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

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Speaker 2: Hey, welcome to Weird House Cinema. My name is Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And today I think we're going

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Speaker 3: to be doing the chronologically earliest film that we've done

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Speaker 3: so far. Isn't that right?

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Speaker 2: I believe so.

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Speaker 3: So today we're going to be talking about Doctor X,

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Speaker 3: a nineteen thirty two American pre code horror film that

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Speaker 3: shocked my soul and conscience and I thought was just

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Speaker 3: a fabulous ride.

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Speaker 2: Yeah. Yeah, this one was a pleasant surprise for me

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Speaker 2: as well. I was only vaguely aware of it. I'll

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Speaker 2: get into into some of that in a bit, but

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Speaker 2: I was vaguely aware that it existed, knew basically nothing

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Speaker 2: about it. You suggested it, I saw a couple of

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Speaker 2: the people that were involved in it, and I just

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Speaker 2: signed on side unseen and went in without any spoilers

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Speaker 2: or anything. Watched it this morning and it was fabulous.

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Speaker 2: So while it might seem to start out as a

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Speaker 2: rather traditional film, and it ends fairly to traditionally as well,

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Speaker 2: it gets just heavily weird in the middle in a

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Speaker 2: way that it really has to be experienced.

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Speaker 3: Yeah, well, there's one scene in particular. I mean, I

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Speaker 3: would say that there is a like five minute sequence

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Speaker 3: in this movie that you should watch the movie for,

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Speaker 3: even if for nothing else. But there's some other fun

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Speaker 3: stuff in there as well. Absolutely, and we'll get into

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Speaker 3: what that is later on. But I thought at first

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Speaker 3: we should talk for a little bit about the historical

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Speaker 3: context of this era of movies. So this is a

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Speaker 3: pre code movie. You might have heard that term used

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Speaker 3: by film historians before pre code, and that code there

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Speaker 3: refers to something called the Haze Code. So basically from

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Speaker 3: about nineteen thirty four until roughly the end of the

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Speaker 3: nineteen fifties. I think sometimes the movie Some Like It

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Speaker 3: Hot in nineteen fifty nine is held out as sort

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Speaker 3: of like the demise of the Hayes Code era. But

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Speaker 3: for this period, from the mid thirties through the fifties,

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Speaker 3: American film studios sort of agreed to be governed by

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Speaker 3: censorship guidelines that were known as the Hayes Code. So

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Speaker 3: this prohibited a lot of stuff that you might, you know,

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Speaker 3: automatically think of, of course obvious R rated content like nudity

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Speaker 3: and profanity, but it also banned content that was considered

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Speaker 3: objectionable to conservative social values, so that might be all

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Speaker 3: kinds of you know, references to cannibalism and things. You

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Speaker 3: weren't supposed to have movies in which the audience would

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Speaker 3: be asked to sympathize with criminals or crime, which is

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Speaker 3: just a great guideline for complex moral cinema. You weren't

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Speaker 3: supposed to have movies that ridiculed the church or religion,

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Speaker 3: or movies with interracial or same sex romance. But there

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Speaker 3: was a time before this code was implemented, before it

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Speaker 3: was started, before it started to be strictly enforced in

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Speaker 3: around nineteen thirty four, and that brief period between the

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Speaker 3: spread of talkies, so movies with synchronized sound, which was

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Speaker 3: mainly in nineteen twenty nine, and then the stricter enforcement

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Speaker 3: of the code in nineteen thirty four, that like five

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Speaker 3: year period is known as the pre Code period in

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Speaker 3: American film, and it's characterized by movies that experimented with

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Speaker 3: more controversial content of multiple kinds. So you had sillacious

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Speaker 3: content in terms of sex and violence and crime, the

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Speaker 3: normal R rated kind of stuff that shocks the morals,

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Speaker 3: but it was also I think it's worth pointing out

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Speaker 3: a period of increased experimentation with progressive social themes that

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Speaker 3: would mostly fade from American movies in the following decades,

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Speaker 3: only to re emerge in the sixties. So I think

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Speaker 3: that's an interesting parallel that in the same time you

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Speaker 3: see this brief early flowering of kind of like racy,

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Speaker 3: r rated content, you also see things that we would

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Speaker 3: later think are like good social values that were prohibited

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Speaker 3: at the time, and they were sort of struck down

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Speaker 3: with the same stick in thirty four.

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Speaker 2: Yeah, it's interesting too when you think about film, the

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Speaker 2: film output, the cinematic output as an indicator of what

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Speaker 2: the underlying culture is there was, you know, because once

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Speaker 2: you have the code in place, Yeah, to a certain extent,

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Speaker 2: the code is a product of the culture, and therefore

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Speaker 2: you can see those films that come out of it

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Speaker 2: as a reflection of what the culture wanted to see

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Speaker 2: itself as. But it also means you have this inauthentic

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Speaker 2: view of what was actually going on in the zeitgeist

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Speaker 2: of the time. You know, we just go back when

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Speaker 2: we watch films from the nineteen fifties, American mainstream films

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Speaker 2: from the fifties, and you get this kind of vision

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Speaker 2: that's like, oh wow, it looks looks pretty dry, and

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Speaker 2: you know, it's you know, it's pretty, it's pretty square.

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Speaker 2: I don't know, it's very sanitized in many respects.

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Speaker 3: Well, people often harken back to they say there was

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Speaker 3: a time where movies were more innocent. Have you ever

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Speaker 3: heard that there was a more innocent age and cinema,

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Speaker 3: which I think is a horrible way of putting it.

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Speaker 3: I mean, that's not really what it was. What you're

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Speaker 3: saying is there was a time when American movies were

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Speaker 3: more censored.

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Speaker 2: Right, yeah, because I mean and certainly when you look

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Speaker 2: at films from the fifties, there's plenty of horrible stuff

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Speaker 2: going on, like socially that's reflected in those films. But

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Speaker 2: but yeah, you have this code in place is preventing

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Speaker 2: this racier content from taking place, and it kind of

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Speaker 2: limits the palette that artists of that time had to use,

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Speaker 2: you know, that were at their disposal to bring their

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Speaker 2: message across, be it like a really highly thought out

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Speaker 2: artistic message or the B cinema message, which I think,

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Speaker 2: as we've discussed before a lot of times, B cinema

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Speaker 2: that is where the in genre cinema, cinema, horror cinema,

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Speaker 2: science fiction cinema. That's sometimes the first place where some

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Speaker 2: of these cultural ideas are explored.

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Speaker 3: Yeah, totally before they reach the mainstream. Now I don't

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Speaker 3: wanna say so, we're gonna be talking about this movie

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Speaker 3: Doctor X, which is a horror movie in the pre

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Speaker 3: code era, and for that reason for it it's time

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Speaker 3: and place. It does feel very weird and edgy and

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Speaker 3: unlike movies, you know, horror movies that would be put

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Speaker 3: out by American studios a decade later. It feels much

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Speaker 3: more dangerous than that. But at the same time, I

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Speaker 3: don't want to imply that this movie particularly embodies any

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Speaker 3: like at the time controversial progressive social themes that I

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Speaker 3: can think of. I don't think it really does. I mean,

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Speaker 3: it's just like a horror, murder, mystery movie. But it

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Speaker 3: does have this this harder edge from being in that

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Speaker 3: early thirties period that I think serves it quite well.

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Speaker 2: Yeah. Absolutely, it's just.

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Speaker 3: Got a darker, weirder, more dangerous sensibility than stuff you

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Speaker 3: would normally expect to see from movies of the thirties.

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Speaker 3: Though then again, I would say, you know, there are

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Speaker 3: some that are in the postcode era that that rival

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Speaker 3: it in certain ways, Like I don't know, Mad Love,

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Speaker 3: I think is sort of on the same level. Yeah,

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Speaker 3: but maybe we should give the Elevator pitch for this movie. Okay,

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Speaker 3: So what's Doctor x about?

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Speaker 2: Okay, So imagine yourself at a medical academy where absolutely

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Speaker 2: every member of the faculty is a prime suspect in

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Speaker 2: the cannibalistic moon killer slayings, like serial murderers that are

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Speaker 2: taking place at night during a full moon. So we

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Speaker 2: meet up with this character, doctor Xavier, Doctor Xavier, we'll

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Speaker 2: get into the various pronunciations, and he's heading up the academy.

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Speaker 2: The police have come to him and they say, hey,

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Speaker 2: we think the killer is one of you guys, and

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Speaker 2: the doctor x here says, give me forty eight hours.

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Speaker 2: I'll find the killer myself, so the police don't have

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Speaker 2: to get involved and we don't have to get a

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Speaker 2: lot of bad pr for the academy.

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Speaker 3: Yeah, it's a pretty great setup. Maybe we should hit

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Speaker 3: that trailer audio. We are all under suspicion of murder.

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Speaker 2: What absurd? What imbitial thought that up? I'm Lee Taylor

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Speaker 2: of the Daily World.

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Speaker 3: Then you did it? Me?

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Speaker 2: If you in printed that horrible story father in this

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Speaker 2: morning's paper, don't be afraid tonight. Be sure you keep

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Speaker 2: your eyes closed and relax.

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Speaker 3: I'm laying ten bucks to a dime.

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Speaker 2: It'ch another moon killer murder. One of us may be

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Speaker 2: a murderer, a murderer who killed with the light of

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Speaker 2: a full moon, leaving his victim's body mutilated. Sounds good,

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Speaker 2: sounds good.

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Speaker 3: Now we may have buried one of the leads here,

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Speaker 3: which is that this ced nineteen thirty two horror movie

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Speaker 3: about cannibalistic murders and synthetic flesh was directed by Michael Kurtiz,

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Speaker 3: the director of Casablanca. That's a pretty odd fact. So

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Speaker 3: Michael Curtiz was a Hungarian American film director who made

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Speaker 3: a lot of the most well regarded movies of Hollywood's

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Speaker 3: Golden Age. He made The Adventures of Robin Hood in

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Speaker 3: nineteen thirty eight with Errol Flynn, of course, Casablanca in

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Speaker 3: forty two, Mildred Pearce in nineteen forty five. He did

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Speaker 3: at least one James Cagney crime movie. So we are

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Speaker 3: not dealing with a Roger Korman type here. This is

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Speaker 3: not a scrappy schlock production, you know, for kids at

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Speaker 3: the drive in. This is one of the era's most

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Speaker 3: high profile and successful directors. But there are ways in

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Speaker 3: which Kurtis I think was much like Corman. And one

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Speaker 3: of those ways is that Kurtis was prolific, ferociously productive,

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Speaker 3: and he put out a staggering volume of film work

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Speaker 3: of sort of mixed staying power. Some of it, you know,

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Speaker 3: is considered classics movies like Casablanca. Other stuff is largely forgotten,

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Speaker 3: and he bounced all over genres. He directed musicals, westerns, swashbucklers,

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Speaker 3: horror movies, biblical epics. And another thing that's interesting about

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Speaker 3: him is that basically everybody who chronicles his life points

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Speaker 3: out that his personal habits took the idea of staying

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Speaker 3: busy to an almost fanatical extreme. There's one example of this.

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Speaker 3: It's a paragraph that I came across when I was

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Speaker 3: reading an article in the La Times by Kenneth Turan

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Speaker 3: that was a review of a book called Michael Kurtz,

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Speaker 3: A Life in Films by Alan k. Rhade, and so

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Speaker 3: Turin writes the following, both on camera and off, Kurtes

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Speaker 3: wanted things always to be moving, hurtling cars and trains

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Speaker 3: and propulsive people figure prominently in his films. Even the

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Speaker 3: dark factory smoke in the movie Female moves purposefully across

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Speaker 3: the screen rather than just evaporating lazily into thin air.

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Speaker 3: Someone who is likely easily bored and reportedly needed only

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Speaker 3: four hours sleep. Kurtes only wanted to be doing, doing, doing,

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Speaker 3: which led to difficult situations with his cast and crew.

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Speaker 3: It's not just that the director believed lunch breaks were

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Speaker 3: for whimps. Road notes that Curtiz's quote demonic work ethic

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Speaker 3: approached savagery and working conditions on his sets are said

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Speaker 3: to have been set, or said to be one of

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Speaker 3: the reasons that the Screen Actors Guild was formed.

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Speaker 2: Oh wow, So yeah, just a hyperactive filmmaker who just

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Speaker 2: wanted to be working all the time and perhaps just

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Speaker 2: did not understand that other human beings either could not

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Speaker 2: do that or did not want that right as the

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Speaker 2: defining energy of their life.

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Speaker 3: Yeah, there was a whole other thing I was reading

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Speaker 3: about his war against lunch. Like, he hated lunch. He

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Speaker 3: thought lunch was a stupid waste of time, and that

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Speaker 3: actors were lazy after lunch, and so he encouraged people

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Speaker 3: to skip lunch because then they would be more productive

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Speaker 3: in the afternoon. I don't know, it sounds borderline pathological.

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Speaker 2: You know, I have to say that I'm ultimately not

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Speaker 2: super familiar with with his work. I saw Casablanca once

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Speaker 2: for a film class in college and and enjoyed it.

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Speaker 2: You know, it's an important film. But I've seen Overdrawn

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Speaker 2: in the memory Bank so many times, and so many

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Speaker 2: more times than Casa Blanca that the simulated Casablanca scenes

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Speaker 2: in Overdrawn are the ones my mind goes to when

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Speaker 2: I think of Casta Blanca. I think of Raal Julia right,

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Speaker 2: as as as Rick. It's not Ricker, yes, Rick, Rick, Yes, Fingle.

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Speaker 2: I get Rick, Rick and Fingle are one in my mind.

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Speaker 3: Wait, who's Peter Laurie and Overdrawn? In the memory Bank?

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Speaker 2: They have some guy doing like a really really you know,

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Speaker 2: stereotypical Peter Laurie impersonation. I don't remember if anybody connected

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Speaker 2: to the plot role.

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Speaker 3: Julia was actually a good actor, and I bet he

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Speaker 3: could have done a good Peter Lourie impression.

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Speaker 2: Oh I bet, yeah, he could have played every role

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Speaker 2: in that film. But uh, I mean, Raal Julia is

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Speaker 2: great in that film. He's great in everything, but I would.

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Speaker 3: Say Curtis's talent comes through in Doctor X. This is

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Speaker 3: a This is a movie that is busy. It moves.

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Speaker 3: I mean, it's got a lot of action. It is,

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Speaker 3: it does not lag.

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Speaker 2: Yeah, there's not a lot of space to be bored

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Speaker 2: in this in this film. Oh another thing about Kurtz.

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Speaker 2: I don't know if you ran across this. This is

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Speaker 2: an IMDb fact, So I don't know to what extent

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Speaker 2: we can take this as absolute truth or it's just

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Speaker 2: a story about him. But supposedly he fell out of

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Speaker 2: a moving vehicle once because he had to He had

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Speaker 2: some idea that he had to jot down. He had

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Speaker 2: to write down on some notepad paper he was driving

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Speaker 2: the vehicle at the time.

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Speaker 3: That sounds about right.

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Speaker 2: So another interesting thing about this This film is not

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Speaker 2: interesting because of the names attached to it, but for

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Speaker 2: what it tells you about about various storytelling mediums of

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Speaker 2: the time. This was based on a play by Howard

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Speaker 2: Warren Comstock and Alan C. Miller. So back in the

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Speaker 2: day when I guess you just had more genre plays

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Speaker 2: you could. You could have a cannibalistic serial killer play

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Speaker 2: that one might view.

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Speaker 3: Yeah, that's interesting. Today, if one goes out to see

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Speaker 3: a play, it's almost certainly going to be of you know,

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Speaker 3: either a classical plays like you know, Greek or Shakespeare

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Speaker 3: or something, or if it's a modern play, it's like

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Speaker 3: a character driven drama, or it's a comedy. But yeah,

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Speaker 3: we forget the early twentieth century like genre plays in

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Speaker 3: terms of like bloody gory horror productions for the stage

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Speaker 3: were extremely common, like the grang gin y'all in Paris.

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Speaker 3: I don't know, in a way I miss this tradition,

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Speaker 3: Like why don't high school theater groups do viciously bloody

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Speaker 3: grangin y'all. I'm sure you can still get those scripts somewhere.

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Speaker 3: They're probably even in the public domain.

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Speaker 2: Yeah, and they'd probably be pretty fun to put on.

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Speaker 3: You get some kids to do the special effects, all

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Speaker 3: the eyeballs squirting out and stuff. I mean, that could

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Speaker 3: be good.

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Speaker 2: Yeah. Well, let's get into some of the players in

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Speaker 2: this picture.

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Speaker 3: Okay, Well, you had an actor named Lee Tracy in

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Speaker 3: one of the main roles in the movie. Now, Lee

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Speaker 3: Tracy is not one of He doesn't play any of

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Speaker 3: the scientists. Instead, he plays Lee Taylor, who is sort

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Speaker 3: of the everyman anchor for the story. He is a

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Speaker 3: reporter for a newspaper called The Daily World. He is

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Speaker 3: a street wise, fast talking newspaper hack, the kind of

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Speaker 3: sardonic crime reporter character who appeared in a lot of

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Speaker 3: movies of this era and then would later be sort

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Speaker 3: of imitated or parodied for nostalgic recreations, like the character

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Speaker 3: of Alexander Knox in the Tim Burton Batman.

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Speaker 2: You remember that guy, Oh, yes, yeah, yeah, played by

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Speaker 2: an airless guy.

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Speaker 3: Yeah, Robert Woohl, Yeah, that guy I think is supposed

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Speaker 3: to be a throwback to this stock character from thirties

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Speaker 3: and forties movies.

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Speaker 2: Yeah, Like, you know, at the instant, the instant, a

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Speaker 2: character like this walks on the screen because they're like, Hey,

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Speaker 2: what you got there, partner, Let me talk to you

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Speaker 2: about this murder. This happened in all of it out

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Speaker 2: I'm afraid to go out a night because you know,

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Speaker 2: it has this whole rhythm. This cadence is an obvious trope.

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Speaker 2: I will say that that Lee Tracy is quite good

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Speaker 2: in this role, though, and and while it does contain

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Speaker 2: all these elements of the trope, it seems to have

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Speaker 2: some other fun Quirks added to it as well. So,

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Speaker 2: not only is he this snappy newspaperman, but there's this

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Speaker 2: whole thing where he's a He seems to be a

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Speaker 2: practical joke enthusiast who often forgets that he's wearing one

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Speaker 2: of these handshake buzzers.

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Speaker 3: Yeah, you know where he's like his wedding ring. He

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Speaker 3: just forgets it's on there.

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Speaker 2: He just forgets it's on. And and this gag actually

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Speaker 2: works quite well in the picture and plays into the

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Speaker 2: plot a bit. So I applaud that for making for

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Speaker 2: making a trope that I'm instantly not interested in actually entertaining.

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Speaker 3: Yeah, yeah, I got to hand it to him for

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Speaker 3: that as well. And Tracy, I mean, he is this role.

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Speaker 3: I mean it's just in his bones, you can tell.

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Speaker 2: Yeah, I read that he apparently played a lot of

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Speaker 2: snappy newspaper men. There's a attributed quote I found on

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Speaker 2: IMDb quote, I should have quit playing newspaper man after

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Speaker 2: three or four parts in the movies, but the money

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Speaker 2: kept coming in and I liked it.

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Speaker 3: He liked it. It almost sounds like a line his

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Speaker 3: character would say in Doctor X.

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Speaker 2: Yeah, I should have done it in his voice. But

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Speaker 2: I even I can't do that voice too often.

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Speaker 3: Okay. So then the next major player you've got is

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Speaker 3: Lionel Atwill, who plays a doctor. Oh my god, So

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Speaker 3: they pronounce his name like five different ways in this movie.

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Speaker 3: It is like Professor Charles Xavier. It's Xavier Xavier or

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Speaker 3: Exavier is how I think most Americans would say it today.

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Speaker 3: But in the movie they call him doctor Xavier. They

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Speaker 3: call him doctor Xavier. I don't know how many different

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Speaker 3: ways they say it.

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Speaker 2: And then of course he is the titular doctor x

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Speaker 2: But then in a way, the title also has another meaning,

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Speaker 2: which we'll get to, and that is doctor x is

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Speaker 2: in Doctor Unknown, right, yes, So Adwell is one of

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Speaker 2: these actors who played a ton of characters who are

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Speaker 2: either inspectors or doctors. In this he gets to play both.

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Speaker 2: He's a doctor who acts as an inspector, and sometimes

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Speaker 2: he played villains as well, such as the role of

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Speaker 2: Moriarty and Sherlock Holmes and The Secret Weapon from nineteen

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Speaker 2: forty three. And he's also in a string of horror

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Speaker 2: films in the nineteen thirties. He played the one armed

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Speaker 2: Inspector Krag and son of Frankenstein in nineteen thirty nine,

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Speaker 2: which I believe was later parodied in what is it?

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Speaker 2: The Melbrooks film Oh What in Young Frankenstein. Yeah, I

337
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Speaker 2: believe they parody that role a bit in there. Oh

338
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Speaker 2: I see, okay, Yeah, but in this yes, he is

339
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Speaker 2: a doctor who acts as an inspector, so he has

340
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Speaker 2: a lot of screen time. He's just constantly talking.

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Speaker 3: Yeah, and he's got a little bit slightly off brand

342
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Speaker 3: Christopher Plumber vibes. You know, he's a little bit Christopher Plumber,

343
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Speaker 3: but slightly less dashing.

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Speaker 2: Yes. And then there's also he does have this quality

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Speaker 2: too where you're not sure if you can trust him

346
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Speaker 2: or not either. Like a lot of this film is

347
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Speaker 2: centers around a who done it scenario, And indeed you

348
00:19:00,160 --> 00:19:02,520
Speaker 2: don't know what doctor X's deal is as well doctor

349
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Speaker 2: Xaviu's deal is.

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Speaker 3: Yeah, it's great. There's a cast of like seven different

351
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Speaker 3: creeps who are all testifying to each other's integrity. But

352
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Speaker 3: they're all just like the most ominous, menacing people you've

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Speaker 3: ever seen.

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Speaker 2: Yeah, it's a real rogues gallery, this medical academy. We'll

355
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Speaker 2: get in like even without getting into the details of

356
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Speaker 2: their spoil, which we'll get to, they all just look

357
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Speaker 2: wonderful and grow grotesque in their own ways. It's a wonderful.

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Speaker 2: We're not going to list their name, the names of

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Speaker 2: the actors, because most of those names are probably not

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Speaker 2: going to really resonate with with listeners. They're worth looking

361
00:19:33,520 --> 00:19:35,840
Speaker 2: up though, if you're if you're curious, but yeah, they're

362
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Speaker 2: like there's so many scenes where you'll have like our

363
00:19:38,240 --> 00:19:40,520
Speaker 2: leading lady, who are about to get to and she's

364
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Speaker 2: talking like a foot away or less with one of

365
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Speaker 2: these characters and their the lighting between the two characters

366
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Speaker 2: is so distinct because of course she is illuminated and

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Speaker 2: beautiful like an angel, right, and then these various character

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Speaker 2: actors are illuminated in ways to like really bring out

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Speaker 2: the rugged definition of their face and all the lines

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Speaker 2: and make them look like hollow, gaunt, haunted skeletons.

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Speaker 3: It's quick, wonderful, that's very well put. Well, we should

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Speaker 3: get to the leading lady because she I think is

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Speaker 3: without a doubt, the most well known member of the

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Speaker 3: cast here. It's Fey Ray faey Ray plays Joan Xavier,

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Speaker 3: the daughter I think the daughter, yeah, the daughter of

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Speaker 3: doctor doctors doctor Zaber.

377
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Speaker 2: I wasn't clear on that for about half the Picture

378
00:20:23,760 --> 00:20:24,960
Speaker 2: in the same years as the Daughter.

379
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Speaker 3: Yeah, and I mean god, this is Fay Ray from

380
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Speaker 3: King Kong.

381
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Speaker 2: That's right, one of the original Scream queens. Yeah, she

382
00:20:33,560 --> 00:20:36,920
Speaker 2: played Anne Darrow in the nineteen thirty three film King Kong,

383
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Speaker 2: so she hadn't like fully exploded like King Kong was

384
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Speaker 2: the film that really launched her into the spotlight in

385
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Speaker 2: a major way. But she had a very long career.

386
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Speaker 2: So she was born in Canada, they raised in Hollywood,

387
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Speaker 2: so she intered acting at an early age, at sixteen,

388
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Speaker 2: I believe in the nineteen twenty three short Gasoline Love.

389
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Speaker 2: She acted in one hundred and twenty three titles up

390
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Speaker 2: through nineteen eighty. And as for standout roles, she was

391
00:21:02,680 --> 00:21:05,720
Speaker 2: in nineteen thirty two is the Most Dangerous Game, and

392
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Speaker 2: a standout role for us anyway, would also be Mystery

393
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Speaker 2: of the Wax Museum from nineteen thirty three, which we've

394
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Speaker 2: mentioned on Stuff to Blow your Mind before. She was

395
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Speaker 2: in The Vampire Bat in nineteen thirty three, and yeah,

396
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Speaker 2: she's a legend there. You can't deny her. In fact,

397
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Speaker 2: she is mentioned twice in the lyrics to The Rocky

398
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Speaker 2: Horror Picture Show. So there's the whole there's a whole

399
00:21:30,800 --> 00:21:32,919
Speaker 2: bit at the start of one of the songs, whatever

400
00:21:32,960 --> 00:21:36,440
Speaker 2: happened to Fay Ray that delicate satin draped frame as

401
00:21:36,440 --> 00:21:38,640
Speaker 2: it clung to her thigh? How I started to cry

402
00:21:38,680 --> 00:21:40,560
Speaker 2: because I wanted to be dressed just the same.

403
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Speaker 3: Does Doctor Frankinfurter sing that?

404
00:21:43,119 --> 00:21:47,359
Speaker 2: Yes, yeah, okay, that's one of the closing songs there.

405
00:21:47,600 --> 00:21:49,879
Speaker 2: But she's also mentioned in the lyrics to the opening

406
00:21:49,960 --> 00:21:54,680
Speaker 2: number Science Fiction Double Feature, as is this very movie.

407
00:21:54,720 --> 00:21:58,520
Speaker 2: By the way, Doctor X, Doctor X is the chorus,

408
00:21:58,600 --> 00:22:04,280
Speaker 2: yeah where it goes, I ins Fiction Double Feature, Doctor

409
00:22:04,880 --> 00:22:10,920
Speaker 2: X will build a creature very nice. That's my riff raff.

410
00:22:11,840 --> 00:22:15,280
Speaker 2: So anyway, I like, you know, Feyay Hollywood icon and

411
00:22:15,400 --> 00:22:18,399
Speaker 2: Doctor X in its own way is he is also

412
00:22:18,520 --> 00:22:21,920
Speaker 2: part of the like the legacy of genre filmmaking here.

413
00:22:22,119 --> 00:22:26,959
Speaker 2: So I've been hearing Doctor X all this time watching

414
00:22:26,960 --> 00:22:29,000
Speaker 2: and listening to Rocky hor Picture Show, and I never

415
00:22:29,040 --> 00:22:31,800
Speaker 2: really looked up what that was. But it's clearly a

416
00:22:31,840 --> 00:22:32,760
Speaker 2: reference to this film.

417
00:22:32,920 --> 00:22:35,560
Speaker 3: It almost sounds like it could be just a stock

418
00:22:35,680 --> 00:22:37,639
Speaker 3: character reference, like it wouldn't have to be a real

419
00:22:37,760 --> 00:22:38,880
Speaker 3: character from something.

420
00:22:39,200 --> 00:22:41,840
Speaker 2: Yeah, because it sounds it sounds like a stock character.

421
00:22:41,960 --> 00:22:44,720
Speaker 2: Doctor X. You know, he's clearly a mad scientist of

422
00:22:44,760 --> 00:22:46,520
Speaker 2: some sort. Right right now.

423
00:22:46,520 --> 00:22:49,240
Speaker 3: There's another strange feature of this movie that I wanted

424
00:22:49,280 --> 00:22:52,320
Speaker 3: to mention, which is that this is nineteen thirty two,

425
00:22:52,680 --> 00:22:55,720
Speaker 3: but the movie is sort of in color. It was

426
00:22:55,840 --> 00:23:00,000
Speaker 3: made via a process that they were trying to get

427
00:23:00,080 --> 00:23:03,960
Speaker 3: going at the time called two color Technicolor. It's sort

428
00:23:03,960 --> 00:23:07,440
Speaker 3: of a strange technical interlude in the history of film.

429
00:23:08,240 --> 00:23:11,080
Speaker 3: The movie is not exactly in full color. There are

430
00:23:11,080 --> 00:23:13,199
Speaker 3: a lot of hues that don't get captured. You're not

431
00:23:13,240 --> 00:23:17,399
Speaker 3: going to get accurate purples and blues and yellows and

432
00:23:17,440 --> 00:23:20,480
Speaker 3: all that. But it's definitely not in black and white.

433
00:23:20,760 --> 00:23:23,040
Speaker 3: Though there was an alternate version of the film that

434
00:23:23,119 --> 00:23:26,000
Speaker 3: was shot in black and white. I've read that it's

435
00:23:26,440 --> 00:23:29,800
Speaker 3: almost identical in content except for some minor changes to

436
00:23:29,840 --> 00:23:32,160
Speaker 3: ad libs and the dialogue. But there are two versions

437
00:23:32,200 --> 00:23:34,760
Speaker 3: of this movie that were shot, one for black and

438
00:23:34,800 --> 00:23:38,639
Speaker 3: white projectors and one for the Technicolor version. And this

439
00:23:38,760 --> 00:23:41,840
Speaker 3: I think was the product of a deal between Technicolor

440
00:23:41,880 --> 00:23:45,320
Speaker 3: and Warner Brothers. Apparently Technicolor was not happy with the

441
00:23:45,359 --> 00:23:47,560
Speaker 3: fact that an alternate black and white version of the

442
00:23:47,560 --> 00:23:51,640
Speaker 3: film was produced, so It's kind of hard to describe

443
00:23:51,680 --> 00:23:54,719
Speaker 3: exactly how it looks, but it's sort of in color.

444
00:23:55,200 --> 00:23:59,600
Speaker 3: Certain types of colors and shades come through the dominant

445
00:24:00,400 --> 00:24:03,639
Speaker 3: ranges of the movie seem to be sort of like

446
00:24:04,080 --> 00:24:07,240
Speaker 3: green and orange, and I think that's because the two

447
00:24:07,240 --> 00:24:10,360
Speaker 3: color process used two filters, one was green and one

448
00:24:10,480 --> 00:24:13,160
Speaker 3: was red. And I would say this two color spectrum

449
00:24:13,160 --> 00:24:15,959
Speaker 3: would not be a good fit for every film, but

450
00:24:16,000 --> 00:24:17,880
Speaker 3: I feel like it sort of works in this one.

451
00:24:17,880 --> 00:24:22,240
Speaker 3: It's kind of appropriate because it suggests this diseased world

452
00:24:22,359 --> 00:24:25,359
Speaker 3: of orange light that's kind of shining through the glass

453
00:24:25,400 --> 00:24:28,520
Speaker 3: of a beer bottle, but also with this atmosphere of

454
00:24:28,640 --> 00:24:30,919
Speaker 3: green fog. It works for Doctor X.

455
00:24:31,400 --> 00:24:34,320
Speaker 2: Yeah. It kind of has this dope theend vibe to it,

456
00:24:34,359 --> 00:24:36,960
Speaker 2: which is fitting because there is a quote unquote dope

457
00:24:36,960 --> 00:24:39,119
Speaker 2: fiend at what point in this film.

458
00:24:39,040 --> 00:24:41,000
Speaker 3: Another thing that you wouldn't get with the code.

459
00:24:41,480 --> 00:24:44,520
Speaker 2: Yeah, so I agree. I think it absolutely works here.

460
00:24:44,600 --> 00:24:47,720
Speaker 2: If you run across a black and white copy of

461
00:24:47,760 --> 00:24:50,160
Speaker 2: this film, don't watch it, watch the technicolor one. Because

462
00:24:50,160 --> 00:24:52,560
Speaker 2: if black and white is the spectrum of truth and

463
00:24:52,720 --> 00:24:56,280
Speaker 2: art for filmmaking of the time, then then it feels

464
00:24:56,280 --> 00:25:00,320
Speaker 2: appropriate that we have this alternate unreality of technicolor in

465
00:25:00,359 --> 00:25:03,480
Speaker 2: this film. Plus, there are elements of the flesh, of

466
00:25:03,520 --> 00:25:06,879
Speaker 2: the synthetic flesh that I think really pop well with

467
00:25:06,920 --> 00:25:09,520
Speaker 2: the color, Like I imagine they would have been equally

468
00:25:09,560 --> 00:25:13,200
Speaker 2: creepy in some respects in black and white. But the color, ooh,

469
00:25:13,200 --> 00:25:14,200
Speaker 2: it really makes it work.

470
00:25:14,560 --> 00:25:18,600
Speaker 3: I agree, and especially because it's such an unnatural color schema.

471
00:25:19,119 --> 00:25:19,560
Speaker 2: Yeah.

472
00:25:19,640 --> 00:25:21,439
Speaker 3: But by the way, if you want more information on

473
00:25:21,480 --> 00:25:25,000
Speaker 3: the two color process, the George Eastman Museum has a

474
00:25:25,119 --> 00:25:27,359
Speaker 3: video I found. You can find it on YouTube that

475
00:25:27,440 --> 00:25:31,080
Speaker 3: explains the technical details of the process. And one of

476
00:25:31,160 --> 00:25:35,000
Speaker 3: the things that video points out is that the physical

477
00:25:35,080 --> 00:25:38,240
Speaker 3: characteristics of the two color film made it especially prone

478
00:25:38,280 --> 00:25:41,080
Speaker 3: to scratching. And as soon as I saw that, I

479
00:25:41,119 --> 00:25:43,760
Speaker 3: was like, oh, yep, because Doctor X, at least the

480
00:25:43,840 --> 00:25:47,920
Speaker 3: version that I streamed is full of scratches, long lines

481
00:25:48,000 --> 00:25:50,640
Speaker 3: running vertically across the frame for whole scenes.

482
00:25:51,040 --> 00:25:53,720
Speaker 2: Yeah. Same here. I streamed it through iTunes, I believe,

483
00:25:53,800 --> 00:25:57,680
Speaker 2: and same situation. But I like it. I like seeing

484
00:25:57,720 --> 00:25:59,720
Speaker 2: those flaws in it, you know, especially for a film

485
00:25:59,720 --> 00:26:00,439
Speaker 2: from this period.

486
00:26:00,800 --> 00:26:11,280
Speaker 3: Totally. Okay, Well, are you ready to get into the

487
00:26:11,280 --> 00:26:12,280
Speaker 3: full plot breakdown?

488
00:26:12,720 --> 00:26:14,240
Speaker 2: Let's do it all right.

489
00:26:14,320 --> 00:26:17,600
Speaker 3: So we start with titling credits, and then we open

490
00:26:17,680 --> 00:26:21,840
Speaker 3: on a kind of seedy wharf. There's a tug boat

491
00:26:21,840 --> 00:26:25,119
Speaker 3: floating in the background, and a policeman strolls by whistling

492
00:26:25,119 --> 00:26:27,600
Speaker 3: in the dark, and it's revealed that we're out in

493
00:26:27,600 --> 00:26:29,840
Speaker 3: front of a building with a sign that reads the

494
00:26:29,840 --> 00:26:33,159
Speaker 3: Mott Street Morgue. And then there's a man in a

495
00:26:33,200 --> 00:26:36,360
Speaker 3: long coat and a fedora skulking around outside. He's kind

496
00:26:36,359 --> 00:26:40,080
Speaker 3: of hiding behind some barrels. He's smoking a cigarette. Then

497
00:26:40,080 --> 00:26:42,040
Speaker 3: he looks up at the sky and sees a full

498
00:26:42,119 --> 00:26:45,240
Speaker 3: moon and I think burns himself with his cigarette match

499
00:26:45,520 --> 00:26:47,840
Speaker 3: and he says, are you bad luck? I guess talking

500
00:26:47,880 --> 00:26:50,840
Speaker 3: to the moon. And it turns out that this is

501
00:26:50,960 --> 00:26:54,320
Speaker 3: our hero in a way. Lee Taylor played by Lee Tracy,

502
00:26:54,480 --> 00:26:57,679
Speaker 3: the crime reporter, and bad luck is sort of his

503
00:26:57,800 --> 00:27:01,679
Speaker 3: catch phrase. He says it like eight times. And he

504
00:27:02,040 --> 00:27:04,640
Speaker 3: is down here at the Mott Street Morgue because he's

505
00:27:04,640 --> 00:27:08,000
Speaker 3: trying to chase down a grizzly lead. There have been

506
00:27:08,240 --> 00:27:11,640
Speaker 3: a string of horrifying murders in the city in recent months.

507
00:27:11,680 --> 00:27:13,160
Speaker 3: I think it's supposed to be in New York City.

508
00:27:13,160 --> 00:27:16,600
Speaker 3: I'm not quite sure. But was that the impression you got.

509
00:27:17,280 --> 00:27:19,520
Speaker 2: I just got a sense of it being the city,

510
00:27:19,640 --> 00:27:22,800
Speaker 2: you know, the sort of eternal, cinematic city that could

511
00:27:22,840 --> 00:27:26,240
Speaker 2: be any major metropolis of the day. It's dark city. Yeah,

512
00:27:26,280 --> 00:27:27,800
Speaker 2: basically basically dark city.

513
00:27:29,000 --> 00:27:32,119
Speaker 3: But so these murderers apparently all take place on the

514
00:27:32,200 --> 00:27:34,600
Speaker 3: night of the full moon, and there's a full moon tonight.

515
00:27:35,440 --> 00:27:38,680
Speaker 3: So while he's hanging out outside the morgue, authorities are

516
00:27:38,680 --> 00:27:41,520
Speaker 3: bringing a body in and Taylor thinks it might be

517
00:27:41,560 --> 00:27:46,200
Speaker 3: another victim of the dreaded moon killer. Now there's an

518
00:27:46,359 --> 00:27:48,560
Speaker 3: entourage that goes into the morgue. It's a bunch of

519
00:27:48,600 --> 00:27:50,800
Speaker 3: cops and then it's this one guy in a coat

520
00:27:50,880 --> 00:27:54,439
Speaker 3: with super silky fur lapels and I think that's doctor

521
00:27:54,680 --> 00:27:56,960
Speaker 3: X that's going in there. But it's funny because he's

522
00:27:57,040 --> 00:28:00,080
Speaker 3: folding these fur lapels under his chin while he's entering

523
00:28:00,119 --> 00:28:02,560
Speaker 3: the building, and he looks like Cruella Deville.

524
00:28:02,960 --> 00:28:06,360
Speaker 2: Yeah, they all have a very suspicious, villainous look to them.

525
00:28:06,640 --> 00:28:09,560
Speaker 3: Yeah. So Taylor tries to get into the morgue, but

526
00:28:09,560 --> 00:28:11,360
Speaker 3: they won't let him in, and then he goes down

527
00:28:11,440 --> 00:28:13,879
Speaker 3: the street, apparently to a brothel. I think that's what

528
00:28:13,920 --> 00:28:14,639
Speaker 3: that's supposed to be.

529
00:28:15,160 --> 00:28:17,119
Speaker 2: Yeah, I think. So where he eases the telephone.

530
00:28:17,400 --> 00:28:20,360
Speaker 3: He makes a phone call to the night desk at

531
00:28:20,359 --> 00:28:23,320
Speaker 3: his paper, The Daily World, and he's out here complaining.

532
00:28:23,400 --> 00:28:25,840
Speaker 3: He's like, I can't get any dope. And the guy

533
00:28:25,840 --> 00:28:28,720
Speaker 3: at the night desk is not very interested. And then

534
00:28:28,760 --> 00:28:32,000
Speaker 3: he says to the to the editor here, he goes, listen,

535
00:28:32,040 --> 00:28:34,600
Speaker 3: you lunkhead, I'm not clowning. Look out the window, will you.

536
00:28:35,160 --> 00:28:37,120
Speaker 3: And so the guy at the night desk looks out

537
00:28:37,160 --> 00:28:41,080
Speaker 3: the window and it's a full moon and oh, I think.

538
00:28:41,120 --> 00:28:43,760
Speaker 3: Then he gets it. He thinks, oh, it may be

539
00:28:43,880 --> 00:28:47,280
Speaker 3: another moonkiller murder. And so the night desk editor is

540
00:28:47,320 --> 00:28:49,400
Speaker 3: impressed by this and he's like, okay, see what you

541
00:28:49,440 --> 00:28:52,840
Speaker 3: can dig up. And so then Lee Taylor goes around

542
00:28:52,840 --> 00:28:54,959
Speaker 3: trying to get some leads. He tries to chat up

543
00:28:54,960 --> 00:28:57,080
Speaker 3: a beat cop to see if he can get any info,

544
00:28:57,680 --> 00:29:00,880
Speaker 3: and in the course of their conversation is, as we

545
00:29:01,000 --> 00:29:03,480
Speaker 3: said earlier, revealed to be kind of a prankster because

546
00:29:03,480 --> 00:29:06,000
Speaker 3: he zaps the cop with a hand buzzer.

547
00:29:07,880 --> 00:29:10,440
Speaker 2: Not a good idea, No, I mean, luckily, this this

548
00:29:10,480 --> 00:29:13,520
Speaker 2: cop is like the roundest This is the softest cop

549
00:29:13,560 --> 00:29:16,120
Speaker 2: you've ever seen. In your life in this picture. He's

550
00:29:16,160 --> 00:29:16,760
Speaker 2: a sweetheart.

551
00:29:17,040 --> 00:29:21,880
Speaker 3: Yeah, and even he get and after they're chatting, he

552
00:29:21,920 --> 00:29:24,480
Speaker 3: gives Taylor a cigar. He's like, here, some guy gave

553
00:29:24,560 --> 00:29:27,040
Speaker 3: me this. You know you can have it. I think

554
00:29:27,120 --> 00:29:29,240
Speaker 3: maybe Taylor asked him for a smoke or something, but

555
00:29:29,280 --> 00:29:31,600
Speaker 3: he gives him the scar and then we cut to

556
00:29:31,680 --> 00:29:34,360
Speaker 3: inside the morgue and then things start getting really interesting

557
00:29:34,440 --> 00:29:37,200
Speaker 3: because here is an autopsy scene and Rob, I know

558
00:29:37,280 --> 00:29:38,920
Speaker 3: you love a good autopsy scene.

559
00:29:39,000 --> 00:29:41,080
Speaker 2: I do, and yeah, this one kicks it off right.

560
00:29:41,600 --> 00:29:46,560
Speaker 3: So doctor Xavier. Doctor Xavier is examining the victim's body

561
00:29:46,600 --> 00:29:49,320
Speaker 3: while the police detectives look on, and there's this great

562
00:29:49,360 --> 00:29:52,960
Speaker 3: shot of the doctor silhouette behind a raised shroud. So

563
00:29:53,000 --> 00:29:55,000
Speaker 3: they're lifting it up off the body and you just

564
00:29:55,000 --> 00:29:58,040
Speaker 3: see him as a shadow operating behind it, but with

565
00:29:58,120 --> 00:30:00,800
Speaker 3: his reflector on top of his head and everything is

566
00:30:01,120 --> 00:30:03,200
Speaker 3: I don't know, it looks kind of like horns or something.

567
00:30:04,240 --> 00:30:07,080
Speaker 3: And so the police ask him what's your theory, doctor,

568
00:30:07,320 --> 00:30:12,479
Speaker 3: and he says it's strangulation by terrifically powerful hands. And

569
00:30:12,520 --> 00:30:14,240
Speaker 3: then they ask him about, well, what do you think

570
00:30:14,280 --> 00:30:17,880
Speaker 3: of this incision at the base of the brain, and

571
00:30:18,120 --> 00:30:22,120
Speaker 3: Doctor x says, obviously made by some type of scwlpel

572
00:30:22,440 --> 00:30:26,600
Speaker 3: used for brain dissecting. The word scwlpel is said like

573
00:30:26,640 --> 00:30:30,800
Speaker 3: that multiple times. So that's already shocking. Right strangulation and

574
00:30:30,840 --> 00:30:33,400
Speaker 3: an incision at the base of the brain whatever that's

575
00:30:33,400 --> 00:30:36,560
Speaker 3: supposed to mean. Uh, but then you know, here we

576
00:30:36,640 --> 00:30:40,560
Speaker 3: get a but wait, there's more moment. The left deltoid

577
00:30:40,680 --> 00:30:44,600
Speaker 3: muscle is missing from the victim, and one of the

578
00:30:44,640 --> 00:30:47,920
Speaker 3: cops asks, uh, it was torn right out, and doctor

579
00:30:48,080 --> 00:30:53,320
Speaker 3: X says it wasn't torn gentlemen, this is cannibalism. I

580
00:30:53,320 --> 00:30:54,760
Speaker 3: don't know how can he tell that.

581
00:30:54,920 --> 00:30:58,920
Speaker 2: Like were He doesn't say that their teeth marks or

582
00:30:58,920 --> 00:31:01,880
Speaker 2: that it looks like it was chew out. He doesn't

583
00:31:02,240 --> 00:31:04,360
Speaker 2: go into detail and say, well, this is a traditional

584
00:31:04,880 --> 00:31:07,600
Speaker 2: like butchering cut or something like. Nope, I just can

585
00:31:07,680 --> 00:31:11,760
Speaker 2: tell this is cannibalism. And it's firmly established and not questioned.

586
00:31:11,920 --> 00:31:16,040
Speaker 3: It's the chuck portion of the human. Yeah. But so okay,

587
00:31:16,080 --> 00:31:20,960
Speaker 3: here we establish the moonkiller's mo strangulation by terrifically powerful hands,

588
00:31:21,000 --> 00:31:24,120
Speaker 3: incision by scalpel at the base of the brain, and

589
00:31:24,160 --> 00:31:27,920
Speaker 3: then eating the victim's left shoulder. And it makes me

590
00:31:27,960 --> 00:31:30,680
Speaker 3: think this is a really overachieving serial killer, like they're

591
00:31:30,680 --> 00:31:31,840
Speaker 3: trying to get extra credit.

592
00:31:32,200 --> 00:31:34,120
Speaker 2: Yeah, but it stands out, you know, It's like I'm

593
00:31:34,160 --> 00:31:37,520
Speaker 2: instantly I watched this and I hear this, and I

594
00:31:37,560 --> 00:31:40,200
Speaker 2: think to myself, well, I haven't come across this exact

595
00:31:40,240 --> 00:31:43,080
Speaker 2: combination before. We're in fresh territory with this picture.

596
00:31:43,400 --> 00:31:46,280
Speaker 3: I agree. So they say this is the sixth the

597
00:31:46,360 --> 00:31:49,040
Speaker 3: murder in a row, all committed during a full moon

598
00:31:49,160 --> 00:31:53,520
Speaker 3: by means of strangulation and incision with a strange surgical knife.

599
00:31:54,000 --> 00:31:56,360
Speaker 3: So why is the killer doing this? The police want

600
00:31:56,400 --> 00:32:00,120
Speaker 3: to know, and then Doctor X gets into some brilliant speculation.

601
00:32:00,800 --> 00:32:03,840
Speaker 3: He says the killer is quote a neurotic, of course,

602
00:32:04,000 --> 00:32:07,440
Speaker 3: some poor devil suffering from a fixation, a knot or

603
00:32:07,520 --> 00:32:11,880
Speaker 3: kink tied in the brain from some past experience. And

604
00:32:11,920 --> 00:32:14,880
Speaker 3: then he says that about of madness comes on for

605
00:32:14,920 --> 00:32:18,160
Speaker 3: the killer whenever he's confronted with a vivid reminder of

606
00:32:18,200 --> 00:32:22,800
Speaker 3: the past. And the policeman is skeptical, but doctor X insists.

607
00:32:22,880 --> 00:32:26,560
Speaker 3: He says, I tell you that locked in each human

608
00:32:26,680 --> 00:32:31,040
Speaker 3: skull is a little world all its own. And so

609
00:32:31,120 --> 00:32:33,440
Speaker 3: the police want to know, well, what's the reminder, what's

610
00:32:33,480 --> 00:32:37,040
Speaker 3: the thing that's triggering the killer to do this, and

611
00:32:37,160 --> 00:32:39,520
Speaker 3: Doctor X says, he says it could be anything, the

612
00:32:39,520 --> 00:32:42,400
Speaker 3: side of the sea, the full moon. Every time he

613
00:32:42,440 --> 00:32:45,520
Speaker 3: sees it, he's forced to relive the original moment that

614
00:32:45,640 --> 00:32:46,640
Speaker 3: drove him mad.

615
00:32:47,960 --> 00:32:50,400
Speaker 2: Now this is great too, because we learned that this

616
00:32:50,560 --> 00:32:54,240
Speaker 2: is doctor X's specialty, this is his area of study,

617
00:32:54,760 --> 00:32:59,440
Speaker 2: and so of course this is tied into his hypothesis

618
00:32:59,480 --> 00:33:01,880
Speaker 2: for the murder. It's the same way. You know, if

619
00:33:02,160 --> 00:33:06,680
Speaker 2: Terence mckinna had been called upon to inspect these murders,

620
00:33:06,720 --> 00:33:09,000
Speaker 2: he would have said, m I believe it probably had

621
00:33:09,040 --> 00:33:11,320
Speaker 2: something to do with psychedelic mushrooms.

622
00:33:11,400 --> 00:33:16,280
Speaker 3: Yep, yep, yep, yep. Very good comparison. So anyway, Doctor

623
00:33:16,440 --> 00:33:19,040
Speaker 3: X has given his professional opinion. He's about to leave,

624
00:33:19,360 --> 00:33:22,080
Speaker 3: but then the police flip the script on him. Turns

625
00:33:22,080 --> 00:33:25,520
Speaker 3: out they were sort of entrapping him here. All of

626
00:33:25,560 --> 00:33:29,080
Speaker 3: the murders they reveal have taken place just in the

627
00:33:29,160 --> 00:33:33,480
Speaker 3: vicinity of his medical academy. And what's more, the strange

628
00:33:33,520 --> 00:33:36,600
Speaker 3: incisions made on the victims at the base of the

629
00:33:36,600 --> 00:33:41,440
Speaker 3: brain have been traced to a special Austrian scalpel that

630
00:33:41,600 --> 00:33:45,800
Speaker 3: is only in the possession of doctor Xavier's facilities. So

631
00:33:45,920 --> 00:33:49,160
Speaker 3: the medical supply companies confirm that no one else in

632
00:33:49,200 --> 00:33:51,920
Speaker 3: the country has a knife like this seems like it

633
00:33:51,920 --> 00:33:54,040
Speaker 3: would be hard to determine that, but that's what they say.

634
00:33:54,600 --> 00:33:59,960
Speaker 3: And at first doctor Xavier is indignant and offended. He's

635
00:34:00,040 --> 00:34:04,240
Speaker 3: as his students and faculty are exclusively of the highest integrity.

636
00:34:04,280 --> 00:34:06,600
Speaker 3: This is impossible, yeah, soga.

637
00:34:06,760 --> 00:34:11,840
Speaker 2: So again we find out that the murder is definitely

638
00:34:11,880 --> 00:34:15,120
Speaker 2: somebody at the academy. But then as we begin to

639
00:34:15,680 --> 00:34:18,480
Speaker 2: meet the members of the academy, we will learn and

640
00:34:18,480 --> 00:34:22,480
Speaker 2: we'll get into details here everybody is highly suspect and

641
00:34:22,600 --> 00:34:26,680
Speaker 2: has ties to cannibalism or the study of cannibalism or

642
00:34:26,680 --> 00:34:30,000
Speaker 2: some other elements. So it's wonderfully put together, like you

643
00:34:30,000 --> 00:34:33,480
Speaker 2: can imagine a spreadsheet and you're like, okay, everybody checks

644
00:34:33,480 --> 00:34:36,919
Speaker 2: off like two things on this list. There's no real

645
00:34:37,000 --> 00:34:38,319
Speaker 2: standout candidate here.

646
00:34:38,520 --> 00:34:41,760
Speaker 3: Yeah, it's like you imagine hiring at this medical academy.

647
00:34:41,800 --> 00:34:44,400
Speaker 3: It involves like, you know, must have five years of experience,

648
00:34:44,560 --> 00:34:50,880
Speaker 3: must have eaten a human. But so Professor x offers

649
00:34:50,920 --> 00:34:54,760
Speaker 3: a compromise. He says, look, don't you investigate the people

650
00:34:54,800 --> 00:34:58,200
Speaker 3: in my academy. Let me investigate my academy in my

651
00:34:58,320 --> 00:35:02,200
Speaker 3: own way, and the detectives want to know. Then they're like, well,

652
00:35:02,200 --> 00:35:04,680
Speaker 3: how would you catch the killer? And then I had

653
00:35:04,680 --> 00:35:07,480
Speaker 3: to write down Doctor X's response because I thought it

654
00:35:07,520 --> 00:35:11,960
Speaker 3: was great. He says, by immediately studying the pathological reactions

655
00:35:12,000 --> 00:35:16,400
Speaker 3: of every man placed under suspicion, then trap the guilty

656
00:35:16,440 --> 00:35:18,680
Speaker 3: one by a brain examination.

657
00:35:21,520 --> 00:35:22,000
Speaker 2: Science.

658
00:35:22,600 --> 00:35:26,200
Speaker 3: Oh, there is so much science exclamation point in this movie.

659
00:35:26,239 --> 00:35:32,120
Speaker 3: There is an awful lot of very funny and plausible

660
00:35:32,160 --> 00:35:35,799
Speaker 3: technobabble and scientific words being used in a context that

661
00:35:35,880 --> 00:35:36,680
Speaker 3: makes no sense.

662
00:35:37,320 --> 00:35:40,160
Speaker 2: Yeah. If you watch this film, I advise you to

663
00:35:40,360 --> 00:35:42,960
Speaker 2: not try to think too hard about anything science ye

664
00:35:43,080 --> 00:35:45,960
Speaker 2: that any characters say, because none of it really adds

665
00:35:46,040 --> 00:35:47,520
Speaker 2: up it. It will just hurt your brain if you

666
00:35:47,560 --> 00:35:48,440
Speaker 2: try and make sense of it.

667
00:35:48,680 --> 00:35:53,560
Speaker 3: Yeah. So, anyway, doctor X and the detectives agree. You know,

668
00:35:53,800 --> 00:35:56,920
Speaker 3: Doctor X will investigate the people in his academy on

669
00:35:56,960 --> 00:36:00,279
Speaker 3: his own. There will be no publicity, the press cannot no.

670
00:36:00,960 --> 00:36:03,520
Speaker 3: And then after they leave the room, one of the

671
00:36:03,520 --> 00:36:06,920
Speaker 3: sheet draped corpses in the morgue suddenly sits up. Is

672
00:36:06,960 --> 00:36:09,439
Speaker 3: it someone who has risen from the dead? No, it's

673
00:36:09,480 --> 00:36:13,200
Speaker 3: old Lee Taylor the fast talking reporter. He's been snooping

674
00:36:13,320 --> 00:36:16,000
Speaker 3: disguised as a cadaver. He's even got a little tag

675
00:36:16,040 --> 00:36:16,680
Speaker 3: on his toe.

676
00:36:17,160 --> 00:36:20,000
Speaker 2: He's just so scrappy he can't keep him away from

677
00:36:20,000 --> 00:36:20,440
Speaker 2: the story.

678
00:36:20,719 --> 00:36:21,399
Speaker 3: Yeah.

679
00:36:21,480 --> 00:36:23,359
Speaker 2: Now, I have to say I think this is all

680
00:36:23,440 --> 00:36:26,880
Speaker 2: pretty fun set up with the whole situation where Xavier

681
00:36:26,920 --> 00:36:29,440
Speaker 2: is given the chance to solve this internally before the

682
00:36:29,440 --> 00:36:33,760
Speaker 2: authorities move in. Because, weirdly, having just watched the latest

683
00:36:33,800 --> 00:36:36,840
Speaker 2: TV adaptation of the Name of the Rose, this is

684
00:36:36,960 --> 00:36:40,600
Speaker 2: essentially the same predicament that Brother William finds himself in

685
00:36:40,600 --> 00:36:42,400
Speaker 2: in the Name of the Rose. Solve the murders and

686
00:36:42,440 --> 00:36:46,680
Speaker 2: the abbey internally before the papal inquisitor Bernardo Gui shows

687
00:36:46,760 --> 00:36:49,520
Speaker 2: up and makes a bigger to do out of everything.

688
00:36:49,920 --> 00:36:53,400
Speaker 3: Right right now, I will say Doctor xis no William

689
00:36:53,440 --> 00:36:57,160
Speaker 3: of Askerville, but he's I don't know, he's a clever

690
00:36:57,280 --> 00:37:01,600
Speaker 3: guy though he If I have any major criticism of

691
00:37:01,680 --> 00:37:04,480
Speaker 3: Doctor X, it is that Doctor X is far too trusting.

692
00:37:04,960 --> 00:37:08,360
Speaker 3: I mean, just like every like creep and weirdo he

693
00:37:08,400 --> 00:37:11,319
Speaker 3: comes across, He's like he couldn't possibly have done anything bad.

694
00:37:11,880 --> 00:37:15,719
Speaker 2: Yes, he ate human flesh once twice tops, but he

695
00:37:16,080 --> 00:37:17,759
Speaker 2: has a good heart. I trust him completely. He writes

696
00:37:17,760 --> 00:37:19,320
Speaker 2: poetry in his spare time for gossip.

697
00:37:19,400 --> 00:37:21,520
Speaker 3: Yeah, that actually happens, so we'll get to that. So

698
00:37:22,200 --> 00:37:26,880
Speaker 3: so we follow Xavier and the detective. I'm sorry I

699
00:37:27,000 --> 00:37:29,239
Speaker 3: keep saying in different ways. I'll just say doctor X

700
00:37:29,239 --> 00:37:31,839
Speaker 3: the rest of the time. I'll probably fail at that too.

701
00:37:31,920 --> 00:37:34,600
Speaker 3: But we follow doctor X and the detectives to his

702
00:37:34,680 --> 00:37:38,400
Speaker 3: surgical academy and we begin to meet the other characters. Now,

703
00:37:38,440 --> 00:37:43,280
Speaker 3: first we meet Joanne or Joan characters call her both names,

704
00:37:43,800 --> 00:37:47,880
Speaker 3: and she is doctor X's daughter. This is Fey Ray here. Yeah,

705
00:37:47,920 --> 00:37:50,040
Speaker 3: but she doesn't appear to be a suspect. So the

706
00:37:50,040 --> 00:37:52,920
Speaker 3: police are interested in meeting some of the suspects and

707
00:37:52,960 --> 00:37:56,280
Speaker 3: they want to interview these other faculty members. So first

708
00:37:56,320 --> 00:37:59,799
Speaker 3: up is doctor Wells, and it just happens to turn

709
00:37:59,800 --> 00:38:02,680
Speaker 3: out Doctor X mentions, oh, well, he is a student

710
00:38:02,719 --> 00:38:07,120
Speaker 3: of cannibalism. He's written a book about cannibalism, and this

711
00:38:07,160 --> 00:38:09,600
Speaker 3: gets the attention of the police. And then when they

712
00:38:09,600 --> 00:38:12,880
Speaker 3: go to interview him, he's hunched over a lab table

713
00:38:13,200 --> 00:38:16,520
Speaker 3: with a jar containing a beating heart, and then he

714
00:38:16,600 --> 00:38:19,359
Speaker 3: claims that he has kept this heart alive for three

715
00:38:19,480 --> 00:38:23,399
Speaker 3: years through the power of electrolysis. I do not think

716
00:38:23,480 --> 00:38:25,680
Speaker 3: that is a correct use of the word whatever they

717
00:38:25,680 --> 00:38:28,640
Speaker 3: had in mind. I think electrolysis is the decomposition of

718
00:38:28,719 --> 00:38:32,520
Speaker 3: chemical compounds by the application of electric current. I'm not

719
00:38:32,560 --> 00:38:34,000
Speaker 3: sure how that would keep a heart alive.

720
00:38:34,520 --> 00:38:38,439
Speaker 2: Yeah, again, don't think too much about anything sciency that's

721
00:38:38,440 --> 00:38:39,320
Speaker 2: brought up in this film.

722
00:38:39,360 --> 00:38:40,600
Speaker 3: Okay, I apologize.

723
00:38:40,880 --> 00:38:43,319
Speaker 2: It's generally said in a very nice British accent, so

724
00:38:43,440 --> 00:38:44,040
Speaker 2: just accept it.

725
00:38:45,239 --> 00:38:49,000
Speaker 3: I gotta say, in a weird way, like doctor Wells

726
00:38:49,239 --> 00:38:51,600
Speaker 3: has a creepy vibe, but he's also kind of a hunk,

727
00:38:51,719 --> 00:38:54,640
Speaker 3: Like he's got wild hair and a five o'clock shadow

728
00:38:54,680 --> 00:38:58,239
Speaker 3: and kind of a deep voice. And I don't know

729
00:38:58,280 --> 00:39:00,759
Speaker 3: if this is ever remarked upon it again, I'm not

730
00:39:00,800 --> 00:39:03,280
Speaker 3: sure what this meant. But there's a pair of boots

731
00:39:03,320 --> 00:39:05,759
Speaker 3: in the corner of the room that are bubbling as

732
00:39:05,760 --> 00:39:08,200
Speaker 3: if they have been dipped in toxic goop, and the

733
00:39:08,280 --> 00:39:10,879
Speaker 3: detectives just gonna look at them and notice them.

734
00:39:11,200 --> 00:39:13,319
Speaker 2: And then I don't work on a radiator. They're on

735
00:39:13,360 --> 00:39:16,759
Speaker 2: a radiator. Oh yeah, So I couldn't figure out it

736
00:39:16,800 --> 00:39:19,200
Speaker 2: was like, are their boots melting on the radiator? I

737
00:39:19,280 --> 00:39:20,399
Speaker 2: wasn't sure what was happening there.

738
00:39:20,480 --> 00:39:22,800
Speaker 3: Yeah, I don't think that ever came up again, or

739
00:39:22,800 --> 00:39:24,440
Speaker 3: if it did, I didn't notice it.

740
00:39:24,640 --> 00:39:25,480
Speaker 2: But it looked nice.

741
00:39:25,840 --> 00:39:28,920
Speaker 3: Yeah, it looked nice. But anyway, it is soon revealed

742
00:39:28,920 --> 00:39:31,600
Speaker 3: that Wells could not possibly be the murderer because remember,

743
00:39:31,680 --> 00:39:36,200
Speaker 3: the murderer strangles with two ferociously powerful hands, and in fact,

744
00:39:36,280 --> 00:39:39,399
Speaker 3: Wells is an amputee and he wears a prosthetic left hand,

745
00:39:39,560 --> 00:39:43,360
Speaker 3: so he is not capable of having performed the murderers,

746
00:39:43,400 --> 00:39:45,720
Speaker 3: so the police exclude him at the beginning.

747
00:39:46,239 --> 00:39:50,680
Speaker 2: Luckily, though, there is an entire faculty of really suspicious

748
00:39:50,719 --> 00:39:52,240
Speaker 2: characters to turn to. Next.

749
00:39:52,400 --> 00:39:55,160
Speaker 3: Right next, we meet this guy named Haynes. The police

750
00:39:55,200 --> 00:39:58,080
Speaker 3: want to know something about him, and so they ask

751
00:39:58,360 --> 00:40:01,520
Speaker 3: doctor X. Yeah, tell us about this Haynes and doctor X,

752
00:40:01,760 --> 00:40:05,520
Speaker 3: I just have to reproduce this speech he says. Doctor

753
00:40:05,560 --> 00:40:09,040
Speaker 3: Haynes and two other scientists were shipwrecked off Tahiti about

754
00:40:09,040 --> 00:40:11,120
Speaker 3: a year ago while making a study of the coral

755
00:40:11,160 --> 00:40:14,680
Speaker 3: reefs for the Killery Foundation. They were adrift for twenty

756
00:40:14,680 --> 00:40:18,200
Speaker 3: four days. Their supplies were exhausted. When they were picked up,

757
00:40:18,440 --> 00:40:22,000
Speaker 3: Haines and one other were delirious. The third had vanished.

758
00:40:22,239 --> 00:40:25,480
Speaker 3: There was no explanation at the time. Haines later claimed

759
00:40:25,480 --> 00:40:27,600
Speaker 3: at the time that the man had died and had

760
00:40:27,640 --> 00:40:32,160
Speaker 3: been thrown overboard. So again, it's like, it's as if

761
00:40:32,160 --> 00:40:35,920
Speaker 3: this surgical college only hires people who have been suspected

762
00:40:35,960 --> 00:40:41,320
Speaker 3: of cannibalism. But doctor X says, you know, he's sure

763
00:40:41,440 --> 00:40:44,840
Speaker 3: that Haines cannot be the guilty party because this is

764
00:40:44,880 --> 00:40:49,040
Speaker 3: his reasoning. One the killer is a maniac, and two

765
00:40:49,160 --> 00:40:51,360
Speaker 3: doctor Haynes is one of the most brilliant men in

766
00:40:51,400 --> 00:40:55,440
Speaker 3: the medical world, So see it's impossible. So they go

767
00:40:55,520 --> 00:40:58,520
Speaker 3: to meet doctor Haynes, who is experimenting with new procedures

768
00:40:58,520 --> 00:41:01,439
Speaker 3: in what he calls brain growd. I tried to look

769
00:41:01,440 --> 00:41:03,200
Speaker 3: that up to see if that's really a thing, and no,

770
00:41:03,320 --> 00:41:05,680
Speaker 3: I think that would just mean like a brain transplant,

771
00:41:05,680 --> 00:41:07,280
Speaker 3: which has never been performed in humans.

772
00:41:08,400 --> 00:41:12,600
Speaker 2: Yeah, but it sounds plenty suspicious, Like he definitely has

773
00:41:12,320 --> 00:41:16,439
Speaker 2: his toes in the Mad Science sure, as as does

774
00:41:16,480 --> 00:41:18,000
Speaker 2: Wells with the beating heart.

775
00:41:18,800 --> 00:41:21,799
Speaker 3: How would you characterize Haines's personality. I would say that

776
00:41:21,840 --> 00:41:25,840
Speaker 3: he is he is paranoid, like he is not pleased

777
00:41:25,840 --> 00:41:28,399
Speaker 3: to have the police in his lab. And while they're

778
00:41:28,440 --> 00:41:31,320
Speaker 3: poking around, they find a kind of I didn't couldn't

779
00:41:31,320 --> 00:41:33,000
Speaker 3: tell exactly what it was. It looked like they found

780
00:41:33,040 --> 00:41:36,120
Speaker 3: a kind of Riske magazine among his things. It's like

781
00:41:36,239 --> 00:41:40,279
Speaker 3: Ankles Quarterly. And in the police's eyes, this seemed to

782
00:41:40,320 --> 00:41:43,000
Speaker 3: implicate him for some reason. It's like, Oh, this guy

783
00:41:43,200 --> 00:41:47,160
Speaker 3: likes you know, risky magazines. You know who else does moonkillers?

784
00:41:48,800 --> 00:41:51,160
Speaker 2: Okay, so another strong candidate. But there are more.

785
00:41:51,640 --> 00:41:53,840
Speaker 3: Yeah, and we're about to get to maybe my favorite

786
00:41:53,880 --> 00:41:57,760
Speaker 3: guy in the movie. So next up we meet doctor

787
00:41:57,960 --> 00:41:59,600
Speaker 3: Rowitz and doctor Duke.

788
00:42:00,120 --> 00:42:00,319
Speaker 2: Now.

789
00:42:00,560 --> 00:42:03,960
Speaker 3: Rowitz is a tall, ominous man in a white lab

790
00:42:04,000 --> 00:42:06,359
Speaker 3: coat with what I at first thought was an eye patch,

791
00:42:06,440 --> 00:42:08,400
Speaker 3: but actually I think it is more like a dark

792
00:42:08,480 --> 00:42:12,400
Speaker 3: tinted monocle. So it's like sunglasses, but only one side

793
00:42:12,400 --> 00:42:15,120
Speaker 3: of them. And he when they first meet him, he's

794
00:42:15,120 --> 00:42:18,200
Speaker 3: smoking a cigarette and leaning over a globe, and we

795
00:42:18,239 --> 00:42:21,160
Speaker 3: find out that he studies the moon and is obsessed

796
00:42:21,200 --> 00:42:24,320
Speaker 3: with the effects of lunar rays on neurotic types.

797
00:42:24,760 --> 00:42:27,759
Speaker 2: See, it's like a board game. This picture. I love

798
00:42:27,760 --> 00:42:30,640
Speaker 2: it how all of them have these just highly suspicious elements.

799
00:42:30,640 --> 00:42:33,319
Speaker 2: They're not just a little suspicious, They're all very suspicious.

800
00:42:33,440 --> 00:42:36,080
Speaker 3: Yes, and I gotta say doctor Rhotz is a god.

801
00:42:36,280 --> 00:42:39,000
Speaker 3: I love Doctor Rhods. He's like, I want to be

802
00:42:39,040 --> 00:42:39,799
Speaker 3: buds with him.

803
00:42:40,080 --> 00:42:42,960
Speaker 2: Yeah, he's great, though in a way he's he's almost

804
00:42:43,000 --> 00:42:45,360
Speaker 2: too suspicious. You like, you kind of get the idea

805
00:42:45,440 --> 00:42:48,440
Speaker 2: this couldn't possibly be the guy because he has he

806
00:42:48,920 --> 00:42:52,920
Speaker 2: picked far too many items out of the villain accessory

807
00:42:53,000 --> 00:42:53,600
Speaker 2: grab bag.

808
00:42:53,680 --> 00:42:57,279
Speaker 3: Right, Yeah, I agree. But then we meet the other guy.

809
00:42:57,280 --> 00:43:01,200
Speaker 3: We meet doctor Duke, who his ma personality traits are

810
00:43:01,239 --> 00:43:04,800
Speaker 3: that he is ornery and irascible. He just complains about everything.

811
00:43:05,760 --> 00:43:08,720
Speaker 3: So he uses wheelchair and he comes into the lab

812
00:43:09,800 --> 00:43:12,640
Speaker 3: yelling at the detectives. They like ask him how he's doing,

813
00:43:12,760 --> 00:43:15,400
Speaker 3: and he yells at them for asking how he's doing.

814
00:43:15,680 --> 00:43:17,320
Speaker 3: He's just always mad about something.

815
00:43:18,120 --> 00:43:20,319
Speaker 2: There are elements of this character that remind me of

816
00:43:20,400 --> 00:43:23,200
Speaker 2: doctor Everett V. Scott in The Rocky hor Picture Show,

817
00:43:23,560 --> 00:43:26,200
Speaker 2: so I would not be surprised if there was a

818
00:43:26,239 --> 00:43:30,080
Speaker 2: connection there. I have nothing to go on other than

819
00:43:30,280 --> 00:43:32,600
Speaker 2: doctor X is mentioned in the lyrics and therefore might

820
00:43:32,640 --> 00:43:35,319
Speaker 2: have been in the mind of Richard O'Brien when he

821
00:43:35,320 --> 00:43:35,879
Speaker 2: wrote the thing.

822
00:43:36,280 --> 00:43:38,759
Speaker 3: Yeah yeah, oh oh, And I almost forgot to mention

823
00:43:38,880 --> 00:43:42,160
Speaker 3: that we learn doctor Rowitz was also in the life

824
00:43:42,239 --> 00:43:44,360
Speaker 3: vote with doctor Haynes, so it was the two of

825
00:43:44,400 --> 00:43:48,920
Speaker 3: them and the third delicious man who disappeared and was

826
00:43:49,000 --> 00:43:54,000
Speaker 3: quote thrown overboard. Though it's funny how it's like, it's

827
00:43:54,080 --> 00:43:57,600
Speaker 3: as if the rowboat story only applies to Haynes and

828
00:43:57,640 --> 00:44:00,080
Speaker 3: does not apply to Rowitz. I'm not sure why. And

829
00:44:00,120 --> 00:44:02,000
Speaker 3: though they say he was the other guy in the boat.

830
00:44:02,760 --> 00:44:06,640
Speaker 3: But they start grilling Rowits about his moon research, and

831
00:44:07,000 --> 00:44:10,360
Speaker 3: Rowitt says, if you suffer sunstroke, might you not suffer

832
00:44:10,440 --> 00:44:13,960
Speaker 3: some similar evil from the rays of the moon. And

833
00:44:14,080 --> 00:44:18,560
Speaker 3: the cop says, moonstroke you mean? And Roots says, you know,

834
00:44:18,600 --> 00:44:21,600
Speaker 3: the moon is powerful. It lifts billions of tons of

835
00:44:21,640 --> 00:44:24,040
Speaker 3: water twice a day. I guess he's talking about the tides.

836
00:44:24,520 --> 00:44:27,279
Speaker 3: And then he compares the water lifting to what is

837
00:44:27,320 --> 00:44:30,840
Speaker 3: done by an old scrub woman, which is notable to

838
00:44:30,880 --> 00:44:33,840
Speaker 3: the police because the last victim of the moonkiller was

839
00:44:34,280 --> 00:44:36,880
Speaker 3: that the papers called her an old scrub woman. I

840
00:44:36,920 --> 00:44:40,000
Speaker 3: think the paper headline you see is like old scrub

841
00:44:40,000 --> 00:44:41,560
Speaker 3: woman killed by moonkiller.

842
00:44:42,000 --> 00:44:44,800
Speaker 2: It's great, the script is just so well put together.

843
00:44:45,000 --> 00:44:49,040
Speaker 3: Yeah, now the police suspect Rowitz again, like every new guy.

844
00:44:49,080 --> 00:44:50,640
Speaker 3: They meet, They're like, oh, it's got to be him.

845
00:44:52,520 --> 00:44:55,960
Speaker 3: It's like that scene in Murder on the Orient Express

846
00:44:56,000 --> 00:44:58,920
Speaker 3: where like every time they interview somebody, the companion's like,

847
00:44:59,040 --> 00:45:02,880
Speaker 3: that's the one they But so the cops are like that.

848
00:45:03,160 --> 00:45:07,239
Speaker 3: But doctor X is like, no, Rowitz can't be the

849
00:45:07,320 --> 00:45:10,440
Speaker 3: murderer because here's his reasoning here. He has a lovely

850
00:45:10,520 --> 00:45:14,000
Speaker 3: nature and he's the author of several volumes of poetry.

851
00:45:14,160 --> 00:45:16,320
Speaker 3: I mean, who's ever heard of a poet killing somebody?

852
00:45:17,200 --> 00:45:19,440
Speaker 2: Yeah, that doesn't seem very logical. So this is this

853
00:45:19,480 --> 00:45:22,440
Speaker 2: is definitely an area where he's falling below the Sherlock

854
00:45:22,760 --> 00:45:25,080
Speaker 2: and brother William threshold.

855
00:45:25,120 --> 00:45:27,440
Speaker 3: I would agree. So it looks like we've met our

856
00:45:27,480 --> 00:45:31,120
Speaker 3: suspects and the mystery investigation is afoot, and doctor X

857
00:45:31,160 --> 00:45:34,640
Speaker 3: promises that he will complete this investigation within forty eight hours.

858
00:45:35,120 --> 00:45:38,320
Speaker 3: And then meanwhile, you get some side story with Taylor

859
00:45:38,440 --> 00:45:42,400
Speaker 3: the newspaperman and Faye Ray meeting up. When she catches

860
00:45:42,480 --> 00:45:46,719
Speaker 3: him snooping around on the fire escape outside the medical academy.

861
00:45:47,480 --> 00:45:50,320
Speaker 3: She confronts him and then shoves a revolver in his belly.

862
00:45:51,200 --> 00:45:53,239
Speaker 3: He tries to get some facts out of her, but

863
00:45:53,320 --> 00:45:54,440
Speaker 3: she rebuffs him.

864
00:45:55,880 --> 00:45:56,200
Speaker 2: Joan n.

865
00:45:56,360 --> 00:45:59,160
Speaker 3: Xavier clearly wants nothing to do with mister hot Scoop,

866
00:45:59,320 --> 00:46:01,719
Speaker 3: Like he think he's very cool and he thinks he

867
00:46:01,760 --> 00:46:04,440
Speaker 3: can sweet talk her, but she just wants none of it.

868
00:46:04,719 --> 00:46:07,000
Speaker 2: Right, And she's more concerned about her father because he

869
00:46:07,040 --> 00:46:07,960
Speaker 2: seems overworked.

870
00:46:08,440 --> 00:46:11,520
Speaker 3: Right, Yes, she's concerned about his health that she says

871
00:46:11,560 --> 00:46:14,600
Speaker 3: several times. I think just because he never gets any rest.

872
00:46:15,320 --> 00:46:17,000
Speaker 3: There's also I guess we could just throw in a

873
00:46:17,560 --> 00:46:19,920
Speaker 3: we meet more creeps. The movie's just crawling with creeps.

874
00:46:19,960 --> 00:46:21,840
Speaker 3: There's a scene where we meet this guy named Otto

875
00:46:22,000 --> 00:46:26,759
Speaker 3: who is Xavier's butler, and he's just another one of

876
00:46:26,800 --> 00:46:29,400
Speaker 3: these ominous weirdos to round out the cast.

877
00:46:29,719 --> 00:46:32,640
Speaker 2: Yeah, yeah, again, just a great cast of character actors

878
00:46:32,640 --> 00:46:33,320
Speaker 2: in this film.

879
00:46:33,760 --> 00:46:37,120
Speaker 3: So then we get a scene that goes by pretty quickly,

880
00:46:37,160 --> 00:46:39,200
Speaker 3: but I thought it was pretty good. So Taylor the

881
00:46:39,520 --> 00:46:42,040
Speaker 3: reporter goes off to kind of kick rocks in the

882
00:46:42,080 --> 00:46:44,759
Speaker 3: alley like he's upset because he's he can't get any

883
00:46:44,800 --> 00:46:47,440
Speaker 3: good leads and he's moping around about his failure to

884
00:46:47,480 --> 00:46:50,719
Speaker 3: crack the case. And then we get a very disturbing

885
00:46:50,840 --> 00:46:55,600
Speaker 3: moment of suspense because behind Taylor's back, we see emerge

886
00:46:55,640 --> 00:47:00,400
Speaker 3: a grotesque figure in a hooded cape with a drooping, agging,

887
00:47:00,520 --> 00:47:05,160
Speaker 3: almost melted sort of face, and it approaches Taylor from

888
00:47:05,200 --> 00:47:09,080
Speaker 3: behind to strangle him just as he's lighting a cigar,

889
00:47:09,360 --> 00:47:12,120
Speaker 3: the cigar that he received as a gift from his

890
00:47:12,200 --> 00:47:15,359
Speaker 3: cop friend earlier. And just as the creature is about

891
00:47:15,400 --> 00:47:18,640
Speaker 3: to grasp his neck, you get this pop and it's

892
00:47:18,680 --> 00:47:21,719
Speaker 3: a trick cigar. It explodes, scaring away the Moonkiller in

893
00:47:21,760 --> 00:47:24,800
Speaker 3: the process, and Taylor never knows his life was saved

894
00:47:24,800 --> 00:47:25,400
Speaker 3: by a prank.

895
00:47:25,880 --> 00:47:28,319
Speaker 2: Yeah, it's a great little scene because it's suspenseful. It

896
00:47:28,320 --> 00:47:33,480
Speaker 2: gives us our first very effective glimpse at the murderer,

897
00:47:33,600 --> 00:47:37,680
Speaker 2: the monster in this film. But then also it redeems

898
00:47:37,719 --> 00:47:40,839
Speaker 2: that whole ridiculous scene with the cop earlier. Again. This

899
00:47:41,640 --> 00:47:44,720
Speaker 2: at first glance, this script might seem kind of schlocky,

900
00:47:44,800 --> 00:47:48,080
Speaker 2: but it's so economical in the way everything ties together,

901
00:47:48,200 --> 00:47:49,440
Speaker 2: like everything has a purpose.

902
00:47:49,640 --> 00:47:53,400
Speaker 3: Yeah, it is very tight. So Taylor keeps snooping. He

903
00:47:53,480 --> 00:47:57,480
Speaker 3: goes by Xavier's house and meets a gullible maid named Mami,

904
00:47:57,600 --> 00:48:00,440
Speaker 3: who lets him inside, and he tries to deal a

905
00:48:00,440 --> 00:48:03,160
Speaker 3: photo of doctor x and a photo of Fey Ray

906
00:48:03,760 --> 00:48:06,279
Speaker 3: and she catches him in the act and chews him

907
00:48:06,320 --> 00:48:09,879
Speaker 3: out for writing a negative story about them and throws

908
00:48:09,920 --> 00:48:12,960
Speaker 3: him out of the house. And then after this we

909
00:48:13,000 --> 00:48:15,800
Speaker 3: get a shift. The action retreats to a new location,

910
00:48:16,560 --> 00:48:20,880
Speaker 3: so everything moves to Doctor X's country estate on Long Island,

911
00:48:21,280 --> 00:48:24,320
Speaker 3: and he gathers all the various creeps from the academy

912
00:48:24,320 --> 00:48:27,920
Speaker 3: there and he informs them that he has to perform

913
00:48:27,960 --> 00:48:31,080
Speaker 3: an experiment to determine whether any of them is guilty

914
00:48:31,120 --> 00:48:34,879
Speaker 3: of murder. And I don't recall it being established how

915
00:48:34,920 --> 00:48:37,160
Speaker 3: he figures out to go here, but mister hot Scoop

916
00:48:37,239 --> 00:48:41,000
Speaker 3: also shows up. Our reporter hero finds his way out

917
00:48:41,000 --> 00:48:43,640
Speaker 3: to the estate. He climbs up a drain pipe and

918
00:48:43,760 --> 00:48:46,760
Speaker 3: sort of breaks into the house to continue snooping around

919
00:48:46,760 --> 00:48:50,920
Speaker 3: and trespassing as the plot develops. And here there is

920
00:48:50,960 --> 00:48:56,520
Speaker 3: a scene where I think, basically anybody will recognize the

921
00:48:56,560 --> 00:49:00,440
Speaker 3: following sequence that goes on with the reporter because it's

922
00:49:00,520 --> 00:49:03,600
Speaker 3: recreated so many times in other movies and TV shows,

923
00:49:04,040 --> 00:49:07,240
Speaker 3: where a character is nervously sneaking around in the dark

924
00:49:07,600 --> 00:49:11,160
Speaker 3: and then is startled by a string of loud noises

925
00:49:11,360 --> 00:49:14,400
Speaker 3: but all caused by inanimate objects like an ironing board

926
00:49:14,440 --> 00:49:17,720
Speaker 3: falls out of the wall, then a cuckoo clock starts chiming,

927
00:49:18,520 --> 00:49:21,560
Speaker 3: and then Otto the butler walks by carrying a skeleton

928
00:49:21,680 --> 00:49:24,480
Speaker 3: for some reason. For the next ten minutes or so,

929
00:49:24,640 --> 00:49:28,560
Speaker 3: there is a lot of Lee Tracy making wise cracks

930
00:49:28,600 --> 00:49:31,840
Speaker 3: at inanimate objects, like telling a skeleton to cut it

931
00:49:31,840 --> 00:49:32,360
Speaker 3: out will.

932
00:49:32,280 --> 00:49:36,040
Speaker 2: Yeah, yeah, yeah. It gets very stoogy there for a minute.

933
00:49:36,160 --> 00:49:38,480
Speaker 3: But anyway, this is all working up to one of

934
00:49:38,520 --> 00:49:41,640
Speaker 3: the big set pieces of the film, which is doctor

935
00:49:41,800 --> 00:49:46,280
Speaker 3: X's experiment to determine who the killer is. I guess

936
00:49:46,520 --> 00:49:48,600
Speaker 3: how would it be best to set this up and

937
00:49:48,640 --> 00:49:49,200
Speaker 3: describe it?

938
00:49:49,480 --> 00:49:52,640
Speaker 2: Well, I would summarize by saying, this is basically sci

939
00:49:52,719 --> 00:49:55,799
Speaker 2: fi Shakespeare, This is Hamlet, this is the play is

940
00:49:55,840 --> 00:49:59,440
Speaker 2: the thing, right, because that's essentially what the whole scheme is.

941
00:49:59,440 --> 00:50:01,640
Speaker 2: I'm going to show owes something to them, and then

942
00:50:01,719 --> 00:50:03,520
Speaker 2: based on their reactions, I will know.

943
00:50:04,239 --> 00:50:06,759
Speaker 3: Yeah. Like if like if you were hooking the king

944
00:50:07,080 --> 00:50:10,200
Speaker 3: up to an electrode and a machine that would read

945
00:50:10,320 --> 00:50:13,160
Speaker 3: his guilt as he watches the play, yeah.

946
00:50:13,200 --> 00:50:16,440
Speaker 2: Yeah, And if it were elaborate, it took some explaining

947
00:50:16,960 --> 00:50:19,360
Speaker 2: and had lots of tubes and liquids.

948
00:50:19,719 --> 00:50:22,439
Speaker 3: Right, So at this point it seems like the three

949
00:50:22,480 --> 00:50:26,400
Speaker 3: main suspects are Rowits, Haines, and Duke, and they are

950
00:50:26,440 --> 00:50:29,680
Speaker 3: strapped to electrical detectors that are supposed to measure their

951
00:50:29,719 --> 00:50:34,080
Speaker 3: heart rate. Maybe there is just some magnificent technobabble about

952
00:50:34,080 --> 00:50:37,840
Speaker 3: how the machine works. For some reason, it will measure

953
00:50:38,920 --> 00:50:42,920
Speaker 3: the person in the machine for a history of cannibalism.

954
00:50:43,320 --> 00:50:45,359
Speaker 3: And all three of them are going to go into

955
00:50:45,400 --> 00:50:47,360
Speaker 3: the they're going to get hooked up to the machine.

956
00:50:47,960 --> 00:50:51,280
Speaker 3: And since doctor Wells could not be the killer because

957
00:50:51,280 --> 00:50:54,440
Speaker 3: he does not have the two ferociously strong hands necessary

958
00:50:54,480 --> 00:50:58,440
Speaker 3: for the strangulation, he helps Doctor X administer the test

959
00:50:58,520 --> 00:51:01,120
Speaker 3: on the three others. And there's this great part where

960
00:51:01,160 --> 00:51:04,000
Speaker 3: doctor Duke complains about being able to see the moon

961
00:51:04,120 --> 00:51:07,000
Speaker 3: through the window. He's like, close the shutters, it's giving

962
00:51:07,040 --> 00:51:07,680
Speaker 3: me a shiver.

963
00:51:08,800 --> 00:51:11,919
Speaker 2: And again, it's wonderful they keep the potential guilt, that's

964
00:51:11,920 --> 00:51:15,360
Speaker 2: a suspicion just leveled out among all the candidates.

965
00:51:15,480 --> 00:51:18,719
Speaker 3: Yes, yes, well, And so they've got different attitudes, Like

966
00:51:18,960 --> 00:51:22,120
Speaker 3: doctor Duke is complaining just because he's always complaining. He's

967
00:51:22,160 --> 00:51:26,040
Speaker 3: just always mad about something. Doctor Haynes again is quite paranoid.

968
00:51:26,080 --> 00:51:30,000
Speaker 3: He's very against the whole situation. He just feel. You

969
00:51:30,040 --> 00:51:32,759
Speaker 3: can tell he feels his privacy is being invaded and

970
00:51:32,800 --> 00:51:36,560
Speaker 3: he's nervous about something. And he says, if you ask me,

971
00:51:36,719 --> 00:51:39,439
Speaker 3: doctor is Xavier. That's how he says. At this time,

972
00:51:39,520 --> 00:51:44,120
Speaker 3: doctor Xavier is using very unethical methods. And then Rowitz,

973
00:51:44,120 --> 00:51:46,560
Speaker 3: who of everybody is the most on board with the

974
00:51:46,560 --> 00:51:50,840
Speaker 3: whole experiment, he just responds, necessity has no ethics.

975
00:51:51,680 --> 00:51:54,520
Speaker 2: Yeah. Yeah, he's straight up like, I celebrate the chance

976
00:51:54,560 --> 00:51:57,760
Speaker 2: to prove my innocence. Bring on the ridiculous mad science.

977
00:51:57,960 --> 00:51:59,880
Speaker 3: Yeah, but I think it's great because he might as

978
00:51:59,920 --> 00:52:03,320
Speaker 3: well have just said, like, the ends justify the means.

979
00:52:03,600 --> 00:52:05,040
Speaker 2: Yeah.

980
00:52:05,080 --> 00:52:07,120
Speaker 3: So the stimulus for the test, they're hooked up to

981
00:52:07,160 --> 00:52:10,040
Speaker 3: this machine that's going to test them for cannibalism via

982
00:52:10,080 --> 00:52:15,120
Speaker 3: their heart rate and test. The stimulus for the test

983
00:52:15,200 --> 00:52:18,279
Speaker 3: is going to consist of them looking at wax figures

984
00:52:18,800 --> 00:52:22,400
Speaker 3: of the victims of the Moonkiller murders. I don't recall

985
00:52:22,480 --> 00:52:25,560
Speaker 3: them explaining how these wax figures were made, where they

986
00:52:25,560 --> 00:52:29,120
Speaker 3: came from, and I beautifully created.

987
00:52:29,200 --> 00:52:31,160
Speaker 2: I must have commissioned them, yes, And I.

988
00:52:31,120 --> 00:52:34,040
Speaker 3: Think it's also it's worth noting that So this was

989
00:52:34,120 --> 00:52:37,799
Speaker 3: nineteen thirty two. Michael Curtiz, the director, also directed a

990
00:52:37,840 --> 00:52:40,719
Speaker 3: wax horror movie right around the same time that came

991
00:52:40,760 --> 00:52:43,280
Speaker 3: out in thirty three. I wonder if he was double

992
00:52:43,320 --> 00:52:44,719
Speaker 3: dipping with the prop department.

993
00:52:45,080 --> 00:52:47,360
Speaker 2: He may have. I haven't seen Mystery of the Wax

994
00:52:47,440 --> 00:52:50,680
Speaker 2: Museum from thirty three, but yeah, it was. He also

995
00:52:50,680 --> 00:52:53,400
Speaker 2: directed that. It was also in two color Technicolor. I

996
00:52:53,400 --> 00:52:55,120
Speaker 2: think these were the two of the last films that

997
00:52:55,160 --> 00:52:58,120
Speaker 2: came out in that But then it also starred at

998
00:52:58,120 --> 00:53:01,319
Speaker 2: Will and Fayray. So there you go. He was double

999
00:53:01,360 --> 00:53:03,120
Speaker 2: dipping in multiple ways, I guess.

1000
00:53:03,120 --> 00:53:07,480
Speaker 3: Interesting. So there's a reenactment of the most recent murder.

1001
00:53:07,520 --> 00:53:09,719
Speaker 3: So after looking at the wax figurines, there's going to

1002
00:53:09,719 --> 00:53:11,600
Speaker 3: be a reenactment of the murder, and it's going to

1003
00:53:11,640 --> 00:53:14,040
Speaker 3: be put on by Otto and Mami, the butler and

1004
00:53:14,080 --> 00:53:17,839
Speaker 3: the maid, and this, for some reason, should reveal who

1005
00:53:17,880 --> 00:53:21,040
Speaker 3: the killer is via the machine. And just as the

1006
00:53:21,080 --> 00:53:25,399
Speaker 3: reenactment is about to reveal the killer, suddenly everything we get.

1007
00:53:25,440 --> 00:53:27,240
Speaker 3: The lights go out, you know, there's like a power

1008
00:53:27,280 --> 00:53:30,200
Speaker 3: outage and all hell breaks loosee. So a bunch of

1009
00:53:30,200 --> 00:53:34,800
Speaker 3: stuff happens while the lights are out. Somebody's cannibalism detector

1010
00:53:34,840 --> 00:53:38,920
Speaker 3: device goes off, and then doctor X reads it and

1011
00:53:38,920 --> 00:53:42,520
Speaker 3: declares it's doctor Rowitz. But there's a twist. When the

1012
00:53:42,600 --> 00:53:46,279
Speaker 3: lights come up, doctor Rowitz is dead, so Rowitz has

1013
00:53:46,280 --> 00:53:50,240
Speaker 3: been murdered. And also suddenly doctor Duke can walk again.

1014
00:53:50,640 --> 00:53:55,000
Speaker 3: He's up walking around and doctor Haines points him out

1015
00:53:55,040 --> 00:53:59,120
Speaker 3: and he's like faker, faker. And then we also find

1016
00:53:59,160 --> 00:54:02,880
Speaker 3: out doctor Well, who was helping administer the experiment, has

1017
00:54:02,920 --> 00:54:05,200
Speaker 3: been struck on the head by somebody in the dark

1018
00:54:05,239 --> 00:54:08,560
Speaker 3: who called his name and then hit him. And there's

1019
00:54:08,600 --> 00:54:12,040
Speaker 3: this part where fey Ray quite rightly observes that this

1020
00:54:12,160 --> 00:54:15,440
Speaker 3: experiment was a disaster. And then everybody's just like, nah,

1021
00:54:15,640 --> 00:54:21,000
Speaker 3: chill out, calm down, you know, they're basically just like,

1022
00:54:21,000 --> 00:54:23,320
Speaker 3: don't worry about it. You know, you go get some rest,

1023
00:54:23,440 --> 00:54:27,000
Speaker 3: we'll deal with this dead body and everything. Oh and

1024
00:54:27,040 --> 00:54:29,560
Speaker 3: then other like a bunch of stuff happens all at once.

1025
00:54:29,600 --> 00:54:33,279
Speaker 3: So in the while all this is happening, Taylor, who

1026
00:54:33,320 --> 00:54:37,000
Speaker 3: is hiding out in the closet, snooping around, he gets gassed,

1027
00:54:37,120 --> 00:54:40,000
Speaker 3: like somebody pumps some smoke into the closet with him

1028
00:54:40,400 --> 00:54:42,759
Speaker 3: and it knocks him unconscious, and you don't know who

1029
00:54:42,800 --> 00:54:46,000
Speaker 3: did it, and then they discover him unconscious in the closet,

1030
00:54:46,520 --> 00:54:48,640
Speaker 3: but they decide to let him stay for the night

1031
00:54:48,719 --> 00:54:51,600
Speaker 3: at the manor. I'm not sure why that is, uh,

1032
00:54:51,640 --> 00:54:55,680
Speaker 3: But after that follows some incredibly implausible flirting between mister

1033
00:54:55,719 --> 00:54:59,520
Speaker 3: hot Scoop and fay Ray. Suddenly she's just responding to

1034
00:54:59,520 --> 00:55:03,200
Speaker 3: his flirt, whereas she hadn't been earlier. But anyway, everybody

1035
00:55:03,200 --> 00:55:07,000
Speaker 3: goes to bed, and did you notice, Like, do they

1036
00:55:07,040 --> 00:55:09,720
Speaker 3: explicitly say, like, no, we're not going to report doctor

1037
00:55:09,800 --> 00:55:12,160
Speaker 3: Rowitz's death to the police. It seems like they just

1038
00:55:12,200 --> 00:55:13,680
Speaker 3: decide that they shouldn't do that.

1039
00:55:15,040 --> 00:55:17,960
Speaker 2: No, I mean, yeah, I think they decided we have

1040
00:55:18,040 --> 00:55:21,000
Speaker 2: to do a follow up experiment. Yeah, we can't stop

1041
00:55:21,040 --> 00:55:24,240
Speaker 2: now we're close, because I mean, it's basically what happened

1042
00:55:24,400 --> 00:55:27,480
Speaker 2: is you know, you're like you're saying, they're sort of test.

1043
00:55:27,560 --> 00:55:31,160
Speaker 2: They're testing to see who was stimulated the most by

1044
00:55:31,400 --> 00:55:34,680
Speaker 2: these the stimuli they were presented with. But then unfortunately,

1045
00:55:34,760 --> 00:55:37,760
Speaker 2: the individual who was stimulated the most, according to the readings,

1046
00:55:38,160 --> 00:55:40,880
Speaker 2: is also now dead, was killed in the dark, so

1047
00:55:40,920 --> 00:55:41,839
Speaker 2: it must be someone else.

1048
00:55:41,880 --> 00:55:45,040
Speaker 3: So that's funny because that should indicate the fallibility of

1049
00:55:45,080 --> 00:55:48,960
Speaker 3: their experimental method, right like, if he wasn't the murderer,

1050
00:55:49,000 --> 00:55:51,719
Speaker 3: and yet he was the person that the test identified,

1051
00:55:51,760 --> 00:55:54,600
Speaker 3: that should show that the test is not necessarily great.

1052
00:55:55,120 --> 00:56:00,000
Speaker 2: I agree, But yet they persist, you know, because ultimately

1053
00:56:00,000 --> 00:56:02,200
Speaker 2: he's thinking about publication. You know, it's not about whether

1054
00:56:02,239 --> 00:56:05,160
Speaker 2: you catch the murder, it's that you well document your

1055
00:56:05,200 --> 00:56:06,279
Speaker 2: attempts to catch the murder.

1056
00:56:06,280 --> 00:56:07,280
Speaker 3: He's trying to get tenure.

1057
00:56:07,400 --> 00:56:09,600
Speaker 2: Yeah. Yeah. Oh.

1058
00:56:09,640 --> 00:56:11,440
Speaker 3: And then also we just get the little tid that

1059
00:56:11,680 --> 00:56:14,200
Speaker 3: later that night, like fey Ray's walking around and she

1060
00:56:14,280 --> 00:56:17,640
Speaker 3: comes across her father examining Rowitz's body under a sheet

1061
00:56:17,920 --> 00:56:20,480
Speaker 3: in a room in the house. Uh. And then we

1062
00:56:20,600 --> 00:56:24,160
Speaker 3: learn that his body has been cannibalized in the middle

1063
00:56:24,200 --> 00:56:35,919
Speaker 3: of the night. So somebody at the manor here cannibalized him.

1064
00:56:36,440 --> 00:56:38,680
Speaker 3: So but yes, as you say, the murderer still has

1065
00:56:38,719 --> 00:56:41,320
Speaker 3: to be discovered, and this all leads to the second test.

1066
00:56:42,200 --> 00:56:44,759
Speaker 3: Before that, there is a scene of hot Scoop and

1067
00:56:44,800 --> 00:56:47,640
Speaker 3: fay Ray flirting some more. They're down at the beach,

1068
00:56:47,719 --> 00:56:50,960
Speaker 3: they're talking about swimming. There are some lines in this

1069
00:56:51,040 --> 00:56:53,800
Speaker 3: scene that are frankly hilarious. There's a great part where

1070
00:56:54,440 --> 00:56:59,080
Speaker 3: he's like, listen, forget that I'm a newspaper man, And

1071
00:56:59,239 --> 00:57:02,600
Speaker 3: I feel like here I'm wondering if maybe we should

1072
00:57:02,600 --> 00:57:05,080
Speaker 3: sort of leave off in describing the plot in too

1073
00:57:05,120 --> 00:57:07,360
Speaker 3: much detail after this, because this is getting up to

1074
00:57:07,400 --> 00:57:10,759
Speaker 3: the climax, and I feel like we should at least

1075
00:57:10,760 --> 00:57:13,000
Speaker 3: be a little bit circumspective. But we don't want to

1076
00:57:13,000 --> 00:57:14,239
Speaker 3: spoil the mystery, do we.

1077
00:57:14,360 --> 00:57:14,560
Speaker 2: Though.

1078
00:57:14,640 --> 00:57:16,960
Speaker 3: There's a thing that is building up to that we

1079
00:57:17,040 --> 00:57:19,440
Speaker 3: have to talk about because it's the best thing about

1080
00:57:19,480 --> 00:57:19,960
Speaker 3: the movie.

1081
00:57:20,400 --> 00:57:22,760
Speaker 2: Yeah, I think we basically have to have a werewolf

1082
00:57:22,800 --> 00:57:25,320
Speaker 2: break here in the in the episode, so we have

1083
00:57:25,360 --> 00:57:29,640
Speaker 2: to say, Look, if you want to experience the wonderful

1084
00:57:29,680 --> 00:57:33,120
Speaker 2: twist for yourself, and we recommend you do, then you

1085
00:57:33,160 --> 00:57:35,760
Speaker 2: should stop listening to this episode. Now, go out and

1086
00:57:35,800 --> 00:57:38,520
Speaker 2: at your leisure see the film for yourself, and then

1087
00:57:38,560 --> 00:57:41,360
Speaker 2: come back and you can listen to us talk about it,

1088
00:57:41,440 --> 00:57:43,240
Speaker 2: and then you can share your own thoughts on it,

1089
00:57:43,280 --> 00:57:43,720
Speaker 2: et cetera.

1090
00:57:44,840 --> 00:57:47,320
Speaker 3: Okay, but if you're ready to hear the end right now,

1091
00:57:48,440 --> 00:57:52,080
Speaker 3: we absolutely must say that the revelation of the killer's

1092
00:57:52,160 --> 00:57:56,320
Speaker 3: identity involves the real star of this movie, and the

1093
00:57:56,360 --> 00:58:00,280
Speaker 3: best thing about it a god mode plot device called

1094
00:58:00,400 --> 00:58:05,800
Speaker 3: synthetic flesh that even gets like it gets announced in

1095
00:58:05,880 --> 00:58:08,960
Speaker 3: a voiceover segment. There's like a voice that is not

1096
00:58:09,120 --> 00:58:11,640
Speaker 3: spoken by a character on screen. It just comes on

1097
00:58:11,720 --> 00:58:15,520
Speaker 3: the soundtrack saying synthetic flesh.

1098
00:58:15,800 --> 00:58:19,720
Speaker 2: Yes, yes, it's it's absolutely wonderful and indeed it's it's

1099
00:58:19,760 --> 00:58:22,880
Speaker 2: a fabulous plot twist, and it really I really got

1100
00:58:22,920 --> 00:58:25,680
Speaker 2: me too, because I have to admit I was convinced

1101
00:58:26,120 --> 00:58:29,240
Speaker 2: that Doctor X had to be the villain. He's secretly

1102
00:58:29,320 --> 00:58:31,600
Speaker 2: the villain the whole time, and he made some sort

1103
00:58:31,640 --> 00:58:33,920
Speaker 2: of monster to do his bidding. And I believe this

1104
00:58:34,000 --> 00:58:37,280
Speaker 2: because that's what Richard O'Brien told me in the lyrics

1105
00:58:37,560 --> 00:58:40,240
Speaker 2: to Science Fiction Double Feature. He said Doctor X made

1106
00:58:40,680 --> 00:58:43,680
Speaker 2: a creature. So I'm thinking that that's it. That's clearly

1107
00:58:43,680 --> 00:58:45,960
Speaker 2: where we're going with this. Why would Richard O'Brien lie

1108
00:58:46,000 --> 00:58:46,200
Speaker 2: to me?

1109
00:58:46,440 --> 00:58:48,720
Speaker 3: Right, Richard O'Brien wouldn't lie to you, but maybe he

1110
00:58:48,760 --> 00:58:50,800
Speaker 3: had just it'd been a while since he'd seen it.

1111
00:58:50,800 --> 00:58:54,520
Speaker 3: It got a little bit fuzzy. Yeah, there is almost

1112
00:58:54,560 --> 00:58:57,120
Speaker 3: a sort of creature creation, but no one of the

1113
00:58:57,160 --> 00:58:59,600
Speaker 3: parties there at the house is the villain. And it

1114
00:58:59,640 --> 00:59:03,840
Speaker 3: is in a great sequence where so all of the suspects,

1115
00:59:03,840 --> 00:59:08,240
Speaker 3: including Doctor X himself are handcuffed to chairs so that

1116
00:59:08,280 --> 00:59:11,000
Speaker 3: they can't get up and murder each other anymore. During

1117
00:59:11,000 --> 00:59:16,480
Speaker 3: the second test, doctor Wells handcuffs Haines, Duke and Doctor

1118
00:59:16,680 --> 00:59:19,560
Speaker 3: X to these chairs so they're held down. And then

1119
00:59:19,640 --> 00:59:23,520
Speaker 3: Doctor Wells reveals I'm the killer and they're like, well,

1120
00:59:23,520 --> 00:59:27,920
Speaker 3: how could it be you? And the answer is synthetic flesh,

1121
00:59:28,320 --> 00:59:33,600
Speaker 3: and we get this amazing psychedelic body horror sequence where

1122
00:59:34,480 --> 00:59:37,160
Speaker 3: it's very much I don't want to compare it too

1123
00:59:37,240 --> 00:59:38,920
Speaker 3: much to this because this came later, but it's kind

1124
00:59:38,960 --> 00:59:44,280
Speaker 3: of Clayface from Batman, where there is this putty that

1125
00:59:44,560 --> 00:59:48,120
Speaker 3: Doctor Wells applies to himself that I think is made

1126
00:59:48,320 --> 00:59:52,560
Speaker 3: from the flesh of the people who he supposedly cannibalized,

1127
00:59:53,080 --> 00:59:57,520
Speaker 3: and this putty goes on his body and can make

1128
00:59:57,720 --> 01:00:01,080
Speaker 3: new flesh and organs as he like smooths it on.

1129
01:00:01,960 --> 01:00:04,520
Speaker 2: Yeah, it is fabulous. Another thing I would compare it to.

1130
01:00:05,000 --> 01:00:07,440
Speaker 2: And again, this is something that came later and I

1131
01:00:07,440 --> 01:00:10,960
Speaker 2: think was probably influenced by Doctor X, and that is

1132
01:00:11,240 --> 01:00:14,720
Speaker 2: Sam Raimi's Dark Man. Yes, because the main character in that,

1133
01:00:14,760 --> 01:00:18,000
Speaker 2: played by Liam Neeson, is a scientist who has created

1134
01:00:18,240 --> 01:00:22,560
Speaker 2: synthetic skin, which he kind of you know puts on it. God,

1135
01:00:22,600 --> 01:00:23,840
Speaker 2: I forget if he gobs it on or he just

1136
01:00:23,880 --> 01:00:25,560
Speaker 2: kind of pulls it on like a mask. But at

1137
01:00:25,600 --> 01:00:28,040
Speaker 2: any rate, it's some sort of a fleshy goo that

1138
01:00:28,160 --> 01:00:30,440
Speaker 2: can transform his face into the face of another.

1139
01:00:30,840 --> 01:00:34,360
Speaker 3: But yeah, the essential premise here is that you can

1140
01:00:34,480 --> 01:00:38,680
Speaker 3: like mold organs and skin out of this clay and

1141
01:00:38,760 --> 01:00:41,560
Speaker 3: just smear it onto your body and then it becomes

1142
01:00:41,640 --> 01:00:42,800
Speaker 3: functioning tissue.

1143
01:00:43,360 --> 01:00:50,240
Speaker 2: Yeah, so Wells in this fantastic, lengthy, mostly dialogueless scene

1144
01:00:50,360 --> 01:00:54,040
Speaker 2: he puts first, he puts on this synthetic flesh claw,

1145
01:00:54,240 --> 01:00:59,440
Speaker 2: this great monstrous hand that he attaches to where he

1146
01:00:59,840 --> 01:01:03,240
Speaker 2: is of his amputation, and then he began he begins

1147
01:01:03,280 --> 01:01:07,120
Speaker 2: to gob this stuff onto his face, and it is

1148
01:01:07,440 --> 01:01:10,040
Speaker 2: it really turns the weirdness in this film up to eleven.

1149
01:01:10,120 --> 01:01:12,680
Speaker 2: You have the strange you know, two tone technicolor effects

1150
01:01:12,760 --> 01:01:16,080
Speaker 2: going on, and it really feels more in keeping with

1151
01:01:16,320 --> 01:01:19,400
Speaker 2: experimental cinema of later decades, you know, at least from

1152
01:01:19,520 --> 01:01:23,600
Speaker 2: a modern film going perspective. Again, there's no dialogue other

1153
01:01:23,640 --> 01:01:27,400
Speaker 2: than well saying synthetic flesh a couple of times.

1154
01:01:27,880 --> 01:01:29,800
Speaker 3: But as I said, he does, you don't see his

1155
01:01:30,040 --> 01:01:32,720
Speaker 3: mouth moving when he says it. It's like he says

1156
01:01:32,760 --> 01:01:34,800
Speaker 3: it as if like it's in his head, like it's

1157
01:01:34,840 --> 01:01:38,920
Speaker 3: a voiceover and it repeats, and so it very much

1158
01:01:38,960 --> 01:01:42,120
Speaker 3: has the feeling of something that would be sampled in

1159
01:01:42,200 --> 01:01:44,120
Speaker 3: a techno song or something.

1160
01:01:44,800 --> 01:01:48,720
Speaker 2: Yeah. Yeah, I was thinking the same thing. It feels

1161
01:01:48,720 --> 01:01:50,440
Speaker 2: like something would be sampled in a mix, and I

1162
01:01:50,480 --> 01:01:53,000
Speaker 2: hope has been sampled in a mix. DJs, if you're listening,

1163
01:01:53,400 --> 01:01:57,640
Speaker 2: sample this because it's wonderful. But also the background audio

1164
01:01:57,720 --> 01:02:00,240
Speaker 2: for this whole scene is just kind of like add

1165
01:02:00,280 --> 01:02:04,080
Speaker 2: science see electros. And I was absolutely digging this as

1166
01:02:04,120 --> 01:02:05,880
Speaker 2: I was watching and listening to it, because I think

1167
01:02:05,880 --> 01:02:10,040
Speaker 2: in many ways it's an accidental early electronic music score.

1168
01:02:11,560 --> 01:02:14,439
Speaker 2: So you know, maybe something it sounds like a little

1169
01:02:14,440 --> 01:02:18,040
Speaker 2: post industrial, like something something like Nurse with Wound would

1170
01:02:18,040 --> 01:02:20,960
Speaker 2: have created. In fact, I would love that if we

1171
01:02:21,000 --> 01:02:23,600
Speaker 2: could actually just listen to a sample, an audio sample

1172
01:02:23,640 --> 01:02:25,480
Speaker 2: from this scene so you can get a taste for it.

1173
01:02:39,240 --> 01:02:47,280
Speaker 2: Synthetic flesh, synthetic flesh. I want that. I want to

1174
01:02:47,320 --> 01:02:51,560
Speaker 2: pick up the single just as a bit of score trivia.

1175
01:02:51,600 --> 01:02:54,920
Speaker 2: Though credit for the first electronic score generally goes to

1176
01:02:55,080 --> 01:02:58,760
Speaker 2: Bbe and Lewis Baron for their work with a magnetic

1177
01:02:58,800 --> 01:03:02,160
Speaker 2: tape on nineteen fifty six, the nineteen fifty six film

1178
01:03:02,200 --> 01:03:07,240
Speaker 2: Forbidden Planet. So this isn't an example of an electronic score,

1179
01:03:07,320 --> 01:03:09,800
Speaker 2: but if it were an electronic score, it would be

1180
01:03:09,840 --> 01:03:12,760
Speaker 2: way ahead of its time. I also have to say

1181
01:03:12,800 --> 01:03:18,920
Speaker 2: that that the sequence where he's smearing the synthetic flesh

1182
01:03:18,960 --> 01:03:21,960
Speaker 2: over his face and into his hair and forming this

1183
01:03:22,160 --> 01:03:26,080
Speaker 2: noon face, this face of the moon Killer, it reminds

1184
01:03:26,120 --> 01:03:29,080
Speaker 2: me a lot of the later of the current the

1185
01:03:29,080 --> 01:03:35,520
Speaker 2: modern performance art. A French artist Oliver de Sagazin, who

1186
01:03:36,240 --> 01:03:38,120
Speaker 2: many of you may have seen. There's one of his

1187
01:03:38,200 --> 01:03:42,320
Speaker 2: performances features into the twenty eleven film Sam Sara, but

1188
01:03:42,360 --> 01:03:45,240
Speaker 2: you can also find clips of his work online. Just

1189
01:03:45,320 --> 01:03:48,760
Speaker 2: look for Oliver Sagaza sa g A z A N

1190
01:03:49,040 --> 01:03:51,920
Speaker 2: and you'll see see what he does. Basically, he sets

1191
01:03:52,000 --> 01:03:55,840
Speaker 2: up in front of a camera and then he layers

1192
01:03:56,000 --> 01:03:59,000
Speaker 2: paint and clay over his own face and does a

1193
01:03:59,000 --> 01:04:01,400
Speaker 2: fair amount of like you know, performance art with it,

1194
01:04:01,440 --> 01:04:06,320
Speaker 2: to just transform himself into these various, I mean, kind

1195
01:04:06,320 --> 01:04:09,440
Speaker 2: of monstrosities. There's an unsettling nature to his work, but

1196
01:04:09,480 --> 01:04:13,320
Speaker 2: it's wonderful. And in this film, in Doctor X, we

1197
01:04:13,480 --> 01:04:16,520
Speaker 2: kind of see a far earlier version of that same

1198
01:04:16,560 --> 01:04:17,439
Speaker 2: performance art.

1199
01:04:18,240 --> 01:04:20,840
Speaker 3: Yeah, I mean it makes me wonder what are the

1200
01:04:20,880 --> 01:04:25,480
Speaker 3: other great examples of sort of extreme makeup effects in

1201
01:04:25,600 --> 01:04:30,680
Speaker 3: film from the thirties. I don't know of any other

1202
01:04:30,800 --> 01:04:35,120
Speaker 3: movies from this era that have effects that look like this.

1203
01:04:35,240 --> 01:04:37,640
Speaker 3: I mean, I would have thought, you know, makeup at

1204
01:04:37,640 --> 01:04:41,040
Speaker 3: the time was all basically just like realistic accentuation of

1205
01:04:41,080 --> 01:04:43,800
Speaker 3: the face, not the kind of like horror movie makeup

1206
01:04:43,840 --> 01:04:47,200
Speaker 3: effects we associate with movies of the seventies and eighties.

1207
01:04:47,680 --> 01:04:52,760
Speaker 2: Yeah, I mean, it's it's impressive. I'm thinking trying to

1208
01:04:52,760 --> 01:04:55,040
Speaker 2: like figure out what it like. We can think about

1209
01:04:55,040 --> 01:04:56,440
Speaker 2: what it's supposed to be. You know, it's kind of

1210
01:04:56,440 --> 01:04:58,800
Speaker 2: like he's gobbing himself down with sci fi stem cells

1211
01:04:58,880 --> 01:05:02,040
Speaker 2: or something, but or you know, some sort of flesh

1212
01:05:02,040 --> 01:05:05,800
Speaker 2: that instantly forges a connection with his own flesh. But

1213
01:05:05,920 --> 01:05:09,520
Speaker 2: I imagine it's probably a twist on perceptions of elaborate

1214
01:05:11,000 --> 01:05:14,120
Speaker 2: special effects makeup of the day. You know, the putty

1215
01:05:14,280 --> 01:05:17,440
Speaker 2: is like flesh, and then it seems to become the flesh,

1216
01:05:17,480 --> 01:05:19,400
Speaker 2: and within the context of the film, I don't know,

1217
01:05:19,440 --> 01:05:21,680
Speaker 2: it's like he's got this this you know, this big

1218
01:05:21,720 --> 01:05:23,760
Speaker 2: old jar stem cells that he's just gabbing it on

1219
01:05:23,920 --> 01:05:27,880
Speaker 2: and sculpting his flesh into the desired nightmare. But I

1220
01:05:27,920 --> 01:05:31,480
Speaker 2: think also we can find a possible connection here to

1221
01:05:31,960 --> 01:05:34,040
Speaker 2: sort of the zeitgeist of the time when you look

1222
01:05:34,080 --> 01:05:37,200
Speaker 2: back at the history of plastic surgery, which to be clear,

1223
01:05:37,320 --> 01:05:40,440
Speaker 2: doesn't mean the use of plastic in sculpting flesh, but

1224
01:05:40,640 --> 01:05:45,320
Speaker 2: the overall plasticity of flesh that can be utilized in

1225
01:05:45,480 --> 01:05:49,200
Speaker 2: reconstructive surgery. So you look at some of the achievements

1226
01:05:49,200 --> 01:05:51,240
Speaker 2: that were made even at that time and in the

1227
01:05:51,440 --> 01:05:55,800
Speaker 2: previous decades, and they were pretty amazing. Stuff like walking

1228
01:05:55,960 --> 01:05:58,680
Speaker 2: lengths of flesh up to the face or down from

1229
01:05:58,720 --> 01:06:02,959
Speaker 2: the forehead in order to slowly graft it and form

1230
01:06:03,000 --> 01:06:08,000
Speaker 2: it and to reform features that were lost. Cartilage implantation

1231
01:06:08,440 --> 01:06:12,560
Speaker 2: is another example. If you look up images of say

1232
01:06:13,680 --> 01:06:17,720
Speaker 2: World War One facial reconstruction, you can see examples of this.

1233
01:06:17,760 --> 01:06:19,640
Speaker 2: Because some of it is quite amazing. I mean, it's

1234
01:06:19,760 --> 01:06:21,440
Speaker 2: you know, it can be a little tough to take in,

1235
01:06:22,760 --> 01:06:26,640
Speaker 2: but it's quite interesting. And remember this is nineteen thirty two,

1236
01:06:26,760 --> 01:06:30,840
Speaker 2: so memories of the First World War's injuries are still raw,

1237
01:06:31,200 --> 01:06:34,840
Speaker 2: as are likely the photographs of the surgical reconstructions that

1238
01:06:34,880 --> 01:06:38,960
Speaker 2: were possible. There's even a great line from Wells that

1239
01:06:39,040 --> 01:06:41,680
Speaker 2: I feel like reflects this, because as he's having his

1240
01:06:41,840 --> 01:06:45,000
Speaker 2: like supervillain reveal speech, he says, yes, look at it

1241
01:06:45,040 --> 01:06:48,760
Speaker 2: a real hand, it's a live it's flesh, synthetic flesh.

1242
01:06:48,840 --> 01:06:51,880
Speaker 2: For years, I've been searching to find the secret of

1243
01:06:51,920 --> 01:06:54,440
Speaker 2: a living, manufactured flesh, and now I found it. You

1244
01:06:54,440 --> 01:06:56,520
Speaker 2: think I went to Africa to study cannibalism. I went

1245
01:06:56,560 --> 01:06:58,840
Speaker 2: there to get samples of the human flesh that the natives.

1246
01:06:58,880 --> 01:07:01,800
Speaker 2: E Yes, That's why I needed living flesh from humans.

1247
01:07:01,800 --> 01:07:04,720
Speaker 2: From my experiments, what difference did it make if a

1248
01:07:04,760 --> 01:07:07,400
Speaker 2: few people had to die their flesh taught me how

1249
01:07:07,440 --> 01:07:12,680
Speaker 2: to manufacture arms, legs, faces that are human. I'll make

1250
01:07:12,720 --> 01:07:14,520
Speaker 2: a cripple world hold again.

1251
01:07:15,520 --> 01:07:18,640
Speaker 3: So again we get a very like ends justify the

1252
01:07:18,640 --> 01:07:20,920
Speaker 3: means thing. It's like, look, I've had to kill a

1253
01:07:20,960 --> 01:07:24,160
Speaker 3: lot of people, but I'm going to create amazing new

1254
01:07:24,200 --> 01:07:27,120
Speaker 3: surgical techniques by what I've learned through doing. So.

1255
01:07:27,680 --> 01:07:29,720
Speaker 2: Yeah, and I think, yeah, you think about this film

1256
01:07:29,760 --> 01:07:31,680
Speaker 2: as coming out, you know, post World War One and

1257
01:07:31,720 --> 01:07:35,800
Speaker 2: before World War II, it seems like it seems like

1258
01:07:35,840 --> 01:07:38,439
Speaker 2: that maybe what is lashing onto here? You know, it's

1259
01:07:39,840 --> 01:07:41,640
Speaker 2: and again this is kind of the territory. This is

1260
01:07:41,640 --> 01:07:45,040
Speaker 2: the area in which genre filmmaking often works.

1261
01:07:45,640 --> 01:07:47,720
Speaker 3: I think this is probably also a time where people

1262
01:07:47,760 --> 01:07:50,920
Speaker 3: were trying to figure out the limits of what was

1263
01:07:50,920 --> 01:07:54,600
Speaker 3: ethical scientific experimentation. Like, there was probably a lot of

1264
01:07:54,640 --> 01:07:58,600
Speaker 3: experimentation going on that we would today regard as unethical

1265
01:07:59,160 --> 01:08:02,080
Speaker 3: in its nature, but was you know, it was not

1266
01:08:02,160 --> 01:08:04,760
Speaker 3: just people who were like, I'm trying to do evil.

1267
01:08:04,800 --> 01:08:07,440
Speaker 3: It was people who had this idea of like, we'll

1268
01:08:07,480 --> 01:08:10,320
Speaker 3: think of all the good that we could accomplish exactly.

1269
01:08:10,440 --> 01:08:15,520
Speaker 2: Yeah, and just you know, continuing to roll with what

1270
01:08:15,560 --> 01:08:19,599
Speaker 2: these technological changes meant for humanity. You know, like suddenly

1271
01:08:19,600 --> 01:08:22,840
Speaker 2: we're able to wage war in ways that we were

1272
01:08:22,880 --> 01:08:25,000
Speaker 2: not able to previously. I mean, one of the prime

1273
01:08:25,040 --> 01:08:27,320
Speaker 2: examples from the First World War would of course be

1274
01:08:27,400 --> 01:08:30,160
Speaker 2: chemical weaponry, and we have a brief scene of chemical

1275
01:08:30,200 --> 01:08:33,600
Speaker 2: weaponry in this film is the newspaper Guy Lee is

1276
01:08:34,080 --> 01:08:35,160
Speaker 2: gassed there. You know.

1277
01:08:35,240 --> 01:08:37,840
Speaker 3: As for other ways this movie fits into the history

1278
01:08:37,880 --> 01:08:41,040
Speaker 3: of science, there's a thing that comes up several times,

1279
01:08:41,080 --> 01:08:49,320
Speaker 3: which is forensic experimentation, like forensic biometrics basically using brain

1280
01:08:49,479 --> 01:08:53,640
Speaker 3: examination or heart rate monitoring or things like that to

1281
01:08:53,720 --> 01:08:57,679
Speaker 3: determine the guilt of a person in trying to solve

1282
01:08:58,080 --> 01:09:01,960
Speaker 3: a criminal case. If you would like more information about

1283
01:09:02,320 --> 01:09:04,519
Speaker 3: the history of that kind of thing, we did an

1284
01:09:04,520 --> 01:09:07,080
Speaker 3: episode I actually was Christian and I did a couple

1285
01:09:07,160 --> 01:09:10,439
Speaker 3: of episodes several years ago about the failures of forensic

1286
01:09:10,520 --> 01:09:13,719
Speaker 3: science where we talked about this big report that looked

1287
01:09:13,760 --> 01:09:17,760
Speaker 3: into the reliability of forensic sciences that are supposedly used

1288
01:09:17,760 --> 01:09:20,720
Speaker 3: to establish guilt in the courtroom, and how some of

1289
01:09:20,760 --> 01:09:22,760
Speaker 3: them are in most cases pretty solid, you know, like

1290
01:09:22,840 --> 01:09:25,000
Speaker 3: DNA evidence and all that, but a lot of them

1291
01:09:25,200 --> 01:09:28,080
Speaker 3: do not have as solid a scientific basis as is

1292
01:09:28,080 --> 01:09:31,120
Speaker 3: often represented and may very well be sort of just

1293
01:09:31,160 --> 01:09:35,320
Speaker 3: sort of stealing them the primature of science as a

1294
01:09:35,400 --> 01:09:38,520
Speaker 3: concept to placed on some kind of weak evidence.

1295
01:09:39,280 --> 01:09:43,640
Speaker 2: Yeah, speaking of weak evidence, I do love that. Ultimately

1296
01:09:43,880 --> 01:09:46,679
Speaker 2: doctor X was wrong. You know, earlier in the film,

1297
01:09:46,720 --> 01:09:50,720
Speaker 2: he's like, I'm totally sure that the killer sees the

1298
01:09:50,720 --> 01:09:53,560
Speaker 2: moon and it awakens these repressed feelings inside him, and

1299
01:09:53,640 --> 01:09:56,040
Speaker 2: that is what I will look for, and that is

1300
01:09:56,120 --> 01:09:57,280
Speaker 2: not what was happening at all.

1301
01:09:58,040 --> 01:10:00,599
Speaker 3: No, the killer was, like doctor X. It was a

1302
01:10:00,680 --> 01:10:04,360
Speaker 3: researcher who was fanatically dedicated to his own work and

1303
01:10:04,680 --> 01:10:07,439
Speaker 3: was trying to and was willing to do whatever he

1304
01:10:07,479 --> 01:10:08,320
Speaker 3: could to further it.

1305
01:10:08,880 --> 01:10:13,040
Speaker 2: Yeah, so in a way, it would have been interesting

1306
01:10:13,080 --> 01:10:15,280
Speaker 2: to see where they would have gone with a sequel

1307
01:10:15,360 --> 01:10:18,479
Speaker 2: to this film, right in that they could ask, well,

1308
01:10:18,479 --> 01:10:20,920
Speaker 2: where does doctor X go from there? He's been kind

1309
01:10:20,920 --> 01:10:22,840
Speaker 2: of been proven wrong in a way. He's in a

1310
01:10:22,880 --> 01:10:25,920
Speaker 2: similar place to where William of Baskerville is at the

1311
01:10:26,000 --> 01:10:27,920
Speaker 2: end of the Name of the Rose, where he realizes

1312
01:10:28,040 --> 01:10:31,280
Speaker 2: that to a certain extent, his logic and his reason

1313
01:10:31,280 --> 01:10:34,639
Speaker 2: has failed him. He wasn't able to actually prevent anything,

1314
01:10:35,120 --> 01:10:37,200
Speaker 2: even as he was able to solve the mystery.

1315
01:10:37,640 --> 01:10:40,080
Speaker 3: Yeah, that's a good point. Well, I hope that the

1316
01:10:40,160 --> 01:10:42,920
Speaker 3: Doctor X has learned his lesson and will no longer

1317
01:10:42,960 --> 01:10:46,040
Speaker 3: say that you can prove the guilt of someone suspected

1318
01:10:46,040 --> 01:10:47,559
Speaker 3: of murder by using a machine.

1319
01:10:48,160 --> 01:10:51,240
Speaker 2: Yes, hopefully so, But I don't know. He seems rather

1320
01:10:51,280 --> 01:10:53,479
Speaker 2: stubborn and he's already invested in all that gear.

1321
01:10:53,880 --> 01:10:56,200
Speaker 3: Yeah. Oh, we didn't even say how it ends. I mean,

1322
01:10:56,400 --> 01:10:59,280
Speaker 3: so the other thing is after so Wells is going

1323
01:10:59,360 --> 01:11:02,400
Speaker 3: to kill Fay while they're all handcuffed to chairs and

1324
01:11:02,520 --> 01:11:05,599
Speaker 3: then lee the reporter is like, hey, this guy happened,

1325
01:11:05,640 --> 01:11:07,599
Speaker 3: and so he comes out and does it. He gives

1326
01:11:07,640 --> 01:11:11,760
Speaker 3: him the old fisticuffs and punches punches Wells in the

1327
01:11:11,800 --> 01:11:14,120
Speaker 3: face and they fight, and then I think he kills

1328
01:11:14,160 --> 01:11:16,840
Speaker 3: him by throwing a lamp on him, which sets him

1329
01:11:16,840 --> 01:11:18,519
Speaker 3: on fire, and.

1330
01:11:18,840 --> 01:11:20,760
Speaker 2: He sits in it, hits it in the face with

1331
01:11:20,800 --> 01:11:22,760
Speaker 2: a lamp and then kind of like tackles him through

1332
01:11:22,800 --> 01:11:23,240
Speaker 2: a window.

1333
01:11:23,360 --> 01:11:26,240
Speaker 3: Oh. I think he also hits him with his hand buzzer, doesn't.

1334
01:11:25,960 --> 01:11:28,759
Speaker 2: He possibly, Yeah, he is looking at his hand buzzer

1335
01:11:28,760 --> 01:11:31,040
Speaker 2: after it happens, so that may have played a role.

1336
01:11:31,280 --> 01:11:34,280
Speaker 2: It would make sense because again the script is very economical.

1337
01:11:35,560 --> 01:11:37,200
Speaker 2: And then we get a nice little spot of romance

1338
01:11:37,200 --> 01:11:38,160
Speaker 2: and that's the end of the picture.

1339
01:11:38,240 --> 01:11:40,720
Speaker 3: Yeah, that's it. Oh, we get well he Oh, by

1340
01:11:40,720 --> 01:11:43,840
Speaker 3: the way, he like he calls his society editor on

1341
01:11:43,920 --> 01:11:46,840
Speaker 3: the newspaper. He's like, hey, you know, you might want

1342
01:11:46,880 --> 01:11:49,000
Speaker 3: to set aside some What does he say? He's like,

1343
01:11:49,040 --> 01:11:52,559
Speaker 3: you might want to save some space for doctor Xavier

1344
01:11:52,560 --> 01:11:55,479
Speaker 3: to make an announcement about his about his daughter. I

1345
01:11:55,479 --> 01:11:57,479
Speaker 3: guess I'm plying that like that they're going to have

1346
01:11:57,520 --> 01:11:59,000
Speaker 3: a wedding announcement or something.

1347
01:12:00,560 --> 01:12:02,920
Speaker 2: Yeah, so you get your happy, lovey w ending. The

1348
01:12:03,000 --> 01:12:06,799
Speaker 2: ending again is very very mainstream and normal. The beginning

1349
01:12:07,040 --> 01:12:09,840
Speaker 2: it's fairly normal, but man, the middle of this film

1350
01:12:09,880 --> 01:12:12,800
Speaker 2: gets into some serious weirdness and I love it. So

1351
01:12:12,840 --> 01:12:15,400
Speaker 2: you might be wondering where can you get this film? Well,

1352
01:12:15,439 --> 01:12:18,480
Speaker 2: you can rent or buy this one digitally most places,

1353
01:12:18,720 --> 01:12:20,960
Speaker 2: you know, wherever you get digital films, you can rent

1354
01:12:21,000 --> 01:12:22,760
Speaker 2: it or buy it. You can also pick it up

1355
01:12:22,760 --> 01:12:25,200
Speaker 2: on DVD, either as part of a two movie pack

1356
01:12:25,600 --> 01:12:29,200
Speaker 2: along with the Yes, the nineteen thirty nine sequel. There

1357
01:12:29,240 --> 01:12:31,519
Speaker 2: is an actual sequel to this. I doubt that it

1358
01:12:31,560 --> 01:12:34,960
Speaker 2: meets my expectations, but it's called The Return of Doctor X,

1359
01:12:35,200 --> 01:12:37,360
Speaker 2: which starred an up and coming actor by the name

1360
01:12:37,400 --> 01:12:40,720
Speaker 2: of Humphrey Bogart. I haven't seen it, but we have

1361
01:12:40,760 --> 01:12:42,400
Speaker 2: brought it up on the show before, just because I

1362
01:12:42,400 --> 01:12:44,880
Speaker 2: believe it has a synthetic blood plot element.

1363
01:12:45,880 --> 01:12:47,760
Speaker 3: I think I've read that it has little to do

1364
01:12:47,840 --> 01:12:48,800
Speaker 3: with this movie.

1365
01:12:49,040 --> 01:12:54,280
Speaker 2: Yeah, yeah, I can't imagine it really carries on the legacy. Well. Oh,

1366
01:12:54,320 --> 01:12:56,240
Speaker 2: you can also pick this up in a big box

1367
01:12:56,320 --> 01:12:59,320
Speaker 2: set that also includes Mad Love and a few other films.

1368
01:13:00,160 --> 01:13:03,599
Speaker 2: That's we're looking for as well. Man, imagine a Mad

1369
01:13:03,680 --> 01:13:07,240
Speaker 2: Love Doctor X mashup, though that would have been so yeah.

1370
01:13:07,439 --> 01:13:09,599
Speaker 3: Now, one thing I'll say that these movies have in

1371
01:13:09,680 --> 01:13:13,240
Speaker 3: common is that they're both I think, pretty great sci

1372
01:13:13,280 --> 01:13:15,960
Speaker 3: fi horror movies for their time. Both are sort of

1373
01:13:16,000 --> 01:13:22,120
Speaker 3: pushed over the edge into transcendence by one amazingly weird

1374
01:13:22,240 --> 01:13:25,000
Speaker 3: scene toward the end. In this case, it's the synthetic

1375
01:13:25,040 --> 01:13:28,639
Speaker 3: flesh scene. In Mad Love, it's the scene where he's

1376
01:13:28,720 --> 01:13:31,840
Speaker 3: dressed up his orlac and the brace with the sunglasses

1377
01:13:31,880 --> 01:13:34,000
Speaker 3: and all that that costume.

1378
01:13:34,760 --> 01:13:36,439
Speaker 2: No, yeah, the Raulloh costume.

1379
01:13:36,520 --> 01:13:39,080
Speaker 3: Yeah, oh yeah, sorry not or like the Raulo costume.

1380
01:13:39,080 --> 01:13:42,160
Speaker 3: You're right, yes, those are like the scenes that make

1381
01:13:42,240 --> 01:13:45,320
Speaker 3: the movies in both cases. But whereas Mad Love has

1382
01:13:45,320 --> 01:13:48,080
Speaker 3: Peter Lourie, I don't think this movie has anybody of

1383
01:13:48,120 --> 01:13:50,000
Speaker 3: the Peter Loriie caliber in it.

1384
01:13:50,479 --> 01:13:50,519
Speaker 1: No.

1385
01:13:50,800 --> 01:13:54,479
Speaker 2: I mean, you know, it's got a couple of big

1386
01:13:54,560 --> 01:13:56,760
Speaker 2: names for the time, and we mentioned you got at

1387
01:13:56,760 --> 01:13:59,559
Speaker 2: Well and you've got Fayray. But in terms of bringing

1388
01:13:59,640 --> 01:14:04,000
Speaker 2: the perform mormans like bringing something performance wise that's memorably weird, Yeah,

1389
01:14:04,040 --> 01:14:05,639
Speaker 2: they don't really have it. I guess you gave kind

1390
01:14:05,640 --> 01:14:07,719
Speaker 2: of sprinkles of it though, with the supporting cast.

1391
01:14:07,920 --> 01:14:10,800
Speaker 3: Yeah, doctor Rowitz, Yeah he's I mean, he doesn't have

1392
01:14:10,920 --> 01:14:13,880
Speaker 3: enough screen time, but he's he's my hero.

1393
01:14:14,479 --> 01:14:17,720
Speaker 2: Yeah. All right, Well, we're gonna go ahead and put

1394
01:14:17,760 --> 01:14:20,880
Speaker 2: a scalpel in this one and scalp. Hell it's done,

1395
01:14:21,160 --> 01:14:26,240
Speaker 2: scalpel and call it done. This has been another episode

1396
01:14:26,240 --> 01:14:28,439
Speaker 2: of weird Ouse Cinema. We're putting out Weird House Cinema

1397
01:14:28,479 --> 01:14:32,120
Speaker 2: every Friday. Stuff to Blow Your Mind remains a science

1398
01:14:32,160 --> 01:14:35,479
Speaker 2: and culture show, but Friday is our data. Unwind a

1399
01:14:35,479 --> 01:14:38,920
Speaker 2: little bit and enjoy a little midnight movie goodness. So

1400
01:14:39,360 --> 01:14:41,559
Speaker 2: let us know what you thought. Did you see this film?

1401
01:14:41,600 --> 01:14:43,639
Speaker 2: Had you seen it previously? How do you feel about

1402
01:14:43,680 --> 01:14:45,360
Speaker 2: doctor X? How do you feel about the twists and

1403
01:14:45,360 --> 01:14:49,240
Speaker 2: the turns and that crazy scene with the synthetic flesh.

1404
01:14:49,240 --> 01:14:53,360
Speaker 2: We would love to hear from you. Let's see what else?

1405
01:14:53,520 --> 01:14:55,920
Speaker 2: Oh yeah again. You can find this show in the

1406
01:14:55,920 --> 01:14:59,360
Speaker 2: Stuff to Blow your Mind podcast feed, and we just

1407
01:14:59,400 --> 01:15:03,160
Speaker 2: asked that you eight review and subscribe. That's the main

1408
01:15:03,160 --> 01:15:04,760
Speaker 2: way to keep in touch with the show and keep

1409
01:15:04,840 --> 01:15:06,919
Speaker 2: up on what we're publishing.

1410
01:15:07,400 --> 01:15:10,400
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1411
01:15:10,479 --> 01:15:12,960
Speaker 3: Nicholas Johnson. If you would like to get in touch

1412
01:15:13,000 --> 01:15:15,240
Speaker 3: with us with feedback on this episode or any other,

1413
01:15:15,360 --> 01:15:17,800
Speaker 3: to suggest any topic for the future, or just to

1414
01:15:17,840 --> 01:15:20,719
Speaker 3: say hello, you can email us at contact at stuffed

1415
01:15:20,760 --> 01:15:29,120
Speaker 3: blow your Mind dot com.

1416
01:15:29,280 --> 01:15:32,240
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1417
01:15:32,320 --> 01:15:35,120
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1418
01:15:35,280 --> 01:15:38,040
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.