read the words of people who have seen this movie, 16 00:01:10,400 --> 00:01:15,399 Speaker 1: they're trying to communicate something that just can't be said. Yeah, yeah, 17 00:01:15,440 --> 00:01:17,959 Speaker 1: this this movie is something special and uh and I 18 00:01:18,000 --> 00:01:20,240 Speaker 1: had not seen it before either. I was, I think, 19 00:01:20,280 --> 00:01:23,560 Speaker 1: barely familiar with it. I think my only real connection 20 00:01:23,560 --> 00:01:27,040 Speaker 1: to this is that I knew that the Jonah ray 21 00:01:27,200 --> 00:01:29,240 Speaker 1: Um and a comedian and actor. It was a big 22 00:01:29,240 --> 00:01:32,320 Speaker 1: fan of this film, and I knew that there were 23 00:01:32,360 --> 00:01:35,920 Speaker 1: elements there were these costumes. In the most recent Netflix 24 00:01:35,959 --> 00:01:39,520 Speaker 1: seasons of Mystery Science Theater three thousand, it copied the 25 00:01:39,560 --> 00:01:42,680 Speaker 1: skeleton costumes from this movie. Uh, you know, did kind 26 00:01:42,680 --> 00:01:45,960 Speaker 1: of a riff on them, visual riff, but but that 27 00:01:46,040 --> 00:01:48,440 Speaker 1: was it. Otherwise, this was all new to me, and 28 00:01:48,520 --> 00:01:50,680 Speaker 1: I I mean, I'm I'm I'm glad I had not 29 00:01:50,800 --> 00:01:53,400 Speaker 1: already seen it because I got to appreciate it a 30 00:01:53,480 --> 00:01:56,480 Speaker 1: new this week. I'm almost a little bit. It's one 31 00:01:56,520 --> 00:01:59,760 Speaker 1: of those melancholy experiences that's so joyful, but it's also 32 00:01:59,760 --> 00:02:02,200 Speaker 1: a little bit sad because you know you can never 33 00:02:02,320 --> 00:02:05,880 Speaker 1: experience it for the first time again. But this is 34 00:02:05,920 --> 00:02:08,519 Speaker 1: already a movie that I know I will watch probably 35 00:02:08,600 --> 00:02:11,519 Speaker 1: dozens more times in my life. It's a new all 36 00:02:11,600 --> 00:02:15,160 Speaker 1: time favorite for me. Among the weird house cinema selections. 37 00:02:15,160 --> 00:02:17,600 Speaker 1: I put it right up there with Robot Jock's Mad 38 00:02:17,680 --> 00:02:20,440 Speaker 1: Love and the other the best of the best. So 39 00:02:20,520 --> 00:02:22,440 Speaker 1: what is the deal with infra man I would say 40 00:02:22,520 --> 00:02:30,200 Speaker 1: inframan combines peak I popping B movie craftsmanship with this infectious, 41 00:02:30,560 --> 00:02:35,480 Speaker 1: pleasing hyper drive of manic absurdity. I wish there were 42 00:02:35,480 --> 00:02:38,600 Speaker 1: more movies like this, And I'm not being ironic at all. 43 00:02:38,639 --> 00:02:41,800 Speaker 1: I'm completely serious when I say that making a movie 44 00:02:41,840 --> 00:02:48,440 Speaker 1: like this must require a certain kind of rare genius. Yeah. Absolutely. Um. Oh, 45 00:02:48,440 --> 00:02:49,760 Speaker 1: by the way, I should I should go and throw 46 00:02:49,760 --> 00:02:52,200 Speaker 1: out Yeah this is some Yeah, sometimes done as Inframan, 47 00:02:52,320 --> 00:02:55,960 Speaker 1: the Superinframan, or the original Chinese title for this is 48 00:02:56,160 --> 00:03:00,840 Speaker 1: Zon chall Rin or Chinese Superman. But yeah, this is uh. 49 00:03:00,960 --> 00:03:02,680 Speaker 1: I feel like this movie is just an under the 50 00:03:02,720 --> 00:03:06,000 Speaker 1: tree Christmas morning sort of treat Uh. You can basically 51 00:03:06,080 --> 00:03:10,240 Speaker 1: feel the plastic crinkling as you as you watch it 52 00:03:10,240 --> 00:03:11,920 Speaker 1: for the first time. You know you have to have 53 00:03:12,040 --> 00:03:15,960 Speaker 1: to undo some twist ties to remove it from the packaging. Um, 54 00:03:16,600 --> 00:03:18,639 Speaker 1: it's it's hard to imagine the sort of person who 55 00:03:18,680 --> 00:03:21,880 Speaker 1: would not be won over by this movie. Doctors should 56 00:03:21,880 --> 00:03:25,040 Speaker 1: prescribe IN for Man as a treatment for painful diseases. 57 00:03:25,120 --> 00:03:28,799 Speaker 1: Hospitals should have TVs that only show IN for Man. 58 00:03:29,120 --> 00:03:31,320 Speaker 1: You can only be so sad while watching In for Man. 59 00:03:31,360 --> 00:03:35,080 Speaker 1: It's true. So apparently this was one movie, and as 60 00:03:35,120 --> 00:03:37,320 Speaker 1: far as I know, it might be the only instance 61 00:03:37,360 --> 00:03:42,120 Speaker 1: ever where the film critic Roger Ebert changed his original 62 00:03:42,240 --> 00:03:46,080 Speaker 1: star rating years after his review for this movie, so 63 00:03:46,120 --> 00:03:50,240 Speaker 1: when it came out, he wrote an absolutely glowing review. 64 00:03:50,240 --> 00:03:52,320 Speaker 1: I mean, you read the words, it sounds like he's 65 00:03:52,360 --> 00:03:55,680 Speaker 1: describing one of the greatest films he's ever seen, but 66 00:03:55,760 --> 00:03:58,560 Speaker 1: he only gave it two point five stars. That you know, 67 00:03:58,600 --> 00:04:00,960 Speaker 1: they went on a four star scale. But then more 68 00:04:01,000 --> 00:04:04,480 Speaker 1: than twenty years later, he apparently went back and changed 69 00:04:04,560 --> 00:04:07,680 Speaker 1: his rating from two point five to three, citing the 70 00:04:07,720 --> 00:04:09,960 Speaker 1: fact that in the twenty years since he had seen 71 00:04:10,080 --> 00:04:12,880 Speaker 1: or more than twenty twenty something plus years since he 72 00:04:12,920 --> 00:04:15,600 Speaker 1: had seen infor Man, there was probably not a single 73 00:04:15,640 --> 00:04:17,920 Speaker 1: month that went by that he didn't at some point 74 00:04:18,000 --> 00:04:21,920 Speaker 1: find himself thinking of it fondly. Uh though, I'm gonna 75 00:04:22,040 --> 00:04:24,760 Speaker 1: confused why he didn't just go straight to four stars, 76 00:04:24,800 --> 00:04:27,160 Speaker 1: like what's holding you back at three? Because when you 77 00:04:27,200 --> 00:04:30,120 Speaker 1: read his actual words, I think it's clear that he 78 00:04:30,160 --> 00:04:33,400 Speaker 1: feels like we do, that he understands that the Inframan 79 00:04:34,200 --> 00:04:38,240 Speaker 1: transcends just being a kind of a goofy zany movie 80 00:04:38,320 --> 00:04:41,640 Speaker 1: and becomes a kind of genuine masterpiece. It is something 81 00:04:41,680 --> 00:04:43,839 Speaker 1: to be cherished by the young and old, and to 82 00:04:43,880 --> 00:04:48,560 Speaker 1: be analyzed by generations of scholars and philosophers. No, absolutely, 83 00:04:48,600 --> 00:04:50,599 Speaker 1: I mean I guess with with Ebra, you never know 84 00:04:50,640 --> 00:04:53,400 Speaker 1: exactly what you're gonna get. Like we've said before, I 85 00:04:53,920 --> 00:04:57,400 Speaker 1: you know, sometimes you agree with other times you know 86 00:04:57,640 --> 00:04:59,320 Speaker 1: you want to get a shouting match with him. But 87 00:04:59,720 --> 00:05:02,400 Speaker 1: I you like the same Roger Ebert who gave Blade 88 00:05:02,400 --> 00:05:04,960 Speaker 1: to three and a half stars. Uh and I totally 89 00:05:04,960 --> 00:05:08,159 Speaker 1: agree with that rating. UM would considerately, you know, bumping 90 00:05:08,160 --> 00:05:10,360 Speaker 1: it up to three and a half at least for 91 00:05:10,360 --> 00:05:12,960 Speaker 1: for this movie. I don't know. I want to understand 92 00:05:13,000 --> 00:05:15,720 Speaker 1: these mental constraints keeping it limited to three. I guess 93 00:05:15,720 --> 00:05:20,200 Speaker 1: some people are always trying to ice skate uphill good Um. 94 00:05:20,240 --> 00:05:22,280 Speaker 1: But no, no, I get you know. Rating systems are hard. 95 00:05:22,320 --> 00:05:24,440 Speaker 1: I mean, how do you it's it's it's a tough 96 00:05:24,680 --> 00:05:26,520 Speaker 1: job you give yourself if you're going to rate every 97 00:05:26,560 --> 00:05:29,320 Speaker 1: film you ever watch. And uh and and you know 98 00:05:29,480 --> 00:05:31,760 Speaker 1: you have some sort of numerical value system that can 99 00:05:31,760 --> 00:05:35,719 Speaker 1: apply to films like Infra Man, but also to films 100 00:05:35,800 --> 00:05:38,360 Speaker 1: like you know, The Great Gatsby or whatever. You know. 101 00:05:38,880 --> 00:05:42,040 Speaker 1: Uh So I realized it's complicated. Now. It should come 102 00:05:42,040 --> 00:05:46,040 Speaker 1: as no surprise to anyone that psychotronic film chronicler Michael 103 00:05:46,080 --> 00:05:50,360 Speaker 1: Weldon wrote highly of the Inframan movie UM. He wrote, 104 00:05:50,440 --> 00:05:54,560 Speaker 1: quote almost NonStop laughs and excitement, with some great special effects, 105 00:05:54,640 --> 00:05:57,719 Speaker 1: lots of skulls, and a character reading a Dennis Wheatly 106 00:05:57,800 --> 00:06:00,680 Speaker 1: occult novel. I don't think I noticed that detail, but 107 00:06:00,720 --> 00:06:03,920 Speaker 1: that's good. Yeah, yeah, May May is reading it late 108 00:06:04,000 --> 00:06:08,400 Speaker 1: in the film. Okay, this is during the um largely 109 00:06:08,520 --> 00:06:11,320 Speaker 1: non action oriented portion of the film in which the 110 00:06:11,320 --> 00:06:15,000 Speaker 1: professor is researching things which incidentally know this about an 111 00:06:15,040 --> 00:06:17,360 Speaker 1: hour into the film, and I've been loving it, and 112 00:06:17,400 --> 00:06:19,120 Speaker 1: I paused it because I had to do something else, 113 00:06:19,120 --> 00:06:21,080 Speaker 1: and I was picking it back up at night when 114 00:06:21,080 --> 00:06:22,960 Speaker 1: my my, my wife and son were home and I 115 00:06:22,960 --> 00:06:24,719 Speaker 1: was like, hey, you guys gotta come in here because 116 00:06:24,800 --> 00:06:27,279 Speaker 1: this is this is great. Everybody's gonna love this. And 117 00:06:27,279 --> 00:06:29,480 Speaker 1: so they sit down and I pushed play and it's 118 00:06:29,520 --> 00:06:33,080 Speaker 1: immediately researched scene and I was like, seriously, this is 119 00:06:33,080 --> 00:06:35,039 Speaker 1: the This is the longest stretch in the movie in 120 00:06:35,040 --> 00:06:38,479 Speaker 1: which there are no monsters. Luckily they stayed with it. Uh. 121 00:06:38,480 --> 00:06:40,560 Speaker 1: They ended up watching the rest of the film with me, 122 00:06:40,720 --> 00:06:43,760 Speaker 1: and they both agreed that it was excellent. I noticed 123 00:06:43,800 --> 00:06:46,679 Speaker 1: a dynamic where maybe you felt the same thing where 124 00:06:47,400 --> 00:06:50,719 Speaker 1: when there were scenes of this movie that suddenly slowed 125 00:06:50,760 --> 00:06:52,839 Speaker 1: down when there was a little bit of downtime, And 126 00:06:52,880 --> 00:06:55,240 Speaker 1: there is not a lot of downtime in this movie, 127 00:06:55,839 --> 00:06:59,240 Speaker 1: but when it arrives it is somehow hilarious. I think 128 00:06:59,279 --> 00:07:02,440 Speaker 1: it's something about the change in pacing when it suddenly 129 00:07:02,520 --> 00:07:06,520 Speaker 1: down shifts to characters just being still and quiet for 130 00:07:06,600 --> 00:07:09,520 Speaker 1: a moment. I couldn't stop laughing, and I wasn't sure 131 00:07:09,560 --> 00:07:12,360 Speaker 1: exactly what that was. It just feels like, oh, okay, 132 00:07:12,400 --> 00:07:16,119 Speaker 1: now we're just watching them look at screens for a second. Yeah, 133 00:07:16,200 --> 00:07:18,680 Speaker 1: And I think this is the time to drive them 134 00:07:18,680 --> 00:07:22,240 Speaker 1: that this is a Shob Brothers picture. Uh. Shob Brothers. 135 00:07:22,280 --> 00:07:25,720 Speaker 1: Of course, the Hong Kong Studio UH noted for its 136 00:07:25,760 --> 00:07:29,040 Speaker 1: many martial arts action films back in the day. So 137 00:07:29,120 --> 00:07:31,880 Speaker 1: this is a this is a film that excels in 138 00:07:32,000 --> 00:07:35,080 Speaker 1: motion if nothing else, Like you know, going into a 139 00:07:35,080 --> 00:07:38,240 Speaker 1: Shob Brothers film that the stunts um and then the 140 00:07:38,240 --> 00:07:41,240 Speaker 1: physical action is going to be excellent. Uh. And with 141 00:07:41,320 --> 00:07:43,480 Speaker 1: this film, we just have a lot of other excellent 142 00:07:43,560 --> 00:07:46,240 Speaker 1: things built on top of that framework. I noticed when 143 00:07:46,240 --> 00:07:49,480 Speaker 1: I was watching this movie and and foolishly trying to 144 00:07:49,520 --> 00:07:53,320 Speaker 1: take comprehensive notes on the plot, which quickly proved impossible. 145 00:07:53,880 --> 00:07:56,480 Speaker 1: A word I just kept typing over and over was 146 00:07:56,680 --> 00:08:00,600 Speaker 1: immediately And I think that fact, by itself helps give 147 00:08:00,600 --> 00:08:03,520 Speaker 1: you a sense of what Inframan is all about. I 148 00:08:03,560 --> 00:08:06,360 Speaker 1: was trying to think of analogies to communicate the feeling 149 00:08:06,400 --> 00:08:08,960 Speaker 1: of this movie, and if this makes any sense to me, 150 00:08:09,120 --> 00:08:12,440 Speaker 1: Inframan is almost kind of like an early Beatles song. 151 00:08:12,600 --> 00:08:16,280 Speaker 1: It's like she Loves You. It's just tight and fast 152 00:08:16,480 --> 00:08:21,520 Speaker 1: and instantly in the hook, and the catchy melody never stops. Yeah. Yeah, 153 00:08:21,560 --> 00:08:25,320 Speaker 1: I think that's an adequate description. Um, it's it's It's 154 00:08:25,360 --> 00:08:28,040 Speaker 1: worth noting for weird house cinema listeners that, uh, this 155 00:08:28,120 --> 00:08:30,360 Speaker 1: is our second Shot Brothers film that we've covered. The 156 00:08:30,400 --> 00:08:35,120 Speaker 1: first was nineteen seventies six is The Oily Maniac, which 157 00:08:35,160 --> 00:08:38,600 Speaker 1: had one incredible monster, some cool black magic, but also 158 00:08:38,640 --> 00:08:41,920 Speaker 1: a fair amount of sleeves. Uh. This film, however, is 159 00:08:41,960 --> 00:08:45,800 Speaker 1: all monsters. It's comic book action and is appropriate for 160 00:08:45,840 --> 00:08:48,679 Speaker 1: all ages. Um and uh yeah, and came out in 161 00:08:48,720 --> 00:08:51,800 Speaker 1: seventy five, so this is the year before Oily Maniac. 162 00:08:51,840 --> 00:08:53,960 Speaker 1: And there's more than one connection to be made between 163 00:08:53,960 --> 00:08:57,599 Speaker 1: the casts. So how would we even do the elevator 164 00:08:57,640 --> 00:08:59,880 Speaker 1: pitch for this movie? The first sentence I typed was 165 00:09:00,080 --> 00:09:04,680 Speaker 1: is prepared to lose your mind. That's really good. When 166 00:09:04,679 --> 00:09:07,520 Speaker 1: I was thinking on it, I was I thought, super 167 00:09:07,559 --> 00:09:10,760 Speaker 1: Inframan is a buffet for the eyes and everything is desserted. 168 00:09:11,200 --> 00:09:15,880 Speaker 1: That's very very true, very good. Um, So, how to 169 00:09:15,920 --> 00:09:19,480 Speaker 1: actually boil down the plot? I'll give it a shot. 170 00:09:19,920 --> 00:09:23,959 Speaker 1: When a tyrannical witch from a long lost Ice Age 171 00:09:24,000 --> 00:09:28,280 Speaker 1: civilization named Princess Dragon Mom and then there's some alternate 172 00:09:28,640 --> 00:09:31,920 Speaker 1: titles depending on translation, when she tries to destroy the 173 00:09:31,960 --> 00:09:35,959 Speaker 1: world with a team of fidgety mutant Hinchman, a brave 174 00:09:36,040 --> 00:09:40,120 Speaker 1: young man named Rama must volunteer for a dangerous experimental 175 00:09:40,200 --> 00:09:43,840 Speaker 1: surgery that will put a nuclear reactor in his body 176 00:09:44,120 --> 00:09:48,400 Speaker 1: and transform him into Infra Man, a near invincible armored 177 00:09:48,440 --> 00:09:53,120 Speaker 1: hero with thunder fists, and only Infra Man can save us. Now, yep, 178 00:09:53,240 --> 00:09:56,719 Speaker 1: that's pretty accurate. But and yet it does not. It 179 00:09:57,080 --> 00:10:00,599 Speaker 1: does not and cannot fully convey the visual feast that 180 00:10:00,760 --> 00:10:03,240 Speaker 1: is this film. Now, one thing that's interesting is that 181 00:10:03,280 --> 00:10:05,520 Speaker 1: while I think this movie is more than the sum 182 00:10:05,559 --> 00:10:08,800 Speaker 1: of its parts, it it comes together into this beautiful 183 00:10:08,880 --> 00:10:12,640 Speaker 1: transcendent whole. You can also quite clearly pick out a 184 00:10:12,640 --> 00:10:16,040 Speaker 1: lot of the the genre inputs on it. I think 185 00:10:16,320 --> 00:10:18,640 Speaker 1: we're not original and observing this, a lot of people 186 00:10:18,679 --> 00:10:22,120 Speaker 1: have commented that a lot of the genre conventions of 187 00:10:22,120 --> 00:10:26,800 Speaker 1: this movie seem largely derived from certain popular, especially Japanese 188 00:10:26,880 --> 00:10:30,600 Speaker 1: film and TV genres from the decade before this came out, 189 00:10:31,280 --> 00:10:33,440 Speaker 1: And so a couple of things to mention here would 190 00:10:33,440 --> 00:10:37,400 Speaker 1: probably be the influence of the so called hension hero shows. 191 00:10:38,200 --> 00:10:42,120 Speaker 1: Um to describe this for American audience as our age 192 00:10:42,320 --> 00:10:45,400 Speaker 1: if you ever watched the Mighty Morphin Power Rangers when 193 00:10:45,440 --> 00:10:48,160 Speaker 1: you were a kid, and maybe you've got the feeling 194 00:10:48,280 --> 00:10:51,400 Speaker 1: that is this part of a genre in some way? 195 00:10:51,480 --> 00:10:54,560 Speaker 1: Does this? Uh? You know these tropes feel kind of 196 00:10:54,600 --> 00:10:58,240 Speaker 1: well worn, even though maybe I've never seen them before. Well, yes, 197 00:10:58,360 --> 00:11:01,840 Speaker 1: Mighty Morphin Power Rangers wasn't need a sort of americanization 198 00:11:01,920 --> 00:11:06,040 Speaker 1: of a long running Japanese TV show genre. Uh this 199 00:11:06,040 --> 00:11:11,800 Speaker 1: this Hingshion show, which Hinshion translates to something like transformation 200 00:11:12,160 --> 00:11:16,080 Speaker 1: or changing body. These were shows about a regular person 201 00:11:16,080 --> 00:11:19,760 Speaker 1: who would transform into a hero, who usually wore a 202 00:11:19,840 --> 00:11:23,319 Speaker 1: suit that had some kind of cool, elaborate helmet, not always, 203 00:11:23,320 --> 00:11:26,599 Speaker 1: but they would change clothes in some interesting way, and 204 00:11:26,840 --> 00:11:29,400 Speaker 1: so they might have a device or say a magic word, 205 00:11:29,520 --> 00:11:31,839 Speaker 1: and then they'd go through a morphine sequence like the 206 00:11:31,880 --> 00:11:35,800 Speaker 1: Power Rangers did, and this would transform them into their 207 00:11:35,920 --> 00:11:39,240 Speaker 1: their hero more for where they would have superpowers. So 208 00:11:39,440 --> 00:11:44,120 Speaker 1: big examples of of popular hingshion shows from Japan were 209 00:11:44,200 --> 00:11:47,160 Speaker 1: Ultraman beginning in the mid sixties, and then there was 210 00:11:47,200 --> 00:11:49,880 Speaker 1: a show called Caman Raiders that I think came a 211 00:11:49,920 --> 00:11:53,360 Speaker 1: little bit later. Yeah, Ultraman. Of course, we we covered 212 00:11:53,760 --> 00:12:00,040 Speaker 1: a tie up co production featuring Ultraman titled Hanuman A 213 00:12:00,200 --> 00:12:03,280 Speaker 1: seven Ultraman. So if you're interested in this type of 214 00:12:03,280 --> 00:12:05,000 Speaker 1: film and you didn't hear that episode, go back and 215 00:12:05,000 --> 00:12:07,079 Speaker 1: listen to it. It's pretty fun. Now. This is a 216 00:12:07,160 --> 00:12:09,520 Speaker 1: rich genre that's also had a huge impact on cartoons 217 00:12:09,559 --> 00:12:12,240 Speaker 1: of especially the eighties and nineties, a lot of things 218 00:12:12,280 --> 00:12:15,720 Speaker 1: that would have been seeing outside of Japan. We're talking 219 00:12:15,760 --> 00:12:20,200 Speaker 1: stuff like Sailor Moon, ThunderCats, Silverhawks, hey Man, Shira, of 220 00:12:20,240 --> 00:12:24,000 Speaker 1: course Voltron, and in the world of animation, I'm to 221 00:12:24,040 --> 00:12:26,720 Speaker 1: understand it was particularly useful because it allows you to 222 00:12:26,800 --> 00:12:31,000 Speaker 1: reuse that transformation sequence in every episode and you know 223 00:12:31,040 --> 00:12:33,000 Speaker 1: as much of it as you needed to help you 224 00:12:33,120 --> 00:12:36,720 Speaker 1: hit your desired um episode length, right, Yeah, so you 225 00:12:36,720 --> 00:12:39,040 Speaker 1: could really pad that thing out with stuff that you 226 00:12:39,240 --> 00:12:42,960 Speaker 1: that you had shot, you know, years before. Very economical 227 00:12:42,960 --> 00:12:45,600 Speaker 1: way to make a show, especially, I think when you're 228 00:12:45,640 --> 00:12:48,120 Speaker 1: you're dealing with something like animation, where you know you're 229 00:12:48,520 --> 00:12:51,560 Speaker 1: it's your your cost per frame is pretty high. But 230 00:12:51,760 --> 00:12:55,000 Speaker 1: while you can clearly recognize the bones of a of 231 00:12:55,000 --> 00:12:58,880 Speaker 1: a Hinsion influence in in Inframan himself, this movie has 232 00:12:58,920 --> 00:13:01,400 Speaker 1: a lot of other input There's so much going on, 233 00:13:01,480 --> 00:13:04,560 Speaker 1: so it clearly has kaiju inputs because there are these 234 00:13:04,600 --> 00:13:09,320 Speaker 1: assortments of weird monsters that sometimes grow very large. Uh. 235 00:13:09,720 --> 00:13:13,439 Speaker 1: It also has has strong martial arts movie influences. There's 236 00:13:13,440 --> 00:13:15,839 Speaker 1: a lot of great kung fu scenes in it, and 237 00:13:16,200 --> 00:13:18,760 Speaker 1: there is a subplot in the middle of it that 238 00:13:18,800 --> 00:13:21,840 Speaker 1: feels like the movie suddenly shifts into an espionage thriller, 239 00:13:21,920 --> 00:13:25,760 Speaker 1: like a brainwashing sleeper agent movie. And I loved that part. 240 00:13:26,240 --> 00:13:29,400 Speaker 1: It's that was absolutely a genius move. Because you have 241 00:13:29,480 --> 00:13:32,640 Speaker 1: so much action and so much monster action going on, 242 00:13:33,040 --> 00:13:35,320 Speaker 1: You've you've got to find you've gotta have a way 243 00:13:35,360 --> 00:13:36,800 Speaker 1: to pad that out a little bit you need something 244 00:13:36,880 --> 00:13:40,120 Speaker 1: else in there, and the espionage mind washing a plot 245 00:13:40,720 --> 00:13:43,320 Speaker 1: works fabulous. Say so, you and I may have watched 246 00:13:43,559 --> 00:13:46,599 Speaker 1: different versions of the movie. I think we saw the 247 00:13:46,679 --> 00:13:49,600 Speaker 1: same thing on the screen, I think, but different versions 248 00:13:49,679 --> 00:13:54,360 Speaker 1: of getting the English translation. So while I often prefer 249 00:13:54,559 --> 00:13:58,480 Speaker 1: subtitles to dubbing for foreign films, the dub track on 250 00:13:58,600 --> 00:14:01,480 Speaker 1: the version of Infra Man that I watched, which might 251 00:14:01,520 --> 00:14:04,000 Speaker 1: be the only English dub, I'm not sure. At least 252 00:14:04,040 --> 00:14:09,000 Speaker 1: the version I saw was absolutely sublime. The frantic line 253 00:14:09,480 --> 00:14:14,440 Speaker 1: delivery and unusual word choices were perfect. They really add 254 00:14:14,559 --> 00:14:17,840 Speaker 1: to the gleeful absurdity of the film and inject even 255 00:14:17,960 --> 00:14:22,320 Speaker 1: more irresistible energy and pleasure into the viewing experience. Uh So, 256 00:14:22,440 --> 00:14:25,080 Speaker 1: the version I saw, I think was the main dub. 257 00:14:25,200 --> 00:14:27,240 Speaker 1: Like it. It seems to be the dub that other 258 00:14:27,400 --> 00:14:30,080 Speaker 1: reviewers have written about going back to the seventies, So 259 00:14:30,120 --> 00:14:32,480 Speaker 1: I think it's the original one, and it was the 260 00:14:32,560 --> 00:14:34,720 Speaker 1: dub that was present when I rented this movie from 261 00:14:34,760 --> 00:14:38,240 Speaker 1: Google on on YouTube movies. So I would say watch 262 00:14:38,360 --> 00:14:41,560 Speaker 1: this dub, but also make sure that if you do 263 00:14:41,640 --> 00:14:44,960 Speaker 1: watch this movie, don't try to watch some low quality 264 00:14:45,080 --> 00:14:47,840 Speaker 1: rip of this. This movie is gorgeous. It is a 265 00:14:48,000 --> 00:14:50,040 Speaker 1: feast for the eyes, and you really do need to 266 00:14:50,080 --> 00:14:53,480 Speaker 1: see it in full high definition. Yeah. Absolutely. I I 267 00:14:53,600 --> 00:14:56,400 Speaker 1: watched it on Apple TV, and and I had had 268 00:14:56,440 --> 00:14:59,000 Speaker 1: the choice via Apple TV as well, but to watch 269 00:14:59,080 --> 00:15:04,040 Speaker 1: it in UH either dubbed or subtitles. I watched it 270 00:15:04,160 --> 00:15:07,200 Speaker 1: in its entirety with the subtitles, though I did go 271 00:15:07,320 --> 00:15:09,480 Speaker 1: back and watch some scenes with the dub to get 272 00:15:09,520 --> 00:15:10,880 Speaker 1: a taste of the dub, because the thing about a 273 00:15:10,920 --> 00:15:13,680 Speaker 1: Shab Brothers film from you know, from this era, is 274 00:15:13,760 --> 00:15:16,200 Speaker 1: that the dub is kind of iconic. You know, um, 275 00:15:16,280 --> 00:15:18,600 Speaker 1: there's so there's something great about the way they're dubbed. 276 00:15:18,720 --> 00:15:21,600 Speaker 1: And I have to say, even though I enjoyed hearing 277 00:15:21,760 --> 00:15:25,160 Speaker 1: the Chinese language and and UH and and getting the 278 00:15:25,160 --> 00:15:28,200 Speaker 1: subtitle experience and feeling like I was getting something, you know, 279 00:15:28,280 --> 00:15:31,640 Speaker 1: closer to the original viewing experience, there's so much action 280 00:15:31,720 --> 00:15:34,400 Speaker 1: on the screen at times you feel like you I 281 00:15:34,520 --> 00:15:37,560 Speaker 1: felt like I might have been cheating myself by focusing 282 00:15:37,720 --> 00:15:42,200 Speaker 1: on the dialogue and translation rather than the kicks and 283 00:15:42,360 --> 00:15:45,600 Speaker 1: lasers and tentacles that are happening on the screen. Yeah. 284 00:15:45,600 --> 00:15:48,000 Speaker 1: I would say, at least in my experience, the the 285 00:15:48,280 --> 00:15:51,800 Speaker 1: burning fuse power of the English dub was definitely part 286 00:15:51,960 --> 00:15:55,480 Speaker 1: of this art product. I would, I would, I couldn't 287 00:15:55,520 --> 00:15:58,480 Speaker 1: recommend this English dub enough. Yeah, I think the main 288 00:15:58,760 --> 00:16:00,960 Speaker 1: there mainly there mainly two points to be made of 289 00:16:01,040 --> 00:16:04,280 Speaker 1: distinction between the two. One is that it's my understanding 290 00:16:04,840 --> 00:16:09,560 Speaker 1: that the dub introduces some plot holes that are not 291 00:16:09,760 --> 00:16:13,680 Speaker 1: there otherwise. Um and and so I found that when 292 00:16:13,720 --> 00:16:15,520 Speaker 1: I was looking at scenes. For instance, if you do 293 00:16:15,640 --> 00:16:18,680 Speaker 1: the I did the experiment where I put on, uh, 294 00:16:19,040 --> 00:16:21,720 Speaker 1: the subtitles and the dub at the same time to 295 00:16:21,800 --> 00:16:23,840 Speaker 1: see to what extent they matched up. And there were 296 00:16:24,120 --> 00:16:25,840 Speaker 1: parts of the film where they're just talking about different 297 00:16:25,880 --> 00:16:28,760 Speaker 1: things entirely. Other parts where like, you know, the tone 298 00:16:28,840 --> 00:16:31,400 Speaker 1: is a little off, but essentially this is correct. Uh. 299 00:16:32,280 --> 00:16:34,440 Speaker 1: The other areas the names of monsters, and you know, 300 00:16:34,520 --> 00:16:38,720 Speaker 1: I take my monster names seriously, and um um, I 301 00:16:38,760 --> 00:16:40,520 Speaker 1: don't know. So some of the names I liked better 302 00:16:41,240 --> 00:16:45,640 Speaker 1: in the subtitles than in the dub. For example, Princess 303 00:16:45,720 --> 00:16:49,000 Speaker 1: dragon Mom uh in the she her name in the 304 00:16:49,560 --> 00:16:54,520 Speaker 1: subtitles is demon Princess Elzebub, which is also a little goofy, 305 00:16:54,640 --> 00:16:57,680 Speaker 1: but I like it. I prefer it to the Dragon 306 00:16:57,760 --> 00:17:01,400 Speaker 1: Mom oh, what, how can you knock Princess Dragon mom? 307 00:17:01,760 --> 00:17:04,760 Speaker 1: How could I mean like that? That feels so good 308 00:17:04,800 --> 00:17:06,520 Speaker 1: coming out of my mouth. I just want to wander 309 00:17:06,600 --> 00:17:10,560 Speaker 1: around the household day saying Princess Dragon mom. Oh. And 310 00:17:10,640 --> 00:17:14,320 Speaker 1: then there's a which I as another one her female 311 00:17:14,400 --> 00:17:16,520 Speaker 1: second in command or one of her female underlings that 312 00:17:16,600 --> 00:17:19,280 Speaker 1: has the monster hands with the eyeballs in the palm 313 00:17:19,960 --> 00:17:23,240 Speaker 1: U guiermo del toro. You did not invent monsters with 314 00:17:23,400 --> 00:17:25,639 Speaker 1: eyes in the palms of their hands. That is right 315 00:17:25,720 --> 00:17:31,040 Speaker 1: here in ninety in Inframan. So which I was? Or 316 00:17:31,560 --> 00:17:35,200 Speaker 1: was she called demon? Which I also? Or which demon? I? Sometimes? 317 00:17:35,320 --> 00:17:37,320 Speaker 1: I think so? And then. But but here's the other 318 00:17:37,400 --> 00:17:39,960 Speaker 1: thing that that gets complicated with the names of these monsters. 319 00:17:40,280 --> 00:17:43,199 Speaker 1: I noticed that in Michael Weldon's Ride Up he mentioned 320 00:17:43,200 --> 00:17:45,800 Speaker 1: a few slightly different names for some of these monsters. 321 00:17:46,520 --> 00:17:49,160 Speaker 1: So that leads me to think that perhaps there were 322 00:17:49,320 --> 00:17:52,240 Speaker 1: different at least different subtitles at different points. I mean, he, 323 00:17:52,480 --> 00:17:54,520 Speaker 1: I mean, this was a book from the nineteen eighties. 324 00:17:54,720 --> 00:17:57,800 Speaker 1: Who he's writing about this, so who knows? So I'm 325 00:17:57,840 --> 00:17:59,879 Speaker 1: wondering just how many different names we have for the 326 00:18:00,000 --> 00:18:06,880 Speaker 1: these these monsters, counting the original language versions, the subtitles 327 00:18:06,960 --> 00:18:11,680 Speaker 1: the dubs who who knows? Well? So in my dub 328 00:18:12,040 --> 00:18:15,560 Speaker 1: which I was called she Demon simple but effective. But 329 00:18:15,720 --> 00:18:19,840 Speaker 1: but whatever you call her, she Demon is divine. It's 330 00:18:20,200 --> 00:18:22,919 Speaker 1: it's a very uh I hate to cite an internet meme, 331 00:18:23,000 --> 00:18:24,720 Speaker 1: but it's a very we have no choice but to 332 00:18:24,800 --> 00:18:29,560 Speaker 1: stand kind of situation. Like every moment she's on screen 333 00:18:29,840 --> 00:18:34,040 Speaker 1: is just like, damn, she demon is so cool. What 334 00:18:34,320 --> 00:18:37,000 Speaker 1: religion is it that worships her? Can I join that? 335 00:18:39,000 --> 00:18:40,399 Speaker 1: Al Right, well, why don't we go and get a 336 00:18:40,520 --> 00:18:44,720 Speaker 1: taste of some audio here for this? I picked out 337 00:18:45,280 --> 00:18:48,720 Speaker 1: what is an English language TV spot for this movie, 338 00:18:49,080 --> 00:18:51,399 Speaker 1: which I particularly love because it has this vibe of 339 00:18:52,400 --> 00:18:55,600 Speaker 1: of hey, everybody, go grab the kids. Inframan is about 340 00:18:55,600 --> 00:19:02,240 Speaker 1: to kick skulls in the face. I dares to battle 341 00:19:02,359 --> 00:19:06,520 Speaker 1: the deathliest creatures of the universe. Watch out because nothing 342 00:19:06,640 --> 00:19:12,960 Speaker 1: can stop in from He's six million years beyond bionics, 343 00:19:13,280 --> 00:19:18,480 Speaker 1: beyond the time, that beyond your wildest imagination, the ultimate 344 00:19:18,560 --> 00:19:22,960 Speaker 1: adventure with the ultimate super here all an explosion of 345 00:19:23,119 --> 00:19:29,560 Speaker 1: excitement with in promnce. Sadly you could only hear that, 346 00:19:29,720 --> 00:19:32,399 Speaker 1: you could not see that. And again, that is one 347 00:19:32,440 --> 00:19:34,280 Speaker 1: of the things about Infaman it must be seen to 348 00:19:34,359 --> 00:19:45,480 Speaker 1: be experienced. All right, let's talk about some of the 349 00:19:45,720 --> 00:19:49,120 Speaker 1: people involved here. First of all, Yeah, like we said, 350 00:19:49,320 --> 00:19:52,560 Speaker 1: this is a Shab Brothers Studio film. This is a 351 00:19:52,680 --> 00:19:57,000 Speaker 1: studio that operated from through and was the largest film 352 00:19:57,040 --> 00:20:00,760 Speaker 1: production company in Hong Kong, making us magnificant impact not 353 00:20:00,840 --> 00:20:04,200 Speaker 1: only in Chinese cinema but internationally as well. The Shaws 354 00:20:04,240 --> 00:20:07,639 Speaker 1: were Chinese film entrepreneurs. Three of the four Shaw brothers, 355 00:20:07,760 --> 00:20:11,000 Speaker 1: Run run Me and Rundy, founded a film distribution company 356 00:20:11,000 --> 00:20:14,680 Speaker 1: in nineteen five, operating out of Shanghai and Singapore. Run 357 00:20:14,800 --> 00:20:18,000 Speaker 1: Me and the year their youngest brother, Run run Shop, 358 00:20:18,320 --> 00:20:22,399 Speaker 1: operated the Singapore Bass, which would become the Shaw Organization 359 00:20:22,680 --> 00:20:25,920 Speaker 1: before taking over the Hong Kong based sister company Shaw 360 00:20:26,040 --> 00:20:29,320 Speaker 1: and Sons Limited. In nineteen fifty eight, a new company, 361 00:20:29,440 --> 00:20:32,639 Speaker 1: Shaw Brothers was born. Run Me, who produced this film, 362 00:20:32,880 --> 00:20:36,320 Speaker 1: lived nineteen o one through five, and run Run lived 363 00:20:36,359 --> 00:20:39,520 Speaker 1: in nineteen o seven through two thousand and fourteen. Man, 364 00:20:39,600 --> 00:20:42,000 Speaker 1: I love seeing that Shaw Brothers logo at the beginning 365 00:20:42,040 --> 00:20:44,240 Speaker 1: of a film. You see the hammered glass and and 366 00:20:44,359 --> 00:20:47,320 Speaker 1: the it just it feels so good. It does you 367 00:20:47,400 --> 00:20:50,280 Speaker 1: know you're you're in for some action. Um and if 368 00:20:50,280 --> 00:20:52,600 Speaker 1: anyone wants to hear more about Shaw Brothers, I believe 369 00:20:52,640 --> 00:20:55,400 Speaker 1: we went into more detail in the Oily Maniac episode. 370 00:20:55,720 --> 00:20:58,119 Speaker 1: And if you want to find that, UM, you can 371 00:20:58,160 --> 00:21:00,280 Speaker 1: either dig around and stuff to bow your mind ARC fives, 372 00:21:00,359 --> 00:21:02,800 Speaker 1: or you can go to Samuda Music dot com s 373 00:21:02,840 --> 00:21:04,639 Speaker 1: E m U T A m U S I C. 374 00:21:05,440 --> 00:21:07,520 Speaker 1: That is UM. That's a blog that I maintain and 375 00:21:07,560 --> 00:21:10,080 Speaker 1: I just list all the films there. So occasionally people 376 00:21:10,200 --> 00:21:11,760 Speaker 1: right in and say, hey, where's a list of all 377 00:21:11,760 --> 00:21:14,119 Speaker 1: the films we've done for weird house cinema. Well, that 378 00:21:14,280 --> 00:21:16,640 Speaker 1: is where you can find it, all right. The director 379 00:21:16,880 --> 00:21:22,040 Speaker 1: of Inframan was Shaan Hua who lived well, I still 380 00:21:22,040 --> 00:21:24,720 Speaker 1: alive as far as I know, born ninety two, a 381 00:21:24,800 --> 00:21:30,000 Speaker 1: cinematographer turn director, active from nineteen seventy four through nineteen two. 382 00:21:30,280 --> 00:21:33,959 Speaker 1: His other works include nine eighty one Kung Fu Zombie 383 00:21:34,240 --> 00:21:37,479 Speaker 1: and nineteen eighty one Bloody Parrot. You know another one 384 00:21:37,520 --> 00:21:39,480 Speaker 1: of my favorite weird house cinema. In fact, that's a 385 00:21:39,680 --> 00:21:42,160 Speaker 1: multiple of my favorite weird house cinema movies we've done. 386 00:21:42,800 --> 00:21:47,480 Speaker 1: We're directed by people who who were mainly cinematographers and 387 00:21:47,560 --> 00:21:50,640 Speaker 1: then and then shifted to the director's chairs because mad 388 00:21:50,800 --> 00:21:54,639 Speaker 1: love Carl Freud originally cinematographer and then directed the movie. 389 00:21:55,160 --> 00:21:58,920 Speaker 1: Maybe that's because I guess you have a cinematographer in charge. 390 00:21:59,000 --> 00:22:03,320 Speaker 1: This is somebody who really understands film as as as 391 00:22:03,400 --> 00:22:08,000 Speaker 1: a visual compositional medium that needs to be a moment 392 00:22:08,119 --> 00:22:11,680 Speaker 1: to moment feast for the eyes. Yeah, that's true. I 393 00:22:11,760 --> 00:22:14,399 Speaker 1: mean it makes you wonder about the other situations, you know, 394 00:22:14,520 --> 00:22:17,919 Speaker 1: like writers turn directors, actors turned directors. You know, are 395 00:22:17,960 --> 00:22:22,360 Speaker 1: these cases where musicians turn directors where you know, whatever 396 00:22:22,400 --> 00:22:26,720 Speaker 1: their their previous and prior uh focus was, how to 397 00:22:26,840 --> 00:22:29,720 Speaker 1: what extent does that end up becoming a part of 398 00:22:29,800 --> 00:22:32,440 Speaker 1: their film vision as well? A lot of what I 399 00:22:32,640 --> 00:22:35,119 Speaker 1: love about this movie is the way it would just 400 00:22:35,359 --> 00:22:39,159 Speaker 1: like pile one crazy image on top of another in 401 00:22:39,440 --> 00:22:42,840 Speaker 1: in such rapid succession that I would be just my 402 00:22:43,000 --> 00:22:45,639 Speaker 1: mouth is hanging open while I'm enjoying the look of 403 00:22:45,720 --> 00:22:48,960 Speaker 1: one scene, and then it before I'm even done having 404 00:22:49,040 --> 00:22:52,240 Speaker 1: that feeling, it cuts to something else that also looks 405 00:22:52,280 --> 00:22:56,000 Speaker 1: strange and amazing. Absolutely Now. The writer on this film 406 00:22:56,119 --> 00:23:00,600 Speaker 1: was Quality Born five, a one man screenplay machine with 407 00:23:00,800 --> 00:23:04,320 Speaker 1: two hundred thirty three writing credits on IMDb, known for 408 00:23:04,440 --> 00:23:07,359 Speaker 1: such writing for writing such Hong Kong action films as 409 00:23:07,440 --> 00:23:11,520 Speaker 1: The thirty six Chamber of Shao Lyn from The Wesley's 410 00:23:11,600 --> 00:23:14,280 Speaker 1: Mysterious File from two thousand and two and The Singing 411 00:23:14,400 --> 00:23:17,720 Speaker 1: Killer from nineteen seventy, and he also acted on occasion 412 00:23:18,119 --> 00:23:21,399 Speaker 1: two hundred and thirty three writing credits in a career 413 00:23:21,480 --> 00:23:25,560 Speaker 1: of how many years? How many screenplays is that per year? Uh? Yeah, 414 00:23:26,119 --> 00:23:29,960 Speaker 1: it was a lot. I think there's even uh. I 415 00:23:29,960 --> 00:23:31,960 Speaker 1: don't think he's active anymore, but I think there was 416 00:23:32,000 --> 00:23:35,080 Speaker 1: at least one recent film or one upcoming film that 417 00:23:35,160 --> 00:23:37,959 Speaker 1: looked like maybe it was based on this uh Wesley's 418 00:23:38,040 --> 00:23:42,240 Speaker 1: Mysterious File thing that he had done earlier. Now onto 419 00:23:42,280 --> 00:23:46,400 Speaker 1: the cast. Well, our lead here playing Raima uh slash 420 00:23:46,480 --> 00:23:50,840 Speaker 1: Inframan is none other than Danny Lee born nineteen fifty two. Oh, 421 00:23:51,000 --> 00:23:54,679 Speaker 1: Danny Lee is just great. Oh yeah. People may remember 422 00:23:54,800 --> 00:23:57,120 Speaker 1: he was the lead in The Oily Maniac as well, 423 00:23:57,760 --> 00:23:59,920 Speaker 1: but he's probably better known for such films as The Killer, 424 00:24:00,160 --> 00:24:04,320 Speaker 1: The Untold Story, The Eight Immortals, Restaurant and City on Fire. 425 00:24:04,880 --> 00:24:09,159 Speaker 1: Um Hong Kong actor, film producer, screenwriter, director who at 426 00:24:09,240 --> 00:24:11,639 Speaker 1: least later in his career, they made a kind of 427 00:24:11,720 --> 00:24:13,600 Speaker 1: specially out of playing cops. He played a lot of 428 00:24:13,640 --> 00:24:17,080 Speaker 1: detectives and cops. But this is early Danny Lee. I 429 00:24:17,160 --> 00:24:20,840 Speaker 1: think before he had even adopted that moniker uh when, 430 00:24:20,920 --> 00:24:23,400 Speaker 1: in which case, you know he's in full like physical 431 00:24:23,520 --> 00:24:28,000 Speaker 1: prime action hero leading man roles situation. At least in 432 00:24:28,040 --> 00:24:31,760 Speaker 1: this movie. He's he's almost got that that el cento energy, 433 00:24:31,920 --> 00:24:35,320 Speaker 1: somebody who just seems to like beam goodness and virtue 434 00:24:35,359 --> 00:24:38,960 Speaker 1: out of his face. Yeah. I don't think he is 435 00:24:39,000 --> 00:24:42,080 Speaker 1: active as an actor anymore, but he's still directing and producing, 436 00:24:42,200 --> 00:24:45,040 Speaker 1: including the upcoming The Little Monk, which looks to be 437 00:24:45,080 --> 00:24:48,240 Speaker 1: a shaolin action movie about a child monk. So uh 438 00:24:48,720 --> 00:24:52,959 Speaker 1: sounds good. Now. The professor in this film Professor Lou 439 00:24:53,080 --> 00:24:55,440 Speaker 1: ying t or I think in your version is he 440 00:24:55,560 --> 00:25:00,760 Speaker 1: Professor Chang? Yeah? Professor che Um played by See Wang 441 00:25:00,840 --> 00:25:03,439 Speaker 1: who lived nineteen thirty through two thousand and sixteen. Another 442 00:25:03,520 --> 00:25:06,640 Speaker 1: actor who was also in The Oily Maniac. He who 443 00:25:06,720 --> 00:25:10,399 Speaker 1: also was in Mafia Versus Ninja from five, as well 444 00:25:10,480 --> 00:25:13,600 Speaker 1: as John Woo's A Better Tomorrow from n six which 445 00:25:13,640 --> 00:25:16,320 Speaker 1: starts Chow and Fat. He is also wonderful in this 446 00:25:16,480 --> 00:25:21,840 Speaker 1: movie and really enhances the absurd pleasure of some scenes 447 00:25:21,920 --> 00:25:25,760 Speaker 1: like the scenes where he's describing uh to to Raima, 448 00:25:25,920 --> 00:25:28,560 Speaker 1: the young played by Danny Lee, who becomes in for Man, 449 00:25:28,640 --> 00:25:31,440 Speaker 1: describing to him the process he's going to have to 450 00:25:31,520 --> 00:25:33,840 Speaker 1: go through to become in for Man and talking about 451 00:25:33,880 --> 00:25:35,960 Speaker 1: how painful and dangerous it will be and all the 452 00:25:36,000 --> 00:25:38,639 Speaker 1: stuff he's gonna do to his body, but delivering it 453 00:25:38,760 --> 00:25:43,000 Speaker 1: in this wonderfully somber way. It's so good. Yes, yeah, 454 00:25:43,040 --> 00:25:46,399 Speaker 1: he's He's really good. Has a lot of screen time. Alright. 455 00:25:46,800 --> 00:25:51,600 Speaker 1: We mentioned um Dragon Mom a k A. Demon Princess 456 00:25:51,680 --> 00:25:56,400 Speaker 1: el Zebub, who is one of the most notable role 457 00:25:56,560 --> 00:25:59,399 Speaker 1: of performances characters in this this film. Like when she 458 00:25:59,520 --> 00:26:02,720 Speaker 1: hits the s and you're like, wow, uh, this this 459 00:26:02,920 --> 00:26:06,320 Speaker 1: film is something else. Yeah, every time she comes on screen, 460 00:26:06,440 --> 00:26:09,159 Speaker 1: car alarms are going off outside your house. Is just 461 00:26:09,600 --> 00:26:12,399 Speaker 1: like it is a kinetic impact. Yeah, well, I mean 462 00:26:12,520 --> 00:26:16,040 Speaker 1: she is because she hits the screen and she's she's 463 00:26:16,160 --> 00:26:19,840 Speaker 1: visually like the costuming, uh, you know it is incredible. 464 00:26:19,880 --> 00:26:23,400 Speaker 1: And then she's immediately ordering monsters around and like using 465 00:26:23,440 --> 00:26:26,960 Speaker 1: a magic whip so you know, just commands everybody's attention. 466 00:26:27,640 --> 00:26:29,960 Speaker 1: She has a Yeah, she's got a great whip and 467 00:26:30,119 --> 00:26:33,719 Speaker 1: she throws people into a bottomless pit which actually does 468 00:26:33,840 --> 00:26:36,760 Speaker 1: have a bottom, and it is on fire, and she 469 00:26:36,920 --> 00:26:39,560 Speaker 1: likes to tell people how many thousands of degrees it 470 00:26:39,720 --> 00:26:41,919 Speaker 1: is that they will be burning when they reach the bottom. 471 00:26:41,960 --> 00:26:44,240 Speaker 1: Oh yeah, it's like three thousand, six thousand. It's it's 472 00:26:44,400 --> 00:26:48,360 Speaker 1: very So. She is played by the actor Terry Lou 473 00:26:48,720 --> 00:26:50,919 Speaker 1: and I don't have any you know, as far as 474 00:26:50,920 --> 00:26:53,359 Speaker 1: I know, her birthday is unknown. This might be her 475 00:26:53,400 --> 00:26:55,480 Speaker 1: most notable role, but she appeared in a number of 476 00:26:55,880 --> 00:26:59,480 Speaker 1: horror and horror asque Hong Kong films during the nineties seventies, 477 00:27:00,000 --> 00:27:04,160 Speaker 1: including The Oily Maniac from seventies six, and aside from 478 00:27:04,280 --> 00:27:06,680 Speaker 1: the Oily Maniac connection, I think you can basically say 479 00:27:06,720 --> 00:27:09,200 Speaker 1: the same thing for the other main female actors in 480 00:27:09,280 --> 00:27:13,240 Speaker 1: this film. That's Manzouoyan who plays Maymae that's the professor's daughter, 481 00:27:13,760 --> 00:27:18,439 Speaker 1: and Dana who plays demon Witch. I um that they 482 00:27:18,480 --> 00:27:21,480 Speaker 1: were both actors who were mostly active just in the 483 00:27:21,560 --> 00:27:23,720 Speaker 1: nineteen seventies and did a lot of roles in um 484 00:27:24,080 --> 00:27:27,680 Speaker 1: sort of horror bloody films. Well, yet both Terry Lou 485 00:27:27,760 --> 00:27:30,920 Speaker 1: and Dana are are just fabulous in this Every scene 486 00:27:30,960 --> 00:27:34,520 Speaker 1: with them is just rocket fuel. You know, I forgot 487 00:27:34,560 --> 00:27:37,320 Speaker 1: almost forgot to mention Bruce Lee is in this really 488 00:27:38,040 --> 00:27:41,800 Speaker 1: well not notice that not Bruce Lee with two ease, 489 00:27:42,240 --> 00:27:46,960 Speaker 1: that's Bruce Lee with one. That's Bruce Bruce is kind 490 00:27:47,000 --> 00:27:51,720 Speaker 1: of um uh So the actor Chin Lung Hong born 491 00:27:51,840 --> 00:27:55,919 Speaker 1: nineteen fifty was not going by Bruce Ley yet um, 492 00:27:56,960 --> 00:28:00,439 Speaker 1: but later after this film he apparently broke out as 493 00:28:00,480 --> 00:28:05,280 Speaker 1: a Bruce Lee clone. So that was interesting. I'm not 494 00:28:05,359 --> 00:28:08,879 Speaker 1: really familiar with any Bruce Lee clone movies, but when 495 00:28:08,920 --> 00:28:10,840 Speaker 1: I looked at some of the cover art for them, 496 00:28:10,880 --> 00:28:12,960 Speaker 1: I'm like, oh, yeah, yeah, he's going for it. He's 497 00:28:13,080 --> 00:28:17,080 Speaker 1: just putting himself in Bruce Lee mode, which trans more 498 00:28:17,160 --> 00:28:20,240 Speaker 1: first phenomenon. Yeah, I mean you've gotta be you know, 499 00:28:20,320 --> 00:28:23,080 Speaker 1: you've gotta have a certain amount of fitness and um, 500 00:28:23,560 --> 00:28:27,720 Speaker 1: physical charisma to even aspire, uh to uh to be 501 00:28:27,760 --> 00:28:31,520 Speaker 1: a knockoff Bruce Lee. So you know, kudos, right, and uh, 502 00:28:31,560 --> 00:28:34,560 Speaker 1: I should just also mention that there. Basically I have 503 00:28:34,640 --> 00:28:36,159 Speaker 1: a spot in the outline where I just put and 504 00:28:36,320 --> 00:28:38,880 Speaker 1: the rest. Because this is a Shaw Brothers movie. This 505 00:28:39,000 --> 00:28:41,360 Speaker 1: is a big martial arts action movie, and this film 506 00:28:41,400 --> 00:28:44,560 Speaker 1: features an extended cast of Shaw Brothers regulars who you 507 00:28:44,640 --> 00:28:47,040 Speaker 1: might recognize if you watched these films and you go 508 00:28:47,120 --> 00:28:50,800 Speaker 1: deeper into the filmography for for Inframan. Uh. The action 509 00:28:50,880 --> 00:28:53,360 Speaker 1: in this film is great, and I have to say 510 00:28:53,440 --> 00:28:57,280 Speaker 1: the monster suit acting is also just noticeably superb because 511 00:28:57,440 --> 00:28:59,920 Speaker 1: we've mentioned films before, you know, where they have a 512 00:29:00,040 --> 00:29:02,560 Speaker 1: monster suit and they just kind of just, oh, we 513 00:29:02,640 --> 00:29:04,440 Speaker 1: need to find somebody that's tall enough to wear this, 514 00:29:04,640 --> 00:29:07,080 Speaker 1: or we need to find somebody who uh, you know, 515 00:29:07,160 --> 00:29:09,400 Speaker 1: who can convince us that they they are the best 516 00:29:09,440 --> 00:29:13,000 Speaker 1: person to walk like an ape um. But with this film, 517 00:29:13,160 --> 00:29:16,680 Speaker 1: I mean, you have the Shaw Brothers ensemble, so you 518 00:29:16,760 --> 00:29:21,160 Speaker 1: have individuals who are highly trained and in pique physical 519 00:29:21,240 --> 00:29:24,120 Speaker 1: condition that are that are true you know, that excel 520 00:29:24,280 --> 00:29:28,880 Speaker 1: at physical performance. And so it's therefore not surprising that 521 00:29:29,080 --> 00:29:33,480 Speaker 1: each suit comes alive with its own crazy energy. Like um, 522 00:29:33,920 --> 00:29:36,920 Speaker 1: the plant monster that we encounter is not just standing 523 00:29:36,960 --> 00:29:39,320 Speaker 1: there sweating in the suit, No, I mean he's in 524 00:29:39,480 --> 00:29:44,400 Speaker 1: constant motion and the tentacles are constantly moving. And likewise, 525 00:29:44,440 --> 00:29:46,880 Speaker 1: all the other monsters in this film, they all have 526 00:29:47,040 --> 00:29:49,960 Speaker 1: some sort of unique physical energy that's going on that 527 00:29:50,400 --> 00:29:53,280 Speaker 1: that that makes the thing come alive far more than 528 00:29:53,360 --> 00:29:55,800 Speaker 1: it would be if it was just standing there. Oh yeah, 529 00:29:55,800 --> 00:29:59,000 Speaker 1: I think I mentioned earlier that that that, uh, Princess 530 00:29:59,280 --> 00:30:03,080 Speaker 1: Dragon Moms hingemen are all quite fidgety, but that in 531 00:30:03,440 --> 00:30:06,880 Speaker 1: such a good way. Like every scene in in Princess 532 00:30:06,960 --> 00:30:10,920 Speaker 1: Dragon Mom's ice Layer below the Earth is fantastic, but 533 00:30:11,000 --> 00:30:15,080 Speaker 1: they're they're made so wonderful because so you'll usually have 534 00:30:15,240 --> 00:30:17,960 Speaker 1: the main action going on with Princess Dragon Mom, maybe 535 00:30:18,040 --> 00:30:21,840 Speaker 1: like giving orders to a particular mutant or or talking 536 00:30:21,960 --> 00:30:26,200 Speaker 1: with you know, discussing plans with Sheet demon Um, but 537 00:30:26,320 --> 00:30:29,240 Speaker 1: then meanwhile in the background, the monsters are just kind 538 00:30:29,240 --> 00:30:32,480 Speaker 1: of screwing around. They'll be like moving, and there's there's 539 00:30:32,520 --> 00:30:34,800 Speaker 1: one monster that looks like a scaly thing with a 540 00:30:34,880 --> 00:30:38,440 Speaker 1: cylindrical head and a giant mustache. He's got a you know, 541 00:30:38,480 --> 00:30:42,960 Speaker 1: a crimson mustache monster that breathes fire, and he's never still. 542 00:30:43,200 --> 00:30:46,760 Speaker 1: He's constantly just wobbling around with his arms flailing in 543 00:30:46,840 --> 00:30:49,160 Speaker 1: the air. And that may sound simple, but once you 544 00:30:49,240 --> 00:30:51,840 Speaker 1: watch it, really what a superb touch. It just makes 545 00:30:51,880 --> 00:30:55,760 Speaker 1: everything in the scene more more electric. Yeah, for a 546 00:30:55,840 --> 00:30:59,120 Speaker 1: movie that that needed or at least ended up with 547 00:30:59,520 --> 00:31:03,920 Speaker 1: six different monster designs for this crew of monsters serving 548 00:31:04,480 --> 00:31:08,080 Speaker 1: um els above not not counting the skeleton Men, which 549 00:31:08,080 --> 00:31:10,920 Speaker 1: we'll get to in a bet um. But for to 550 00:31:11,040 --> 00:31:14,840 Speaker 1: have a roster of six monsters, like, none of them 551 00:31:14,960 --> 00:31:18,640 Speaker 1: are losers. They're all tremendous designs and they all they're 552 00:31:18,680 --> 00:31:21,240 Speaker 1: all different from one another. Like we have the two 553 00:31:21,440 --> 00:31:24,880 Speaker 1: robots that I think are sometimes called the Iron Fist Robots. 554 00:31:25,800 --> 00:31:29,520 Speaker 1: We have this hairy gentleman who I think is sometimes 555 00:31:29,600 --> 00:31:32,920 Speaker 1: just called long Haired Monster that that looks like it's 556 00:31:32,960 --> 00:31:39,440 Speaker 1: more inspired by like traditional Asian um ghost and monster motifs. 557 00:31:40,440 --> 00:31:43,960 Speaker 1: We have. My one of my two favorites is Mutant Drill, 558 00:31:44,480 --> 00:31:49,240 Speaker 1: who is this kind of weird golem looking monster kind 559 00:31:49,280 --> 00:31:53,000 Speaker 1: of resembles the Oily Maniac to certain extent, but has 560 00:31:53,160 --> 00:31:56,640 Speaker 1: like two metal attack hands, one of which is a 561 00:31:56,800 --> 00:32:01,560 Speaker 1: devastating drill. Yeah, he's he's a d full bipedal frog 562 00:32:01,880 --> 00:32:04,840 Speaker 1: with like a with like a claw metal claw hand 563 00:32:04,920 --> 00:32:07,800 Speaker 1: and a metal drill hand. And I actually didn't realize 564 00:32:07,920 --> 00:32:09,840 Speaker 1: one of his hands was a drill until a good 565 00:32:09,920 --> 00:32:11,960 Speaker 1: way is into the movie. There's just so much going 566 00:32:12,000 --> 00:32:15,560 Speaker 1: on you can't catch it all. Yeah. Yeah, Um, there's 567 00:32:15,600 --> 00:32:19,280 Speaker 1: Spider Monster, who looks like a big, cool red spider, 568 00:32:19,960 --> 00:32:22,560 Speaker 1: and then there's Plant monster, which I think is sometimes 569 00:32:22,720 --> 00:32:25,840 Speaker 1: translated as an octopus monster, but he's clearly a plant. 570 00:32:26,160 --> 00:32:28,400 Speaker 1: His his powers, which he really gets to show off 571 00:32:28,440 --> 00:32:31,200 Speaker 1: in this movie, are all based about like going into 572 00:32:31,240 --> 00:32:33,360 Speaker 1: the ground and growing up out of the ground and 573 00:32:33,400 --> 00:32:36,120 Speaker 1: then doing plant things. Oh there's such a good scene 574 00:32:36,120 --> 00:32:40,280 Speaker 1: where he attacks the Human Science space and so he's 575 00:32:40,280 --> 00:32:42,080 Speaker 1: supposed to go there and destroy it and I think 576 00:32:42,160 --> 00:32:45,360 Speaker 1: kill Professor Chang or something, and he he like plants 577 00:32:45,440 --> 00:32:49,000 Speaker 1: himself into the ground and turns into these rapidly growing 578 00:32:49,240 --> 00:32:53,280 Speaker 1: vines that penetrate the walls, and Inframan has to defeat 579 00:32:53,360 --> 00:32:56,000 Speaker 1: him by like X raying the vines to find where 580 00:32:56,080 --> 00:32:59,880 Speaker 1: his heart is. Uh. And there's one part I absolutely 581 00:33:00,440 --> 00:33:02,560 Speaker 1: loved because again it was one of these things where 582 00:33:02,720 --> 00:33:05,920 Speaker 1: like the new ideas just keep piling on so fast. 583 00:33:06,120 --> 00:33:08,680 Speaker 1: So he has just started attacking the base and he's 584 00:33:09,040 --> 00:33:12,640 Speaker 1: reaching his his vine tentacles in and and you know, grabbing, 585 00:33:12,800 --> 00:33:16,560 Speaker 1: grabbing the scientists and flinging them around. Um. And I 586 00:33:16,600 --> 00:33:19,520 Speaker 1: think there's some kind of emergency like they have to uh, 587 00:33:19,720 --> 00:33:22,600 Speaker 1: they have to reactivate the power or Inframan will be 588 00:33:22,760 --> 00:33:26,040 Speaker 1: killed during his surgery. And so they're they're frantically trying 589 00:33:26,080 --> 00:33:29,280 Speaker 1: to do that while while the octopus vine monster is 590 00:33:29,720 --> 00:33:33,160 Speaker 1: is gumming everything up with his arms. And then suddenly 591 00:33:33,240 --> 00:33:35,400 Speaker 1: all these workers just bust in through a door with 592 00:33:35,520 --> 00:33:40,240 Speaker 1: circular saws and starts sawing the vines. And when that happened, 593 00:33:40,320 --> 00:33:43,600 Speaker 1: I was like, I was just releasing gusts of of 594 00:33:43,840 --> 00:33:47,720 Speaker 1: of crazy laughter. Oh my god, it's just so good. 595 00:33:48,280 --> 00:33:50,600 Speaker 1: There were moments in this where and I guess it's 596 00:33:50,640 --> 00:33:52,880 Speaker 1: just about the frantic pace of the action and just 597 00:33:53,040 --> 00:33:55,120 Speaker 1: and also just how how well it's put together. There 598 00:33:55,160 --> 00:33:57,240 Speaker 1: were moments where I thought, oh my goodness, the monsters 599 00:33:57,320 --> 00:33:59,720 Speaker 1: might win. You know, like in the brief amount of 600 00:33:59,760 --> 00:34:02,640 Speaker 1: time you're actually able to think, uh during this film, 601 00:34:02,680 --> 00:34:04,800 Speaker 1: I mean, it's all happening. This movie is happening now. 602 00:34:05,280 --> 00:34:07,000 Speaker 1: You know. There's not a lot of time for reflection. 603 00:34:07,040 --> 00:34:09,560 Speaker 1: You're experiencing it, and therefore there were times where it's like, 604 00:34:09,560 --> 00:34:11,080 Speaker 1: oh my goodness, I think they got him. Come on 605 00:34:11,160 --> 00:34:23,520 Speaker 1: and for man, you know, it was it was really great. Now, 606 00:34:23,680 --> 00:34:26,000 Speaker 1: we can't list everyone involved in the awesome look of 607 00:34:26,120 --> 00:34:29,080 Speaker 1: this film, but I with I thought I would point 608 00:34:29,120 --> 00:34:33,279 Speaker 1: out that Michio Mikami did the special effects on this film. 609 00:34:33,360 --> 00:34:37,200 Speaker 1: He's credited for special effects. Uh. Mccami worked on a 610 00:34:37,320 --> 00:34:39,760 Speaker 1: few different films, one of which is an insane looking 611 00:34:39,880 --> 00:34:44,520 Speaker 1: film called Goki Body Snatcher from Hell from which seems 612 00:34:44,520 --> 00:34:47,560 Speaker 1: to have space blobs and vampires in it, directed by 613 00:34:47,760 --> 00:34:51,160 Speaker 1: Hajimi Sato. Um might have to come back to that one, 614 00:34:51,360 --> 00:34:54,600 Speaker 1: but he also did special effects on a night film 615 00:34:54,680 --> 00:34:59,959 Speaker 1: titled Message from Space. Oh okay, okay, So I see 616 00:35:00,160 --> 00:35:04,880 Speaker 1: the connection. I mean, Message from Space is not nearly 617 00:35:05,040 --> 00:35:07,600 Speaker 1: on the level of informant. I think the informan is 618 00:35:07,760 --> 00:35:10,200 Speaker 1: is in a class of its own, but I I 619 00:35:10,480 --> 00:35:13,320 Speaker 1: see similarities. A lot of what was great about Message 620 00:35:13,360 --> 00:35:18,360 Speaker 1: from Space was like these scenes just full of bizarre 621 00:35:18,640 --> 00:35:21,799 Speaker 1: visual variety in the composition of the shot, where there's 622 00:35:21,800 --> 00:35:25,680 Speaker 1: just all these different, strangely dressed characters in a beautifully 623 00:35:25,760 --> 00:35:31,239 Speaker 1: decorated room simultaneously visually interesting and funny. Uh and the 624 00:35:31,360 --> 00:35:33,400 Speaker 1: and the same is true about this movie, but but 625 00:35:33,840 --> 00:35:37,759 Speaker 1: even to a much greater extent. Yeah, and real quick 626 00:35:37,800 --> 00:35:40,960 Speaker 1: the music here. Young Chen is credited with the music 627 00:35:41,040 --> 00:35:42,880 Speaker 1: on this one, but I understand that this picture re 628 00:35:43,040 --> 00:35:46,359 Speaker 1: uses music from previous Shot Brothers production, so nothing about 629 00:35:46,360 --> 00:35:49,160 Speaker 1: it particularly stood out to me. But it's fine. It's good. 630 00:35:49,239 --> 00:35:51,960 Speaker 1: It's perfectly good music for this film. Well, there are 631 00:35:52,040 --> 00:35:54,600 Speaker 1: moments where I thought that the music really added to 632 00:35:54,640 --> 00:35:58,239 Speaker 1: the comedy. So for example, the uh, the music and 633 00:35:58,320 --> 00:36:01,640 Speaker 1: the opening credit sequence. I mean, so the opening credit sequence, 634 00:36:02,640 --> 00:36:06,319 Speaker 1: it's kind of James Bondish in a way. It had 635 00:36:06,360 --> 00:36:10,799 Speaker 1: a kind of uh, you know, psychic kaleidoscope. But then 636 00:36:11,080 --> 00:36:14,200 Speaker 1: the music was almost kind of circus music, Like I 637 00:36:14,320 --> 00:36:17,279 Speaker 1: was imagining that this was a vision that Hunter S. 638 00:36:17,360 --> 00:36:20,600 Speaker 1: Thompson would be hallucinating while he's wandering around in the 639 00:36:20,640 --> 00:36:25,000 Speaker 1: circus circus casino. Yeah. Yeah, so much visual flair. And 640 00:36:25,080 --> 00:36:28,640 Speaker 1: that's the the credits, the the parts of the movie 641 00:36:28,640 --> 00:36:32,279 Speaker 1: where you see the schematics for Inframan are just beautiful. 642 00:36:32,800 --> 00:36:35,440 Speaker 1: Um Like, I'm I'm always it always takes me out 643 00:36:35,480 --> 00:36:38,360 Speaker 1: whenever a movie decides to like show you the pages 644 00:36:38,560 --> 00:36:41,799 Speaker 1: of a of a like an evil book, or show 645 00:36:41,880 --> 00:36:45,520 Speaker 1: you some artwork or something or another, or or you know, blueprints, 646 00:36:46,040 --> 00:36:48,399 Speaker 1: and if they don't look right, if something feels off 647 00:36:48,440 --> 00:36:51,200 Speaker 1: about them or rushed, it instantly takes me out. But 648 00:36:51,280 --> 00:36:54,759 Speaker 1: these were beautiful. They look like from there from another dimension. Okay, well, 649 00:36:54,800 --> 00:36:56,520 Speaker 1: I guess we're getting towards the part we're in a 650 00:36:56,640 --> 00:37:00,319 Speaker 1: normal episode, we would we would break down the plot more. 651 00:37:00,440 --> 00:37:03,759 Speaker 1: I think it's just impossible to try to and and 652 00:37:04,000 --> 00:37:06,719 Speaker 1: and and fruitless to try to explain the plot of 653 00:37:06,840 --> 00:37:09,680 Speaker 1: Inframan scene by scene. I think it makes more sense 654 00:37:09,719 --> 00:37:11,919 Speaker 1: for us to just talk about a few more sort 655 00:37:11,960 --> 00:37:15,399 Speaker 1: of themes and highlights of the movie. Yes, but one 656 00:37:15,480 --> 00:37:17,239 Speaker 1: thing where I do want to get in a little 657 00:37:17,280 --> 00:37:20,320 Speaker 1: granular detail is is trying to explain the feel of 658 00:37:20,360 --> 00:37:24,239 Speaker 1: the movie from the very first few scenes. So after 659 00:37:24,400 --> 00:37:27,919 Speaker 1: the credits finish, Uh, we go straight to a van 660 00:37:28,120 --> 00:37:30,919 Speaker 1: full of children singing a merry song. It's driving along 661 00:37:30,960 --> 00:37:33,879 Speaker 1: a mountain road and the kids are singing, and then 662 00:37:34,040 --> 00:37:37,960 Speaker 1: just there is an immediate flying reptile attack. I love 663 00:37:38,080 --> 00:37:41,640 Speaker 1: how fast this movie gets into it after the credits finished. 664 00:37:41,680 --> 00:37:44,600 Speaker 1: I think there are literally about eight seconds before the 665 00:37:44,680 --> 00:37:48,160 Speaker 1: earth starts shaking and belching up monsters. Yeah, it's this 666 00:37:48,280 --> 00:37:51,680 Speaker 1: fabulous scene to where like big big rubbery wing monster 667 00:37:51,800 --> 00:37:57,120 Speaker 1: that looks great crashes onto like a highway and then 668 00:37:57,440 --> 00:38:00,920 Speaker 1: it instantly vanishes into thin air and then an earthquake 669 00:38:01,040 --> 00:38:04,239 Speaker 1: just rips the earth apart. Yeah, so before you even 670 00:38:04,320 --> 00:38:08,880 Speaker 1: understand what's going on, it's earthquake, giant pterodactyl uh, like 671 00:38:09,000 --> 00:38:12,440 Speaker 1: the the mutant dogs from Ghostbusters kind of thing. I 672 00:38:12,480 --> 00:38:14,759 Speaker 1: almost wonder if they were inspired by the look of 673 00:38:14,880 --> 00:38:18,480 Speaker 1: the of Princess Dragon Mom in her monster form in 674 00:38:18,560 --> 00:38:21,319 Speaker 1: this movie, because I know Dan Ackroyd is a fan 675 00:38:21,480 --> 00:38:23,520 Speaker 1: of of great B movies, so that that may have 676 00:38:23,600 --> 00:38:25,520 Speaker 1: been an influence there. I wouldn't. I wouldn't put it 677 00:38:25,560 --> 00:38:28,120 Speaker 1: past him. But then there's that, and then suddenly so 678 00:38:28,160 --> 00:38:29,600 Speaker 1: the kids are out of the van, and then the 679 00:38:29,680 --> 00:38:32,720 Speaker 1: van gets sucked down into a ravine with the driver 680 00:38:33,040 --> 00:38:35,880 Speaker 1: it's still in it, screaming bloody murder. And then you 681 00:38:36,120 --> 00:38:38,279 Speaker 1: you don't even have time to understand what's happening here, 682 00:38:38,320 --> 00:38:40,759 Speaker 1: but then instantly you're seeing something else. A city is 683 00:38:40,840 --> 00:38:44,320 Speaker 1: on fire, and everybody's running around screaming, what city is this? 684 00:38:44,520 --> 00:38:47,560 Speaker 1: I don't know where at T plus forty five seconds 685 00:38:47,600 --> 00:38:50,800 Speaker 1: since the credits have finished, and there's just mayhem and 686 00:38:50,880 --> 00:38:54,759 Speaker 1: everybody running around and everything's on fire, and for some reason, 687 00:38:54,840 --> 00:38:57,520 Speaker 1: the thing that struck only the funniest about this is 688 00:38:57,560 --> 00:39:01,200 Speaker 1: that all the people carrying luggage the fires are burning. 689 00:39:01,880 --> 00:39:05,520 Speaker 1: And then uh. And then at about seventy seconds in 690 00:39:05,800 --> 00:39:08,439 Speaker 1: or T plus seventy seconds after the credits were also 691 00:39:08,520 --> 00:39:10,960 Speaker 1: onto something else after the burning city. There's like a 692 00:39:11,040 --> 00:39:14,279 Speaker 1: giant radio dish and a motorcade, and then we meet 693 00:39:14,360 --> 00:39:18,839 Speaker 1: the Professor and there's already a press gaggle shoving microphones 694 00:39:18,880 --> 00:39:20,759 Speaker 1: in his face, and they want to know is it 695 00:39:20,840 --> 00:39:24,359 Speaker 1: an attack by another planet? What kind of monsters are they? 696 00:39:24,920 --> 00:39:27,080 Speaker 1: And the Professor's having to push through them to to 697 00:39:27,200 --> 00:39:29,920 Speaker 1: get down to business. This, of course is Professor Chang. 698 00:39:30,480 --> 00:39:33,120 Speaker 1: And he goes into this place where everybody's wearing these 699 00:39:33,360 --> 00:39:36,160 Speaker 1: uh it's like a science center, but everybody's wearing these 700 00:39:36,440 --> 00:39:41,000 Speaker 1: shiny uniforms, whether they look like they're members of ABBA. Yeah, 701 00:39:41,360 --> 00:39:46,000 Speaker 1: even the Professor's lab coat silver and shiny, yeah. Yeah. 702 00:39:46,560 --> 00:39:48,400 Speaker 1: And and it was at this point where I was like, 703 00:39:48,560 --> 00:39:51,600 Speaker 1: I have to stop trying to take comprehensive notes because 704 00:39:51,920 --> 00:39:54,520 Speaker 1: the movie is just too much, too fast, And I'm 705 00:39:54,560 --> 00:39:59,160 Speaker 1: not like I was pausing it literally every couple of seconds. Yeah. 706 00:39:59,200 --> 00:40:00,600 Speaker 1: I mean, if we if you were to make a 707 00:40:00,719 --> 00:40:04,600 Speaker 1: note about every crazy cool thing you saw in this movie, 708 00:40:05,320 --> 00:40:08,080 Speaker 1: or if we tried to talk about every crazy cool 709 00:40:08,120 --> 00:40:10,920 Speaker 1: thing we saw in this movie, like we we'd never finish, 710 00:40:11,440 --> 00:40:13,600 Speaker 1: you know, um, so many films, it's like if it 711 00:40:13,640 --> 00:40:16,080 Speaker 1: has that one really weird thing you can focus on 712 00:40:16,320 --> 00:40:18,640 Speaker 1: and and dwell on, you know, you can have a 713 00:40:18,680 --> 00:40:20,640 Speaker 1: good time with it. But yeah, there's just so much 714 00:40:20,680 --> 00:40:23,640 Speaker 1: in this film. It's just it's it's just you know, 715 00:40:23,800 --> 00:40:27,080 Speaker 1: visual overload in the best sense. So obviously this movie 716 00:40:27,200 --> 00:40:29,040 Speaker 1: is going to have a lot of action, a lot 717 00:40:29,120 --> 00:40:33,120 Speaker 1: of monster fights, you know, a lot of martial arts fighting, 718 00:40:33,200 --> 00:40:36,440 Speaker 1: but then also sort of gadget fighting with monsters. And 719 00:40:36,600 --> 00:40:39,240 Speaker 1: I gotta say this was this was top notch fighting. 720 00:40:39,320 --> 00:40:41,200 Speaker 1: I am of the opinion. I know I've said this 721 00:40:41,280 --> 00:40:44,640 Speaker 1: on this show before that a lot of times action 722 00:40:44,800 --> 00:40:49,000 Speaker 1: in movies is actually is quite boring because I think 723 00:40:49,040 --> 00:40:53,160 Speaker 1: it's some you know, subpar filmmakers think well, uh, you know, 724 00:40:53,320 --> 00:40:55,319 Speaker 1: you just got to like put some action in there. 725 00:40:55,360 --> 00:40:57,400 Speaker 1: Like they think of action is just like a block 726 00:40:57,680 --> 00:41:01,640 Speaker 1: of some run time that will liven things up because 727 00:41:01,760 --> 00:41:05,000 Speaker 1: there's violence going on. But violence in itself is not 728 00:41:05,239 --> 00:41:09,120 Speaker 1: exciting or interesting. If it's like dramatically static, there's gotta 729 00:41:09,120 --> 00:41:11,840 Speaker 1: be you know, drama to the action. There's there have 730 00:41:11,960 --> 00:41:14,640 Speaker 1: to be changeups, there have to be interesting things happening 731 00:41:14,840 --> 00:41:18,920 Speaker 1: during the fighting. Yeah, I mean, ultimately a choreograph. Fight 732 00:41:19,040 --> 00:41:22,680 Speaker 1: needs to tell a story. And if your film, uh 733 00:41:23,000 --> 00:41:26,040 Speaker 1: like style is a bunch of likes. I've seen films 734 00:41:26,080 --> 00:41:28,160 Speaker 1: before where they have like truly some some great looking 735 00:41:28,200 --> 00:41:30,160 Speaker 1: stunt work going on, but if you cut it in 736 00:41:30,280 --> 00:41:32,320 Speaker 1: such a way that you can't follow it, there's no like, 737 00:41:32,480 --> 00:41:35,879 Speaker 1: there's no beats to it. Uh you know, there's there's 738 00:41:35,920 --> 00:41:38,520 Speaker 1: no back and forth like you can't really get into it. 739 00:41:39,000 --> 00:41:41,640 Speaker 1: And so yeah, they the action in this film. You know, 740 00:41:41,719 --> 00:41:45,640 Speaker 1: perhaps unsurprisingly given the Shah Brothers production of it, um, 741 00:41:46,719 --> 00:41:49,600 Speaker 1: the action is excellent, Like every all the stunts are 742 00:41:49,719 --> 00:41:55,040 Speaker 1: are tremendous. Um. Everything feels real even with even though 743 00:41:55,080 --> 00:41:58,120 Speaker 1: you have these you know, at times ridiculous elements going on, 744 00:41:58,360 --> 00:42:02,920 Speaker 1: like like flying lethal kicks and exploding spears and uh 745 00:42:03,400 --> 00:42:06,719 Speaker 1: you know, fire breathing and laser beams. It's it's still 746 00:42:06,880 --> 00:42:10,200 Speaker 1: has a very intense physicality to it. Oh yeah, and 747 00:42:10,280 --> 00:42:12,200 Speaker 1: the and they know how to make the the action 748 00:42:12,280 --> 00:42:15,319 Speaker 1: more exciting by not just having punching and kicking back 749 00:42:15,360 --> 00:42:17,600 Speaker 1: and forth going on for a long time, like they 750 00:42:17,719 --> 00:42:20,600 Speaker 1: keep changing it up with different tactics. Uh. And I 751 00:42:20,760 --> 00:42:25,239 Speaker 1: was actually repeatedly impressed by the ways that Infaman came 752 00:42:25,360 --> 00:42:29,160 Speaker 1: up with strategies for defeating the different monsters. Uh. So, 753 00:42:29,320 --> 00:42:32,760 Speaker 1: for example, you've got the robots that shoot the spiky 754 00:42:32,840 --> 00:42:35,520 Speaker 1: balls out of their arms basically on slink ease. You know, 755 00:42:35,600 --> 00:42:40,080 Speaker 1: they're they're slinky retractable robots, And how he defeats them 756 00:42:40,440 --> 00:42:43,759 Speaker 1: is by tangling up their slinkies. Genius, genius, I mean 757 00:42:43,880 --> 00:42:46,640 Speaker 1: that that makes perfect sense. Actually, yeah, and that was 758 00:42:46,719 --> 00:42:49,919 Speaker 1: after he tried to use lethal kick on them, which 759 00:42:49,960 --> 00:42:53,200 Speaker 1: is this fabulous double footed flying kick that he says, uh, 760 00:42:53,520 --> 00:42:57,000 Speaker 1: lethal kick while doing it. Um, he had used that 761 00:42:57,040 --> 00:42:59,080 Speaker 1: successfully on a few of the other monsters, and then 762 00:42:59,160 --> 00:43:00,920 Speaker 1: now it doesn't Now we have to go on to 763 00:43:01,000 --> 00:43:03,240 Speaker 1: the next you know, it's just it's it's it's beautiful. 764 00:43:03,520 --> 00:43:06,439 Speaker 1: So we mentioned earlier that I think we both really 765 00:43:06,560 --> 00:43:10,000 Speaker 1: enjoyed the sudden shift where the movie goes from this 766 00:43:10,400 --> 00:43:15,200 Speaker 1: big monsters sci fi action thing into an espionage movie 767 00:43:15,320 --> 00:43:18,200 Speaker 1: for a few minutes where one of the human scientists 768 00:43:18,480 --> 00:43:22,640 Speaker 1: is is kidnapped by by Princess Dragon Mom and they 769 00:43:22,719 --> 00:43:24,799 Speaker 1: take her down. They take him down to the base 770 00:43:25,080 --> 00:43:28,560 Speaker 1: and she demon there points this giant gun at his 771 00:43:28,680 --> 00:43:31,800 Speaker 1: head that like laser brainwashes him and we see a 772 00:43:31,880 --> 00:43:35,840 Speaker 1: little animated screen read out of his brain. Uh. And 773 00:43:35,960 --> 00:43:38,960 Speaker 1: then he has turned into a sleeper agent for Princess 774 00:43:39,040 --> 00:43:42,759 Speaker 1: Dragon Mom with green eyes. Uh, Like his eyes glow green, 775 00:43:43,160 --> 00:43:45,879 Speaker 1: and they send him back to like do spy work. 776 00:43:45,960 --> 00:43:48,840 Speaker 1: He's trying to steal the plans for Inframan so that 777 00:43:49,080 --> 00:43:52,800 Speaker 1: Princess Dragon Mom will know exactly what his weaknesses. And 778 00:43:52,920 --> 00:43:55,480 Speaker 1: that whole sequence was so cool, especially I like the 779 00:43:55,560 --> 00:43:58,439 Speaker 1: way that this was a simple touch, but the way 780 00:43:58,560 --> 00:44:00,759 Speaker 1: they show that he's differ and when his eyes are 781 00:44:00,800 --> 00:44:03,200 Speaker 1: not glowing green and shooting lasers at people, when he's 782 00:44:03,360 --> 00:44:05,960 Speaker 1: reinfiltrating the base where he worked, they just put a 783 00:44:06,000 --> 00:44:08,479 Speaker 1: little bit of makeup under his eyes, like he's dark, 784 00:44:08,600 --> 00:44:11,280 Speaker 1: you know, his the undersides of his eyes are darkened. 785 00:44:11,360 --> 00:44:15,359 Speaker 1: So something looks off about him. But everybody's just like, oh, hey, 786 00:44:15,440 --> 00:44:19,600 Speaker 1: welcome back. Yeah. I really don't want to spoil too much. 787 00:44:19,680 --> 00:44:21,320 Speaker 1: I mean, this is one that I hope, you know, 788 00:44:21,400 --> 00:44:23,319 Speaker 1: I hope everybody sees at some point, So I don't 789 00:44:23,360 --> 00:44:25,320 Speaker 1: want to spoil too much about the little details of 790 00:44:26,080 --> 00:44:28,879 Speaker 1: of each battle. But there are some great parts where 791 00:44:28,960 --> 00:44:31,920 Speaker 1: where a monster suddenly decides to get huge, you know, 792 00:44:32,040 --> 00:44:35,800 Speaker 1: to grow to two Kaiju size and then um and 793 00:44:35,840 --> 00:44:38,000 Speaker 1: then in for Man grows in turn. I didn't know 794 00:44:38,080 --> 00:44:40,120 Speaker 1: he had that power, but he like sticks his fist 795 00:44:40,200 --> 00:44:42,320 Speaker 1: up in the air and then he transforms into giant 796 00:44:42,400 --> 00:44:46,600 Speaker 1: in for Man um and then Uh. The final battle 797 00:44:46,760 --> 00:44:49,439 Speaker 1: down in the in the ice Palace of the Earth 798 00:44:49,560 --> 00:44:53,640 Speaker 1: where Princess Dragon Mom lives is also just wonderful. Yeah, 799 00:44:53,719 --> 00:44:56,080 Speaker 1: and there's a there's a penultimate battle too on the 800 00:44:56,200 --> 00:44:59,120 Speaker 1: surface that I really love because it's between team in 801 00:44:59,200 --> 00:45:02,759 Speaker 1: for Man when they're like Abba esque costumes and the 802 00:45:02,840 --> 00:45:07,359 Speaker 1: skeleton army that's serving Princess El's above, which we haven't 803 00:45:07,400 --> 00:45:11,040 Speaker 1: really described completely, but there it's kind of like bicycle 804 00:45:11,080 --> 00:45:14,320 Speaker 1: helmets with an actual skull face underneath it in horns 805 00:45:15,000 --> 00:45:20,040 Speaker 1: and these cool exploding spears. They look amazing. And this 806 00:45:20,200 --> 00:45:22,400 Speaker 1: is like a big epic battle with I don't know, 807 00:45:22,600 --> 00:45:26,239 Speaker 1: like at least twenty stunt men on the on the 808 00:45:26,320 --> 00:45:29,800 Speaker 1: scene at one time, flying all over the place. Stuff 809 00:45:29,880 --> 00:45:33,560 Speaker 1: is blowing up, and there's it's also just really well shot, 810 00:45:33,640 --> 00:45:37,080 Speaker 1: Like there's one terrific pan across the action. Uh that 811 00:45:37,280 --> 00:45:40,040 Speaker 1: is absolutely beautiful and conveys a sense of epic battle 812 00:45:40,360 --> 00:45:42,879 Speaker 1: better than I think most epic battle films that I've seen. 813 00:45:43,360 --> 00:45:45,600 Speaker 1: Last thing I got to mention, I could not stop 814 00:45:45,719 --> 00:45:49,319 Speaker 1: thinking about that shot where after the monsters go out 815 00:45:49,440 --> 00:45:53,719 Speaker 1: and kidnap uh Professor Chang's daughter, and we just see 816 00:45:53,760 --> 00:45:58,239 Speaker 1: them riding on a boat. Oh, it's so good. The 817 00:45:58,320 --> 00:46:00,719 Speaker 1: power boats cutting through the water going back to the 818 00:46:01,239 --> 00:46:04,000 Speaker 1: the evil island fortress and they're all just chilling on 819 00:46:04,120 --> 00:46:06,680 Speaker 1: the boat. Yeah. It's like skull guy to one side 820 00:46:06,719 --> 00:46:09,080 Speaker 1: of him, monster to the other. And as my my 821 00:46:09,160 --> 00:46:10,759 Speaker 1: wife pointed out, she got to watch this part and 822 00:46:10,840 --> 00:46:12,520 Speaker 1: she loved it too. She's like, you also see the 823 00:46:12,560 --> 00:46:15,759 Speaker 1: professor do this kind of awkward necktie adjustment and he's like, 824 00:46:17,400 --> 00:46:20,719 Speaker 1: so it's windy out here on the water today. Yeah. 825 00:46:21,080 --> 00:46:24,240 Speaker 1: Like I say, both my my wife and son were 826 00:46:24,320 --> 00:46:26,880 Speaker 1: totally one over by this film. My son was a 827 00:46:26,960 --> 00:46:29,719 Speaker 1: little hesitant to watch it. He was like, I said 828 00:46:29,760 --> 00:46:31,120 Speaker 1: him the trailer and he's like, I don't know, it 829 00:46:31,160 --> 00:46:32,600 Speaker 1: doesn't look like it has as much of a plot, 830 00:46:32,840 --> 00:46:35,399 Speaker 1: which on one level, you know, that's a good read. 831 00:46:35,840 --> 00:46:40,839 Speaker 1: But but but then when Foolish, Well, he's really into 832 00:46:40,920 --> 00:46:44,959 Speaker 1: the movie Shanshi that came out the new Marvel film, 833 00:46:45,040 --> 00:46:48,000 Speaker 1: which is in my opinion, excellent and uh and and 834 00:46:48,080 --> 00:46:50,080 Speaker 1: he loved it too. It has you know, action and 835 00:46:50,200 --> 00:46:53,279 Speaker 1: great characters and story. So you know, that's a that's 836 00:46:53,280 --> 00:46:56,200 Speaker 1: a high bar to set for your your martial arts films. 837 00:46:56,800 --> 00:46:59,000 Speaker 1: Uh So at first he was a little hesitant. At first, 838 00:46:59,040 --> 00:47:00,839 Speaker 1: he was like, I would give this the martial arts 839 00:47:00,880 --> 00:47:04,080 Speaker 1: in this film, I think a six um, but I'm 840 00:47:04,080 --> 00:47:05,879 Speaker 1: not sure out of how many I think he's using 841 00:47:05,880 --> 00:47:09,080 Speaker 1: a ten point scale, I'm not sure. But as it proceeded, 842 00:47:09,120 --> 00:47:10,920 Speaker 1: he was like, no, I take it back, this is 843 00:47:11,040 --> 00:47:13,359 Speaker 1: this is great, this is so funny. I love it. So. Yeah, 844 00:47:13,640 --> 00:47:16,160 Speaker 1: it's a different kind of you make a big budget 845 00:47:16,480 --> 00:47:18,520 Speaker 1: movie today, and there's obviously a lot you can do 846 00:47:18,719 --> 00:47:21,360 Speaker 1: with lots of money and the technology you know, C 847 00:47:21,520 --> 00:47:22,960 Speaker 1: G I and all that, But I think I have 848 00:47:23,120 --> 00:47:28,640 Speaker 1: even more respect for the kind of sheer creative force 849 00:47:28,719 --> 00:47:31,040 Speaker 1: and genius that allows you to do so much with 850 00:47:31,160 --> 00:47:35,920 Speaker 1: the more limited resources available. In nine. Yeah, I think, 851 00:47:35,920 --> 00:47:38,160 Speaker 1: as as my wife pointed out, you really have to 852 00:47:38,280 --> 00:47:41,440 Speaker 1: sort of look to films like um Barbarella or Flash 853 00:47:41,520 --> 00:47:45,000 Speaker 1: Gordon defined like Western counterparts that kind of match it 854 00:47:45,200 --> 00:47:49,319 Speaker 1: for just tremendous sets and outfits. Yeah, so I'm gonna 855 00:47:49,320 --> 00:47:51,759 Speaker 1: speak on Roger Robert's behalf. I think the changing to 856 00:47:51,880 --> 00:47:53,920 Speaker 1: three stars was an error he meant to do for 857 00:47:54,200 --> 00:47:56,840 Speaker 1: that was just a typo. I give it four stars 858 00:47:56,880 --> 00:47:59,920 Speaker 1: as well. This is one of my new all time favorite. 859 00:48:01,120 --> 00:48:03,080 Speaker 1: I'm gonna have to find it, like, what's what's the 860 00:48:03,160 --> 00:48:05,719 Speaker 1: best like disk of this to own? Because I know 861 00:48:05,880 --> 00:48:08,120 Speaker 1: I will be revisiting it time after time for the 862 00:48:08,200 --> 00:48:10,520 Speaker 1: rest of my life. Yeah, I'm gonna either have to 863 00:48:10,560 --> 00:48:13,279 Speaker 1: buy it or rent it again because my son only 864 00:48:13,320 --> 00:48:15,040 Speaker 1: watched the last thirty minutes and he was asking me 865 00:48:15,120 --> 00:48:18,160 Speaker 1: this morning, He's like, what happened before? Uh, tell me 866 00:48:18,160 --> 00:48:19,839 Speaker 1: about it. I'm like, well, we'll just have to watch 867 00:48:19,880 --> 00:48:22,960 Speaker 1: it again. So yeah, you can. You can buy or 868 00:48:23,000 --> 00:48:25,560 Speaker 1: rent this film digitally at various websites we mentioned a 869 00:48:25,600 --> 00:48:29,640 Speaker 1: couple already, um, but eighty eight Films also has a 870 00:48:29,920 --> 00:48:33,760 Speaker 1: wonderful looking blu ray out of the film that offers 871 00:48:33,800 --> 00:48:36,960 Speaker 1: the restored uncut HD transfer and I believe that's what 872 00:48:37,120 --> 00:48:41,439 Speaker 1: we were watching as well. Um in digital form. They're 873 00:48:41,480 --> 00:48:44,680 Speaker 1: also various international formats available out there. But again, we 874 00:48:44,760 --> 00:48:47,160 Speaker 1: gotta stress, if you watch this film, watch it in 875 00:48:47,239 --> 00:48:52,000 Speaker 1: the best visual quality possible. Uh, don't settle for a rip. Agreed. 876 00:48:52,320 --> 00:48:53,520 Speaker 1: I mean, I guess if you get the chance to 877 00:48:53,520 --> 00:48:55,200 Speaker 1: see it on the big screen, go for it. Um, 878 00:48:56,160 --> 00:49:00,560 Speaker 1: that would be amazing. Yeah. So anyway, Yeah, great film, 879 00:49:00,840 --> 00:49:04,040 Speaker 1: highly recommended. Uh, one of the one of the best 880 00:49:04,080 --> 00:49:06,879 Speaker 1: we've watched on Weird Out Cinema here. Speaking of which, 881 00:49:06,920 --> 00:49:09,319 Speaker 1: if you want to watch other episodes of Weird House Cinema, well, 882 00:49:09,640 --> 00:49:12,640 Speaker 1: um I told you where there archived earlier, but you 883 00:49:12,719 --> 00:49:16,360 Speaker 1: can catch new episodes every Friday in the Stuff to 884 00:49:16,400 --> 00:49:19,640 Speaker 1: Blow your Mind podcast feed. We are primarily a science 885 00:49:19,800 --> 00:49:24,440 Speaker 1: and culture and curiosity podcast, with core episodes that come 886 00:49:24,440 --> 00:49:27,399 Speaker 1: out on Tuesdays and Thursdays. We have a short form 887 00:49:27,520 --> 00:49:29,759 Speaker 1: artifact that comes out on Wednesdays. We have listener mail 888 00:49:29,800 --> 00:49:33,000 Speaker 1: on Monday's rerun on the weekend, but on Friday's that's 889 00:49:33,040 --> 00:49:36,200 Speaker 1: when we just set most of our serious concerns aside 890 00:49:36,280 --> 00:49:39,439 Speaker 1: and just focus in on a weird film. Huge thanks 891 00:49:39,480 --> 00:49:42,760 Speaker 1: as always to our excellent audio producer Seth Nicholas Johnson. 892 00:49:43,160 --> 00:49:44,640 Speaker 1: If you would like to get in touch with us 893 00:49:44,719 --> 00:49:47,080 Speaker 1: with feedback on this episode or any other, to suggest 894 00:49:47,200 --> 00:49:49,080 Speaker 1: topic for the future, or just to say hello, you 895 00:49:49,120 --> 00:49:52,200 Speaker 1: can email us at contact at Stuff to Blow Your Mind. 896 00:49:52,400 --> 00:50:01,960 Speaker 1: Dot com Stuff to Blow your Mind is production of 897 00:50:02,000 --> 00:50:05,040 Speaker 1: I heart Radio. For more podcasts My heart Radio, visit 898 00:50:05,080 --> 00:50:07,640 Speaker 1: the i heart Radio app, Apple Podcasts, or wherever you 899 00:50:07,719 --> 00:50:08,920 Speaker 1: listen to your favorite shows.