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Speaker 1: Hey, welcome to Weird How Cinema. My name is Rob

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Speaker 1: Lamb and I'm Joe McCormick. And this is a bit

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Speaker 1: of a rewind here because we are off for this week. Uh.

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Speaker 1: This episode originally aired on January and it's about the

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Speaker 1: movie dr X. Yeah, this one was. It was a

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Speaker 1: lot of fun. This one was. It was a film

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Speaker 1: that I had never seen before. Was it was all

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Speaker 1: new to me and it is especially for what is this?

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Speaker 1: This is a very weird film. This is. This one's

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Speaker 1: a lot of fun. So it's a great one to

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Speaker 1: feature once more as a rare Weird House Cinema rerun.

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Speaker 1: It's time to rub the synthetic flesh. Welcome to Stuff

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Speaker 1: to Blow your Mind production of My Heart Radio. Hey,

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Speaker 1: welcome to Weird House Cinema. My name is Bob Lamb

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Speaker 1: and I'm Joe McCormick. And today I think we're going

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Speaker 1: to be doing the chronologically earliest film that we've done

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Speaker 1: so far. Isn't that right? I believe so, So today

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Speaker 1: we're gonna be talking about Dr X, a nineteen thirty

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Speaker 1: two American pre code horror film that that that shocked

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Speaker 1: my soul and conscience and I thought it was just

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Speaker 1: a fabulous ride. Yeah, yeah, this this one was a

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Speaker 1: pleasant surprise for me as well. I was only vaguely

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Speaker 1: aware of it. I'll get into into some of that

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Speaker 1: in a bit, but I was vaguely aware that it

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Speaker 1: existed new basically nothing about it. You suggested it. I

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Speaker 1: saw a couple of the people that were involved in it,

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Speaker 1: and I just signed on side unseen and went in

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Speaker 1: without any spoilers or anything. Watched it this morning, and

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Speaker 1: it was fabulous. So while it it might seem to

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Speaker 1: start out as a rather traditional film, and it ends

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Speaker 1: fairly to traditionally as well, it gets just heavily weird

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Speaker 1: in the middle in a way that that really has

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Speaker 1: to be experienced. Yeah. Well, there's one scene in particular.

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Speaker 1: I mean, I would say that there is a like

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Speaker 1: five minute sequence in this movie that you should watch

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Speaker 1: the movie for, even if for nothing else. But there's

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Speaker 1: some other fun stuff in there as well. Uh and

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Speaker 1: and and we'll get into what that is later on.

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Speaker 1: But I thought at first we should talk for a

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Speaker 1: little bit about the historical context of this era of movies.

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Speaker 1: So this is a pre code movie. You might have

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Speaker 1: heard that term in used by film historians. Before pre code,

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Speaker 1: and that that code there refer refers to something called

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Speaker 1: the Haze Code. So basically from about nineteen thirty four

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Speaker 1: until roughly the end of the nineteen fifties, I think

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Speaker 1: sometimes the movie Some Like It Hot in nineteen fifty

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Speaker 1: nine is is held out as sort of like the

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Speaker 1: demise of the Hayes Code era. But for this period,

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Speaker 1: from the mid thirties through the fifties, American film studios

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Speaker 1: sort of agreed to be o earned by censorship guidelines

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Speaker 1: that were known as the Hayes Code. So this prohibited

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Speaker 1: a lot of stuff that you might, you know, automatically

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Speaker 1: think of, of course obvious R rated content like nudity

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Speaker 1: and profanity, but it also banned content that was considered

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Speaker 1: objectionable to conservative social values. So that might be all

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Speaker 1: kinds of um, you know, references to cannibalism and things.

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Speaker 1: You weren't supposed to have movies in which the audience

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Speaker 1: would be asked to sympathize with criminals or crime, which

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Speaker 1: is just a great guideline for complex moral cinema. Um

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Speaker 1: you you weren't supposed to have movies that ridiculed the

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Speaker 1: church or religion, or movies with interracial or same sex romance.

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Speaker 1: But there was a time before this code was implemented,

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Speaker 1: before it was started, before it started to be strictly

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Speaker 1: enforced in around nineteen thirty four, and that brief period

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Speaker 1: between the spread of talkies so movies was synchronized sound,

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Speaker 1: which was mainly in nineteen twenty nine, and then the

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Speaker 1: stricter enforcement of the code in nineteen thirty four, that

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Speaker 1: like five year period is known as the pre code

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Speaker 1: period in American film, and it's characterized by movies that

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Speaker 1: experimented with more controversial content of multiple kinds. So you

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Speaker 1: had salacious content in terms of sex and violence and crime,

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Speaker 1: the normal R rated kind of stuff that that shocks

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Speaker 1: the morals. But it was also I think it's worth

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Speaker 1: pointing out a period of uh, increased experimentation with progressive

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Speaker 1: social themes that would mostly fade from American movies in

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Speaker 1: the following decades, only to re emerge in the sixties.

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Speaker 1: So I think that's an interesting parallel that in the

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Speaker 1: same time you see this brief early flowering of kind

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Speaker 1: of kind of like RACYR rated content, uh, you also

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Speaker 1: see things that we would we would later think are

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Speaker 1: like good social values that were prohibited at the time

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Speaker 1: and uh, and there they were sort of struck down

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Speaker 1: with the same stick in thirty four. Yeah. It's interesting

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Speaker 1: too when you think about film, the film output, the

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Speaker 1: cinematic output as an indicator of what the underlying culture

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Speaker 1: you knows there was, you know, because once you have

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Speaker 1: the code in place, Yeah, to a certain extent, the

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Speaker 1: code is a product of the culture. Uh. And therefore

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Speaker 1: you can see those films that come out of it

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Speaker 1: as a reflection of what the culture wanted to see

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Speaker 1: itself as. But it also means you have this inauthentic

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Speaker 1: view of what was actually going on in the zeitgeist

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Speaker 1: of the time. You know, let's go back when we

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Speaker 1: watch films from the nineteen fifties, American mainstream films from

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Speaker 1: the fifties, and you get this kind of vision that's like,

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Speaker 1: oh wow, it looks um looks pretty dry and um,

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Speaker 1: you know it's you know, it's it's it's pretty Uh,

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Speaker 1: it's pretty square. Um, I don't know, it's it's very

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Speaker 1: sanitized in many respects. Well, people often harken back to

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Speaker 1: they say there was a time where movies were more innocent.

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Speaker 1: Have you ever heard that there was a more innocent

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Speaker 1: age in cinema, which I think is a horrible way

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Speaker 1: of putting it. I mean that that's not really what

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Speaker 1: it was. What you're saying is there was a time

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Speaker 1: when American movies were more censored, right, yeah, because I

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Speaker 1: mean and certainly when you look at films from the fifties, Uh,

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Speaker 1: there's plenty of horrible stuff going on, like socially that's

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Speaker 1: reflected in those films. Uh. But but yeah, you have

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Speaker 1: this this code in place is preventing, uh, this racier

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Speaker 1: content from taking place, and it it kind of limits

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Speaker 1: the palette that artists of that time had to to use,

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Speaker 1: you know that that we're at their disposal to bring

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Speaker 1: their message across, be it a like a really highly

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Speaker 1: thought out artistic message or the B cinema message, which

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Speaker 1: I think, as we've discussed before a lot of times,

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Speaker 1: the cinema that is where the genre cinema, cinema, horror cinema,

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Speaker 1: science fiction cinema. That's sometimes the first place where some

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Speaker 1: of these cultural ideas are explored. Yeah, totally before they

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Speaker 1: reach the mainstream. Now, I don't wanna so we're gonna

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Speaker 1: be talking about this movie Doctor X, which is a

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Speaker 1: horror movie in the pre code era, and for that reason,

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Speaker 1: for it's it's time and place, it does feel very

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Speaker 1: weird and edgy and unlike movies, you know, horror movies

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Speaker 1: that would be put out by American studios a decade later.

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Speaker 1: It feels much more dangerous than that. But at the

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Speaker 1: same time, I don't want to imply that this movie

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Speaker 1: particularly embodies any uh, any like at the time controversial

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Speaker 1: progressive social themes that I can think of. I don't

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Speaker 1: think it really does. I mean, it's it's just like

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Speaker 1: a horror, murder mystery movie. But it does have this

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Speaker 1: this harder edge from being in that early thirties period

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Speaker 1: that I think serves it quite well. Yeah. Absolutely, It's

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Speaker 1: just got a darker, weirder, more dangerous sensibility than stuff

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Speaker 1: you would normally expect to see, uh from movies of

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Speaker 1: the thirties. So then again, I would say, you know,

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Speaker 1: there are some that are in the postcode era that

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Speaker 1: that rival it in certain ways, like I don't know,

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Speaker 1: a Mad Love I think is sort of on the

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Speaker 1: on the same level. Yeah, but maybe we should give

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Speaker 1: the elevator pitch for this movie. Okay, So what's Doctor

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Speaker 1: X about? Okay, So imagine yourself at a medical academy

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Speaker 1: where absolutely every member of the faculty is a prime

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Speaker 1: suspect in the cannibalistic moon killer slangs like serial murders

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Speaker 1: that are taking a place at night during a full moon.

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Speaker 1: So we meet up with this character, doctor Xavier, Doctor Xavier,

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Speaker 1: we'll get into the various pronunciations, um, and he's heading

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Speaker 1: up the academy. The police have come to him and

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Speaker 1: they say, hey, we think the killer is one of

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Speaker 1: you guys, and the doctor, doctor x here says, give

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Speaker 1: me forty eight hours. I'll find the killer myself, so

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Speaker 1: the police don't have to get involved and we don't

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Speaker 1: have to get a lot of bad pr for the academy. Yeah,

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Speaker 1: it's a pretty great set up. Maybe we should hit

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Speaker 1: that trailer audio. We are all under suspicion of murder.

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Speaker 1: What absurd, ridiculous, what inbecial thought that I'm Lee Taylor

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Speaker 1: of the Daily World. Then you did it me if

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Speaker 1: you included that heart of the story father in this

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Speaker 1: morning's paper. Don't be afraid tonight. Be sure you keep

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Speaker 1: your eyes closed and relax. I'm land ten bucks to

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Speaker 1: a dime, which another moon one of us, maybe a murderer,

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Speaker 1: A murderer who killed but the light of a full

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Speaker 1: moon leading his victim's body mutilated. Sounds good? Sounds good.

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Speaker 1: Now we may have buried one of the leads here,

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Speaker 1: which is that this seed nineteen thirty two horror movie

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Speaker 1: about cannibalistic murders and synthetic flesh, was directed by Michael Curtiz,

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Speaker 1: the director of Casablanca. That's a pretty odd fact. So um.

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Speaker 1: Michael Curtiz was a Hungarian American film director who made

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Speaker 1: a lot of the most well regarded movies of Hollywood's

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Speaker 1: Golden Age. He made The Adventures of Robin Hood in

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Speaker 1: ninety eight with Errol Flynn, of course, Casablanca, and forty

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Speaker 1: two Mildred Pierce in nineteen five. He did at least

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Speaker 1: one James Cagney crime movie. So we are not dealing

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Speaker 1: with a with a Roger Corman type here. This is

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Speaker 1: not a scrappy schlock production, you know, for for kids

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Speaker 1: at the drive in. This is one of the era's

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Speaker 1: most high profile and successful directors. But there are ways

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Speaker 1: in which Curtis I think was much like Corman. And

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Speaker 1: one of those ways is that Curtiz was prolific, ferociously productive,

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Speaker 1: and he put out a staggering volume of film work

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Speaker 1: of sort of mixed staying power. Some of it, you know,

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Speaker 1: is considered classics movies like Casablanca. Other stuff is largely forgotten.

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Speaker 1: And he bounced all over genres. He directed musicals, western swashbucklers,

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Speaker 1: horror movies, biblical epics. Uh. And and another thing that's

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Speaker 1: interesting about him is that basically everybody who chronicles his

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Speaker 1: life points out that his personal habits took the idea

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Speaker 1: of staying busy to an almost fanatical extreme. Uh. There's

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Speaker 1: one example of this. Uh. It's a paragraph that I

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Speaker 1: came across when I was reading an article in The

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Speaker 1: l A Times by Kenneth Turin. That was a review

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Speaker 1: of a book called Michael Curtiz, A Life in Films

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Speaker 1: by Alan kay Road. And so turn writes the following.

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Speaker 1: Both on camera and off, Curtiz wanted things always to

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Speaker 1: be moving, hurdling cars and trains, and propulsive people figured

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Speaker 1: prominently in his films. Even the dark factory smoke in

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Speaker 1: the movie Female moves purposefully across the screen rather than

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Speaker 1: just evaporating lazily into thin air. Someone who is likely

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Speaker 1: easily bored and reportedly needed only four hours sleep. Curtiz

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Speaker 1: only wanted to be doing, doing, doing, which led to

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Speaker 1: difficult situations with his cast and crew. It's not just

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Speaker 1: that the director believed lunch breaks were for whimps. Road

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Speaker 1: notes that Curtiz is quote demonic work ethic, approached savagery,

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Speaker 1: and working conditions on his sets are said to have

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Speaker 1: been set are said to be one of the reasons

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Speaker 1: that the screen actors give old was formed. Oh wow,

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Speaker 1: So yeah, just say, just a hyperactive filmmaker who just

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Speaker 1: wanted to be working all the time and perhaps just

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Speaker 1: did not understand that other human beings either could not

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Speaker 1: do that or did not want that as the defining

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Speaker 1: energy of their life. Yeah. There, there was a whole

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Speaker 1: other thing. I was reading about his war against lunch. Like,

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Speaker 1: he hated lunch. He thought lunch was a stupid waste

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Speaker 1: of time and that actors were lazy after lunch, and

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Speaker 1: so he encouraged people to skip lunch because then there

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Speaker 1: would be more productive in the afternoon. Uh. I don't know,

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Speaker 1: it sounds borderline pathological, you know. I have to say

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Speaker 1: that I'm I'm ultimately not super familiar with with his work.

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Speaker 1: I saw Casablanca once for a film class in college

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Speaker 1: and and and enjoyed it. You know, it's an important film.

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Speaker 1: But I've seen Overdrawn in the memory Bank so many

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Speaker 1: times and so many more times than Casablanca, that the

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Speaker 1: simulated Casablanca scenes, you know, or drawn are the ones

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Speaker 1: my mind goes to when I think of Casta Blanca,

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Speaker 1: I think of Rale Julia right as as um as Rick.

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Speaker 1: It's not Rick, it's Finger, Yes, yes, Fingle, I get Rick,

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Speaker 1: Rick and Finger are one in my mind. Wait, who's

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Speaker 1: Peter Laurie and Overdrawn in the memory bank? They have

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Speaker 1: some guy doing like a really really you know, a

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Speaker 1: stereotypical Peter louri impersonation. I don't remember miss anybody connected

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Speaker 1: to the plot roll. Julia was actually a good actor,

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Speaker 1: and I bet he could have done a good Peter

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Speaker 1: Lourie impression. Oh I bet, yeah, he could have played

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Speaker 1: every role in that film. But I mean, I mean,

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Speaker 1: ral Julia is great in that film. He's great in everything.

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Speaker 1: But I would say curtis Is talent comes through and

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Speaker 1: doctor X. This is a This is a movie that

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Speaker 1: is busy. It moves, I mean, it's got a lot

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Speaker 1: of action. It is it does not lag. Yeah, there's

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Speaker 1: not a lot of space to be bored in this

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Speaker 1: in this film. Um. Another thing about Curtis, I don't

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Speaker 1: know if you ran across this. This is an I

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Speaker 1: am dB facts, so I don't know to what extent

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Speaker 1: we can take this as absolute truth or do he's

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Speaker 1: a story about him. But supposedly he fell out of

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Speaker 1: a moving vehicle once because he had to he had

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Speaker 1: some idea that he had to jot down. He had

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Speaker 1: to write down on some notepad paper he was driving

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Speaker 1: the vehicle at the time. That sounds about right. So

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Speaker 1: another interesting thing about this This film is not interesting

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Speaker 1: because of the names attached to it, but for what

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Speaker 1: it it tells you about about the various storytelling mediums

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Speaker 1: of the time. Uh. This was based on a play

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Speaker 1: by Howard Warren Comstock and Alan C. Miller. So back

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Speaker 1: in the day when I guess you just had more

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Speaker 1: genre plays you could you could have a cannibalistic serial

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Speaker 1: killer play that one might view. Yeah, that's interesting. Today,

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Speaker 1: if one goes out to see a play, it's almost

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Speaker 1: certainly going to be of you know, either either a

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Speaker 1: classical plays like you know, Greek or Shakespeare or something,

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Speaker 1: or if it's a modern play a it's like a

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Speaker 1: character driven drama or it's a comedy. But yeah, we've

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Speaker 1: forgotten the early twentieth century like genre plays in terms

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Speaker 1: of like bloody gory horror productions for the stage were

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Speaker 1: extremely common, like the the Grand gen y'all in in Paris. Um.

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Speaker 1: I don't know, in a way I missed this tradition,

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Speaker 1: like why don't high school theater groups do viciously bloody

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Speaker 1: Grand Gaen y'all. I'm sure you can still get those

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Speaker 1: scripts somewhere. They're probably even in the public domain. Yeah,

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Speaker 1: and they'd probably be pretty fun to put on. You

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Speaker 1: get some kids to do the special effects, all the

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Speaker 1: eyeballs squirting out and stuff. I mean, that could be good. Yeah. Well,

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Speaker 1: let's get into some of the players in this uh

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Speaker 1: this this picture. Okay, Well, you had an actor named

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Speaker 1: Lee Tracy in one of the main roles in the movie. Now,

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Speaker 1: Lee Tracy is not one of He doesn't play any

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Speaker 1: of the scientists. Instead, he plays Lee Taylor, who is

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Speaker 1: sort of the the everyman anchor for the story. He

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Speaker 1: is a reporter for a newspaper are called The Daily World.

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Speaker 1: He is a streetwise, fast talking newspaper hack the kind

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Speaker 1: of sardonic crime reporter character who appeared in a lot

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Speaker 1: of movies of this era and then would later be

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Speaker 1: sort of imitated or parodied for nostalgic recreations, like the

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Speaker 1: character of Alexander Knox and the Tim Burton Batman. Remember

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Speaker 1: that guy, Oh yes, yeah, yeah, played by an airless guy. Yeah,

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Speaker 1: Robert wool Yeah. He that that guy. I think is

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Speaker 1: supposed to be a throwback to this stock character from

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Speaker 1: thirties and forties movies. Yeah, Like you know what, the instant,

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Speaker 1: the instant a character like this walks on the screen

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Speaker 1: because they're like, Hey, what you got there, partner? Okay,

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Speaker 1: I'm gonna talk to you about this murder that's happening

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Speaker 1: all of it own. I am afraid to go out

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Speaker 1: of night because you know, it's it has this whole rhythm,

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Speaker 1: this cadence. It's an obvious trope. Um. I will say

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Speaker 1: that that Lee Tracy is is quite good in this role, though,

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Speaker 1: And and while it does contain all these elements of

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Speaker 1: the trope, it's SEMs to have some other fun quirks

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Speaker 1: added to it as well. So not only is he

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Speaker 1: this snappy newspaper man, but there's this whole thing where

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Speaker 1: he's a He seems to be a practical joke enthusiast

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Speaker 1: who often forgets that he's wearing one of these handshake buzzers,

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Speaker 1: you know, where he's like his wedding ring. He just

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Speaker 1: forgets it's on there. He just forgets his on and

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Speaker 1: and this gag actually works quite well in the picture

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Speaker 1: and plays into the plot a bit. So I applaud

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Speaker 1: that for making for making a trope that I'm instantly

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Speaker 1: not interested in actually entertaining. Yeah, yeah, I gotta hand

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Speaker 1: it to him for that as well. Um and Tracy,

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Speaker 1: I mean he he is this role. I mean he's

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Speaker 1: it's just in his bones, you can tell. Yeah. I

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Speaker 1: I read that he apparently played a lot of snappy

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Speaker 1: newspaper men. There's an attributed quote I found on IMDb quote,

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Speaker 1: I should have quit playing newspaper men after three or

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Speaker 1: four parts in the movies, but the money kept coming

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Speaker 1: in and I liked it. He liked it. It almost

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Speaker 1: sounds like a line his character would say in dr CT. Yeah,

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Speaker 1: I should have done it in his voice, but I

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Speaker 1: even I can't do that voice too up. Okay, So

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Speaker 1: then the next major player, you've got his Lionel at Will,

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Speaker 1: who plays a doctor. Oh my god, so they pronounced

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Speaker 1: his name like five different ways in this movie. It

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Speaker 1: is like professor Charles Xavier. It's Xavier Xavier or Xavier

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Speaker 1: is how I think most Americans would say it today.

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Speaker 1: But in the movie they call him doctor Xavier. They

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Speaker 1: call him doctors Xavier. I don't know how many different

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Speaker 1: ways they say it. And then of course he is

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Speaker 1: the titular doctor x But then in a way, the

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Speaker 1: title also has another meaning which we'll get to, and

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Speaker 1: that is doctor x is in Doctor Unknown. Right. Yes,

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Speaker 1: So Atwell is one of these actors who played a

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Speaker 1: ton of characters who are either inspectors or doctors. Uh.

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Speaker 1: In this he gets to play both. He's a doctor

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Speaker 1: who acts as an inspector, and sometimes he played villains

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Speaker 1: as well, such as the role of Moriarty and Sherlock

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Speaker 1: Holmes and The Secret Weapon from ninety three. And he

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Speaker 1: was also in a string of horror films in the

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Speaker 1: nineteen thirties. He he played the one inspector Krog in

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Speaker 1: Son of Frankenstein in nine, which I believe was It

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Speaker 1: was later parodied in um What is It? The mel

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Speaker 1: Brooks film Um Oh What? In Young Franken stuff. Yeah,

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Speaker 1: I believe they parody that roll little bit in there. Yeah,

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Speaker 1: but in this yes, he is. He is a doctor

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Speaker 1: who acts as an inspector, so he has a lot

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Speaker 1: of screen time. He's just constantly talking. Yeah, and he's

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Speaker 1: got a little bit slightly off brand Christopher Plumber vibes.

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Speaker 1: You know, he's a little bit Christopher Plumber but slightly

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Speaker 1: less dashing. Yes. And then there's also he does have

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Speaker 1: this quality to where, um, you're not sure if you

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Speaker 1: can trust him or not either. Like a lot of

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Speaker 1: the films, it centers around it who done it scenario,

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Speaker 1: And indeed you don't know what dr Xes deal is

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Speaker 1: as well. DR's a Views deal is. Yeah, it's great.

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Speaker 1: There's a cast of like seven different creeps who are

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Speaker 1: all testifying to each other's integrity. But they're all just

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Speaker 1: like the most ominous, menacing people you've ever seen. Yeah,

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Speaker 1: it's a real rogues gallery, this medical academy. We'll get

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Speaker 1: in like even without getting into the details of which

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Speaker 1: we'll get to, they all just look wonderful and grow

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Speaker 1: grotesque in their own ways. It's a wonderful We're not

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Speaker 1: going to list their name in the name of the actors,

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Speaker 1: because most of those names are probably not going to

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Speaker 1: really resonate with with listeners. They're worth looking up though,

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Speaker 1: if you're if you're curious, But yeah, they're like there's

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Speaker 1: so many scenes where you'll have like our leading Lady,

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Speaker 1: who are about to get to and she's talking like

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Speaker 1: a foot away or less with one of these characters,

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Speaker 1: and they're like, the lighting between the two characters is

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Speaker 1: so distinct because of course she is illuminated and beautiful

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Speaker 1: like an angel. And then these various character actors are

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Speaker 1: illuminated in ways to like really bring out the rugged

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Speaker 1: definition of their face and all the lines and make

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Speaker 1: them look like hollow, gaunt, haunted skeletons. It's wonderful that

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Speaker 1: that's very well put. Well, we should get to the

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Speaker 1: leading Lady because she, I think, is without a doubt,

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Speaker 1: the most well known member of the cast here. It's

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Speaker 1: Fay Ray. Fay Ray plays Joan Xavier, the daughter I

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Speaker 1: think the daughter, Yeah, the daughter of doctor I wasn't

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Speaker 1: clear on that for about half the picture. The daughter yeah, um,

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Speaker 1: and and I mean got this Faye from King Kong,

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Speaker 1: that's right, one of the original scream queens. Um. Yeah,

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Speaker 1: she played and Darrow in the nineteen thirty three film

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Speaker 1: King Kong, so she hadn't like fully exploded like King

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Speaker 1: Kong was the film that really launched her into the

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Speaker 1: spotlight in a major way. But she had a very

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Speaker 1: long career, so she she was born in Canada but

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Speaker 1: raised in Hollywood, so she interacting in an early age,

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Speaker 1: at sixteen, I believe in the nineteen short Gasolene Love.

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Speaker 1: She acted in a hundred and twenty three titles up

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Speaker 1: through nineteen eighty and as first standout roles she was

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Speaker 1: in the Most Dangerous Game and um a standout role

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Speaker 1: for us anyway would also be Mystery of the Wax

390
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Speaker 1: Museum from nineteen thirty three, which which we've mentioned on

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Speaker 1: Stuff to Blow your Mind before. She was in The

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Speaker 1: Vampire Bat nineteen thirty three, and uh, yeah, she she

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Speaker 1: she's a legend there. You can't deny her. In fact,

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Speaker 1: she is mentioned twice in the lyrics to the Rocky

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Speaker 1: Horror Picture Show. Um, so there's the the whole Uh,

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Speaker 1: there's a whole bit at the start of one of

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Speaker 1: the songs. Whatever happened to Fay Ray that delicate satin

398
00:22:19,040 --> 00:22:21,600
Speaker 1: draped frame as it clung to her thigh how I

399
00:22:21,640 --> 00:22:23,919
Speaker 1: started to cry because I wanted to be dressed just

400
00:22:23,960 --> 00:22:28,359
Speaker 1: the same. Does Dr Frankenfurter sing that, Yes, yeah, that's

401
00:22:29,520 --> 00:22:32,520
Speaker 1: one of the closing songs there. But she's also mentioned

402
00:22:32,520 --> 00:22:36,560
Speaker 1: in the lyrics to the opening number science Fiction Double Feature? Um,

403
00:22:36,600 --> 00:22:39,880
Speaker 1: as is this very movie? By the way, Dr X,

404
00:22:40,600 --> 00:22:44,400
Speaker 1: Dr X. There's of course, yeah where it goes science

405
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Speaker 1: fiction double Feature, Doctor X will build a creature. Very nice.

406
00:22:53,880 --> 00:22:57,159
Speaker 1: That's my riff raff. Uh So anyway, I like, you know,

407
00:22:57,240 --> 00:23:00,400
Speaker 1: Fay Ray Hollywood icon and Dr X in its own

408
00:23:00,440 --> 00:23:03,119
Speaker 1: way is um he's also part of the like the

409
00:23:03,200 --> 00:23:07,119
Speaker 1: legacy of of genre filmmaking here. So I've been hearing

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Speaker 1: Doctor X all this time, uh, watching and listening to

411
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Speaker 1: Rocky Hard Picture Show, and I never really looked up

412
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Speaker 1: what that was, but it's clearly a reference to this film.

413
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Speaker 1: It almost sounds like it could be just a stock

414
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Speaker 1: character reference, like it wouldn't have to be a real

415
00:23:21,520 --> 00:23:24,879
Speaker 1: character from something. Yeah, because it sounds it sounds like

416
00:23:24,920 --> 00:23:27,679
Speaker 1: a stock character Doctor X. You know, he's clearly a

417
00:23:27,680 --> 00:23:30,840
Speaker 1: mad scientist of some sort. Right right now, There's another

418
00:23:31,080 --> 00:23:33,520
Speaker 1: strange feature of this movie that I wanted to mention,

419
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Speaker 1: which is that this is nineteen thirty two, but the

420
00:23:36,760 --> 00:23:40,320
Speaker 1: movie is sort of in color. It was made via

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00:23:40,400 --> 00:23:43,320
Speaker 1: a process that they were they were that they were

422
00:23:43,320 --> 00:23:47,280
Speaker 1: trying to get going at the time called two color Technicolor. Uh.

423
00:23:47,280 --> 00:23:50,240
Speaker 1: It's sort of a strange technical interlude in the history

424
00:23:50,280 --> 00:23:54,520
Speaker 1: of film. The movie is not exactly in full color.

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00:23:54,640 --> 00:23:56,680
Speaker 1: There are a lot of hues that don't get captured.

426
00:23:56,720 --> 00:24:00,240
Speaker 1: You're not going to get accurate purples and blue s

427
00:24:00,320 --> 00:24:03,359
Speaker 1: and yellows and all that. But it's definitely not in

428
00:24:03,440 --> 00:24:06,280
Speaker 1: black and white. Though there was an alternate version of

429
00:24:06,320 --> 00:24:09,160
Speaker 1: the film that was shot in black and white. I've

430
00:24:09,160 --> 00:24:12,560
Speaker 1: read that it's almost identical in content except for some

431
00:24:12,640 --> 00:24:15,159
Speaker 1: minor changes to ad libs in the dialogue. But there

432
00:24:15,160 --> 00:24:18,000
Speaker 1: are two versions of this movie that were shot, one

433
00:24:18,080 --> 00:24:21,600
Speaker 1: for black and white projectors and one for the Technicolor version,

434
00:24:22,119 --> 00:24:24,520
Speaker 1: and this I think was the product of a deal

435
00:24:24,600 --> 00:24:28,840
Speaker 1: between Technicolor and Warner Brothers. Apparently Technicolor was not happy

436
00:24:28,880 --> 00:24:31,160
Speaker 1: with the fact that an alternate black and white version

437
00:24:31,160 --> 00:24:34,720
Speaker 1: of the film was produced. Um so it's kind of

438
00:24:34,720 --> 00:24:37,639
Speaker 1: hard to describe exactly how it looks, but it's sort

439
00:24:37,680 --> 00:24:41,640
Speaker 1: of in color. Certain types of colors and shades come

440
00:24:41,720 --> 00:24:46,760
Speaker 1: through the dominant ranges of the movie seemed to be

441
00:24:46,840 --> 00:24:49,760
Speaker 1: sort of like green and orange, and I think that's

442
00:24:49,800 --> 00:24:53,359
Speaker 1: because the two color process used two filters, one was

443
00:24:53,400 --> 00:24:55,960
Speaker 1: green and one was red. And I would say this

444
00:24:56,000 --> 00:24:58,359
Speaker 1: two color spectrum would not be a good fit for

445
00:24:58,400 --> 00:25:01,280
Speaker 1: every film, but if like it sort of works in

446
00:25:01,320 --> 00:25:04,600
Speaker 1: this one, it's kind of appropriate because it suggests this

447
00:25:04,800 --> 00:25:08,640
Speaker 1: diseased world of orange light that's kind of shining through

448
00:25:08,680 --> 00:25:11,359
Speaker 1: the glass of a beer bottle. But also with this

449
00:25:11,480 --> 00:25:15,440
Speaker 1: atmosphere of green fog, it works for dr X. Yeah.

450
00:25:15,600 --> 00:25:17,879
Speaker 1: It uh. It kind of has this dope theend vibe

451
00:25:17,880 --> 00:25:20,000
Speaker 1: to it, which is fitting because there is a quote

452
00:25:20,080 --> 00:25:23,159
Speaker 1: unquote dope fend at what point in this film, another

453
00:25:23,200 --> 00:25:26,320
Speaker 1: thing that you wouldn't get with the code. Yeah, so

454
00:25:26,640 --> 00:25:29,600
Speaker 1: I agree. I think it absolutely works here. If if

455
00:25:29,640 --> 00:25:31,920
Speaker 1: you run across a black and white copy of this film,

456
00:25:31,960 --> 00:25:34,359
Speaker 1: don't watch it, watch the technicolor one, because if black

457
00:25:34,400 --> 00:25:36,800
Speaker 1: and white is the spectrum of truth and art for

458
00:25:36,840 --> 00:25:40,760
Speaker 1: filmmaking of the time, then then it feels appropriate that

459
00:25:40,760 --> 00:25:45,439
Speaker 1: we have this alternate unreality of technicolor in this film. Plus,

460
00:25:45,440 --> 00:25:48,720
Speaker 1: there are elements of the flesh, of the synthetic flesh

461
00:25:48,800 --> 00:25:51,240
Speaker 1: that I think really pop well with the color, Like

462
00:25:51,280 --> 00:25:54,159
Speaker 1: I imagine they would have been equally creepy in some

463
00:25:54,280 --> 00:25:57,080
Speaker 1: respects in black and white. But the color, oh, it

464
00:25:57,119 --> 00:26:00,320
Speaker 1: really makes it work. I agree, and especially because such

465
00:26:00,400 --> 00:26:04,119
Speaker 1: an unnatural color schema. But by the way, if you

466
00:26:04,160 --> 00:26:07,000
Speaker 1: want more information on the two color process, the George

467
00:26:07,040 --> 00:26:10,160
Speaker 1: Eastman Museum has a video I found that you can

468
00:26:10,160 --> 00:26:13,280
Speaker 1: find it on YouTube that explains the technical details of

469
00:26:13,440 --> 00:26:17,000
Speaker 1: the process. And one of the things that video points

470
00:26:17,000 --> 00:26:20,320
Speaker 1: out is that the physical characteristics of the two color

471
00:26:20,400 --> 00:26:24,000
Speaker 1: film made it especially prone to scratching. And as soon

472
00:26:24,040 --> 00:26:26,240
Speaker 1: as I saw that, I was like, oh, yep, because

473
00:26:26,400 --> 00:26:29,359
Speaker 1: dr X, at least the version that I streamed is

474
00:26:29,440 --> 00:26:33,440
Speaker 1: full of scratches, long lines running vertically across the frame

475
00:26:33,480 --> 00:26:37,000
Speaker 1: for whole scenes. Yeah. Same here. I streamed it through iTunes,

476
00:26:37,040 --> 00:26:40,600
Speaker 1: I believe, and uh, the same situation. But but I

477
00:26:40,640 --> 00:26:42,520
Speaker 1: like it. I like seeing those flaws in it, you know,

478
00:26:42,800 --> 00:26:53,840
Speaker 1: especially for a film from this period. Totally. Okay, Well,

479
00:26:53,880 --> 00:26:56,080
Speaker 1: are you ready to get into the full plot breakdown?

480
00:26:56,520 --> 00:26:59,840
Speaker 1: Let's do it, alright, So we start with titling credits,

481
00:26:59,840 --> 00:27:03,760
Speaker 1: and then we we opened on a kind of seedy wharf.

482
00:27:03,800 --> 00:27:06,960
Speaker 1: There's a tug boat floating in the background, and a

483
00:27:07,000 --> 00:27:10,840
Speaker 1: policeman strolls by, whistling in the dark, and it's revealed

484
00:27:10,840 --> 00:27:12,399
Speaker 1: that we're out in front of a building with a

485
00:27:12,480 --> 00:27:16,240
Speaker 1: sign that reads the Mott Street Morgue. And then there's

486
00:27:16,240 --> 00:27:19,800
Speaker 1: a man in a long coat and Fedora skulking around outside.

487
00:27:19,800 --> 00:27:22,560
Speaker 1: He's kind of hiding behind some barrels. He's smoking a

488
00:27:22,600 --> 00:27:25,080
Speaker 1: cigarette and then he looks up at the sky and

489
00:27:25,119 --> 00:27:28,000
Speaker 1: sees a full moon and I think burns himself with

490
00:27:28,000 --> 00:27:30,880
Speaker 1: his cigarette match and he says, are you bad luck?

491
00:27:30,960 --> 00:27:33,920
Speaker 1: I guess talking to the moon. And it turns out

492
00:27:33,960 --> 00:27:36,440
Speaker 1: that this is our our hero in a way. Lee

493
00:27:36,480 --> 00:27:40,600
Speaker 1: Taylor played by Lee Tracy, the crime reporter, and bad

494
00:27:40,680 --> 00:27:42,800
Speaker 1: luck is sort of his catchphrase. He says it like

495
00:27:42,880 --> 00:27:46,840
Speaker 1: eight times in the movie. And he is down here

496
00:27:46,840 --> 00:27:49,040
Speaker 1: at the Mott Street Morgue because he's trying to chase

497
00:27:49,119 --> 00:27:52,959
Speaker 1: down a grizzly lead. There have been a string of

498
00:27:53,000 --> 00:27:55,600
Speaker 1: horrifying murders in the city in recent months. I think

499
00:27:55,640 --> 00:27:57,280
Speaker 1: it's supposed to be in New York City. I'm not

500
00:27:57,480 --> 00:28:01,159
Speaker 1: quite sure, but that was that the impression got. I

501
00:28:01,240 --> 00:28:03,480
Speaker 1: just got a sense of it being the city, you

502
00:28:03,520 --> 00:28:06,280
Speaker 1: know that the sort of eternal cinematic city that that

503
00:28:06,359 --> 00:28:10,040
Speaker 1: could be any major metropolis of the day. It's dark city, Yeah,

504
00:28:10,080 --> 00:28:14,960
Speaker 1: basically basically dark city. But so these murderers apparently all

505
00:28:15,000 --> 00:28:17,199
Speaker 1: take place on the night of the full moon, and

506
00:28:17,200 --> 00:28:20,600
Speaker 1: there's a full moon tonight. So while he's hanging out

507
00:28:20,600 --> 00:28:24,000
Speaker 1: outside the morgue, authorities are bringing a body in and

508
00:28:24,040 --> 00:28:27,320
Speaker 1: Taylor thinks it might be another victim of the dreaded

509
00:28:27,520 --> 00:28:31,760
Speaker 1: moon killer. Now there's an entourage that goes into the morgue,

510
00:28:31,760 --> 00:28:33,680
Speaker 1: gets a bunch of cops, and then it's this one

511
00:28:33,720 --> 00:28:37,159
Speaker 1: guy in a coat with super silky fur lapels and

512
00:28:37,200 --> 00:28:39,680
Speaker 1: I think that's Dr X that's going in there. But

513
00:28:39,760 --> 00:28:42,880
Speaker 1: it's funny because he's folding these fur lapels under his

514
00:28:42,960 --> 00:28:45,280
Speaker 1: chin while he's entering the building, and he looks like

515
00:28:45,320 --> 00:28:48,920
Speaker 1: Cruella de Ville. Yeah. They all have a very suspicious

516
00:28:49,080 --> 00:28:52,440
Speaker 1: villain as look to them. Yeah. So Taylor tries to

517
00:28:52,440 --> 00:28:54,160
Speaker 1: get into the morgue but they won't let him in,

518
00:28:54,200 --> 00:28:56,960
Speaker 1: and then he goes down the street, apparently to a brothel.

519
00:28:57,080 --> 00:28:59,440
Speaker 1: I think that's what that's supposed to be. Yeah, I think.

520
00:28:59,520 --> 00:29:02,160
Speaker 1: So where uses the telephone? He makes a phone call

521
00:29:02,320 --> 00:29:04,720
Speaker 1: to uh to the night desk of his paper, The

522
00:29:04,800 --> 00:29:07,520
Speaker 1: Daily World, and he's out here complaining. He's like, I

523
00:29:07,560 --> 00:29:10,080
Speaker 1: can't get any dope. And the guy at the night

524
00:29:10,120 --> 00:29:13,120
Speaker 1: desk is not very interested. And then he says to

525
00:29:13,200 --> 00:29:16,440
Speaker 1: the to the editor here, he goes, listen to your lunkhead,

526
00:29:16,520 --> 00:29:19,080
Speaker 1: I'm not clowning. Look out the window, will you. And

527
00:29:19,160 --> 00:29:21,360
Speaker 1: so the guy at the nightdesk looks out the window

528
00:29:21,400 --> 00:29:25,080
Speaker 1: and it's a full moon, and oh, I think. Then

529
00:29:25,120 --> 00:29:27,960
Speaker 1: he gets it. He thinks, oh, it may be another

530
00:29:28,000 --> 00:29:31,040
Speaker 1: moon killer murder. And so the night desk editor is

531
00:29:31,080 --> 00:29:33,200
Speaker 1: impressed by this, and he's like, Okay, see what you

532
00:29:33,240 --> 00:29:36,600
Speaker 1: can dig up. And so then Lee Taylor goes around

533
00:29:36,600 --> 00:29:38,719
Speaker 1: trying to get some leads. He tries to chat up

534
00:29:38,720 --> 00:29:40,480
Speaker 1: a beat cop to see if he can get any

535
00:29:40,480 --> 00:29:44,280
Speaker 1: info and uh. In the course of their conversation, Taylor is,

536
00:29:44,360 --> 00:29:46,320
Speaker 1: as we said earlier, revealed to be kind of a

537
00:29:46,360 --> 00:29:49,640
Speaker 1: prankster because he's zapps the cop with a hand buzzer.

538
00:29:51,400 --> 00:29:54,040
Speaker 1: It's not a good idea, no, I mean, luckily, this

539
00:29:54,040 --> 00:29:56,640
Speaker 1: this cop is like the roundest um. This is the

540
00:29:56,640 --> 00:29:58,600
Speaker 1: softest copy you've ever seen in your life. In this

541
00:29:58,720 --> 00:30:04,480
Speaker 1: picture he's sweetheart. Yeah. Uh, and even he and after,

542
00:30:04,640 --> 00:30:07,520
Speaker 1: after they're chatting, he gives Taylor a cigar. He's like, here,

543
00:30:07,640 --> 00:30:09,640
Speaker 1: some guy gave me this. You know you you can

544
00:30:09,680 --> 00:30:12,080
Speaker 1: have it. And I think maybe Taylor asked him for

545
00:30:12,080 --> 00:30:13,959
Speaker 1: a smoke or something, but he gives him the smart

546
00:30:14,720 --> 00:30:16,640
Speaker 1: and then we got two inside the morgue and then

547
00:30:16,680 --> 00:30:19,840
Speaker 1: things start getting really interesting because here is an autopsy

548
00:30:19,920 --> 00:30:22,560
Speaker 1: scene and Rob, I know you love a good autopsy scene.

549
00:30:22,800 --> 00:30:24,840
Speaker 1: I do, and yeah, this one kicks it off right.

550
00:30:25,400 --> 00:30:30,360
Speaker 1: So Dr Xavier. Dr Xavier is examining the victim's body

551
00:30:30,360 --> 00:30:33,120
Speaker 1: while the police detectives look on, and there's this great

552
00:30:33,160 --> 00:30:36,520
Speaker 1: shot of the doctor silhouette behind a raised shroud like

553
00:30:36,640 --> 00:30:38,600
Speaker 1: so they're lifting it up off the body and you

554
00:30:38,680 --> 00:30:41,560
Speaker 1: just see him as a shadow operating behind it, but

555
00:30:41,640 --> 00:30:44,560
Speaker 1: with his reflector on top of his head and everything's

556
00:30:44,920 --> 00:30:46,960
Speaker 1: I don't know, it looks kind of like horns or something.

557
00:30:48,040 --> 00:30:50,960
Speaker 1: And so the police asked him, what's your theory, doctor,

558
00:30:51,120 --> 00:30:56,240
Speaker 1: and he says it's strangulation by terrifically powerful hands. And

559
00:30:56,280 --> 00:30:58,040
Speaker 1: then they asked him about, well, what do you think

560
00:30:58,040 --> 00:31:02,200
Speaker 1: of this incision at the base of brain and Dr

561
00:31:02,480 --> 00:31:06,480
Speaker 1: x says, obviously made by some type of scalpel used

562
00:31:06,480 --> 00:31:10,360
Speaker 1: for brain dissecting. The word scal pell is said like

563
00:31:10,400 --> 00:31:14,560
Speaker 1: that multiple times, So that's already shocking, right strangulation and

564
00:31:14,640 --> 00:31:17,160
Speaker 1: an incision at the base of the brain whatever that's

565
00:31:17,160 --> 00:31:20,600
Speaker 1: supposed to mean. But then you know, here we get

566
00:31:20,600 --> 00:31:24,320
Speaker 1: a but wait, there's more moment. The left del toyed

567
00:31:24,440 --> 00:31:28,400
Speaker 1: muscle is missing from the victim and one of the

568
00:31:28,400 --> 00:31:31,680
Speaker 1: cops asks, uh, it was torn right out and doctor

569
00:31:31,840 --> 00:31:37,080
Speaker 1: X says it wasn't torn gentlemen, this is cannibalism. I

570
00:31:37,120 --> 00:31:41,360
Speaker 1: don't know how can he tell that? Like, he doesn't

571
00:31:41,360 --> 00:31:43,200
Speaker 1: say that their teeth marks or that it looks like

572
00:31:43,240 --> 00:31:47,200
Speaker 1: he was chewed out. He doesn't go into detail and say, well,

573
00:31:47,200 --> 00:31:50,400
Speaker 1: this is a traditional like butchering cut or something like. No,

574
00:31:50,960 --> 00:31:54,200
Speaker 1: I just can tell this is cannibalism. And it's firmly

575
00:31:54,280 --> 00:31:57,560
Speaker 1: established and not questioned. It's the chuck portion of the human.

576
00:31:59,080 --> 00:32:01,920
Speaker 1: But so, okay, we established the Moon Killers m O

577
00:32:02,200 --> 00:32:06,560
Speaker 1: strangulation by terrifically powerful hands, incision by scalpel at the

578
00:32:06,600 --> 00:32:10,920
Speaker 1: base of the brain, and then eating the victim's left shoulder. Uh.

579
00:32:10,960 --> 00:32:13,320
Speaker 1: And it makes me think this is a really overachieving

580
00:32:13,400 --> 00:32:16,240
Speaker 1: serial killer, like they're trying to get extra credit. Yeah,

581
00:32:16,280 --> 00:32:18,440
Speaker 1: but he stands out. You know, it's like I'm instantly

582
00:32:18,520 --> 00:32:21,520
Speaker 1: I watched this and I hear this, and I think

583
00:32:21,520 --> 00:32:24,920
Speaker 1: to myself, well, I haven't come across this exact combination before.

584
00:32:25,000 --> 00:32:28,600
Speaker 1: We're in fresh territory with this picture. I agree. So

585
00:32:28,720 --> 00:32:30,880
Speaker 1: they say this is the sixth the murder in a row,

586
00:32:31,160 --> 00:32:34,400
Speaker 1: all committed during a full moon by means of strangulation

587
00:32:34,560 --> 00:32:38,520
Speaker 1: and incision with a strange surgical knife. So why is

588
00:32:38,560 --> 00:32:40,880
Speaker 1: the killer doing this? The police want to know, and

589
00:32:40,920 --> 00:32:45,000
Speaker 1: then Dr X gets into some brilliant speculation. He says

590
00:32:45,400 --> 00:32:48,280
Speaker 1: the killer is quote a neurotic, of course, some poor

591
00:32:48,320 --> 00:32:52,000
Speaker 1: devil suffering from a fixation, a not or kink tied

592
00:32:52,040 --> 00:32:55,959
Speaker 1: in the brain from some past experience. And then he

593
00:32:56,000 --> 00:32:58,760
Speaker 1: says that that about of madness comes on for the

594
00:32:58,840 --> 00:33:01,920
Speaker 1: killer whenever he's con fronted with a vivid reminder of

595
00:33:01,960 --> 00:33:06,560
Speaker 1: the past. And the policeman is skeptical, but Doctor X insists.

596
00:33:06,640 --> 00:33:10,360
Speaker 1: He says, I tell you that locked in each human

597
00:33:10,440 --> 00:33:14,560
Speaker 1: skull is a little world all its own. And uh,

598
00:33:14,600 --> 00:33:16,840
Speaker 1: and so the police want to know, well, what's the reminder,

599
00:33:16,960 --> 00:33:20,200
Speaker 1: what's the thing that's that's triggering the killer to do this,

600
00:33:20,760 --> 00:33:23,160
Speaker 1: and Dr X says, He says it could be anything,

601
00:33:23,200 --> 00:33:26,080
Speaker 1: the side of the sea, the full moon. Every time

602
00:33:26,080 --> 00:33:29,080
Speaker 1: he sees it, he's forced to relive the original moment

603
00:33:29,160 --> 00:33:33,120
Speaker 1: that drove him mad. Now this is great too, because

604
00:33:33,120 --> 00:33:36,400
Speaker 1: we we learned that this is Doctor x is specialty,

605
00:33:36,440 --> 00:33:39,600
Speaker 1: this is his area of study, and so of course

606
00:33:39,920 --> 00:33:44,080
Speaker 1: this is tied into his um his hypothesis for the murders.

607
00:33:44,360 --> 00:33:46,640
Speaker 1: It's the same way. You know, if if Terence McKenna

608
00:33:46,720 --> 00:33:49,880
Speaker 1: had been called upon to and to uh to inspect

609
00:33:49,920 --> 00:33:52,600
Speaker 1: these murders, he would have said, I believe it probably

610
00:33:52,640 --> 00:33:56,280
Speaker 1: had something to do with psychedelic mushrooms. Yep, yep, yep, yep.

611
00:33:57,200 --> 00:34:00,720
Speaker 1: Very good comparison. Um. So, anyway, Doctor X has given

612
00:34:00,760 --> 00:34:03,560
Speaker 1: his professional opinion. He's about to leave, but then the

613
00:34:03,560 --> 00:34:06,640
Speaker 1: police flipped the script on him. Turns out they were

614
00:34:06,680 --> 00:34:10,200
Speaker 1: sort of entrapping him here. All of the murders they

615
00:34:10,239 --> 00:34:13,840
Speaker 1: reveal have taken place just in the vicinity of his

616
00:34:13,920 --> 00:34:18,440
Speaker 1: medical academy. And what's more, the strange incisions made on

617
00:34:18,480 --> 00:34:21,640
Speaker 1: the victims at the base of the brain have been

618
00:34:21,680 --> 00:34:26,239
Speaker 1: traced to a special Austrian scalpel that is only in

619
00:34:26,320 --> 00:34:30,720
Speaker 1: the possession of Dr Xavier's facilities. So the medical supply

620
00:34:30,800 --> 00:34:33,719
Speaker 1: companies confirm that no one else in the country has

621
00:34:33,760 --> 00:34:36,200
Speaker 1: a knife Like this seems like it would be hard

622
00:34:36,200 --> 00:34:39,080
Speaker 1: to determine that, but that's what they say. And at first,

623
00:34:39,320 --> 00:34:44,080
Speaker 1: uh Dr Xavier is indignant and offended. He says, his

624
00:34:44,120 --> 00:34:48,160
Speaker 1: students and faculty are exclusively of the highest integrity. This

625
00:34:48,239 --> 00:34:53,239
Speaker 1: is impossible. Yeah, So so again, were we find out that, um,

626
00:34:53,800 --> 00:34:57,920
Speaker 1: the murderer is definitely somebody at the academy. Um. But

627
00:34:58,000 --> 00:35:00,480
Speaker 1: then as we begin to to meet the members of

628
00:35:00,480 --> 00:35:02,680
Speaker 1: the academy, we we will learn and we'll get into

629
00:35:02,760 --> 00:35:07,200
Speaker 1: details here. Everybody is highly suspect and has ties to

630
00:35:07,480 --> 00:35:11,400
Speaker 1: cannibalism or the study of cannibalism or some other elements.

631
00:35:11,400 --> 00:35:13,920
Speaker 1: So it's it's it's wonderfully put together, Like you can

632
00:35:13,960 --> 00:35:17,479
Speaker 1: imagine a spreadsheet and you're like, okay, everybody checks off

633
00:35:17,680 --> 00:35:21,360
Speaker 1: like two things on this list. There's no real standout

634
00:35:21,400 --> 00:35:24,520
Speaker 1: candidate here. Yeah, it's like you imagine hiring at this

635
00:35:24,600 --> 00:35:27,160
Speaker 1: medical academy. It involves like, you know, must have five

636
00:35:27,239 --> 00:35:32,799
Speaker 1: years of experience, must have eaten a human. But so,

637
00:35:33,080 --> 00:35:37,120
Speaker 1: uh Professor x offers a compromise. He says, look, don't

638
00:35:37,160 --> 00:35:40,919
Speaker 1: you investigate the people in my academy. Let me investigate

639
00:35:40,960 --> 00:35:45,080
Speaker 1: my academy in my own way, and the detectives want

640
00:35:45,120 --> 00:35:46,680
Speaker 1: to know. Then they're like, well, how would you catch

641
00:35:46,719 --> 00:35:49,359
Speaker 1: the killer? And then I had to write down Dr

642
00:35:49,600 --> 00:35:52,040
Speaker 1: X's response because I thought it was great. He says,

643
00:35:52,560 --> 00:35:57,000
Speaker 1: by immediately studying the pathological reactions of every man placed

644
00:35:57,080 --> 00:36:01,000
Speaker 1: under suspicion, then trapped the guilt t one by a

645
00:36:01,080 --> 00:36:08,960
Speaker 1: brain examination. Science. Oh, there is so much science exclamation

646
00:36:09,040 --> 00:36:11,640
Speaker 1: point in this movie. There is. There is an awful

647
00:36:11,800 --> 00:36:18,240
Speaker 1: lot of uh, very funny, implausible technobabble and scientific words

648
00:36:18,280 --> 00:36:21,319
Speaker 1: being used in a context that makes no sense. Yeah.

649
00:36:21,360 --> 00:36:24,279
Speaker 1: If you watch this film, I advise you to not

650
00:36:24,440 --> 00:36:27,359
Speaker 1: try and think too hard about anything science that any

651
00:36:27,440 --> 00:36:30,000
Speaker 1: characters say, because none of it really adds up. That

652
00:36:30,120 --> 00:36:31,600
Speaker 1: it will just hurt your brain if you try and

653
00:36:31,600 --> 00:36:35,320
Speaker 1: make sense of it. Yeah. Um so, anyway, the Dr

654
00:36:35,560 --> 00:36:38,239
Speaker 1: X and the detectives agree. You know, Dr X will

655
00:36:38,280 --> 00:36:41,239
Speaker 1: investigate the people in his academy on his own. There

656
00:36:41,239 --> 00:36:45,040
Speaker 1: will be no publicity, the press cannot know. And then

657
00:36:45,080 --> 00:36:48,040
Speaker 1: after they leave the room, one of the sheet draped

658
00:36:48,080 --> 00:36:51,120
Speaker 1: corpses in the morgue suddenly sits up is it someone

659
00:36:51,160 --> 00:36:54,360
Speaker 1: who has risen from the dead. No, it's old Lee Tailor,

660
00:36:54,400 --> 00:36:58,320
Speaker 1: the fast talking reporter. He's been snooping disguised as a cadaver.

661
00:36:58,440 --> 00:37:01,120
Speaker 1: He's even got a little tag on his toe. He's

662
00:37:01,160 --> 00:37:03,799
Speaker 1: just so scrappy he can't can't keep him away from

663
00:37:03,800 --> 00:37:06,880
Speaker 1: the story. Now, I have to say, I think this

664
00:37:06,920 --> 00:37:09,520
Speaker 1: is all pretty fun set up, with the whole situation

665
00:37:09,600 --> 00:37:12,759
Speaker 1: where Xavier has given the chance to solve this internally

666
00:37:12,840 --> 00:37:17,040
Speaker 1: before the authorities move in. Because, weirdly, having just watched

667
00:37:17,040 --> 00:37:19,840
Speaker 1: the latest TV adaptation of the Name of the Rose,

668
00:37:20,360 --> 00:37:23,600
Speaker 1: this is essentially the same predicament that Brother William finds

669
00:37:23,640 --> 00:37:25,719
Speaker 1: himself in in the Name of the Rows, solve the

670
00:37:25,760 --> 00:37:29,720
Speaker 1: murders in the abbey internally before the papal inquisitor Bernardo

671
00:37:29,800 --> 00:37:32,680
Speaker 1: Goose shows up and makes a bigger to do out

672
00:37:32,719 --> 00:37:36,520
Speaker 1: of everything. Right now, I will say Dr X is

673
00:37:36,600 --> 00:37:40,400
Speaker 1: no William of Baskerville. But but he's I don't know,

674
00:37:40,440 --> 00:37:43,360
Speaker 1: he's a clever guy though. He see. If I have

675
00:37:43,520 --> 00:37:46,880
Speaker 1: any major criticism of Doctor X, it is the Doctor

676
00:37:47,040 --> 00:37:50,280
Speaker 1: X is far too trusting. I mean, just like every

677
00:37:50,440 --> 00:37:53,080
Speaker 1: like creep and weirdo he comes across, he's like that.

678
00:37:53,239 --> 00:37:56,440
Speaker 1: He couldn't possibly have done anything bad. Yes, he ate

679
00:37:56,520 --> 00:38:00,200
Speaker 1: human flesh once, not twice tops, but he's as good

680
00:38:00,200 --> 00:38:02,400
Speaker 1: heart I trust him completely, writes poetry and his spad

681
00:38:02,400 --> 00:38:05,000
Speaker 1: time for gospe. Yeah, that actually happens, So we'll get

682
00:38:05,000 --> 00:38:09,680
Speaker 1: to that. So so we follow Xavier and the detect

683
00:38:09,760 --> 00:38:12,160
Speaker 1: I'm sorry, I keep saying in different ways, so I'll

684
00:38:12,160 --> 00:38:14,600
Speaker 1: just say Dr X the rest of the time. I'll

685
00:38:14,600 --> 00:38:16,960
Speaker 1: probably fail at that too. But we follow Dr X

686
00:38:17,000 --> 00:38:20,720
Speaker 1: and the detectives to his surgical academy and we begin

687
00:38:20,840 --> 00:38:23,359
Speaker 1: to meet the other characters. Now, first we meet Joe

688
00:38:23,440 --> 00:38:28,040
Speaker 1: Anne or Joan characters call her both names, and she

689
00:38:28,280 --> 00:38:31,759
Speaker 1: is Dr X's daughter. This is fay Ray here, but

690
00:38:31,880 --> 00:38:34,200
Speaker 1: she doesn't appear to be a suspect. So the police

691
00:38:34,200 --> 00:38:36,719
Speaker 1: are interested in in meeting some of the suspects, and

692
00:38:36,719 --> 00:38:40,040
Speaker 1: they want to interview these other faculty members. So first

693
00:38:40,120 --> 00:38:43,640
Speaker 1: up is Dr Wells, and it just happens to turn

694
00:38:43,680 --> 00:38:46,440
Speaker 1: out Dr X mentions, oh, well, he is a student

695
00:38:46,520 --> 00:38:50,840
Speaker 1: of cannibalism. He's written a book about cannibalism, and this

696
00:38:50,960 --> 00:38:53,319
Speaker 1: makes the attention of the police. And then when they

697
00:38:53,360 --> 00:38:56,600
Speaker 1: go to interview him, he's hunched over a lab table

698
00:38:57,000 --> 00:39:00,319
Speaker 1: with a jar containing a beating heart, and then he

699
00:39:00,360 --> 00:39:03,160
Speaker 1: claims that he has kept this hard alive for three

700
00:39:03,239 --> 00:39:07,200
Speaker 1: years through the power of electrolysis. I do not think

701
00:39:07,280 --> 00:39:09,440
Speaker 1: that is a correct use of the word whatever they

702
00:39:09,480 --> 00:39:12,400
Speaker 1: had in mind. I think electrolysis is the decomposition of

703
00:39:12,480 --> 00:39:16,279
Speaker 1: chemical compounds by the application of electric current. I'm not

704
00:39:16,320 --> 00:39:18,840
Speaker 1: sure how that would keep a heart alive. Yeah, again,

705
00:39:19,000 --> 00:39:22,200
Speaker 1: don't think too too much about anything science e that's

706
00:39:22,200 --> 00:39:25,280
Speaker 1: brought up in this film. Okay, I apologize. He's generally

707
00:39:25,280 --> 00:39:27,800
Speaker 1: said in a very nice British accent, so just accepted.

708
00:39:29,000 --> 00:39:32,560
Speaker 1: I gotta say in a weird way, like Dr Wells

709
00:39:32,640 --> 00:39:34,839
Speaker 1: has a has a creepy vibe, but he's also kind

710
00:39:34,880 --> 00:39:37,080
Speaker 1: of a hunk, Like he's got wild hair and a

711
00:39:37,120 --> 00:39:40,880
Speaker 1: five o'clock shadow and kind of a deep voice. Um.

712
00:39:41,000 --> 00:39:44,000
Speaker 1: And I don't know if this is ever remarked upon. Again,

713
00:39:44,040 --> 00:39:46,359
Speaker 1: I'm not sure what this meant. But there's a pair

714
00:39:46,360 --> 00:39:48,799
Speaker 1: of boots in the corner of the room that are

715
00:39:48,880 --> 00:39:51,680
Speaker 1: bubbling as if they have been dipped in toxic goop,

716
00:39:51,760 --> 00:39:54,680
Speaker 1: and the detectives just gonna look at them and notice them,

717
00:39:54,960 --> 00:40:00,040
Speaker 1: and then I don't they're on a radiator. Yeah, and

718
00:40:00,160 --> 00:40:02,600
Speaker 1: figure out. It's like, are there boots melting on the radiator?

719
00:40:02,880 --> 00:40:05,160
Speaker 1: I wasn't sure what was happening there. Yeah, I don't

720
00:40:05,160 --> 00:40:07,240
Speaker 1: think that ever came up again, or if it did,

721
00:40:07,040 --> 00:40:10,040
Speaker 1: I didn't notice it. But it looked nice. Yeah, it

722
00:40:10,120 --> 00:40:13,160
Speaker 1: looked nice. But anyway, it is soon revealed that Wells

723
00:40:13,200 --> 00:40:16,040
Speaker 1: could not possibly be the murderer because remember, the murderer

724
00:40:16,080 --> 00:40:20,400
Speaker 1: strangles with two ferociously powerful hands, and in fact, Wells

725
00:40:20,520 --> 00:40:23,200
Speaker 1: is an amputee and he wears a prosthetic left hand,

726
00:40:23,320 --> 00:40:27,160
Speaker 1: so he is not capable of having performed the murders.

727
00:40:27,200 --> 00:40:30,680
Speaker 1: So so the police exclude him at the beginning. Luckily, though,

728
00:40:30,680 --> 00:40:35,040
Speaker 1: there is an entire faculty of really suspicious characters to

729
00:40:35,280 --> 00:40:38,360
Speaker 1: turn to. Next. Right next, we meet this guy named Haynes.

730
00:40:38,520 --> 00:40:41,480
Speaker 1: The police want to know something about him, and so

731
00:40:41,520 --> 00:40:44,160
Speaker 1: they asked Dr X. Yeah, tell us about this Haynes guy,

732
00:40:44,280 --> 00:40:47,240
Speaker 1: and Doctor X, I just have to reproduce this speech

733
00:40:47,640 --> 00:40:51,799
Speaker 1: he says. Dr Haynes and two other scientists were shipwrecked

734
00:40:51,800 --> 00:40:54,320
Speaker 1: off Tahiti about a year ago while making a study

735
00:40:54,320 --> 00:40:57,279
Speaker 1: of the coral reefs for the Killery Foundation. They were

736
00:40:57,320 --> 00:41:00,960
Speaker 1: a drift for twenty four days. Their supply eyes were exhausted.

737
00:41:01,040 --> 00:41:04,160
Speaker 1: When they were picked up, Haynes and one other were delirious.

738
00:41:04,360 --> 00:41:07,800
Speaker 1: The third had vanished. There was no explanation at the time.

739
00:41:08,160 --> 00:41:10,480
Speaker 1: Haynes later claimed at the time that the man had

740
00:41:10,520 --> 00:41:15,239
Speaker 1: died and had been thrown overboard. But so again, it's like,

741
00:41:15,320 --> 00:41:18,759
Speaker 1: it's as if this surgical college only hires people who

742
00:41:18,800 --> 00:41:24,000
Speaker 1: have been suspected of cannibalism. But but Dr X says,

743
00:41:24,120 --> 00:41:26,960
Speaker 1: you know, he's sure that Haynes cannot be the guilty

744
00:41:27,000 --> 00:41:31,080
Speaker 1: party because this is his reasoning. One the killer is

745
00:41:31,080 --> 00:41:34,120
Speaker 1: a maniac, and to Dr Haynes is one of the

746
00:41:34,200 --> 00:41:37,279
Speaker 1: most brilliant men in the medical world. So see, it's impossible.

747
00:41:38,840 --> 00:41:41,279
Speaker 1: So they go to meet Dr Haynes, who is experimenting

748
00:41:41,360 --> 00:41:44,480
Speaker 1: with new procedures in what he calls brain grafting. I

749
00:41:44,640 --> 00:41:46,359
Speaker 1: tried to look that up to see if that's really

750
00:41:46,360 --> 00:41:48,040
Speaker 1: a thing, and no, I think that would just mean

751
00:41:48,080 --> 00:41:53,000
Speaker 1: like a brain transplant, which has never been performed in humans. Uh,

752
00:41:53,000 --> 00:41:56,480
Speaker 1: And it sounds plenty suspicious, Like he definitely has his

753
00:41:56,480 --> 00:42:00,640
Speaker 1: his toes in the mad science, as as does Wells

754
00:42:00,680 --> 00:42:04,920
Speaker 1: with the beating heart. How would you characterize Haynes's personality,

755
00:42:04,960 --> 00:42:08,200
Speaker 1: I would say that he is, uh, he is paranoid,

756
00:42:08,400 --> 00:42:10,520
Speaker 1: like he is not pleased to have the police in

757
00:42:10,600 --> 00:42:13,640
Speaker 1: his lab. And while they're poking around, they find a

758
00:42:13,760 --> 00:42:16,000
Speaker 1: kind of I didn't couldn't tell exactly what it was.

759
00:42:16,000 --> 00:42:17,640
Speaker 1: It looks like they found a kind of risk A

760
00:42:17,760 --> 00:42:22,680
Speaker 1: magazine among his things. It's like ankles quarterly and in

761
00:42:22,719 --> 00:42:25,560
Speaker 1: the police's eyes that seemed to implicate him for some reason.

762
00:42:25,680 --> 00:42:28,719
Speaker 1: It's like, oh, this guy likes you know, Riskue magazines.

763
00:42:28,760 --> 00:42:33,239
Speaker 1: You know who else does moon killers? Okay, so another

764
00:42:33,280 --> 00:42:36,080
Speaker 1: strong candidate. But there are more. Yeah, and then we're

765
00:42:36,080 --> 00:42:38,400
Speaker 1: about to get to maybe my favorite guy in the movie.

766
00:42:38,520 --> 00:42:43,360
Speaker 1: So uh. Next up we meet Dr Rowitz and Dr Duke.

767
00:42:43,840 --> 00:42:47,360
Speaker 1: Now Roewitts is a tall, ominous man in a white

768
00:42:47,440 --> 00:42:50,160
Speaker 1: lab coat with what I first thought was an eye patch,

769
00:42:50,239 --> 00:42:52,160
Speaker 1: but actually I think it is more like a dark

770
00:42:52,239 --> 00:42:56,160
Speaker 1: tinted monocle. So it's like sunglasses, but only one side

771
00:42:56,200 --> 00:42:58,800
Speaker 1: of them. And he when they first made him, he

772
00:42:58,920 --> 00:43:02,239
Speaker 1: smoking a cigarette leaning over a globe. And we find

773
00:43:02,239 --> 00:43:05,080
Speaker 1: out that he studies the moon and is obsessed with

774
00:43:05,120 --> 00:43:08,960
Speaker 1: the effects of lunar rays on neurotic types. See it's

775
00:43:08,960 --> 00:43:11,600
Speaker 1: like a board game. This uh, this picture I love it.

776
00:43:11,680 --> 00:43:14,400
Speaker 1: How all of them have these just highly suspicious elements.

777
00:43:14,440 --> 00:43:17,480
Speaker 1: They're not just a little suspicious, They're all very suspicious. Yes,

778
00:43:17,600 --> 00:43:20,120
Speaker 1: And I gotta say Dr Rhetts is a god. I

779
00:43:20,239 --> 00:43:23,160
Speaker 1: love Dr Rhetts. He's like, I want to be buds

780
00:43:23,200 --> 00:43:25,640
Speaker 1: with him. Yeah, he's great. Uh though in a way

781
00:43:25,680 --> 00:43:28,560
Speaker 1: he's he's almost too suspicious. You like, you kind of

782
00:43:28,560 --> 00:43:31,440
Speaker 1: get the idea this couldn't possibly be the guy because

783
00:43:31,480 --> 00:43:35,040
Speaker 1: he has he picked far too many items out of

784
00:43:35,080 --> 00:43:40,040
Speaker 1: the villain accessory grab bag. Right, Yeah, I agree. But

785
00:43:40,080 --> 00:43:42,160
Speaker 1: then we meet the other guy. We meet Dr Duke,

786
00:43:42,280 --> 00:43:45,960
Speaker 1: who his main personality traits are that he is ornerary

787
00:43:46,000 --> 00:43:49,799
Speaker 1: and irascible. He just complains about everything. Uh. So he

788
00:43:49,880 --> 00:43:52,480
Speaker 1: comes he uses wheelchair and he comes into the lab

789
00:43:53,600 --> 00:43:56,400
Speaker 1: yelling at the detectives. They like ask him how he's doing,

790
00:43:56,520 --> 00:43:59,160
Speaker 1: and he yells at them for asking him how he's doing.

791
00:43:59,440 --> 00:44:02,640
Speaker 1: He's just all always mad about something. There are elements

792
00:44:02,680 --> 00:44:05,040
Speaker 1: of this character that reminds me of Dr Everett V.

793
00:44:05,120 --> 00:44:08,040
Speaker 1: Scott in The Rocky Horror Picture Show, So I would

794
00:44:08,040 --> 00:44:11,320
Speaker 1: not be surprised if there was a connection there. I

795
00:44:11,320 --> 00:44:14,640
Speaker 1: I have nothing to go on other than Dr X

796
00:44:14,760 --> 00:44:16,680
Speaker 1: is mentioned in the lyrics and therefore might have been

797
00:44:16,719 --> 00:44:19,680
Speaker 1: in the mind of Richard O'Brien when he wrote the thing.

798
00:44:20,080 --> 00:44:22,600
Speaker 1: Yeah yeah, oh oh, And I almost forgot to mention

799
00:44:22,640 --> 00:44:26,200
Speaker 1: that we learned Dr Rowitts was also in the lifeboat

800
00:44:26,280 --> 00:44:29,440
Speaker 1: with Dr Haynes, so the two of them and the

801
00:44:29,640 --> 00:44:34,120
Speaker 1: third delicious man who disappeared and was quote thrown overboard.

802
00:44:35,040 --> 00:44:38,239
Speaker 1: Though that it's funny how it's like it's as if

803
00:44:38,280 --> 00:44:41,719
Speaker 1: the rowboat story only applies to Haynes and does not

804
00:44:41,880 --> 00:44:44,160
Speaker 1: apply to Rowetts. I'm not sure why, even though they

805
00:44:44,160 --> 00:44:46,600
Speaker 1: say he was the other guy in the boat. But

806
00:44:46,680 --> 00:44:50,399
Speaker 1: they start grilling Roe. It's about his moon research. And

807
00:44:50,760 --> 00:44:54,160
Speaker 1: Rowett says, if you suffer sunstroke, might you not suffer

808
00:44:54,239 --> 00:44:57,799
Speaker 1: some similar evil from the rays of the moon. And

809
00:44:57,840 --> 00:45:02,080
Speaker 1: the cops says moonstroke you mean um and Roe it says,

810
00:45:02,160 --> 00:45:04,880
Speaker 1: you know, the moon is powerful. It lifts billions of

811
00:45:04,920 --> 00:45:07,080
Speaker 1: tons of water twice a day. I guess he's talking

812
00:45:07,120 --> 00:45:10,360
Speaker 1: about the tides. And then he compares the water lifting

813
00:45:10,480 --> 00:45:13,919
Speaker 1: to what is done by an old scrub woman, which

814
00:45:13,960 --> 00:45:16,480
Speaker 1: is notable to the police because the last victim of

815
00:45:16,520 --> 00:45:19,399
Speaker 1: the moon killer was at the papers called her an

816
00:45:19,400 --> 00:45:22,719
Speaker 1: old scrub woman. I think the paper headline you see

817
00:45:22,800 --> 00:45:26,000
Speaker 1: is like old scrub woman killed by moon killer. It's

818
00:45:26,040 --> 00:45:29,760
Speaker 1: great that the script is just so well put together. Yeah,

819
00:45:29,880 --> 00:45:32,799
Speaker 1: now the police suspect Rowetts again like every new guy

820
00:45:32,880 --> 00:45:35,279
Speaker 1: they meet there like, oh, it's gotta be him. Uh.

821
00:45:35,320 --> 00:45:38,719
Speaker 1: They It's it's like that scene in um Murder on

822
00:45:38,800 --> 00:45:41,720
Speaker 1: the Orient Express where like every time they interview somebody,

823
00:45:41,760 --> 00:45:45,080
Speaker 1: the companions like that's the one they did it. But

824
00:45:45,600 --> 00:45:49,480
Speaker 1: so the cops are like that, but uh, Doctor X

825
00:45:49,600 --> 00:45:52,560
Speaker 1: is like, no, Roets can't be the murderer because here's

826
00:45:52,560 --> 00:45:55,560
Speaker 1: his reasoning here. He has a lovely nature and he's

827
00:45:55,600 --> 00:45:58,399
Speaker 1: the author of several volumes of poetry. I mean, who's

828
00:45:58,440 --> 00:46:01,640
Speaker 1: ever heard of a poet killing somebody? Yeah, that doesn't

829
00:46:01,680 --> 00:46:03,880
Speaker 1: seem very logical. So this is this is definitely an

830
00:46:03,880 --> 00:46:07,440
Speaker 1: area where he's falling below the Sherlock and brother William

831
00:46:07,520 --> 00:46:10,919
Speaker 1: the threshold, I would agree. So it looks like we've

832
00:46:10,920 --> 00:46:14,200
Speaker 1: met our suspects and the mystery investigation is afoot and

833
00:46:14,360 --> 00:46:17,439
Speaker 1: Dr X promises that he will complete this investigation within

834
00:46:17,520 --> 00:46:20,640
Speaker 1: forty eight hours. And then meanwhile you get some some

835
00:46:20,840 --> 00:46:25,000
Speaker 1: side story with Taylor the newspaperman and fay Ray meeting

836
00:46:25,080 --> 00:46:28,200
Speaker 1: up when she catches him snooping around on the fire

837
00:46:28,400 --> 00:46:32,319
Speaker 1: escape outside the medical academy. She confronts him and then

838
00:46:32,320 --> 00:46:35,600
Speaker 1: shoves a revolver in his belly. Uh. He tries to

839
00:46:35,640 --> 00:46:39,480
Speaker 1: get some facts out of her, but she rebuffs him. Uh.

840
00:46:39,640 --> 00:46:42,560
Speaker 1: Joe Nixavier clearly wants nothing to do with Mr Hot

841
00:46:42,600 --> 00:46:45,120
Speaker 1: Scoop Like he he thinks he's very cool and he

842
00:46:45,160 --> 00:46:47,720
Speaker 1: thinks he can sweet talk her, but she just wants

843
00:46:47,760 --> 00:46:49,960
Speaker 1: none of it. Right, And she's more concerned about her

844
00:46:49,960 --> 00:46:54,160
Speaker 1: father because he seems overworked. Right. Yes, she's concerned about

845
00:46:54,160 --> 00:46:56,279
Speaker 1: his health that she says several times. I think just

846
00:46:56,320 --> 00:46:59,719
Speaker 1: because like he never gets any rest. There's also I

847
00:46:59,719 --> 00:47:02,280
Speaker 1: guess we could just throw in a we meet more creeps.

848
00:47:02,280 --> 00:47:04,239
Speaker 1: The movie is just crawling with creeps. There's a scene

849
00:47:04,239 --> 00:47:07,600
Speaker 1: where we meet this guy named Otto who is Xavier's butler,

850
00:47:08,239 --> 00:47:12,239
Speaker 1: and he's just another one of these ominous weirdos to

851
00:47:12,320 --> 00:47:15,160
Speaker 1: round out the cast. Yeah, yeah, again, just a great

852
00:47:15,239 --> 00:47:17,879
Speaker 1: cast of character actors in this film. And so then

853
00:47:17,920 --> 00:47:20,960
Speaker 1: we get a scene that goes by pretty quickly, but

854
00:47:21,040 --> 00:47:23,720
Speaker 1: I thought it was pretty good. So Taylor the reporter

855
00:47:24,200 --> 00:47:26,200
Speaker 1: goes off to kind of kick Rocks in the alley

856
00:47:26,239 --> 00:47:28,719
Speaker 1: like he's upset because he's he can't get any good

857
00:47:28,800 --> 00:47:31,479
Speaker 1: leads and he's moping around about his failure to crack

858
00:47:31,560 --> 00:47:34,920
Speaker 1: the case. And then we get a very disturbing moment

859
00:47:34,920 --> 00:47:39,480
Speaker 1: of suspense because behind Taylor's back we see emerge a

860
00:47:39,560 --> 00:47:44,200
Speaker 1: grotesque figure in a hooded cape with a drooping, sagging,

861
00:47:44,280 --> 00:47:48,960
Speaker 1: almost melted sort of face, and it approaches Taylor from

862
00:47:48,960 --> 00:47:52,760
Speaker 1: behind to strangle him just as he's lighting a cigar,

863
00:47:53,120 --> 00:47:55,319
Speaker 1: the cigar that he received as a gift from the

864
00:47:55,600 --> 00:47:58,720
Speaker 1: from his cop friend earlier, And just as the creature

865
00:47:58,800 --> 00:48:01,560
Speaker 1: is about to grasp his neck, you get this pop

866
00:48:02,080 --> 00:48:04,920
Speaker 1: and it's a trick cigar. It explodes, scaring away the

867
00:48:04,920 --> 00:48:07,799
Speaker 1: moon Killer in the process, and Taylor never knows his

868
00:48:07,880 --> 00:48:10,560
Speaker 1: life was saved by a prank. Yeah, it's a great

869
00:48:10,600 --> 00:48:12,920
Speaker 1: little scene because it's suspenseful. It gives us our first

870
00:48:13,440 --> 00:48:18,200
Speaker 1: a very effective glimpse at the murderer, the monster in

871
00:48:18,239 --> 00:48:22,560
Speaker 1: this film. But then also it redeems that whole ridiculous

872
00:48:22,600 --> 00:48:26,240
Speaker 1: scene with the cop earlier. Again. This if at first glance,

873
00:48:26,560 --> 00:48:28,879
Speaker 1: this this script might seem kind of schlocky, but it's

874
00:48:28,920 --> 00:48:32,520
Speaker 1: so economical in the way everything ties together. Like everything

875
00:48:32,560 --> 00:48:36,360
Speaker 1: has a purpose. Yeah, it is very tight. So Taylor

876
00:48:36,440 --> 00:48:39,480
Speaker 1: keeps snooping. He goes by Xavier's house and meets a

877
00:48:39,480 --> 00:48:43,200
Speaker 1: gullible maid named Mamie who lets him inside, and he

878
00:48:43,239 --> 00:48:45,960
Speaker 1: tries to steal a photo of Dr X and a

879
00:48:46,000 --> 00:48:49,000
Speaker 1: photo of fay Rey, and she catches him in the

880
00:48:49,040 --> 00:48:51,960
Speaker 1: act and choose him out for writing a negative story

881
00:48:52,000 --> 00:48:55,239
Speaker 1: about them and throws him out of the house. And

882
00:48:55,280 --> 00:48:58,640
Speaker 1: then after this we get a shift. The action retreats

883
00:48:58,680 --> 00:49:02,560
Speaker 1: to a new location, so everything moves to Dr X's

884
00:49:02,680 --> 00:49:06,239
Speaker 1: country estate on Long Island, and he gathers all the

885
00:49:06,360 --> 00:49:10,520
Speaker 1: various creeps from the academy there and he informs them

886
00:49:10,560 --> 00:49:13,720
Speaker 1: that he has to perform an experiment to determine whether

887
00:49:13,760 --> 00:49:17,000
Speaker 1: any of them is guilty of murder. And I don't

888
00:49:17,040 --> 00:49:19,919
Speaker 1: recall it being established how he figures out to go here,

889
00:49:19,920 --> 00:49:22,480
Speaker 1: but Mr Hot Scoop also shows up. You know, our

890
00:49:22,520 --> 00:49:25,360
Speaker 1: our reporter hero finds his way out to the estate.

891
00:49:25,719 --> 00:49:28,400
Speaker 1: He climbs up a drain pipe and sort of breaks

892
00:49:28,440 --> 00:49:32,040
Speaker 1: into the house to continue snooping around and trespassing as

893
00:49:32,080 --> 00:49:35,200
Speaker 1: the plot develops, And and here there is a scene

894
00:49:36,440 --> 00:49:41,400
Speaker 1: where I think basically anybody will recognize the following sequence

895
00:49:41,520 --> 00:49:44,880
Speaker 1: that goes on with with the Reporter, because it's recreated

896
00:49:44,920 --> 00:49:48,040
Speaker 1: so many times in other movies and TV shows, where

897
00:49:48,040 --> 00:49:51,480
Speaker 1: a character is nervously sneaking around in the dark and

898
00:49:51,520 --> 00:49:55,200
Speaker 1: then is startled by a string of loud noises but

899
00:49:55,320 --> 00:49:58,520
Speaker 1: all caused by inanimate objects, like an ironing board falls

900
00:49:58,520 --> 00:50:02,239
Speaker 1: out of the wall, then a ku clock starts chiming uh,

901
00:50:02,280 --> 00:50:05,280
Speaker 1: and then Otto the butler walks by carrying a skeleton

902
00:50:05,440 --> 00:50:08,239
Speaker 1: for some reason. For the next ten minutes or so,

903
00:50:08,400 --> 00:50:12,280
Speaker 1: there is a lot of Lee Tracy making wise cracks

904
00:50:12,400 --> 00:50:18,000
Speaker 1: at inanimate objects, like telling a skeleton to cut it out. Well, yeah, yeah,

905
00:50:18,000 --> 00:50:20,480
Speaker 1: I gets very stoogey there for a minute. But anyway,

906
00:50:20,520 --> 00:50:22,640
Speaker 1: this is all working up to one of the big

907
00:50:22,719 --> 00:50:26,560
Speaker 1: set pieces of the film, which is Dr X's experiment

908
00:50:26,640 --> 00:50:30,680
Speaker 1: to determine who the killer is. I guess how how

909
00:50:30,719 --> 00:50:33,439
Speaker 1: would it be best to set this up and describe it? Well,

910
00:50:33,480 --> 00:50:37,359
Speaker 1: I would summarize by saying, this is basically sci fi Shakespeare.

911
00:50:37,560 --> 00:50:40,520
Speaker 1: This is Hamlet, this is the play is the thing, right,

912
00:50:41,000 --> 00:50:43,400
Speaker 1: because that's that's essentially what the whole scheme is. I'm

913
00:50:43,400 --> 00:50:45,880
Speaker 1: going to show something to them and then based on

914
00:50:45,920 --> 00:50:49,480
Speaker 1: their reactions I will know. Yeah, like if, like if

915
00:50:49,520 --> 00:50:52,600
Speaker 1: you were hooking the king up to an electrode and

916
00:50:52,640 --> 00:50:55,880
Speaker 1: a machine that would read his guilt as he watches

917
00:50:55,960 --> 00:50:59,040
Speaker 1: the play. Yeah, yeah, and if it were elaborate and

918
00:50:59,239 --> 00:51:03,719
Speaker 1: took some explain and had lots of tubes and liquids. Right.

919
00:51:03,719 --> 00:51:06,239
Speaker 1: So it's at this point it seems like the three

920
00:51:06,239 --> 00:51:10,160
Speaker 1: main suspects are Rowitts, Haynes, and Duke, and they are

921
00:51:10,200 --> 00:51:13,439
Speaker 1: strapped to electrical detectors that are supposed to measure their

922
00:51:13,520 --> 00:51:17,480
Speaker 1: heart rate maybe, and there is just some magnificent technobabble

923
00:51:17,560 --> 00:51:21,080
Speaker 1: about how the machine works. For some reason, it will

924
00:51:21,200 --> 00:51:27,040
Speaker 1: measure the person in the machine for a history of cannibalism.

925
00:51:27,120 --> 00:51:29,160
Speaker 1: And all three of them are going to go into

926
00:51:29,160 --> 00:51:32,319
Speaker 1: the They're gonna get hooked up to the machine, and uh,

927
00:51:32,880 --> 00:51:35,160
Speaker 1: since Dr Wells could not be the killer because he

928
00:51:35,200 --> 00:51:38,360
Speaker 1: does not have the two ferociously strong hands necessary for

929
00:51:38,400 --> 00:51:42,360
Speaker 1: the strangulation, he helps Doctor X administer the test on

930
00:51:42,400 --> 00:51:45,200
Speaker 1: the three others. And there's this great part where Dr

931
00:51:45,280 --> 00:51:48,080
Speaker 1: Duke complains about being able to see the moon through

932
00:51:48,080 --> 00:51:50,920
Speaker 1: the window. He's like, close the shutters, it's giving me

933
00:51:50,960 --> 00:51:55,360
Speaker 1: a shiver. And again, it's wonderful they keep the potential guilt.

934
00:51:55,480 --> 00:52:00,000
Speaker 1: That's a suspicion. Uh just leveled out among all the candidates. Yes, yeah,

935
00:52:00,280 --> 00:52:03,000
Speaker 1: uh well, and so they've got different attitudes. Like Dr

936
00:52:03,080 --> 00:52:06,000
Speaker 1: Duke is complaining just because he's always complaining. He's just

937
00:52:06,080 --> 00:52:09,799
Speaker 1: always mad about something. Dr Haynes again is quite paranoid.

938
00:52:09,880 --> 00:52:13,640
Speaker 1: He's very against the whole situation. He he just feels

939
00:52:13,680 --> 00:52:16,360
Speaker 1: you can tell, he feels his privacy is being invaded

940
00:52:16,440 --> 00:52:19,920
Speaker 1: and he's nervous about something. And he says, if you

941
00:52:19,960 --> 00:52:23,239
Speaker 1: ask me, doctors Xavier, that's how he says. At this time,

942
00:52:23,320 --> 00:52:27,840
Speaker 1: doctor Xavier is using very unethical methods. And then Rowetts,

943
00:52:27,920 --> 00:52:30,319
Speaker 1: who of everybody is the most on board with the

944
00:52:30,360 --> 00:52:35,919
Speaker 1: whole experiment, he just responds, necessity has no ethics. Yeah. Yeah,

945
00:52:35,960 --> 00:52:38,680
Speaker 1: he's straight up like, I celebrate the chance to prove

946
00:52:38,719 --> 00:52:42,279
Speaker 1: my innocence. Bring on the ridiculous mad science. Yeah, but

947
00:52:42,480 --> 00:52:44,000
Speaker 1: I think it's great because he might as well have

948
00:52:44,080 --> 00:52:48,839
Speaker 1: just said, like the ends justify the means. Yeah. Uh

949
00:52:48,880 --> 00:52:50,920
Speaker 1: so the stimulus for the test they're hooked up to

950
00:52:50,960 --> 00:52:53,799
Speaker 1: this machine is going to test them for cannibalism via

951
00:52:53,880 --> 00:52:58,480
Speaker 1: their heart rate, and uh the test, the stimulus for

952
00:52:58,480 --> 00:53:00,920
Speaker 1: the test is going to consist of them looking at

953
00:53:00,960 --> 00:53:05,040
Speaker 1: wax figures of the victims of the Moon Killer murders.

954
00:53:05,480 --> 00:53:08,920
Speaker 1: I don't recall them explaining how these wax figures were made,

955
00:53:08,960 --> 00:53:14,480
Speaker 1: where they came from, uh and beautifully created Agnesta conditioned them. Yes,

956
00:53:14,560 --> 00:53:17,480
Speaker 1: And I think it's also it's worth noting that, so

957
00:53:17,560 --> 00:53:21,560
Speaker 1: this was two. Michael Curtiz, the director, also directed a

958
00:53:21,600 --> 00:53:24,520
Speaker 1: wax horror movie right around the same time that came

959
00:53:24,520 --> 00:53:27,040
Speaker 1: out in thirty three. I wonder if he was double

960
00:53:27,080 --> 00:53:29,960
Speaker 1: dipping with the prop department. He may have. I haven't

961
00:53:30,000 --> 00:53:32,760
Speaker 1: seen Mystery of the Wax Museum from thirty three, but

962
00:53:32,760 --> 00:53:35,400
Speaker 1: but yeah, it was. He also directed that. It was

963
00:53:35,480 --> 00:53:38,000
Speaker 1: also into color technicolor. I think these were the two

964
00:53:38,040 --> 00:53:40,040
Speaker 1: of the last films that came out in that But

965
00:53:40,080 --> 00:53:43,359
Speaker 1: then it also starred at Well and Fay Ray. So

966
00:53:44,000 --> 00:53:46,400
Speaker 1: there you go. He was double dipping in multiple ways.

967
00:53:46,400 --> 00:53:49,920
Speaker 1: I guess. Interesting. Uh, So there's a re enactment of

968
00:53:50,000 --> 00:53:53,040
Speaker 1: the most recent murder. So after looking at the wax figurines,

969
00:53:53,040 --> 00:53:54,960
Speaker 1: there's gonna be a re enactment of the murder, and

970
00:53:55,000 --> 00:53:57,160
Speaker 1: it's going to be put on by Otto and Maymie,

971
00:53:57,200 --> 00:54:00,560
Speaker 1: the butler and the maid and this for for some reason,

972
00:54:00,600 --> 00:54:04,120
Speaker 1: should reveal who the killer is via the machine, And

973
00:54:04,239 --> 00:54:06,880
Speaker 1: just as the reenactment is about to reveal the killer,

974
00:54:07,040 --> 00:54:10,239
Speaker 1: suddenly everything we get the lights go out, you know,

975
00:54:10,239 --> 00:54:12,720
Speaker 1: there's like a power outage, and all hell breaks loose.

976
00:54:13,200 --> 00:54:15,799
Speaker 1: So a bunch of stuff happens while the lights are out.

977
00:54:16,400 --> 00:54:21,680
Speaker 1: Somebody's cannibalism detector device goes off, and then Dr X

978
00:54:22,120 --> 00:54:25,920
Speaker 1: reads it and declares it's Dr Rowetts. But there's a twist.

979
00:54:26,040 --> 00:54:29,360
Speaker 1: When the lights come up, Dr Rowetts is dead, so

980
00:54:29,520 --> 00:54:33,359
Speaker 1: Rohets has been murdered. And also suddenly Dr Duke can

981
00:54:33,440 --> 00:54:37,239
Speaker 1: walk again. He's up walking around and U and Dr

982
00:54:37,680 --> 00:54:41,279
Speaker 1: Haynes points him out and he's like faker, faker. And

983
00:54:41,320 --> 00:54:44,840
Speaker 1: then we we also find out Dr Wells, who was

984
00:54:44,880 --> 00:54:47,799
Speaker 1: helping administer the experiment, has been struck on the head

985
00:54:47,880 --> 00:54:50,080
Speaker 1: by somebody in the dark who called his name and

986
00:54:50,080 --> 00:54:53,799
Speaker 1: then hit him. And there's this part where fay Ray

987
00:54:54,400 --> 00:54:57,960
Speaker 1: quite rightly observes that this experiment was a disaster, and

988
00:54:58,000 --> 00:55:03,479
Speaker 1: then everybody's just like, na, chill out, calm down. Uh,

989
00:55:03,520 --> 00:55:05,640
Speaker 1: you know, they're basically just like, don't worry about it,

990
00:55:05,719 --> 00:55:08,080
Speaker 1: you know, you go get some rest. We'll deal with

991
00:55:07,840 --> 00:55:11,239
Speaker 1: this dead body and everything, um oh, and then other

992
00:55:11,560 --> 00:55:14,160
Speaker 1: like a bunch of stuff happens at once. So in

993
00:55:14,200 --> 00:55:17,560
Speaker 1: the while all this is happening, Taylor, who is hiding

994
00:55:17,600 --> 00:55:20,960
Speaker 1: out in the closet snooping around, he gets gassed, like

995
00:55:21,040 --> 00:55:24,239
Speaker 1: somebody pumps some smoke into the closet with him and

996
00:55:24,280 --> 00:55:26,880
Speaker 1: it knocks him unconscious and you don't know who did it.

997
00:55:26,920 --> 00:55:30,360
Speaker 1: And then they discover him unconscious in the closet, but

998
00:55:30,480 --> 00:55:32,600
Speaker 1: they decide to let him stay for the night at

999
00:55:32,640 --> 00:55:36,000
Speaker 1: the manner. I'm not sure why that is. But after

1000
00:55:36,040 --> 00:55:40,120
Speaker 1: that follows some incredibly implausible flirting between Mr Hot Scoop

1001
00:55:40,160 --> 00:55:43,960
Speaker 1: and and fay Ray. Suddenly she's just responding to his flirting,

1002
00:55:43,960 --> 00:55:47,560
Speaker 1: whereas she hadn't been earlier. But anyway, everybody goes to bed,

1003
00:55:47,640 --> 00:55:51,560
Speaker 1: and I did you notice, Like do they explicitly say,

1004
00:55:51,640 --> 00:55:54,080
Speaker 1: like now we're not going to report Dr roetz Is

1005
00:55:54,120 --> 00:55:56,440
Speaker 1: death to the police. It seems like they just decide

1006
00:55:56,480 --> 00:55:59,680
Speaker 1: that they shouldn't do that. No, I mean yeah, I

1007
00:55:59,680 --> 00:56:03,080
Speaker 1: think they decided we have to do a follow up experiment.

1008
00:56:03,280 --> 00:56:06,719
Speaker 1: We can't stop now we're close, because I mean, it's

1009
00:56:06,800 --> 00:56:10,560
Speaker 1: it's basically what happened is you know, you're like you said,

1010
00:56:10,560 --> 00:56:14,200
Speaker 1: they're sort of testing to see who was stimulated the

1011
00:56:14,239 --> 00:56:17,719
Speaker 1: most by these the stimuli they were presented with. But

1012
00:56:17,719 --> 00:56:20,920
Speaker 1: then unfortunately, the individual who was stimulated the most, according

1013
00:56:20,920 --> 00:56:23,680
Speaker 1: to the readings, is also now dead, was killed in

1014
00:56:23,719 --> 00:56:25,960
Speaker 1: the dark, so it must be someone else. So that's

1015
00:56:25,960 --> 00:56:30,680
Speaker 1: funny because that should indicate the fallibility of their experimental method, right,

1016
00:56:31,280 --> 00:56:33,719
Speaker 1: Like if he wasn't the murderer and yet he was

1017
00:56:33,760 --> 00:56:36,360
Speaker 1: the person that the test identified, that should show that

1018
00:56:36,440 --> 00:56:41,200
Speaker 1: the test is not necessarily great. I agree, But yet

1019
00:56:41,680 --> 00:56:44,120
Speaker 1: they persist to be you know, because ultimately he's thinking

1020
00:56:44,120 --> 00:56:46,359
Speaker 1: about publication. You know, it's not about whether you catch

1021
00:56:46,400 --> 00:56:49,480
Speaker 1: the murder, it's that you well document your attempts to

1022
00:56:49,520 --> 00:56:53,359
Speaker 1: catch the murder. He's trying to get tenure. Yeah. Yeah. Oh.

1023
00:56:53,400 --> 00:56:55,239
Speaker 1: And then also we just get the little tid that

1024
00:56:55,480 --> 00:56:57,960
Speaker 1: later that night, like fay Ray's walking around and she

1025
00:56:58,040 --> 00:57:00,919
Speaker 1: comes across her father examining row. It's his body under

1026
00:57:00,920 --> 00:57:03,839
Speaker 1: a sheet in a room in the house. Uh. And

1027
00:57:03,880 --> 00:57:07,560
Speaker 1: then we learned that his body has been cannibalized in

1028
00:57:07,560 --> 00:57:09,520
Speaker 1: the middle of the night. Is somebody at the manner

1029
00:57:09,560 --> 00:57:21,439
Speaker 1: here cannibalized him? Uh? So, but yes, as you say,

1030
00:57:21,480 --> 00:57:23,600
Speaker 1: the murderer still has to be discovered, and this all

1031
00:57:23,680 --> 00:57:27,000
Speaker 1: leads to the second test. Before that, there is a

1032
00:57:27,080 --> 00:57:30,400
Speaker 1: scene of of hot Scoop and Fayray flirting some more.

1033
00:57:30,480 --> 00:57:33,680
Speaker 1: They're down at the beach. They're talking about swimming. Uh.

1034
00:57:33,720 --> 00:57:36,520
Speaker 1: There are some lines in this scene that are frankly hilarious.

1035
00:57:36,560 --> 00:57:39,440
Speaker 1: There's a great part where he's like, listen, forget that

1036
00:57:39,480 --> 00:57:45,080
Speaker 1: I'm a newspaperman. Uh. And I feel like here I'm

1037
00:57:45,080 --> 00:57:47,360
Speaker 1: wondering if maybe we should sort of leave off in

1038
00:57:47,440 --> 00:57:50,320
Speaker 1: describing the plot in too much detail after this, because

1039
00:57:50,400 --> 00:57:53,720
Speaker 1: this is getting up to the climax, and I feel

1040
00:57:53,720 --> 00:57:56,040
Speaker 1: like we should at least be a little bit circumspect.

1041
00:57:56,120 --> 00:57:58,320
Speaker 1: But we don't want to spoil the mystery, do we? Though.

1042
00:57:58,400 --> 00:58:00,760
Speaker 1: There's a thing that has holding up to that we

1043
00:58:00,800 --> 00:58:03,240
Speaker 1: have to talk about because it's the best thing about

1044
00:58:03,240 --> 00:58:05,920
Speaker 1: the movie. Yeah. I think we basically have to have

1045
00:58:05,960 --> 00:58:08,840
Speaker 1: a werewolf break here in the in the episode, so

1046
00:58:08,880 --> 00:58:12,080
Speaker 1: we have to say, Look, if you want to experience

1047
00:58:12,080 --> 00:58:16,240
Speaker 1: experience the wonderful twist for yourself, and we recommend you do,

1048
00:58:16,600 --> 00:58:19,040
Speaker 1: then you should stop listening to this episode. Now, go

1049
00:58:19,120 --> 00:58:21,680
Speaker 1: out and at your leisure see the film for yourself.

1050
00:58:22,000 --> 00:58:24,240
Speaker 1: And then come back and you can listen to us

1051
00:58:24,400 --> 00:58:26,480
Speaker 1: talk about it, and then you can share your own

1052
00:58:26,480 --> 00:58:30,080
Speaker 1: thoughts on it, etcetera. Okay, but if you're ready to

1053
00:58:30,080 --> 00:58:33,680
Speaker 1: hear the end right now, uh, we absolutely must say

1054
00:58:34,000 --> 00:58:38,400
Speaker 1: that the revelation of the killer's identity involves the real

1055
00:58:38,480 --> 00:58:41,040
Speaker 1: star of this movie. And the best thing about it

1056
00:58:41,240 --> 00:58:45,680
Speaker 1: a a god mode plot device called synthetic flesh that

1057
00:58:45,760 --> 00:58:51,120
Speaker 1: even gets like it gets announced in a voiceover segment.

1058
00:58:51,440 --> 00:58:53,520
Speaker 1: There's like a voice that is not spoken by a

1059
00:58:53,600 --> 00:58:56,960
Speaker 1: character on screen. It just comes on the soundtrack saying

1060
00:58:57,320 --> 00:59:02,960
Speaker 1: synthetic flesh. Yes, Yes, it's it's absolutely wonderful, and indeed

1061
00:59:03,000 --> 00:59:06,160
Speaker 1: it's it's a fabulous plot twist, and it really I

1062
00:59:06,200 --> 00:59:08,720
Speaker 1: really got me too, because I have to admit I

1063
00:59:08,760 --> 00:59:11,920
Speaker 1: was convinced that Dr X had to be the villain.

1064
00:59:12,360 --> 00:59:15,040
Speaker 1: He's secretly the villain the whole time, and he made

1065
00:59:15,080 --> 00:59:17,160
Speaker 1: some sort of monster to do his bidding. And I

1066
00:59:17,200 --> 00:59:20,360
Speaker 1: believe this because that's what Richard O'Brien told me in

1067
00:59:20,400 --> 00:59:23,520
Speaker 1: the lyrics to Science Fiction Double Feature. He said Dr

1068
00:59:23,760 --> 00:59:26,760
Speaker 1: X made a creature. So I'm thinking that that's it.

1069
00:59:26,880 --> 00:59:29,160
Speaker 1: That's clearly where we're going with this. Why would Richard

1070
00:59:29,200 --> 00:59:32,000
Speaker 1: O'Brien lie to me, right, Richard O'Brien wouldn't lie to you,

1071
00:59:32,000 --> 00:59:33,720
Speaker 1: but maybe he had just it had been a while

1072
00:59:33,760 --> 00:59:36,320
Speaker 1: since he'd seen it. It got a little bit fuzzy. Um.

1073
00:59:37,280 --> 00:59:40,120
Speaker 1: There is almost a sort of creature creation, but no

1074
00:59:40,440 --> 00:59:43,040
Speaker 1: one of the parties there at the house is the villain.

1075
00:59:43,160 --> 00:59:46,120
Speaker 1: And it is revealed, uh in a great sequence where

1076
00:59:46,240 --> 00:59:50,080
Speaker 1: so all of the suspects, including Dr X himself, are

1077
00:59:50,240 --> 00:59:53,160
Speaker 1: handcuffed two chairs so that they can't like get up

1078
00:59:53,160 --> 00:59:56,200
Speaker 1: and murder each other anymore. During the second test, Dr

1079
00:59:56,240 --> 01:00:01,360
Speaker 1: Wells handcuffs Haynes, Duke and Doctor X to these these

1080
01:00:01,440 --> 01:00:04,680
Speaker 1: chairs so they're held down, and then Dr Wells reveals

1081
01:00:05,080 --> 01:00:07,760
Speaker 1: I'm the killer, and they're like, well, how could it

1082
01:00:07,800 --> 01:00:12,400
Speaker 1: be you? And the answer is synthetic flesh, and we

1083
01:00:12,600 --> 01:00:18,760
Speaker 1: get this amazing psychedelic body horror sequence where it's very

1084
01:00:18,840 --> 01:00:21,160
Speaker 1: much um. I don't want to compare it too much

1085
01:00:21,160 --> 01:00:22,800
Speaker 1: to this because this came later, but it's kind of

1086
01:00:22,840 --> 01:00:28,080
Speaker 1: clay Face from Batman, where there is this putty that

1087
01:00:28,360 --> 01:00:31,880
Speaker 1: Dr Wells applies to himself that I think is made

1088
01:00:32,120 --> 01:00:36,320
Speaker 1: from the flesh of the people who he supposedly cannibalized.

1089
01:00:36,880 --> 01:00:40,960
Speaker 1: And this this putty goes on his body and can

1090
01:00:41,040 --> 01:00:46,000
Speaker 1: make new flesh and organs as he likes, smooths it on. Yeah,

1091
01:00:46,080 --> 01:00:48,280
Speaker 1: it is fabulous. Another thing I would compare it to.

1092
01:00:48,600 --> 01:00:51,200
Speaker 1: And again this is something that came later and I

1093
01:00:51,240 --> 01:00:54,720
Speaker 1: think was probably influenced by Dr X and that is

1094
01:00:55,040 --> 01:00:58,480
Speaker 1: Sam Raimi's Dark Man, because the main character in that,

1095
01:00:58,520 --> 01:01:01,800
Speaker 1: played Belliam Neeson, is a scientist whose creak it created

1096
01:01:02,000 --> 01:01:06,320
Speaker 1: synthetic skin, which he kind of, you know, puts on it. God,

1097
01:01:06,360 --> 01:01:07,560
Speaker 1: I forget to be gobs it on or he just

1098
01:01:07,640 --> 01:01:09,360
Speaker 1: kind of pulls it on like a mask. But at

1099
01:01:09,360 --> 01:01:11,840
Speaker 1: any rate, it's some sort of a fleshy goo that

1100
01:01:11,920 --> 01:01:15,040
Speaker 1: can transform his face into the face of another. But yeah,

1101
01:01:15,080 --> 01:01:18,320
Speaker 1: the the essential premise here is that you can like

1102
01:01:18,600 --> 01:01:22,600
Speaker 1: mold organs and skin out of this clay and just

1103
01:01:22,720 --> 01:01:27,360
Speaker 1: smear it onto your body and then it becomes functioning tissue. Yeah.

1104
01:01:27,400 --> 01:01:34,040
Speaker 1: So Wells in this fantastic, lengthy, uh mostly dialogue less scene,

1105
01:01:34,120 --> 01:01:37,760
Speaker 1: he puts first, he puts on this synthetic flesh claw,

1106
01:01:38,000 --> 01:01:41,760
Speaker 1: this great monstrous hand that he attaches uh to to

1107
01:01:42,080 --> 01:01:45,800
Speaker 1: uh to to where he suffered his amputation. Uh. And

1108
01:01:45,840 --> 01:01:48,400
Speaker 1: then he began he begins to gob this stuff onto

1109
01:01:48,440 --> 01:01:52,040
Speaker 1: his face and it it is. It really turns the

1110
01:01:52,080 --> 01:01:54,760
Speaker 1: weirdness in this film up to eleven. You have the strange,

1111
01:01:54,800 --> 01:01:58,120
Speaker 1: you know, two tone technicolor effects going on, and it

1112
01:01:58,240 --> 01:02:02,280
Speaker 1: really feels more in keeping with experimental cinema of later decades,

1113
01:02:02,360 --> 01:02:06,040
Speaker 1: you know, at least from a modern filmgoing perspective. Again,

1114
01:02:06,080 --> 01:02:10,280
Speaker 1: there's no dialogue other than Well saying synthetic flesh a

1115
01:02:10,320 --> 01:02:12,960
Speaker 1: couple of times. But as I said, he doesn't you

1116
01:02:13,000 --> 01:02:15,720
Speaker 1: don't see his mouth moving when he says it. It's

1117
01:02:15,760 --> 01:02:18,160
Speaker 1: like he says it as if like it's in his head,

1118
01:02:18,240 --> 01:02:22,080
Speaker 1: like it's a voiceover and it repeats, and so it

1119
01:02:22,320 --> 01:02:24,560
Speaker 1: very much has the feeling of something that would be

1120
01:02:25,080 --> 01:02:29,160
Speaker 1: sampled in a in a techno song or something. Yeah, yeah,

1121
01:02:29,160 --> 01:02:32,600
Speaker 1: I was thinking the same thing. Um, it feels like

1122
01:02:32,600 --> 01:02:34,200
Speaker 1: something that would be sampled in a mix, and I

1123
01:02:34,240 --> 01:02:36,800
Speaker 1: hope has been sampled in a mix. DJs, if you're listening,

1124
01:02:37,160 --> 01:02:41,440
Speaker 1: sample this because it's wonderful. But also the background audio

1125
01:02:41,480 --> 01:02:43,919
Speaker 1: for this whole scene is just kind of like mad

1126
01:02:44,040 --> 01:02:47,880
Speaker 1: science e electros. And I was absolutely digging this as

1127
01:02:47,880 --> 01:02:49,640
Speaker 1: I was watching and listening to it, because I think

1128
01:02:49,680 --> 01:02:55,120
Speaker 1: in many ways it's an accidental or early electronic music score. UM.

1129
01:02:55,360 --> 01:02:58,200
Speaker 1: So you know maybe something it sounds like a little

1130
01:02:58,240 --> 01:03:01,800
Speaker 1: post industrial, like something something like Nurse with Wound would

1131
01:03:01,800 --> 01:03:04,680
Speaker 1: have created. Uh. In fact, I would love that if

1132
01:03:04,680 --> 01:03:07,000
Speaker 1: we could actually just listen to a sample, an audio

1133
01:03:07,040 --> 01:03:08,920
Speaker 1: sample from this scene so you can get a taste

1134
01:03:08,960 --> 01:03:30,840
Speaker 1: for it. Synthetic flesh, synthetic flesh. I want that. I

1135
01:03:30,840 --> 01:03:33,840
Speaker 1: want to pick up the single um just as a

1136
01:03:33,840 --> 01:03:36,959
Speaker 1: bit of a score trivia. Though credit for the first

1137
01:03:36,960 --> 01:03:40,440
Speaker 1: electronic score generally goes to BB and Louis Baron for

1138
01:03:40,520 --> 01:03:45,760
Speaker 1: their work on with a Magnetic Tape on nineteen six

1139
01:03:45,760 --> 01:03:50,040
Speaker 1: film Forbidden Planet. UM. So this isn't an example of

1140
01:03:50,040 --> 01:03:53,200
Speaker 1: an electronic score, but if it were an electronic score,

1141
01:03:53,240 --> 01:03:55,880
Speaker 1: it would be way ahead of its time. I also

1142
01:03:55,960 --> 01:04:00,640
Speaker 1: have to say that the that the quints where he's

1143
01:04:00,680 --> 01:04:04,360
Speaker 1: smearing the synthetic flesh over his face and into his

1144
01:04:04,480 --> 01:04:07,480
Speaker 1: hair and forming this noon face, this face of the

1145
01:04:07,520 --> 01:04:11,560
Speaker 1: moon Killer, it reminds me a lot of the later

1146
01:04:12,000 --> 01:04:15,720
Speaker 1: the current the modern performance art. A French artist, all

1147
01:04:15,920 --> 01:04:20,360
Speaker 1: Oliver de Sagazin, who I mean, I meany of you

1148
01:04:20,400 --> 01:04:23,240
Speaker 1: may have seen. There's one of his performances features into

1149
01:04:23,240 --> 01:04:26,360
Speaker 1: the two thousand eleven films Sam Sara. But you can

1150
01:04:26,400 --> 01:04:29,480
Speaker 1: also find clips of his work online. Just look for

1151
01:04:29,560 --> 01:04:32,960
Speaker 1: Oliver this s A G A Z A N and

1152
01:04:32,960 --> 01:04:35,720
Speaker 1: you'll see his see what he does. Basically, he sets

1153
01:04:35,760 --> 01:04:39,640
Speaker 1: up in front of a camera and then he layers

1154
01:04:39,760 --> 01:04:42,760
Speaker 1: paint and clay over his own face and does a

1155
01:04:42,760 --> 01:04:44,880
Speaker 1: fair amount of like you know, performance art with it

1156
01:04:45,200 --> 01:04:49,640
Speaker 1: to just transform himself into these various, uh I mean,

1157
01:04:49,880 --> 01:04:53,080
Speaker 1: kind of monstrosities. There's an unsettling nature to his work,

1158
01:04:53,120 --> 01:04:56,840
Speaker 1: but it's wonderful. And in this film in dr X,

1159
01:04:57,000 --> 01:04:59,880
Speaker 1: we kind of see a far earlier version of the

1160
01:05:00,120 --> 01:05:03,960
Speaker 1: same performance art. Yeah, I mean it makes me wonder

1161
01:05:04,120 --> 01:05:07,680
Speaker 1: what are the other great examples of of sort of

1162
01:05:07,720 --> 01:05:12,800
Speaker 1: extreme makeup effects and film from the thirties. I don't

1163
01:05:12,960 --> 01:05:16,800
Speaker 1: know of any other movies from this era that that

1164
01:05:17,000 --> 01:05:19,640
Speaker 1: have effects that look like this. I mean, I would

1165
01:05:19,680 --> 01:05:22,160
Speaker 1: have thought, you know, makeup at the time was all

1166
01:05:22,200 --> 01:05:25,880
Speaker 1: basically just like realistic accentuation of the face, not not

1167
01:05:26,000 --> 01:05:28,760
Speaker 1: the kind of like horror movie makeup effects we associate

1168
01:05:28,800 --> 01:05:32,040
Speaker 1: with movies of the seventies and eighties. Yeah, I mean,

1169
01:05:32,120 --> 01:05:36,520
Speaker 1: it's it's it's impressive. Um, I'm I'm thinking trying to

1170
01:05:36,560 --> 01:05:38,800
Speaker 1: like figure out what it like we can think about

1171
01:05:38,800 --> 01:05:40,200
Speaker 1: what it's supposed to be. You know, it's kind of

1172
01:05:40,200 --> 01:05:42,560
Speaker 1: like he's grabbing himself down with sci fi stem cells

1173
01:05:42,680 --> 01:05:45,480
Speaker 1: or something, but um or you know, some sort of

1174
01:05:45,480 --> 01:05:49,439
Speaker 1: flesh that instantly forges a connection with his own flesh.

1175
01:05:49,480 --> 01:05:52,520
Speaker 1: But I imagine it's probably a twist on perceptions of

1176
01:05:52,600 --> 01:05:57,000
Speaker 1: elaborate um uh special effects makeup of the day. You

1177
01:05:57,040 --> 01:05:59,360
Speaker 1: know that the putty is like flesh, and then it

1178
01:05:59,360 --> 01:06:02,360
Speaker 1: seems to be come the flesh, and within the context

1179
01:06:02,440 --> 01:06:04,080
Speaker 1: of the film, I don't know, it's like he's got

1180
01:06:04,080 --> 01:06:06,560
Speaker 1: this this you know, this big old jar stem cells

1181
01:06:06,600 --> 01:06:09,120
Speaker 1: and he's just gobbing it on and sculpting his flesh

1182
01:06:09,160 --> 01:06:12,880
Speaker 1: into the desired nightmare. But but I think also we

1183
01:06:12,920 --> 01:06:16,640
Speaker 1: can find a possible connection here to sort the zeitgeist

1184
01:06:16,680 --> 01:06:18,520
Speaker 1: of the time when you look back at the history

1185
01:06:18,560 --> 01:06:21,720
Speaker 1: of plastic surgery, which to be clear, doesn't mean the

1186
01:06:21,840 --> 01:06:25,680
Speaker 1: use of plastic in sculpting flesh, but the overall plasticity

1187
01:06:25,680 --> 01:06:30,880
Speaker 1: of flesh that can be um utilized in reconstructive surgery.

1188
01:06:30,960 --> 01:06:33,280
Speaker 1: So you look at some of the achievements that were

1189
01:06:33,320 --> 01:06:37,320
Speaker 1: made even at that time and in you know, previous decades. Uh,

1190
01:06:37,560 --> 01:06:40,640
Speaker 1: they were pretty amazing, stuff like walking lengths of flesh

1191
01:06:40,880 --> 01:06:43,640
Speaker 1: up to the face or down from the forehead in

1192
01:06:43,760 --> 01:06:48,560
Speaker 1: order to slowly grafted inform it and to reform features

1193
01:06:48,600 --> 01:06:53,840
Speaker 1: that were lost. Uh. Cartilage implantation is another example. Uh.

1194
01:06:53,880 --> 01:06:58,040
Speaker 1: If you look up images of say World War One

1195
01:06:58,120 --> 01:07:01,760
Speaker 1: facial reconstruction, UH, you can see examples of this. Because

1196
01:07:01,760 --> 01:07:03,439
Speaker 1: some of it is quite amazing. I mean it's it's

1197
01:07:03,560 --> 01:07:06,520
Speaker 1: you know, it can be a little tough to take in, Uh,

1198
01:07:06,560 --> 01:07:10,680
Speaker 1: but it's quite interesting. And remember this is two so

1199
01:07:11,240 --> 01:07:14,520
Speaker 1: memories of the First World Wars injuries are still raw,

1200
01:07:15,000 --> 01:07:18,600
Speaker 1: as are likely the photographs of the surgical reconstructions that

1201
01:07:18,640 --> 01:07:22,520
Speaker 1: were possible. Um. There's even a great line from Wells

1202
01:07:22,640 --> 01:07:25,360
Speaker 1: that I feel like reflects this, because as he's having

1203
01:07:25,400 --> 01:07:28,680
Speaker 1: his like supervillain reveal speech, he says, yes, look at

1204
01:07:28,720 --> 01:07:32,560
Speaker 1: it a real hand. It's alive. It's flesh, synthetic flesh.

1205
01:07:32,600 --> 01:07:35,640
Speaker 1: For years, I've been searching to find the secret of

1206
01:07:35,680 --> 01:07:38,240
Speaker 1: a living, manufactured flesh, and now I found it. You

1207
01:07:38,240 --> 01:07:40,320
Speaker 1: think I went to Africa to study cannibalism. I went

1208
01:07:40,320 --> 01:07:42,160
Speaker 1: there to get samples of the human flesh that the

1209
01:07:42,280 --> 01:07:45,120
Speaker 1: natives e yes that's what I needed, living flesh from

1210
01:07:45,240 --> 01:07:48,400
Speaker 1: humans from my experiments, What difference did it make if

1211
01:07:48,400 --> 01:07:50,960
Speaker 1: a few people had to die their flesh taught me

1212
01:07:51,000 --> 01:07:56,200
Speaker 1: how to manufacture arms, legs, faces that are human. I'll

1213
01:07:56,240 --> 01:08:00,160
Speaker 1: make a cripple world hold again. So again, we at

1214
01:08:00,560 --> 01:08:03,680
Speaker 1: a very like ends justify the means things like, look,

1215
01:08:03,800 --> 01:08:06,120
Speaker 1: I've had to kill a lot of people, but I'm

1216
01:08:06,160 --> 01:08:09,640
Speaker 1: going to create amazing new surgical techniques by what I've

1217
01:08:09,720 --> 01:08:12,560
Speaker 1: learned through doing so. Yeah, and I think, yeah, you

1218
01:08:12,600 --> 01:08:14,560
Speaker 1: think about this film is coming out, you know, post

1219
01:08:14,640 --> 01:08:18,240
Speaker 1: War War One and before World War Two, it seems

1220
01:08:18,280 --> 01:08:21,559
Speaker 1: like it seems like that maybe what is lashing onto here?

1221
01:08:21,600 --> 01:08:24,439
Speaker 1: You know, it's uh uh. And again this is kind

1222
01:08:24,439 --> 01:08:27,120
Speaker 1: of the territory, this is the area in which genre

1223
01:08:27,160 --> 01:08:30,720
Speaker 1: filmmaking often works. I think this is probably also a

1224
01:08:30,720 --> 01:08:34,080
Speaker 1: time where people were trying to figure out the limits

1225
01:08:34,120 --> 01:08:37,959
Speaker 1: of what was ethical scientific experimentation. Like, there was probably

1226
01:08:38,000 --> 01:08:40,679
Speaker 1: a lot of experimentation going on that we would today

1227
01:08:40,760 --> 01:08:45,439
Speaker 1: regard as unethical in its nature, but was you know,

1228
01:08:45,479 --> 01:08:47,759
Speaker 1: it was not just people who were like I'm trying

1229
01:08:47,800 --> 01:08:50,360
Speaker 1: to do evil. It was people who had this idea

1230
01:08:50,439 --> 01:08:52,200
Speaker 1: of like, well, think of all the good that we

1231
01:08:52,200 --> 01:08:56,160
Speaker 1: could accomplish exactly. Yeah, and and just you know, continuing

1232
01:08:56,200 --> 01:09:00,599
Speaker 1: to to to roll with with what these technological change

1233
01:09:00,680 --> 01:09:03,800
Speaker 1: is meant for humanity, you know, like suddenly we're able

1234
01:09:03,840 --> 01:09:06,760
Speaker 1: to to wage war in ways that we were not

1235
01:09:06,840 --> 01:09:09,280
Speaker 1: able to previously. I mean, one of the prime examples

1236
01:09:09,320 --> 01:09:12,000
Speaker 1: from the First World War would of course be chemical weaponry,

1237
01:09:12,200 --> 01:09:14,439
Speaker 1: and we have a brief scene of chemical weaponry in

1238
01:09:14,520 --> 01:09:18,479
Speaker 1: this film is the newspaper Guy lee Is is gassed there.

1239
01:09:18,760 --> 01:09:21,080
Speaker 1: You know. As for other ways this movie fits into

1240
01:09:21,120 --> 01:09:24,000
Speaker 1: the history of science. There there's a thing that comes

1241
01:09:24,040 --> 01:09:30,440
Speaker 1: up several times, which is UH forensic experimentation, like forensic biometrics,

1242
01:09:30,479 --> 01:09:36,680
Speaker 1: basically using UH brain examination or heart rate monitoring or

1243
01:09:36,720 --> 01:09:39,320
Speaker 1: things like that to determine the guilt of a person

1244
01:09:39,680 --> 01:09:43,559
Speaker 1: in UH trying to solve a criminal case. If you

1245
01:09:43,560 --> 01:09:47,120
Speaker 1: would like more information about the history of that kind

1246
01:09:47,160 --> 01:09:50,120
Speaker 1: of thing, we did an episode I actually was Christian

1247
01:09:50,120 --> 01:09:52,360
Speaker 1: and I did a couple of episodes several years ago

1248
01:09:52,400 --> 01:09:55,439
Speaker 1: about the failures of forensic science that where we talked

1249
01:09:55,479 --> 01:09:59,040
Speaker 1: about this big report that looked into the reliability of

1250
01:09:59,080 --> 01:10:02,519
Speaker 1: forensic science. Is that are supposedly used to establish guilt

1251
01:10:02,560 --> 01:10:05,040
Speaker 1: in the courtroom and how some of them are in

1252
01:10:05,080 --> 01:10:07,559
Speaker 1: most cases pretty solid, you know, like DNA evidence and

1253
01:10:07,600 --> 01:10:09,720
Speaker 1: all that, but a lot of them do not have

1254
01:10:09,880 --> 01:10:13,000
Speaker 1: as solid a scientific basis as is often represented and

1255
01:10:13,040 --> 01:10:16,439
Speaker 1: may very well be sort of just sort of stealing

1256
01:10:16,479 --> 01:10:20,040
Speaker 1: the perimative, the imperimature of science as a concept, to

1257
01:10:20,320 --> 01:10:24,439
Speaker 1: placed on some kind of weak evidence. Yeah, speaking of

1258
01:10:24,439 --> 01:10:28,200
Speaker 1: weak evidence, I I do love that ultimately Dr X

1259
01:10:28,320 --> 01:10:30,760
Speaker 1: was wrong, you know there in the film, he's like,

1260
01:10:30,800 --> 01:10:34,360
Speaker 1: I'm totally sure that the the the the Killer sees

1261
01:10:34,400 --> 01:10:37,080
Speaker 1: the moon and it awakens these repressed feelings inside him,

1262
01:10:37,320 --> 01:10:39,360
Speaker 1: and that is what I will look for, and that

1263
01:10:39,760 --> 01:10:42,559
Speaker 1: is not what was happening at all. Like the Killer

1264
01:10:42,680 --> 01:10:45,320
Speaker 1: was like Dr X. It was a researcher who was

1265
01:10:45,360 --> 01:10:49,160
Speaker 1: fanatically dedicated to his own work and was trying to

1266
01:10:49,439 --> 01:10:53,120
Speaker 1: end was willing to do whatever he could to further it. Yeah.

1267
01:10:53,640 --> 01:10:56,360
Speaker 1: So you know, in a way, it would have been

1268
01:10:56,400 --> 01:10:58,519
Speaker 1: interesting to see where they would have gone with a

1269
01:10:58,560 --> 01:11:02,200
Speaker 1: sequel to this film, right in that they could ask, well,

1270
01:11:02,240 --> 01:11:04,680
Speaker 1: where does Doctor X go from there? He's been kind

1271
01:11:04,680 --> 01:11:06,640
Speaker 1: of been proven wrong in a way. He's in a

1272
01:11:06,640 --> 01:11:09,720
Speaker 1: similar place to where William of Baskerville is at the

1273
01:11:09,760 --> 01:11:11,720
Speaker 1: end of the Name of the Rose, where he realizes

1274
01:11:11,800 --> 01:11:15,040
Speaker 1: that to a certain extent, his logic and his reason

1275
01:11:15,080 --> 01:11:18,400
Speaker 1: has failed him. He wasn't able to actually prevent anything,

1276
01:11:18,880 --> 01:11:21,679
Speaker 1: even as he was able to solve the mystery. Yeah,

1277
01:11:21,760 --> 01:11:24,280
Speaker 1: that's a good point. Well, I hope that the doctor

1278
01:11:24,439 --> 01:11:26,960
Speaker 1: X has learned his lesson and will no longer say

1279
01:11:26,960 --> 01:11:29,880
Speaker 1: that you can prove the guilt of someone suspected of

1280
01:11:29,960 --> 01:11:33,560
Speaker 1: murder by using a machine. Yes, hopefully so. But I

1281
01:11:33,600 --> 01:11:35,760
Speaker 1: don't know. He seems he seems rather stubborn and he's

1282
01:11:35,760 --> 01:11:38,800
Speaker 1: already invested in all that gear. Yeah, so we didn't

1283
01:11:38,800 --> 01:11:40,679
Speaker 1: even say how it ends. I mean, so the other

1284
01:11:40,760 --> 01:11:43,719
Speaker 1: thing is, after so Wells is going to kill Fay

1285
01:11:43,800 --> 01:11:47,240
Speaker 1: Ray while they're all handcuffed to chairs. Then Lee the

1286
01:11:47,280 --> 01:11:49,720
Speaker 1: reporter is like, hey, this guy had happened, And so

1287
01:11:49,800 --> 01:11:51,640
Speaker 1: he comes out and does it. He gives him the

1288
01:11:51,640 --> 01:11:56,080
Speaker 1: old fisticuffs and punches punches Wells in the face and

1289
01:11:56,120 --> 01:11:58,200
Speaker 1: they fight, and then I think he kills him by

1290
01:11:58,240 --> 01:12:01,160
Speaker 1: throwing a lamp on him, which sets him on fire.

1291
01:12:02,080 --> 01:12:04,160
Speaker 1: And yeah, he suits him and hits him in the

1292
01:12:04,200 --> 01:12:06,240
Speaker 1: face with a lamp and then kind of like tackles

1293
01:12:06,280 --> 01:12:08,240
Speaker 1: him through a window. Oh, I think He also hits

1294
01:12:08,320 --> 01:12:11,280
Speaker 1: him with his hand buzzard, doesn't he Possibly, Yeah, he

1295
01:12:11,360 --> 01:12:13,519
Speaker 1: is looking at his hand buzzer after it happens, so

1296
01:12:13,840 --> 01:12:15,760
Speaker 1: that may have played a role. It would make sense

1297
01:12:15,760 --> 01:12:19,640
Speaker 1: because again the script is very economical, and then we

1298
01:12:19,640 --> 01:12:21,320
Speaker 1: get a nice little spot of romance and that's the

1299
01:12:21,360 --> 01:12:23,720
Speaker 1: end of the picture. That's it. Oh we get what

1300
01:12:23,880 --> 01:12:26,880
Speaker 1: he by the way he like he calls his society

1301
01:12:27,080 --> 01:12:30,240
Speaker 1: editor on the newspaper. He's like, hey, you know, you

1302
01:12:30,320 --> 01:12:32,479
Speaker 1: might want to set aside some What does he say?

1303
01:12:32,520 --> 01:12:35,240
Speaker 1: He's like, you might want to save some space for

1304
01:12:35,240 --> 01:12:38,240
Speaker 1: for doctor Xavier to make an announcement about his about

1305
01:12:38,240 --> 01:12:41,000
Speaker 1: his daughter. I guess implying that like that they're going

1306
01:12:41,040 --> 01:12:44,760
Speaker 1: to have a wedding announcement or something. Yeah, so you

1307
01:12:44,800 --> 01:12:47,519
Speaker 1: get your happy levy ending that The ending again is

1308
01:12:47,600 --> 01:12:51,719
Speaker 1: very very mainstream and normal. The beginning is is fairly normal.

1309
01:12:51,760 --> 01:12:54,080
Speaker 1: But man, this the middle of this film gets into

1310
01:12:54,120 --> 01:12:56,880
Speaker 1: some serious weirdness and I love it. So you might

1311
01:12:56,920 --> 01:12:59,320
Speaker 1: be wondering where can you get this film? Well, you

1312
01:12:59,360 --> 01:13:02,680
Speaker 1: can rent or buy this one digitally most places, you know,

1313
01:13:02,720 --> 01:13:05,000
Speaker 1: wherever you get digital films, you can rent it or

1314
01:13:05,120 --> 01:13:07,040
Speaker 1: buy it. You can also pick it up on DVD

1315
01:13:07,160 --> 01:13:09,960
Speaker 1: either as part of a two movie pack along with

1316
01:13:10,040 --> 01:13:14,000
Speaker 1: the Yes, the Nine sequel. There is an actual sequel

1317
01:13:14,000 --> 01:13:17,040
Speaker 1: to this. I doubt that it meets my expectations, but

1318
01:13:17,080 --> 01:13:19,760
Speaker 1: it's called The Return of Doctor X, which start an

1319
01:13:19,840 --> 01:13:23,480
Speaker 1: up and coming actor by the name of Humphrey Bogart. Um.

1320
01:13:23,600 --> 01:13:25,000
Speaker 1: I haven't seen it, but we have brought it up

1321
01:13:25,000 --> 01:13:26,800
Speaker 1: on the show before, just because I believe it has

1322
01:13:26,840 --> 01:13:30,519
Speaker 1: a synthetic blood plot element. I think I've read that

1323
01:13:30,560 --> 01:13:33,840
Speaker 1: it has little to do with this movie. Yeah, yeah,

1324
01:13:33,920 --> 01:13:36,479
Speaker 1: I can't imagine it is. Uh it really carries on

1325
01:13:36,520 --> 01:13:38,920
Speaker 1: the legacy well uh oh. You can also pick this

1326
01:13:39,000 --> 01:13:41,679
Speaker 1: up in a big box set that also includes Mad

1327
01:13:41,800 --> 01:13:44,679
Speaker 1: Love and a few other films, so that's worth looking

1328
01:13:44,720 --> 01:13:48,360
Speaker 1: for as well. Man, imagine a Mad Love Doctor X

1329
01:13:48,400 --> 01:13:51,360
Speaker 1: mash up, though that would have been so yeah. Now,

1330
01:13:51,400 --> 01:13:53,280
Speaker 1: one thing I will say that these movies have in

1331
01:13:53,439 --> 01:13:57,000
Speaker 1: common is that they're both I think, pretty great sci

1332
01:13:57,040 --> 01:13:59,720
Speaker 1: fi horror movies for their time. Both are sort of

1333
01:13:59,720 --> 01:14:05,879
Speaker 1: push over the edge into transcendence by one amazingly weird

1334
01:14:06,000 --> 01:14:08,759
Speaker 1: scene towards the end. In this case, it's the synthetic

1335
01:14:08,840 --> 01:14:12,439
Speaker 1: flesh scene. In Mad Love, it's the scene where he's

1336
01:14:12,479 --> 01:14:14,760
Speaker 1: dressed up as or Lac in the brace with the

1337
01:14:14,800 --> 01:14:18,960
Speaker 1: sunglasses and all that that that costume. Uh yeah, the

1338
01:14:19,240 --> 01:14:22,120
Speaker 1: Rolo costume. Yeah, oh yeah, sorry not or like the

1339
01:14:22,200 --> 01:14:24,960
Speaker 1: Rolo costume. You're right, yes, Uh, those are like the

1340
01:14:25,040 --> 01:14:28,439
Speaker 1: scenes that make the movies in both cases. But whereas

1341
01:14:28,479 --> 01:14:31,040
Speaker 1: Mad Love has Peter Lori, I don't think this movie

1342
01:14:31,120 --> 01:14:34,320
Speaker 1: has anybody of the Peter Lori caliber in it. No.

1343
01:14:34,560 --> 01:14:36,760
Speaker 1: I mean, you know, it's it's got it's got a

1344
01:14:36,760 --> 01:14:39,600
Speaker 1: couple of of of big names for the time we

1345
01:14:39,680 --> 01:14:41,599
Speaker 1: mentioned you've got at Well and you've got Fay Raid.

1346
01:14:41,760 --> 01:14:45,080
Speaker 1: But in terms of bringing the performance, like bringing something

1347
01:14:45,080 --> 01:14:48,640
Speaker 1: performance wise that's memorably weird, Yeah, they don't really have it.

1348
01:14:48,640 --> 01:14:50,439
Speaker 1: I guess you've kind of sprinkles off it though with

1349
01:14:50,479 --> 01:14:54,000
Speaker 1: the supporting cast. Yeah. Dr Roweitz, Yeah he's I mean

1350
01:14:54,040 --> 01:14:58,759
Speaker 1: he doesn't have enough screen time, but he's he's my hero. Yeah.

1351
01:14:59,000 --> 01:15:01,479
Speaker 1: All right, Well we're gonna go ahead and uh put

1352
01:15:01,520 --> 01:15:05,520
Speaker 1: a scalpel in this one and scalpel it's done, scalpel

1353
01:15:05,960 --> 01:15:08,960
Speaker 1: and and uh and call it done. Um, this has

1354
01:15:09,000 --> 01:15:11,400
Speaker 1: been another episode of weird al cinema. We're putting out

1355
01:15:11,439 --> 01:15:14,679
Speaker 1: weird how Cinema every Friday. Stuff to Blow Your Mind

1356
01:15:14,720 --> 01:15:18,040
Speaker 1: remains a science and culture show, but Friday is our

1357
01:15:18,120 --> 01:15:20,439
Speaker 1: our data unwind a little bit and enjoy a little

1358
01:15:20,720 --> 01:15:24,200
Speaker 1: midnight movie goodness. So let us know what you thought.

1359
01:15:24,560 --> 01:15:26,320
Speaker 1: Did you see this film? Had you seen it previously?

1360
01:15:26,560 --> 01:15:28,200
Speaker 1: How do you feel about dr X? How do you

1361
01:15:28,200 --> 01:15:30,320
Speaker 1: feel about the twists and the turns and that crazy

1362
01:15:30,360 --> 01:15:34,000
Speaker 1: scene with the synthetic flesh. We would love to hear

1363
01:15:34,080 --> 01:15:38,479
Speaker 1: from you. Um, let's see what else? Oh yeah again.

1364
01:15:38,520 --> 01:15:40,320
Speaker 1: You can find this show in the Stuff to Blow

1365
01:15:40,360 --> 01:15:43,960
Speaker 1: your Mind podcast feed and we just asked that you rate,

1366
01:15:44,000 --> 01:15:47,400
Speaker 1: review and subscribe. That's a the main way to keep

1367
01:15:47,439 --> 01:15:49,080
Speaker 1: in touch with the show and keep up on what

1368
01:15:49,280 --> 01:15:52,960
Speaker 1: we're uh publishing, which thanks as always to our excellent

1369
01:15:53,000 --> 01:15:56,200
Speaker 1: audio producer Seth Nicholas Johnson. If you would like to

1370
01:15:56,200 --> 01:15:58,519
Speaker 1: get in touch with us with feedback on this episode

1371
01:15:58,600 --> 01:16:00,880
Speaker 1: or any other, to suggest an the topic for the future,

1372
01:16:01,200 --> 01:16:03,200
Speaker 1: or just to say hello, you can email us at

1373
01:16:03,320 --> 01:16:13,360
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

1374
01:16:13,400 --> 01:16:15,599
Speaker 1: to Blow Your Mind is production of I Heart Radio.

1375
01:16:15,960 --> 01:16:18,080
Speaker 1: For more podcasts for my heart Radio, visit the i

1376
01:16:18,120 --> 01:16:20,920
Speaker 1: Heart Radio app, Apple Podcasts, or wherever you listen to

1377
01:16:20,960 --> 01:16:21,759
Speaker 1: your favorite shows,