1
00:00:04,440 --> 00:00:08,239
Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob

2
00:00:08,320 --> 00:00:10,560
Speaker 1: Lamb and we have Oh, we have a fun one

3
00:00:10,560 --> 00:00:13,200
Speaker 1: for you today. This one is going to be our

4
00:00:13,280 --> 00:00:18,280
Speaker 1: episode from five twenty six, twenty twenty three on the

5
00:00:18,520 --> 00:00:22,799
Speaker 1: excellent nineteen sixty six space horror movie Queen of Blood

6
00:00:23,120 --> 00:00:28,560
Speaker 1: starring John Saxon, Basil Rathbone, Dennis Hopper, and Florence Marley.

7
00:00:29,320 --> 00:00:33,560
Speaker 1: This one is a lot of fun. We hope you enjoy.

8
00:00:35,720 --> 00:00:41,479
Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

9
00:00:45,720 --> 00:00:47,600
Speaker 1: Hey you, welcome to Weird House Cinema.

10
00:00:47,640 --> 00:00:51,199
Speaker 3: This is Rob Lamb and this is Joe McCormick. So

11
00:00:51,840 --> 00:00:55,680
Speaker 3: last week on Weird House Cinema, we were taking a

12
00:00:55,680 --> 00:00:59,960
Speaker 3: look at the nineteen ninety three live action Super Mario

13
00:01:00,160 --> 00:01:03,640
Speaker 3: Brothers movie. I still stand by my characterization, even with

14
00:01:03,680 --> 00:01:06,160
Speaker 3: a little more time to process my characterization of it

15
00:01:06,200 --> 00:01:09,200
Speaker 3: as one of the weirdest movies we've ever covered on

16
00:01:09,240 --> 00:01:11,640
Speaker 3: the show, and one of the weirdest movies I have

17
00:01:11,800 --> 00:01:15,520
Speaker 3: ever watched. It is still just it's bouncing like a

18
00:01:15,560 --> 00:01:20,360
Speaker 3: pinball in my head. But one of the many truly

19
00:01:20,400 --> 00:01:23,880
Speaker 3: bizarre aspects of that movie was that it had in

20
00:01:23,920 --> 00:01:27,320
Speaker 3: the role of the villain King Koopa none other than

21
00:01:27,360 --> 00:01:31,640
Speaker 3: the late great Dennis Hopper. Now, one of the other

22
00:01:31,760 --> 00:01:34,360
Speaker 3: movies that came up when we were exploring sort of

23
00:01:34,400 --> 00:01:39,360
Speaker 3: the back catalog of Dennis Hopper's work was a nineteen

24
00:01:39,440 --> 00:01:43,720
Speaker 3: sixty six sci fi horror film called Queen of Blood.

25
00:01:44,000 --> 00:01:47,000
Speaker 3: Now I immediately liked that title. I looked up the

26
00:01:47,040 --> 00:01:51,160
Speaker 3: poster and I liked that too, So my attention was raised.

27
00:01:51,200 --> 00:01:52,840
Speaker 3: I kept digging in and I was like, well, we've

28
00:01:52,840 --> 00:01:55,040
Speaker 3: got to cover this movie. And so here we are today.

29
00:01:55,080 --> 00:01:59,240
Speaker 3: We're talking about Queen of Blood nineteen sixty six, starring

30
00:01:59,320 --> 00:02:04,360
Speaker 3: John Sacks and Dennis Hopper, Basil rath Bone and Florence Marley.

31
00:02:04,880 --> 00:02:08,440
Speaker 1: Yeah, and I think it would be proper to position

32
00:02:08,560 --> 00:02:12,960
Speaker 1: this film within a trilogy of space vampire movies that

33
00:02:13,040 --> 00:02:15,120
Speaker 1: we'll probably get around to watching all of these at

34
00:02:15,160 --> 00:02:18,160
Speaker 1: one point. Planet of Vampires from nineteen sixty five, which

35
00:02:18,200 --> 00:02:21,760
Speaker 1: we have covered, the Mario Bava film Beautiful to Behold,

36
00:02:23,320 --> 00:02:27,079
Speaker 1: maybe a little bit qua lutic at times and its energy,

37
00:02:27,360 --> 00:02:32,559
Speaker 1: but still great, this film which carries on the vampires

38
00:02:32,600 --> 00:02:36,440
Speaker 1: of Space tradition, just one year later, and then eventually

39
00:02:36,480 --> 00:02:39,040
Speaker 1: we're going to get to Life Force that being the

40
00:02:39,080 --> 00:02:43,040
Speaker 1: modern version of this tale of you know, just female

41
00:02:43,760 --> 00:02:46,160
Speaker 1: in the case of Planet of the Vapires, male vampires

42
00:02:46,160 --> 00:02:49,919
Speaker 1: as well, vampires of all gender coming from space wanting

43
00:02:49,960 --> 00:02:51,120
Speaker 1: to consume human blood.

44
00:02:51,400 --> 00:02:53,680
Speaker 3: Now, in life force, I don't think it's exactly blood.

45
00:02:53,680 --> 00:02:55,720
Speaker 3: They just kind of generally want to suck all your

46
00:02:55,919 --> 00:02:58,760
Speaker 3: life force, basically your life energy out and leave you

47
00:02:58,800 --> 00:03:04,079
Speaker 3: a very withered scale, little kind of artifact. Yeah, but yes,

48
00:03:04,200 --> 00:03:07,800
Speaker 3: generally I agree with this arc. And I'm going to say,

49
00:03:07,880 --> 00:03:10,400
Speaker 3: of the three movies, the one we're talking about today

50
00:03:10,600 --> 00:03:14,040
Speaker 3: is by far the least of them, but not without

51
00:03:14,080 --> 00:03:17,280
Speaker 3: its pleasures. So we can talk about the kind of

52
00:03:17,360 --> 00:03:22,200
Speaker 3: weird jigsaw puzzle that is this film. But overall I

53
00:03:22,240 --> 00:03:25,240
Speaker 3: did enjoy it. It raises a question, though, which is that,

54
00:03:25,280 --> 00:03:27,320
Speaker 3: of all the movies we've ever done on Weird House,

55
00:03:27,760 --> 00:03:31,280
Speaker 3: which one do you think is comprised to the largest

56
00:03:31,360 --> 00:03:34,720
Speaker 3: extent of pre existing footage. It's got to be this one.

57
00:03:34,600 --> 00:03:37,880
Speaker 1: Right, It's got to be this one by a long shot.

58
00:03:38,200 --> 00:03:40,680
Speaker 1: So to explain this to anyone who's not familiar with

59
00:03:40,680 --> 00:03:42,320
Speaker 1: this film, and I think most people are not familiar

60
00:03:42,360 --> 00:03:45,880
Speaker 1: with this film, it includes a lot of footage, especially

61
00:03:45,920 --> 00:03:50,040
Speaker 1: the effects footage from the nineteen fifty nine Soviet science

62
00:03:50,080 --> 00:03:54,440
Speaker 1: fiction film Nebo Zovyacht, a film that the producer of

63
00:03:54,640 --> 00:03:58,160
Speaker 1: this movie, Roger Korman, who of course you're familiar with

64
00:03:58,240 --> 00:04:02,320
Speaker 1: from past episodes, had perch just the US distribution rights for.

65
00:04:03,000 --> 00:04:05,400
Speaker 1: He even roped in a young Francis Ford Coppola, who

66
00:04:05,440 --> 00:04:08,240
Speaker 1: worked on some re editing. They apparently added some monster

67
00:04:08,360 --> 00:04:12,120
Speaker 1: scenes for US audiences and released it as Battle Beyond

68
00:04:12,120 --> 00:04:16,159
Speaker 1: the Sun. This movie also reuses footage from nineteen sixty

69
00:04:16,279 --> 00:04:23,279
Speaker 1: threes Mitchta Nevstretchu A Dream Come True, another Soviet science

70
00:04:23,279 --> 00:04:26,800
Speaker 1: fiction film. So these are both I've not seen either

71
00:04:26,839 --> 00:04:31,239
Speaker 1: of these in their entirety, but they are essentially big budget,

72
00:04:31,320 --> 00:04:36,360
Speaker 1: prestige sci fi films from the Soviet Union, and here

73
00:04:36,760 --> 00:04:40,919
Speaker 1: footage from them is reused for a low budget Roger

74
00:04:40,960 --> 00:04:44,520
Speaker 1: Korman produced sci fi spectacle. You know this part that's

75
00:04:44,520 --> 00:04:46,359
Speaker 1: going to be released as part of a double feature.

76
00:04:46,880 --> 00:04:48,440
Speaker 3: Now, I was trying to think of a name for

77
00:04:48,480 --> 00:04:51,000
Speaker 3: what you would call this genre of movie genre, not

78
00:04:51,040 --> 00:04:54,080
Speaker 3: in terms of the not in terms of the story content,

79
00:04:54,360 --> 00:04:56,680
Speaker 3: but in terms of the way it came about, And

80
00:04:56,760 --> 00:04:59,680
Speaker 3: to borrow a phrase from the at least the current

81
00:04:59,800 --> 00:05:02,760
Speaker 3: edition and of Dungeons and Dragons. I'm going to call

82
00:05:02,839 --> 00:05:07,080
Speaker 3: this an attack of opportunity film. Yeah, it is a

83
00:05:07,120 --> 00:05:11,560
Speaker 3: film that comes about because you have some opportunity in

84
00:05:11,680 --> 00:05:16,520
Speaker 3: terms of production capability. Maybe you suddenly own rights to

85
00:05:16,839 --> 00:05:19,480
Speaker 3: a bunch of footage and you can try to figure

86
00:05:19,520 --> 00:05:22,720
Speaker 3: out how to build a movie around that footage, like

87
00:05:22,800 --> 00:05:25,039
Speaker 3: we have in the case of this movie today. But

88
00:05:25,120 --> 00:05:27,880
Speaker 3: there are other such examples. There are cases where like,

89
00:05:29,400 --> 00:05:33,960
Speaker 3: we have a very famous actor on hand for two

90
00:05:34,000 --> 00:05:38,279
Speaker 3: more days, can we do something with them that we

91
00:05:38,320 --> 00:05:41,200
Speaker 3: can build the rest of a movie around later. Or

92
00:05:41,360 --> 00:05:44,320
Speaker 3: maybe we have access to sets that have been used

93
00:05:44,320 --> 00:05:46,479
Speaker 3: in another movie or props that have been used in

94
00:05:46,560 --> 00:05:49,960
Speaker 3: another movie, and can we quickly throw something together to

95
00:05:50,160 --> 00:05:53,440
Speaker 3: make use of that. It's sort of an efficiency based

96
00:05:53,440 --> 00:05:55,960
Speaker 3: approach to cinematic storytelling.

97
00:05:56,800 --> 00:06:00,080
Speaker 1: Yeah, I think I've heard director Robert Rodriguez speak to

98
00:06:00,240 --> 00:06:03,680
Speaker 1: this as well. You know, like seeing what you have,

99
00:06:03,760 --> 00:06:05,920
Speaker 1: what do you have at your disposal that you can

100
00:06:06,000 --> 00:06:08,520
Speaker 1: utilize and using that kind of as the skeleton to

101
00:06:08,560 --> 00:06:11,040
Speaker 1: build up what you're going to create, especially if you're

102
00:06:11,040 --> 00:06:12,560
Speaker 1: dealing with limited budget.

103
00:06:12,720 --> 00:06:14,880
Speaker 3: What is I feel like we talked about another movie

104
00:06:14,920 --> 00:06:17,279
Speaker 3: recently where there was like a big star who was

105
00:06:17,360 --> 00:06:21,480
Speaker 3: already on call having filmed another movie, and they had

106
00:06:21,560 --> 00:06:23,320
Speaker 3: him for like a couple more days, and so they

107
00:06:23,400 --> 00:06:25,520
Speaker 3: made something that we watched. Does that ring a bell

108
00:06:25,560 --> 00:06:25,880
Speaker 3: for you?

109
00:06:26,160 --> 00:06:28,960
Speaker 1: Oh? It does ring a bell. I feel like that's

110
00:06:28,960 --> 00:06:32,640
Speaker 1: been the case with various actors, like, well, I guess

111
00:06:32,680 --> 00:06:35,200
Speaker 1: I'm going to stay in Rome for another week. Love

112
00:06:35,240 --> 00:06:37,560
Speaker 1: it here, you have a movie for me to work on,

113
00:06:37,640 --> 00:06:39,520
Speaker 1: you know that sort of thing. I feel like that's

114
00:06:39,600 --> 00:06:42,000
Speaker 1: the specific example has come up, But I don't recall

115
00:06:42,080 --> 00:06:43,560
Speaker 1: which film and which star it was.

116
00:06:43,880 --> 00:06:45,880
Speaker 3: This is how you get discount Boris Karloff.

117
00:06:46,160 --> 00:06:48,000
Speaker 1: Yeah, but yeah.

118
00:06:47,880 --> 00:06:50,440
Speaker 3: So in the case of Queen of Blood, it's not

119
00:06:50,520 --> 00:06:53,680
Speaker 3: like an actor or some sets they had access to.

120
00:06:54,160 --> 00:06:56,560
Speaker 3: It was pre existing footage. So we've got a bunch

121
00:06:56,600 --> 00:06:59,840
Speaker 3: of shots that are already part of another movie. But

122
00:06:59,880 --> 00:07:03,119
Speaker 3: fortunately most of our audience will not have seen that movie,

123
00:07:03,120 --> 00:07:05,720
Speaker 3: and the footage looks pretty dang good. So what if

124
00:07:05,720 --> 00:07:07,800
Speaker 3: we can just sort of like figure out how to

125
00:07:07,839 --> 00:07:10,560
Speaker 3: build a narrative around these shots we have?

126
00:07:11,600 --> 00:07:14,680
Speaker 1: Also, I think they have the same space helmets. I

127
00:07:14,720 --> 00:07:17,680
Speaker 1: did some pausing of the film because I was really

128
00:07:17,680 --> 00:07:22,320
Speaker 1: distracted by the differences between these two obvious lines of

129
00:07:22,320 --> 00:07:24,640
Speaker 1: footage while watching the film, and I was like, are

130
00:07:24,640 --> 00:07:26,480
Speaker 1: they even using the same space helmets or do they

131
00:07:26,480 --> 00:07:28,640
Speaker 1: just get the color ride and it looks like they're

132
00:07:28,680 --> 00:07:32,000
Speaker 1: the same helmets, or they are such an accurate recreation

133
00:07:32,200 --> 00:07:35,320
Speaker 1: that it doesn't matter. So I'll give them credit for that,

134
00:07:35,440 --> 00:07:39,200
Speaker 1: But there's so many other things that you just can't reproduce.

135
00:07:39,800 --> 00:07:42,320
Speaker 3: I feel like I would have noticed it even if

136
00:07:42,480 --> 00:07:44,880
Speaker 3: I did not read about the background of the film,

137
00:07:44,880 --> 00:07:48,520
Speaker 3: because number one, like the art style is totally different,

138
00:07:48,640 --> 00:07:52,240
Speaker 3: like all of the pre existing footage has a much

139
00:07:52,320 --> 00:07:57,480
Speaker 3: more beautifully, lusciously realized kind of character to it the

140
00:07:57,920 --> 00:08:00,760
Speaker 3: scenes that are actually shot directly for this film or

141
00:08:00,840 --> 00:08:04,000
Speaker 3: much more bare bones in terms of sets and stuff.

142
00:08:04,400 --> 00:08:06,680
Speaker 3: But also it's just totally different in terms of like

143
00:08:06,720 --> 00:08:09,520
Speaker 3: the film grain and things like the shots just don't

144
00:08:09,520 --> 00:08:13,000
Speaker 3: really match. But you know, it's okay. You slot them

145
00:08:13,000 --> 00:08:14,960
Speaker 3: in there and you can make a movie.

146
00:08:15,560 --> 00:08:17,280
Speaker 1: And I knew this was coming. I knew this was

147
00:08:17,320 --> 00:08:20,760
Speaker 1: one of the notable things about this film, but I

148
00:08:20,840 --> 00:08:22,600
Speaker 1: wasn't prepared for just how much they were going to

149
00:08:22,680 --> 00:08:25,760
Speaker 1: dump in. Like my mind instantly turns to a single

150
00:08:25,800 --> 00:08:29,000
Speaker 1: episode of Night Gallery from the early seventies. There's an

151
00:08:29,000 --> 00:08:31,240
Speaker 1: episode called The Different Ones, or rather it's a segment

152
00:08:31,240 --> 00:08:32,920
Speaker 1: from an episode called The Different Ones, and it's a

153
00:08:32,960 --> 00:08:36,480
Speaker 1: science fiction story that involves characters traveling from one planet

154
00:08:36,520 --> 00:08:41,280
Speaker 1: to the next, and in syndication they had to expand

155
00:08:41,320 --> 00:08:46,320
Speaker 1: it's runtime a bit, so they inserted spaceship shots from

156
00:08:46,400 --> 00:08:50,760
Speaker 1: nineteen seventy two Silent Running, Silent Running, Great Motion Picture.

157
00:08:50,800 --> 00:08:52,719
Speaker 1: We have a I think we have a podcast episode

158
00:08:52,880 --> 00:08:56,760
Speaker 1: pre Weird House dealing with it to some extent. But

159
00:08:57,520 --> 00:09:00,920
Speaker 1: in that particular instance, you know, I was very forgivable

160
00:09:00,960 --> 00:09:03,600
Speaker 1: and you can easily gloss over it because it's like, Okay,

161
00:09:03,679 --> 00:09:07,240
Speaker 1: we're exterior spaceship. Here's a shot from Silent Running. You

162
00:09:07,320 --> 00:09:09,480
Speaker 1: just go with it. And I was expecting it to

163
00:09:09,480 --> 00:09:11,400
Speaker 1: be more like that with this film, that like, Okay,

164
00:09:11,440 --> 00:09:13,600
Speaker 1: whenever we see an exterior of a spaceship, it's going

165
00:09:13,679 --> 00:09:16,560
Speaker 1: to be scenes from one of these Russian films. But

166
00:09:16,600 --> 00:09:18,720
Speaker 1: that's not the case. It's all sorts of stuff. It's

167
00:09:18,800 --> 00:09:21,760
Speaker 1: just so much stock or in this case, reused footage

168
00:09:22,360 --> 00:09:25,320
Speaker 1: dropped into the first hour. It's like when you let

169
00:09:25,200 --> 00:09:27,160
Speaker 1: out an eight year old put their own syrup on

170
00:09:27,200 --> 00:09:28,320
Speaker 1: their pancakes.

171
00:09:28,880 --> 00:09:31,800
Speaker 3: Yes, yeah, And there are a few things that you

172
00:09:31,840 --> 00:09:34,640
Speaker 3: can actually catch, especially if you have a pause button

173
00:09:34,640 --> 00:09:38,080
Speaker 3: available to you. One of which is there's a scene

174
00:09:38,120 --> 00:09:41,040
Speaker 3: where Basil Rathbone is giving a speech to a big

175
00:09:41,040 --> 00:09:44,360
Speaker 3: assembled crowd, and then it does a cutaway to show

176
00:09:44,400 --> 00:09:46,600
Speaker 3: the whole room, and I guess it's still supposed to

177
00:09:46,600 --> 00:09:49,480
Speaker 3: be him speaking, but it's not actually him in this shot.

178
00:09:49,600 --> 00:09:52,400
Speaker 3: And then in this room there's a great statue of

179
00:09:52,480 --> 00:09:55,600
Speaker 3: like a god or at least a muscled nude male figure,

180
00:09:55,880 --> 00:09:57,800
Speaker 3: and he's holding something in his hand, and when he's

181
00:09:57,800 --> 00:10:02,600
Speaker 3: holding is Sputnik, the the Russia, the Soviet spacecraft.

182
00:10:03,559 --> 00:10:05,720
Speaker 1: Yeah. Yeah, there are a lot of details like that.

183
00:10:05,760 --> 00:10:08,120
Speaker 1: It's almost as if they were like, look, the kids

184
00:10:08,120 --> 00:10:09,720
Speaker 1: are just going to be making out for the first

185
00:10:09,760 --> 00:10:12,679
Speaker 1: hour of this movie. We don't have to stress too

186
00:10:12,760 --> 00:10:16,000
Speaker 1: much about it. And ultimately, like that's how it feels.

187
00:10:16,040 --> 00:10:18,320
Speaker 1: It feels like the first hour of the film. Once

188
00:10:18,360 --> 00:10:21,240
Speaker 1: you press through that, you have a kind of tight,

189
00:10:21,320 --> 00:10:25,040
Speaker 1: little thirty minute story to enjoy and some nice acting

190
00:10:25,120 --> 00:10:29,840
Speaker 1: and so forth. But at least for me, I really

191
00:10:29,840 --> 00:10:31,200
Speaker 1: had to press through that first hour.

192
00:10:31,600 --> 00:10:34,400
Speaker 3: I agree. Yeah, there's a lot of padding, but there

193
00:10:34,440 --> 00:10:37,079
Speaker 3: are some moments in that first hour that I think

194
00:10:37,120 --> 00:10:39,840
Speaker 3: are actually extremely effective, and we can explain more about

195
00:10:39,840 --> 00:10:42,679
Speaker 3: those when we get into the plot. But yeah, there's

196
00:10:42,720 --> 00:10:45,240
Speaker 3: a lot of gonna Bazzel rathbone talking and it's not

197
00:10:45,280 --> 00:10:48,600
Speaker 3: that interesting or just like seeing rockets blast off or

198
00:10:48,600 --> 00:10:51,960
Speaker 3: shoot through space, that's not that great either. But a

199
00:10:52,000 --> 00:10:55,079
Speaker 3: lot of the footage from the Soviet films is beautiful

200
00:10:55,200 --> 00:10:59,679
Speaker 3: and sometimes it is used to I think great effect.

201
00:11:00,240 --> 00:11:02,880
Speaker 3: I would say of the original stuff in the movie,

202
00:11:03,320 --> 00:11:07,080
Speaker 3: probably the best for me was all basically Florence Marley,

203
00:11:07,200 --> 00:11:10,280
Speaker 3: who plays the main alien character in the film.

204
00:11:10,440 --> 00:11:13,800
Speaker 1: Oh yeah, she doesn't say a single word, but she has.

205
00:11:14,200 --> 00:11:19,200
Speaker 1: She emotes really well with her eyes and her eyebrows especially.

206
00:11:19,559 --> 00:11:22,520
Speaker 3: Yeah, her eyes, her teeth in the corners of her

207
00:11:22,559 --> 00:11:25,880
Speaker 3: mouth do more acting than most people do with one

208
00:11:25,920 --> 00:11:27,319
Speaker 3: hundred lines of dialogue.

209
00:11:27,640 --> 00:11:33,040
Speaker 1: Yeah, nice space vampire smirk. All right. Well, the other

210
00:11:33,240 --> 00:11:34,679
Speaker 1: fun thing about this is this is one of those

211
00:11:34,720 --> 00:11:37,480
Speaker 1: movies that takes us into the future, the far future

212
00:11:37,840 --> 00:11:42,080
Speaker 1: of nineteen ninety. So that was pretty fun.

213
00:11:42,080 --> 00:11:45,040
Speaker 3: It's what the narrator actually says it. It's the first

214
00:11:45,040 --> 00:11:47,200
Speaker 3: thing you hear in the film is the year is

215
00:11:47,440 --> 00:11:49,000
Speaker 3: nineteen ninety.

216
00:11:51,960 --> 00:11:55,360
Speaker 1: All Right, my elevator pitch for this is pretty simple.

217
00:11:55,480 --> 00:11:57,800
Speaker 1: Space Vampire sixty six. That's all you need to know.

218
00:11:57,880 --> 00:12:00,000
Speaker 1: It's just nineteen sixty six, and this is a Space

219
00:12:00,160 --> 00:12:02,920
Speaker 1: the Empire movie coming out of sixty six. Though it's

220
00:12:02,920 --> 00:12:05,200
Speaker 1: also interesting that in many respects it's kind of a

221
00:12:05,280 --> 00:12:07,840
Speaker 1: it feels more old fashioned than sixty six. It feels

222
00:12:08,120 --> 00:12:10,480
Speaker 1: a lot of the energy of this film is maybe

223
00:12:11,320 --> 00:12:12,880
Speaker 1: more in line with what we might expect from the

224
00:12:12,960 --> 00:12:17,160
Speaker 1: nineteen fifties. So yeah, it's yeah, interesting to think about that.

225
00:12:17,240 --> 00:12:19,880
Speaker 1: We'll discuss that as we proceed. Let's go ahead and

226
00:12:19,920 --> 00:12:20,560
Speaker 1: hear that trailer.

227
00:12:30,440 --> 00:12:54,520
Speaker 4: Ween of Blood untangalizing, mystifying enigma. She's gorgeous, a fresh blood,

228
00:12:55,440 --> 00:12:59,319
Speaker 4: she's a monster. Got a good supply of blood plasma

229
00:12:59,320 --> 00:13:04,120
Speaker 4: with us juice actrofeder and if we run out of plasma.

230
00:13:03,840 --> 00:13:52,240
Speaker 1: Commander, all right, if you want to watch Queen of Blood, well,

231
00:13:52,280 --> 00:13:54,760
Speaker 1: it's currently streaming. I know it's streaming on Prime. We

232
00:13:54,880 --> 00:13:57,880
Speaker 1: watched it there. I think it's streaming on some other sources.

233
00:13:58,280 --> 00:14:02,480
Speaker 1: It's also available on DVD from m Limited Collection. There's

234
00:14:02,520 --> 00:14:05,840
Speaker 1: also a Blu ray from Keno Laurber and Scorpion releasing,

235
00:14:06,200 --> 00:14:08,520
Speaker 1: though it doesn't seem to be widely available right now,

236
00:14:08,679 --> 00:14:10,760
Speaker 1: maybe out of print or something. But I wasn't able

237
00:14:10,800 --> 00:14:13,080
Speaker 1: to get my hands on that one, but it looks

238
00:14:13,080 --> 00:14:16,600
Speaker 1: like it has possibly some extras on it, all right,

239
00:14:16,679 --> 00:14:19,920
Speaker 1: Getting into the people behind this film, because ultimately some

240
00:14:20,000 --> 00:14:23,800
Speaker 1: of the cast and crew here are what like kind

241
00:14:23,800 --> 00:14:26,120
Speaker 1: of pushed the movie over the edge for me, because

242
00:14:26,160 --> 00:14:29,040
Speaker 1: you know, I'm already interested in the concept and the

243
00:14:29,600 --> 00:14:33,040
Speaker 1: time period. But then I started reading about the director

244
00:14:33,080 --> 00:14:36,400
Speaker 1: and writer of this, Curtis Harrington, who lived nineteen twenty

245
00:14:36,400 --> 00:14:39,720
Speaker 1: six through two thousand and seven. I wasn't familiar with

246
00:14:39,960 --> 00:14:44,640
Speaker 1: his work prior, but Curtis Harrington was a respected Hollywood director,

247
00:14:44,640 --> 00:14:48,720
Speaker 1: a film critic, an experimental filmmaker who played an important

248
00:14:48,800 --> 00:14:53,280
Speaker 1: role apparently in rediscovering James Whale during the nineteen fifties.

249
00:14:53,360 --> 00:14:56,160
Speaker 1: James Whale, of course, the director of such pictures as

250
00:14:56,320 --> 00:14:59,000
Speaker 1: Frankenstein and Bride of Frankenstein.

251
00:14:59,440 --> 00:15:02,200
Speaker 3: It's hard for me to imagine that James Whale ever

252
00:15:02,240 --> 00:15:05,880
Speaker 3: would have been like a forgotten filmmaker as long as

253
00:15:05,920 --> 00:15:07,840
Speaker 3: I've been aware of him. I was aware of him

254
00:15:07,880 --> 00:15:09,320
Speaker 3: with kind of icon status.

255
00:15:10,080 --> 00:15:13,000
Speaker 1: Yeah, I thought of it the same way. But I

256
00:15:13,040 --> 00:15:17,200
Speaker 1: was reading about this in Harrington's oh bit in the

257
00:15:17,200 --> 00:15:21,880
Speaker 1: Los Angeles Times. They're quoting Dennis Bartak, producer and screenwriter,

258
00:15:21,960 --> 00:15:25,280
Speaker 1: who says that that whale had been quote pretty much

259
00:15:25,280 --> 00:15:29,360
Speaker 1: forgotten by everybody at this time during the last decade

260
00:15:29,440 --> 00:15:35,360
Speaker 1: or less of Wales's life. So fascinating detail there. So anyway,

261
00:15:35,400 --> 00:15:38,360
Speaker 1: back to Harrington. Following a string of experimental short films,

262
00:15:38,440 --> 00:15:42,520
Speaker 1: his first feature was nineteen sixty one's Night Tide, which

263
00:15:42,560 --> 00:15:45,720
Speaker 1: also starred Dennis Hopper, apparently in his first leading role

264
00:15:46,040 --> 00:15:48,440
Speaker 1: as a man who falls in love with a mysterious

265
00:15:48,520 --> 00:15:52,400
Speaker 1: woman who performs as a mermaid at the local carnival.

266
00:15:53,480 --> 00:15:55,840
Speaker 1: I've not seen it, but it's one of Harrington's best

267
00:15:55,880 --> 00:15:59,880
Speaker 1: known films and is apparently apparently very well regarded for

268
00:16:00,120 --> 00:16:03,680
Speaker 1: sort of darkly fantastic elements. It's supposed to be a

269
00:16:03,800 --> 00:16:07,240
Speaker 1: rather rether nice film. It was a Corman production, and

270
00:16:07,360 --> 00:16:10,360
Speaker 1: he followed that movie up with two features for Corman,

271
00:16:10,520 --> 00:16:14,320
Speaker 1: utilizing big budget sci fi footage that Corman had gotten

272
00:16:14,360 --> 00:16:18,800
Speaker 1: his hands on from the Soviet Union. Those films were

273
00:16:18,880 --> 00:16:21,560
Speaker 1: Voyage to the Prehistoric Planet in sixty five and Queen

274
00:16:21,600 --> 00:16:25,600
Speaker 1: of Blood in sixty six. Harrington's late sixties early seventies

275
00:16:25,640 --> 00:16:30,240
Speaker 1: period contained several macabre films, including sixty seven's Games with

276
00:16:30,360 --> 00:16:33,880
Speaker 1: James Kahn, seventy one's What's the Matter with Helen starring

277
00:16:33,920 --> 00:16:38,920
Speaker 1: Debbie Reynolds, seventy two's Whoever Slew and He Grew? I

278
00:16:38,920 --> 00:16:42,240
Speaker 1: guess this is the question title period of his work.

279
00:16:42,640 --> 00:16:46,640
Speaker 1: This one starred Shelley Winters. There's seventy threes The Killing Kind,

280
00:16:46,760 --> 00:16:49,640
Speaker 1: and then mostly TV episodes and TV movies after that,

281
00:16:49,880 --> 00:16:52,600
Speaker 1: but with some intriguing titles like seventy threes The Cat

282
00:16:52,600 --> 00:16:55,920
Speaker 1: Creature and seventy eight's Devil Dog the Hound of Hell,

283
00:16:56,320 --> 00:16:59,680
Speaker 1: not to be confused with nineteen seventy seven's Draculus Dog.

284
00:17:00,160 --> 00:17:02,960
Speaker 3: Is that like, they ran out of the son of Dracula,

285
00:17:03,320 --> 00:17:06,280
Speaker 3: daughter of Dracula, cousin of Dracula, and they work all

286
00:17:06,320 --> 00:17:08,000
Speaker 3: the way down to Dracula's.

287
00:17:07,480 --> 00:17:11,639
Speaker 1: Dog, Dracula's Dog, And I mean, obviously they should have

288
00:17:11,680 --> 00:17:14,399
Speaker 1: followed it up with Devil Dog versus Dracula's Dog, but

289
00:17:16,000 --> 00:17:19,040
Speaker 1: they didn't. Anyway. They're also two theatrical films. In the

290
00:17:19,119 --> 00:17:22,520
Speaker 1: later mix there there's seventy seven's Ruby, a supernatural thriller

291
00:17:22,560 --> 00:17:28,640
Speaker 1: starring Piper Laurie, and nineteen eighty five's Matahari, a historical

292
00:17:28,880 --> 00:17:34,120
Speaker 1: erotic melodrama starring Sylvia Crystal. Best known for the Emmanuel films,

293
00:17:34,480 --> 00:17:39,680
Speaker 1: so Herrington's work is frequently explored in scholarship surrounding queer cinema,

294
00:17:40,000 --> 00:17:43,080
Speaker 1: though I believe much of this is contextual, as I'm

295
00:17:43,119 --> 00:17:46,520
Speaker 1: not sure that any of his films have expressly gay characters,

296
00:17:46,880 --> 00:17:49,919
Speaker 1: though Harrington himself was openly gay and wrote about it

297
00:17:49,920 --> 00:17:55,640
Speaker 1: in his autobiography. But Queen of Blood, well, I can

298
00:17:55,640 --> 00:17:58,320
Speaker 1: only imagine this is not the best example of his work.

299
00:17:58,359 --> 00:18:01,639
Speaker 1: But I do feel like when Herring actually has time

300
00:18:01,760 --> 00:18:05,680
Speaker 1: to build something here, again, mostly in the last thirty

301
00:18:05,720 --> 00:18:08,320
Speaker 1: minutes or so of the picture, it mostly works like

302
00:18:08,359 --> 00:18:12,600
Speaker 1: he's able to make use of good actors and also

303
00:18:12,640 --> 00:18:14,679
Speaker 1: effectively build a certain amount of tension.

304
00:18:15,040 --> 00:18:17,760
Speaker 3: Oh, I fully agree. I would say, on one hand, yes,

305
00:18:17,880 --> 00:18:20,680
Speaker 3: this is the least of the three Space Vampire films

306
00:18:20,680 --> 00:18:23,399
Speaker 3: you mentioned, But also I mean, how could it be

307
00:18:23,440 --> 00:18:25,840
Speaker 3: anything other than that given the circumstances, Like this is

308
00:18:25,840 --> 00:18:28,800
Speaker 3: an attack of opportunity film, It is an efficiency project.

309
00:18:29,160 --> 00:18:32,280
Speaker 3: You're trying to build something mostly on the basis of

310
00:18:32,359 --> 00:18:35,200
Speaker 3: stock footage or not stock, you know, pre existing footage.

311
00:18:35,480 --> 00:18:38,639
Speaker 3: So it is it's a difficult task, and I think

312
00:18:39,040 --> 00:18:42,080
Speaker 3: this movie, given that, actually is much better than it

313
00:18:42,080 --> 00:18:42,919
Speaker 3: has any right to be.

314
00:18:43,320 --> 00:18:54,520
Speaker 1: Oh, absolutely all right. The cast of this Baby is

315
00:18:54,560 --> 00:18:58,479
Speaker 1: also pretty interesting. We got John Saxon playing Alan Brynner,

316
00:18:58,600 --> 00:19:03,200
Speaker 1: our lead astronaut. Saxon with nineteen thirty six through twenty twenty.

317
00:19:03,200 --> 00:19:06,720
Speaker 1: He's a weird house cinema staple. We've profiled on the show,

318
00:19:06,880 --> 00:19:09,000
Speaker 1: I want to say three or four times at this point,

319
00:19:09,400 --> 00:19:11,080
Speaker 1: so I'm not going to go in into a lot

320
00:19:11,080 --> 00:19:13,640
Speaker 1: of detail regarding Saxon, but it was a former tea.

321
00:19:13,880 --> 00:19:15,679
Speaker 3: I'm trying to remember what were the others? We did

322
00:19:15,720 --> 00:19:19,119
Speaker 3: the Cannibal movie, but what were the other John Saxon movies?

323
00:19:19,880 --> 00:19:24,240
Speaker 1: Well, yes, there was the Cannibal movie. There was Hands

324
00:19:24,240 --> 00:19:26,160
Speaker 1: of Steel, in which he's one of the villains.

325
00:19:26,280 --> 00:19:27,359
Speaker 3: Yes, hands of Steel.

326
00:19:27,400 --> 00:19:30,240
Speaker 1: Okay, there's something else.

327
00:19:32,760 --> 00:19:35,320
Speaker 3: It's okay, okay, we can move on. Sorry, I just

328
00:19:35,640 --> 00:19:37,879
Speaker 3: was troubled that I couldn't remember the others. Okay, at

329
00:19:37,920 --> 00:19:39,320
Speaker 3: least two. That gets me there.

330
00:19:39,960 --> 00:19:42,320
Speaker 1: Every few weeks there's at least one John Zaxon film.

331
00:19:42,320 --> 00:19:45,840
Speaker 1: We were considering especially from his seventies period, you know,

332
00:19:45,920 --> 00:19:48,080
Speaker 1: But at any rate, Saxon's definitely come up in the

333
00:19:48,080 --> 00:19:49,920
Speaker 1: show before him just blinking on some of the other

334
00:19:49,920 --> 00:19:52,240
Speaker 1: ones he may have we may have discussed him in.

335
00:19:53,560 --> 00:19:56,199
Speaker 1: But Saxon was a former teen idol, and he'd been

336
00:19:56,240 --> 00:19:59,120
Speaker 1: acting since the mid fifties at this point, and had

337
00:19:59,119 --> 00:20:02,119
Speaker 1: already worked with Mario Bava on sixty three is the

338
00:20:02,119 --> 00:20:06,200
Speaker 1: Girl who Knew Too Much and Auto Preminger on sixty

339
00:20:06,240 --> 00:20:09,439
Speaker 1: three is the Cardinal. He'd appeared alongside a young Robert

340
00:20:09,440 --> 00:20:13,040
Speaker 1: Redford in the nineteen sixty two war film War Hunt,

341
00:20:13,080 --> 00:20:16,320
Speaker 1: which I've read is quite good. He plays a soldier

342
00:20:16,320 --> 00:20:18,440
Speaker 1: in that who also happens to be like a serial murderer.

343
00:20:19,320 --> 00:20:22,320
Speaker 1: But Saxon would really come into his own, like I say,

344
00:20:22,320 --> 00:20:24,240
Speaker 1: and more in like the nineteen seventies. I think. I

345
00:20:24,240 --> 00:20:27,800
Speaker 1: think most of the pictures one is drawn to for

346
00:20:27,920 --> 00:20:29,880
Speaker 1: John Saxon are going to be from that period. So

347
00:20:30,240 --> 00:20:33,240
Speaker 1: he's maybe a little young here, he's not completely green.

348
00:20:34,000 --> 00:20:36,560
Speaker 1: But on the other hand, he's also playing a character

349
00:20:36,840 --> 00:20:39,919
Speaker 1: who feels like he's been extracted more or less from

350
00:20:39,920 --> 00:20:43,640
Speaker 1: a nineteen fifties sci fi adventure. You know, He's still

351
00:20:43,720 --> 00:20:46,439
Speaker 1: better in this sort of bland role than a lot

352
00:20:46,480 --> 00:20:48,920
Speaker 1: of the square jaw leads that you find in those

353
00:20:48,960 --> 00:20:51,600
Speaker 1: fifties sci fi films, but it still has a lot

354
00:20:51,600 --> 00:20:52,359
Speaker 1: in common with that.

355
00:20:53,000 --> 00:20:55,400
Speaker 3: Yeah, I think there's not much to this role. He

356
00:20:55,600 --> 00:20:58,240
Speaker 3: is the leading man, and he is, to use the

357
00:20:58,320 --> 00:21:01,920
Speaker 3: term I often used to describe leading men from fifties

358
00:21:02,200 --> 00:21:05,239
Speaker 3: genre movies, he's kind of a rectangle, like he's just

359
00:21:05,840 --> 00:21:10,800
Speaker 3: there to be the masculine energy of rectitude according to

360
00:21:10,840 --> 00:21:12,320
Speaker 3: the logic of the film.

361
00:21:12,640 --> 00:21:15,199
Speaker 1: And yet it's still is subdued compared to some of

362
00:21:15,200 --> 00:21:16,639
Speaker 1: the early example like he did I don't think he

363
00:21:16,640 --> 00:21:18,360
Speaker 1: ever punches anybody, No.

364
00:21:18,200 --> 00:21:21,159
Speaker 3: He doesn't. He does spend the last I don't know

365
00:21:21,240 --> 00:21:24,840
Speaker 3: ten minutes of the movie arguing for the destruction of something,

366
00:21:24,840 --> 00:21:26,720
Speaker 3: with everybody else being like, oh no, it's fine, we

367
00:21:26,720 --> 00:21:27,760
Speaker 3: don't have to destroy it.

368
00:21:29,200 --> 00:21:32,000
Speaker 1: All right. You mentioned him already, but Basil Rathbone is

369
00:21:32,040 --> 00:21:36,680
Speaker 1: in this playing Doctor Faraday. Rathbone lived nineteen I mean sorry,

370
00:21:36,680 --> 00:21:40,280
Speaker 1: eighteen ninety two through nineteen sixty seven. This was one

371
00:21:40,280 --> 00:21:42,639
Speaker 1: of his final film performances, but he had a long

372
00:21:42,720 --> 00:21:45,560
Speaker 1: career of stage and screen. He was a South African

373
00:21:45,600 --> 00:21:48,040
Speaker 1: born English actor who served in the First World War

374
00:21:48,359 --> 00:21:51,399
Speaker 1: and started appearing in films in the early twenties. He

375
00:21:51,440 --> 00:21:54,320
Speaker 1: played Guy of Gisborne in nineteen thirty eight s The

376
00:21:54,320 --> 00:21:57,440
Speaker 1: Adventures of Robin Hood. He played Sherlock Holmes in fourteen

377
00:21:57,480 --> 00:22:00,719
Speaker 1: Hollywood films. Between thirty eight and forty six, he appeared

378
00:22:00,720 --> 00:22:05,440
Speaker 1: in various swashbucklers. He stayed active on the stage, won

379
00:22:05,480 --> 00:22:08,160
Speaker 1: a Tony Award in nineteen forty eight for The Heiress,

380
00:22:08,520 --> 00:22:11,600
Speaker 1: and he was nominated for two Oscars for nineteen thirty

381
00:22:11,680 --> 00:22:14,520
Speaker 1: nine If I Were King in nineteen thirty seven's Romeo

382
00:22:14,600 --> 00:22:18,600
Speaker 1: and Juliet, in which he played Tibbalt opposite Leslie Howard

383
00:22:18,600 --> 00:22:23,160
Speaker 1: as Romeo and Norma Shearer as Juliet. He played Baron

384
00:22:23,240 --> 00:22:26,359
Speaker 1: von Wolf in nineteen thirty nine's Son of Frankenstein. That

385
00:22:26,359 --> 00:22:30,560
Speaker 1: was the third universal Frankenstein film, with Carloff and Lagosi

386
00:22:30,640 --> 00:22:32,480
Speaker 1: in it. But I think there's kind of a drop

387
00:22:32,520 --> 00:22:37,240
Speaker 1: off after the first. Yeah, this one was not James Whale,

388
00:22:37,320 --> 00:22:38,560
Speaker 1: was it. No, No, no.

389
00:22:39,640 --> 00:22:41,879
Speaker 3: I think Bride is definitely the peak for me.

390
00:22:42,280 --> 00:22:46,440
Speaker 1: Bride is the peak now. Rathbone definitely made his mark

391
00:22:46,520 --> 00:22:50,119
Speaker 1: in horror and noir stories, especially later in his career.

392
00:22:50,520 --> 00:22:52,479
Speaker 1: Just to name a few films of note here at

393
00:22:52,560 --> 00:22:56,160
Speaker 1: least US fifty six The Black Sleep co starring Lon Cheney,

394
00:22:56,240 --> 00:22:59,040
Speaker 1: Junior Bell Lagosi and John Carradine. Sixty two is The

395
00:22:59,080 --> 00:23:01,680
Speaker 1: Magic Sword. That's a fun fantasy film that was featured

396
00:23:01,720 --> 00:23:04,800
Speaker 1: on MST three K back in the day. Roger Corman's

397
00:23:04,840 --> 00:23:08,560
Speaker 1: Tales of Terror starring Vincent Price and Peter Lourie. Sixty

398
00:23:08,560 --> 00:23:10,879
Speaker 1: three is the Comedy of Terror is starring Price, louri

399
00:23:11,280 --> 00:23:14,600
Speaker 1: and Carloff. Then we have sixty five Voyage to the

400
00:23:14,600 --> 00:23:19,240
Speaker 1: Prehistoric Planet. This movie. There's also sixty six is The

401
00:23:19,240 --> 00:23:22,600
Speaker 1: Ghost in the Invisible Bikini and nineteen sixty seven's Hillbilly's

402
00:23:22,640 --> 00:23:23,560
Speaker 1: in a Haunted House.

403
00:23:23,920 --> 00:23:26,200
Speaker 3: I just had to check something real quick. But yes,

404
00:23:26,600 --> 00:23:29,320
Speaker 3: The Magic Sword in sixty two was directed by bert

405
00:23:29,400 --> 00:23:29,919
Speaker 3: I Gordon.

406
00:23:30,320 --> 00:23:32,160
Speaker 1: That's a fun one. That's fun. I would come back

407
00:23:32,160 --> 00:23:34,200
Speaker 1: for that one. It's got a fun cast. And now

408
00:23:34,240 --> 00:23:37,120
Speaker 1: it's for the kids. It's a fairy tale movie. It's great. Yes.

409
00:23:37,280 --> 00:23:40,600
Speaker 3: Now I will say of Basil Rathbone in this movie,

410
00:23:40,680 --> 00:23:43,280
Speaker 3: I think he you know, he does what is asked

411
00:23:43,280 --> 00:23:46,320
Speaker 3: of him, but this is certainly not his best work.

412
00:23:46,359 --> 00:23:49,600
Speaker 3: It's kind of a monotonous exposition role. He makes a

413
00:23:49,600 --> 00:23:53,320
Speaker 3: lot of bureaucratic statements on behalf of the space institution.

414
00:23:53,960 --> 00:23:55,359
Speaker 3: Seems kind of underused to me.

415
00:23:56,160 --> 00:23:58,720
Speaker 1: Yeah, he's fun at the end. It's gonna be fun

416
00:23:58,720 --> 00:24:03,320
Speaker 1: to discuss his final Yeah, all right. We also have

417
00:24:03,400 --> 00:24:07,200
Speaker 1: a character named Laura James, played by Judy Meredith, who

418
00:24:07,280 --> 00:24:10,720
Speaker 1: lived nineteen thirty six through twenty fourteen, best known for

419
00:24:10,880 --> 00:24:14,280
Speaker 1: this movie, Shirley Temple's Storybook in fifty eight and Jack

420
00:24:14,320 --> 00:24:17,040
Speaker 1: the Giant Killer in sixty two. Mostly a TV player,

421
00:24:17,600 --> 00:24:20,200
Speaker 1: she was also the longtime wife of Gary Nelson, who

422
00:24:20,240 --> 00:24:23,679
Speaker 1: lived thirty four through twenty twenty two, who directed nineteen

423
00:24:23,720 --> 00:24:26,560
Speaker 1: seventy nine's The Black Hole. Now.

424
00:24:26,680 --> 00:24:30,919
Speaker 3: I was looking at Judy Meredith's twenty fourteen obituary in

425
00:24:31,080 --> 00:24:34,800
Speaker 3: The Oregonian, and this had an interesting story. It said

426
00:24:34,840 --> 00:24:38,560
Speaker 3: that at the age of fifteen, she briefly became a

427
00:24:38,600 --> 00:24:43,679
Speaker 3: professional ice skater, participating in the Ice Follies, which was

428
00:24:43,720 --> 00:24:46,639
Speaker 3: some kind of touring ice show that would sometimes feature

429
00:24:46,720 --> 00:24:50,800
Speaker 3: like Olympic ice skaters, but also had various performances such

430
00:24:50,840 --> 00:24:55,520
Speaker 3: as the Swiss comedy ice skating duo Frick and Frack.

431
00:24:55,720 --> 00:24:57,320
Speaker 3: Do you know Frick and frack Rup.

432
00:24:58,400 --> 00:25:00,720
Speaker 1: I feel like maybe I've heard a usions to Frick

433
00:25:00,760 --> 00:25:02,800
Speaker 1: and Frack, but I didn't know who they were. Like,

434
00:25:02,840 --> 00:25:05,439
Speaker 1: maybe there's an old MST. Three K joke about freakin'

435
00:25:05,480 --> 00:25:08,160
Speaker 1: frag but uh boy, look at them, there they are.

436
00:25:09,160 --> 00:25:11,040
Speaker 3: I had no idea there was any such thing as

437
00:25:11,080 --> 00:25:12,639
Speaker 3: a comedy ice skating duo.

438
00:25:14,000 --> 00:25:16,399
Speaker 1: Which one has the mustache, which one looks like g

439
00:25:16,520 --> 00:25:17,080
Speaker 1: Gordon Lyddy.

440
00:25:17,400 --> 00:25:21,639
Speaker 3: I don't know, but that's got to be Frack. Huh No,

441
00:25:21,760 --> 00:25:24,280
Speaker 3: maybe it's Frick. I really couldn't say, But so I

442
00:25:24,440 --> 00:25:26,320
Speaker 3: wonder I haven't seen their routine. Is it like a

443
00:25:26,320 --> 00:25:28,600
Speaker 3: three Stooges thing where they're poking each other in the

444
00:25:28,640 --> 00:25:30,679
Speaker 3: eyes and bopping on the top of the head But

445
00:25:30,680 --> 00:25:31,560
Speaker 3: they're ice skating.

446
00:25:31,880 --> 00:25:34,159
Speaker 1: I mean, one assumes if you're in the middle of

447
00:25:34,200 --> 00:25:37,240
Speaker 1: an ice skating rink and you're trying to portray comedy

448
00:25:37,280 --> 00:25:39,600
Speaker 1: to the audience, it's got to be pretty broad, right.

449
00:25:39,640 --> 00:25:40,920
Speaker 3: Yeah, you gotta be kind of physical.

450
00:25:41,400 --> 00:25:44,080
Speaker 1: You got to pad that butt for this act, I'm guessing.

451
00:25:44,480 --> 00:25:48,120
Speaker 3: But anyway, sorry, Yes, Judy Meretith So she briefly participated

452
00:25:48,160 --> 00:25:51,960
Speaker 3: in the ice Follies until she suffered a major skiing accident,

453
00:25:52,359 --> 00:25:55,119
Speaker 3: and this put an end to her ice skating career.

454
00:25:56,080 --> 00:25:59,280
Speaker 3: After this, she focused on acting in theater and was

455
00:25:59,640 --> 00:26:02,879
Speaker 3: a parent discovered by the comedian George Burns when she

456
00:26:03,040 --> 00:26:06,480
Speaker 3: was performing at the Pasadena Playhouse. This led to a

457
00:26:06,560 --> 00:26:09,400
Speaker 3: role on the half hour TV comedy show He Presented

458
00:26:09,400 --> 00:26:12,840
Speaker 3: with Gracie Allen, and then this in turn led to

459
00:26:12,960 --> 00:26:16,520
Speaker 3: more TV and film roles, including Queen of Blood. But

460
00:26:16,560 --> 00:26:18,400
Speaker 3: it looks like a lot of you know, the kind

461
00:26:18,400 --> 00:26:20,120
Speaker 3: of stuff, the sixty stuff Western.

462
00:26:20,200 --> 00:26:20,360
Speaker 4: Yes.

463
00:26:20,800 --> 00:26:22,840
Speaker 3: Now, there was a line from the obit that struck

464
00:26:22,920 --> 00:26:26,399
Speaker 3: me as interesting. It said that Judy Meredith sort of

465
00:26:26,600 --> 00:26:30,800
Speaker 3: created the opportunity for her husband, Gary Neilson to have

466
00:26:30,840 --> 00:26:35,040
Speaker 3: a directing career because she agreed to star in the

467
00:26:35,080 --> 00:26:39,000
Speaker 3: TV show Have Gun, Will Travel for Free, but only

468
00:26:39,080 --> 00:26:42,359
Speaker 3: if Gary would be allowed to direct. That's a move.

469
00:26:43,000 --> 00:26:46,639
Speaker 1: Yeah, so without her intervention, we might not have gotten

470
00:26:46,640 --> 00:26:47,760
Speaker 1: to the point of the black Hole.

471
00:26:48,480 --> 00:26:49,040
Speaker 3: Who knows.

472
00:26:49,600 --> 00:26:51,439
Speaker 1: Yeah, well, we may have to do black Hole at

473
00:26:51,480 --> 00:26:53,040
Speaker 1: some point. I can't get my family to watch it

474
00:26:53,080 --> 00:26:55,840
Speaker 1: with me, so I'm gonna have to revisit it on

475
00:26:55,880 --> 00:26:56,919
Speaker 1: my own at some point, so you.

476
00:26:56,920 --> 00:27:00,320
Speaker 3: Can make me watch it with you. Yes, well, I

477
00:27:00,320 --> 00:27:02,679
Speaker 3: look forward to that, but yeah, to come back to

478
00:27:02,960 --> 00:27:05,760
Speaker 3: I like shooting Meredith in this again kind of like

479
00:27:05,800 --> 00:27:08,439
Speaker 3: Basil Rathbone here, I feel like she's a little bit

480
00:27:08,480 --> 00:27:12,080
Speaker 3: kind of underused by the script, but she's she's got

481
00:27:12,119 --> 00:27:15,919
Speaker 3: good spunk in her scenes. And also, like Basil Rathbone's character,

482
00:27:16,840 --> 00:27:19,200
Speaker 3: it becomes fun in the last ten minutes or so,

483
00:27:19,320 --> 00:27:21,800
Speaker 3: and she's kind of just like arguing with John Saxon

484
00:27:21,840 --> 00:27:25,280
Speaker 3: about whether or not we should let these aliens completely

485
00:27:25,359 --> 00:27:26,199
Speaker 3: drink all her blood.

486
00:27:26,400 --> 00:27:29,199
Speaker 1: I agree, she doesn't have as much to do, but

487
00:27:29,440 --> 00:27:32,639
Speaker 1: you see the charisma sparkling through the performance, which is nice.

488
00:27:32,920 --> 00:27:34,640
Speaker 3: And you know what, Actually, so I've said that about

489
00:27:34,680 --> 00:27:37,320
Speaker 3: the last two actors, I'll also say that about Dennis Hopper.

490
00:27:38,000 --> 00:27:40,480
Speaker 3: He's good in this, but kind of underused. This is

491
00:27:40,520 --> 00:27:43,240
Speaker 3: the most subdued I have ever seen Dennis Hopper.

492
00:27:43,600 --> 00:27:47,040
Speaker 1: Yeah, it's interesting because, yeah, this is not Dennis Hopper

493
00:27:47,080 --> 00:27:50,359
Speaker 1: as a villain or a wild man. I feel like

494
00:27:50,400 --> 00:27:53,000
Speaker 1: he says daddy O or something at some point we

495
00:27:53,160 --> 00:27:57,120
Speaker 1: felt like an ad lib and maybe, but aside from that,

496
00:27:57,200 --> 00:27:59,239
Speaker 1: there's not a lot of what you might expect from

497
00:27:59,320 --> 00:28:02,800
Speaker 1: Dennis Hopper. He plays this kind of kind and sensitive

498
00:28:02,840 --> 00:28:06,360
Speaker 1: astronaut character that's like really you know, trying to connect

499
00:28:06,359 --> 00:28:08,199
Speaker 1: with the They don't know it at the time, but

500
00:28:08,280 --> 00:28:10,320
Speaker 1: this alien vampire who they brought on board.

501
00:28:10,680 --> 00:28:13,720
Speaker 3: They make him a writer. So there's a part where

502
00:28:14,440 --> 00:28:16,320
Speaker 3: I don't remember exactly what he says. We can explore

503
00:28:16,320 --> 00:28:19,480
Speaker 3: that later, but he he's like giving an update on

504
00:28:19,560 --> 00:28:22,680
Speaker 3: the ship's log and they're like, wow, Jack Kerouac.

505
00:28:22,400 --> 00:28:27,480
Speaker 1: Nice work, all right. So, yeah, Dennis Hopper playing Paul

506
00:28:27,520 --> 00:28:30,320
Speaker 1: Grant here he lived in nineteen thirty six to twenty ten.

507
00:28:30,600 --> 00:28:33,560
Speaker 1: We profiled him last week on the Super Mario Brothers episodes,

508
00:28:33,560 --> 00:28:35,720
Speaker 1: so we're not going to go into all that again,

509
00:28:35,760 --> 00:28:38,280
Speaker 1: but just to put it in context, Queen of Blood

510
00:28:38,600 --> 00:28:41,600
Speaker 1: hits just the year before sixty seven's Cool Hand Luke

511
00:28:41,960 --> 00:28:44,719
Speaker 1: and The Trip, as well as of course sixty eight

512
00:28:44,840 --> 00:28:48,480
Speaker 1: heads sixty nine's Easy Rider, So you know, it's like

513
00:28:48,520 --> 00:28:50,840
Speaker 1: a lot of big stuff was about to happen for Hopper,

514
00:28:51,560 --> 00:28:54,240
Speaker 1: but he'd still had over a decade's TV and film

515
00:28:54,280 --> 00:28:57,360
Speaker 1: experience at this point, though mostly in smaller roles. As

516
00:28:57,400 --> 00:29:01,160
Speaker 1: we mentioned earlier, Harrington gave Hopper his first starring role

517
00:29:01,320 --> 00:29:04,960
Speaker 1: in nineteen sixty one's Night Tide and Hopper apparently always

518
00:29:04,960 --> 00:29:07,840
Speaker 1: spoke well of him due to that, you know, that

519
00:29:07,920 --> 00:29:11,600
Speaker 1: break that film gave him, but also his experiences on

520
00:29:11,720 --> 00:29:14,840
Speaker 1: that film. He felt like Harrington like gave him the

521
00:29:14,920 --> 00:29:18,520
Speaker 1: room he needed to, you know, to to craft his performance,

522
00:29:18,680 --> 00:29:20,760
Speaker 1: and it just overall spoke well of him as a director.

523
00:29:21,080 --> 00:29:22,600
Speaker 3: Well that's nice, and it makes me want to see

524
00:29:22,600 --> 00:29:24,880
Speaker 3: that other movie. But Dennis Hopper, I'm just gonna say

525
00:29:24,920 --> 00:29:26,800
Speaker 3: he's on his best behavior in this one.

526
00:29:27,240 --> 00:29:29,800
Speaker 1: Yeah, okay, But.

527
00:29:30,760 --> 00:29:33,560
Speaker 3: So the last three actors I said, I've felt kind

528
00:29:33,600 --> 00:29:39,000
Speaker 3: of underused. All talented, but maybe they weren't given enough attention,

529
00:29:39,160 --> 00:29:41,760
Speaker 3: Maybe their roles weren't given enough oomph in the script.

530
00:29:42,280 --> 00:29:44,440
Speaker 3: I don't think I would say that about Florence Marley.

531
00:29:44,680 --> 00:29:46,520
Speaker 3: She gets some close up time.

532
00:29:47,040 --> 00:29:50,640
Speaker 1: Oh yeah, just straight up coming at the camera with

533
00:29:50,840 --> 00:29:55,200
Speaker 1: glowing eyes and that face. She doesn't actually have any

534
00:29:55,240 --> 00:29:59,400
Speaker 1: lines in the movie, but but it's a very physical

535
00:29:59,400 --> 00:30:02,320
Speaker 1: performce yeah, Nita line, she speaks, She's doing everything psychically.

536
00:30:02,880 --> 00:30:06,240
Speaker 1: So yeah, Florence Marley playing on IMDb, its credit is

537
00:30:06,320 --> 00:30:10,440
Speaker 1: Alien Queen. In the post credits for the film, it's

538
00:30:10,520 --> 00:30:13,040
Speaker 1: just Florence Marley as question Mark.

539
00:30:13,120 --> 00:30:16,560
Speaker 3: Like she doesn't given a Name and the New Mysterians.

540
00:30:17,000 --> 00:30:20,760
Speaker 1: Yeah, she was, but she has lived nineteen nineteen through

541
00:30:20,840 --> 00:30:23,760
Speaker 1: nineteen seventy eight. Checkborn actress who made her mark in

542
00:30:23,800 --> 00:30:27,640
Speaker 1: European film in the thirties and forties, in such movies

543
00:30:27,680 --> 00:30:32,680
Speaker 1: as forty eight's Krakatt and forty seven's The Damned, before

544
00:30:32,760 --> 00:30:35,040
Speaker 1: making the move to Hollywood after the Second World War.

545
00:30:35,320 --> 00:30:37,840
Speaker 1: She appeared in such American movies as forty nine's Tokyo

546
00:30:37,960 --> 00:30:41,720
Speaker 1: Joe opposite Humphrey Bogart, fifty seven's under Sea Girl. I

547
00:30:41,760 --> 00:30:44,560
Speaker 1: know that was the title that got your attention, Like,

548
00:30:44,560 --> 00:30:46,680
Speaker 1: what does that consist? Is she a mermaid? Is she

549
00:30:46,880 --> 00:30:47,560
Speaker 1: like in a wetsuit?

550
00:30:47,600 --> 00:30:49,280
Speaker 3: I don't know, Yeah, I didn't know.

551
00:30:50,440 --> 00:30:52,840
Speaker 1: She also had. She was on a number of TV

552
00:30:52,960 --> 00:30:56,560
Speaker 1: series as well, including the original Twilight Zone. Now, like

553
00:30:56,720 --> 00:30:59,160
Speaker 1: other actors of the mid twentieth century that we've discussed,

554
00:30:59,320 --> 00:31:01,800
Speaker 1: she was impact did by the House on American Activities

555
00:31:01,800 --> 00:31:06,120
Speaker 1: Committee's Blacklist, though it turns out that in her circumstances,

556
00:31:06,120 --> 00:31:08,800
Speaker 1: it was due to a case of mistaken identity, and

557
00:31:08,840 --> 00:31:11,640
Speaker 1: even though this was eventually cleared up, the damage to

558
00:31:11,720 --> 00:31:14,160
Speaker 1: her career was done at that point. This was one

559
00:31:14,160 --> 00:31:17,160
Speaker 1: of the last handful of films she worked on, though

560
00:31:17,880 --> 00:31:21,160
Speaker 1: she later appeared in nineteen seventy three's Doctor Death, Seeker

561
00:31:21,160 --> 00:31:24,920
Speaker 1: of Souls, and the nineteen seventy six film The Astrologer,

562
00:31:25,200 --> 00:31:27,080
Speaker 1: which I've heard great things about. It's supposed to be

563
00:31:27,200 --> 00:31:32,520
Speaker 1: kind of like a weird rediscovered classic. She also apparently,

564
00:31:32,640 --> 00:31:36,000
Speaker 1: and I'm going off of various databases and so forth

565
00:31:36,040 --> 00:31:38,920
Speaker 1: for this, she apparently wrote and starred in a short

566
00:31:38,960 --> 00:31:43,520
Speaker 1: film sequel of sorts to this movie titled Space Boy

567
00:31:43,760 --> 00:31:48,480
Speaker 1: Yes with an electronic score by BBA and Louis Baron

568
00:31:48,680 --> 00:31:52,640
Speaker 1: of the Forbidden Plan of Forbidden Planet Fame. And this

569
00:31:52,680 --> 00:31:55,600
Speaker 1: would have been in nineteen seventy three. I see various

570
00:31:55,640 --> 00:31:58,719
Speaker 1: mentions of it. It's listed in the databases, but I

571
00:31:58,760 --> 00:32:01,920
Speaker 1: find no actual footage of it anywhere. I don't see

572
00:32:01,920 --> 00:32:04,240
Speaker 1: any indication that it was included as an extra on

573
00:32:04,280 --> 00:32:09,160
Speaker 1: anything or compiled anywhere. It's it's almost like it's it's

574
00:32:09,200 --> 00:32:12,360
Speaker 1: listed in error, or it's a lost film entirely. I'm

575
00:32:12,400 --> 00:32:13,640
Speaker 1: not sure what the story is here.

576
00:32:14,000 --> 00:32:17,200
Speaker 3: If you have Spaceboy, send it to us upload now,

577
00:32:17,400 --> 00:32:19,840
Speaker 3: give us a link. I've got to see this because

578
00:32:19,960 --> 00:32:25,200
Speaker 3: I love Florence Marley in this movie. Of the original footage.

579
00:32:25,360 --> 00:32:26,760
Speaker 3: She makes the film.

580
00:32:26,920 --> 00:32:30,320
Speaker 1: Absolutely all right. Another actor in this I wasn't even

581
00:32:30,360 --> 00:32:32,560
Speaker 1: gonna mention them because before we watched it, I was thinking, oh,

582
00:32:32,560 --> 00:32:34,760
Speaker 1: this is the fourth crewman on the ship. He's just

583
00:32:34,840 --> 00:32:37,160
Speaker 1: gonna die. He's not gonna be that interesting. But I

584
00:32:37,240 --> 00:32:40,160
Speaker 1: actually found the performance kind of fun. This is Robert

585
00:32:40,200 --> 00:32:43,720
Speaker 1: Boone as Anders Brockman. He's like the practical older guy

586
00:32:43,920 --> 00:32:47,920
Speaker 1: on the vessel who says things like, well, how different

587
00:32:48,000 --> 00:32:52,200
Speaker 1: is it drinking blood from just enjoying a nice, rare stake.

588
00:32:52,280 --> 00:32:54,480
Speaker 1: It's not that different. We shouldn't be quick to judge

589
00:32:54,520 --> 00:32:55,040
Speaker 1: that sort of thing.

590
00:32:55,400 --> 00:32:58,320
Speaker 3: This is right after the alien has drained all of

591
00:32:58,360 --> 00:33:02,160
Speaker 3: Denis Hopper's blood. Yeah, this guy gives a speech about like, well,

592
00:33:02,200 --> 00:33:04,240
Speaker 3: hold on, now, let's not judge.

593
00:33:04,960 --> 00:33:08,560
Speaker 1: Yeah, she's just murdered his crewmate at this point. But

594
00:33:09,000 --> 00:33:12,360
Speaker 1: at any rate. This actor lived nineteen sixteen through twenty fifteen.

595
00:33:12,680 --> 00:33:15,200
Speaker 1: Dutch born actor active from the late forties through the

596
00:33:15,240 --> 00:33:18,840
Speaker 1: early eighties. And you look at this guy's credits. He

597
00:33:18,840 --> 00:33:23,600
Speaker 1: started off playing a lot of German soldiers and so

598
00:33:23,680 --> 00:33:26,960
Speaker 1: forth uncredited in war films, and I mean a lot

599
00:33:27,000 --> 00:33:30,400
Speaker 1: of them. It's an impressive list. Of like German soldier

600
00:33:30,520 --> 00:33:35,080
Speaker 1: uncredited and so forth, but he eventually starts getting better parts.

601
00:33:35,120 --> 00:33:36,840
Speaker 1: He shows up on a couple episodes of the classic

602
00:33:36,880 --> 00:33:41,200
Speaker 1: Twilight Zone. Same year, he's an uncredited player in Hitchcock's

603
00:33:41,240 --> 00:33:44,560
Speaker 1: Torn Curtain. Mostly TV work follows, but I read that

604
00:33:44,600 --> 00:33:47,080
Speaker 1: he served as a member of the Motion Picture Academy's

605
00:33:47,120 --> 00:33:52,360
Speaker 1: Foreign Language Nominating Committee. So yeah, this is his most

606
00:33:52,360 --> 00:33:55,720
Speaker 1: well known film. But he's also it's not just an

607
00:33:55,760 --> 00:33:57,960
Speaker 1: invisible role in the movie, Like, I don't know, I

608
00:33:58,040 --> 00:34:02,280
Speaker 1: kind of like this character all right. Now. It's worth

609
00:34:02,360 --> 00:34:04,959
Speaker 1: noting I didn't actually mark him in this because he

610
00:34:05,000 --> 00:34:07,440
Speaker 1: would have been a bit younger. But Forrest j Ackerman

611
00:34:07,520 --> 00:34:11,600
Speaker 1: plays Faraday's aid in this lived nineteen sixteen through two

612
00:34:11,600 --> 00:34:14,160
Speaker 1: thousand and eight. This is the father of sci fi fandom.

613
00:34:14,400 --> 00:34:18,320
Speaker 1: An avid collector of sci fi memorabilia, He was also

614
00:34:18,400 --> 00:34:21,440
Speaker 1: the founding editor and principal rider of the magazine Famous

615
00:34:21,480 --> 00:34:24,480
Speaker 1: Monsters of Film Land, and was a literary agent for

616
00:34:24,560 --> 00:34:27,200
Speaker 1: such authors as Ray Bradberry and l Ron Hubbard.

617
00:34:27,640 --> 00:34:30,000
Speaker 3: I think this is the guy Basil Rathbone is talking

618
00:34:30,040 --> 00:34:32,200
Speaker 3: to when he has just gotten a radio update, saying

619
00:34:32,239 --> 00:34:34,880
Speaker 3: everybody on the ship is dead except for John Saxon

620
00:34:34,960 --> 00:34:37,680
Speaker 3: and Judy Meredith. And then he turns to this guy

621
00:34:37,680 --> 00:34:40,040
Speaker 3: and he's like, things are going very poorly on that ship.

622
00:34:40,719 --> 00:34:44,720
Speaker 1: Yes, yeah, I think that's probably him. This is also

623
00:34:44,840 --> 00:34:48,600
Speaker 1: kind of interesting. Gary Kurtz was a production manager on

624
00:34:48,640 --> 00:34:52,360
Speaker 1: this picture. This is, of course, the future producer of

625
00:34:52,400 --> 00:34:55,319
Speaker 1: the first two Star Wars movies, The Dark Crystal and

626
00:34:55,440 --> 00:34:58,840
Speaker 1: returned to OZ. He lived nineteen forty through twenty eighteen.

627
00:35:00,120 --> 00:35:03,040
Speaker 1: He's notable because if you've watched any documentaries about the

628
00:35:03,040 --> 00:35:05,000
Speaker 1: making of the first two Star Wars movies or The

629
00:35:05,080 --> 00:35:09,200
Speaker 1: Dark Crystal, he's the guy with the whaler's beard, the

630
00:35:09,239 --> 00:35:12,160
Speaker 1: kind of Abraham Lincoln beard who talks in has a

631
00:35:12,280 --> 00:35:16,759
Speaker 1: very serious tone to his voice and always has some

632
00:35:16,800 --> 00:35:21,000
Speaker 1: interesting things to say about the production. That's him the

633
00:35:21,040 --> 00:35:24,759
Speaker 1: production manager on this movie. Wow. And then finally, the

634
00:35:24,840 --> 00:35:27,920
Speaker 1: music is by Ronald Stein, who of nineteen thirty through

635
00:35:27,960 --> 00:35:30,000
Speaker 1: nineteen eighty eight composer who worked on a lot of

636
00:35:30,000 --> 00:35:33,800
Speaker 1: low budget films, particularly for American international pictures. His credits

637
00:35:33,800 --> 00:35:36,880
Speaker 1: in It Conquered The World, Not of This Earth, Attack,

638
00:35:36,920 --> 00:35:40,080
Speaker 1: of the Crab Monsters, Dementia thirteen, and more, including The

639
00:35:40,160 --> 00:35:44,359
Speaker 1: Rain People. Coppola's picture prior to the Godfather. Wow, he's

640
00:35:44,400 --> 00:35:47,800
Speaker 1: writing her z own. Yeah, he's probably come up before,

641
00:35:47,920 --> 00:35:52,000
Speaker 1: and if we just don't remember him, I mean, the

642
00:35:52,080 --> 00:35:54,799
Speaker 1: music in this is not completely unforgettable. It has some nice,

643
00:35:55,440 --> 00:35:58,400
Speaker 1: kind of haunting little bits that have a bit of

644
00:35:58,440 --> 00:36:01,239
Speaker 1: a night gallery feel to the that I liked, but

645
00:36:01,520 --> 00:36:12,640
Speaker 1: in other places it's just more traditional. All right, Joe,

646
00:36:12,680 --> 00:36:14,040
Speaker 1: are you ready to jump into the plot here?

647
00:36:14,360 --> 00:36:17,759
Speaker 3: Oh yes, oh yes. So one thing that I, as

648
00:36:17,800 --> 00:36:21,280
Speaker 3: far as I know, was not imported from the Soviet films.

649
00:36:21,280 --> 00:36:23,879
Speaker 3: I think this may be original is the beautiful art

650
00:36:23,960 --> 00:36:25,879
Speaker 3: behind the opening credits.

651
00:36:26,200 --> 00:36:28,759
Speaker 1: Yeah, as far as I know, this is original. And

652
00:36:29,320 --> 00:36:31,640
Speaker 1: this is definitely was The section of the film starts

653
00:36:31,640 --> 00:36:33,600
Speaker 1: off strong for me, because it does feel very night

654
00:36:33,680 --> 00:36:36,360
Speaker 1: Gallery eskit. This looks like the kind of thing that

655
00:36:37,640 --> 00:36:39,759
Speaker 1: would be on one of the night Gallery paintings, and

656
00:36:39,800 --> 00:36:42,480
Speaker 1: the music also has that kind of earie vibe to it,

657
00:36:42,680 --> 00:36:44,880
Speaker 1: like firmly establishing that, yes, you're going to see a

658
00:36:44,920 --> 00:36:47,120
Speaker 1: lot of space stuff, but this movie is going to

659
00:36:47,239 --> 00:36:50,080
Speaker 1: at heart be spooky in one way or another.

660
00:36:50,600 --> 00:36:52,759
Speaker 3: Yeah. So all of this stuff is attributed to an

661
00:36:52,800 --> 00:36:56,279
Speaker 3: artist named John Klein, who I wasn't otherwise familiar with,

662
00:36:56,360 --> 00:36:59,480
Speaker 3: but as the credits roll, we shuffle through kind of

663
00:37:00,000 --> 00:37:05,120
Speaker 3: it's a lightly representative but mostly abstract illustrations with a

664
00:37:05,239 --> 00:37:08,759
Speaker 3: psychedelic stained glass effect, and I thought it might be

665
00:37:09,360 --> 00:37:11,760
Speaker 3: fun to try to describe some of these images. First,

666
00:37:11,800 --> 00:37:15,879
Speaker 3: there is a kind of a psilocybin yule lad butterfly

667
00:37:16,080 --> 00:37:19,879
Speaker 3: with beard made out of rainbow colored tumors. Then there

668
00:37:19,960 --> 00:37:22,440
Speaker 3: is a two headed witch king of Agmar, but he

669
00:37:22,560 --> 00:37:26,080
Speaker 3: is chained in the Jacob Marley fashion with sixteen dimensional

670
00:37:26,080 --> 00:37:28,759
Speaker 3: Mardi Gras beads, and in the background there are some

671
00:37:28,880 --> 00:37:32,560
Speaker 3: mountains and twin moons. After this, there is a giant

672
00:37:32,680 --> 00:37:36,320
Speaker 3: pink root vegetable nostril with a wing that has bones

673
00:37:36,320 --> 00:37:40,360
Speaker 3: for feathers. Then there is a scene of multicolored gravel

674
00:37:40,480 --> 00:37:43,600
Speaker 3: eggs hatching into spoon plants at the base of a

675
00:37:43,640 --> 00:37:46,160
Speaker 3: mountain made out of dog paws. This is when it

676
00:37:46,200 --> 00:37:50,200
Speaker 3: says Dennis Hopper, by the way. After that it's blood

677
00:37:50,280 --> 00:37:53,919
Speaker 3: volcano leaking more gravel eggs and mandl brought fissures into

678
00:37:53,960 --> 00:37:57,440
Speaker 3: the air, while there are these white pale vines that

679
00:37:57,560 --> 00:38:02,040
Speaker 3: reach up toward the black sun, more wings, more blood planets.

680
00:38:02,719 --> 00:38:04,880
Speaker 3: There's one where there's sort of the top right corner

681
00:38:04,880 --> 00:38:07,320
Speaker 3: of the screen kind of looks like the Punisher logo

682
00:38:07,520 --> 00:38:11,319
Speaker 3: version of a bunny rabbit, but with terminator eyes, and

683
00:38:11,400 --> 00:38:13,960
Speaker 3: then there's a bunch of circuit board components under the

684
00:38:14,040 --> 00:38:17,920
Speaker 3: rabbit's jaw. Backgrounds for the title of the movie, I

685
00:38:17,960 --> 00:38:21,759
Speaker 3: would describe as a DMT furbie with a city skyline

686
00:38:21,800 --> 00:38:24,839
Speaker 3: inside its hairdoo. Maybe I'll stop there. There is more,

687
00:38:24,920 --> 00:38:27,240
Speaker 3: but in general I think this is all good stuff.

688
00:38:27,280 --> 00:38:29,880
Speaker 3: Puts one in an alien mood, goes well with theorem,

689
00:38:29,920 --> 00:38:33,360
Speaker 3: and music suggests that we may be in for sights

690
00:38:33,400 --> 00:38:36,520
Speaker 3: beyond our comprehension. And as much as I love Florence Marley,

691
00:38:36,560 --> 00:38:39,759
Speaker 3: I don't think the movie will be quite as psychedelic

692
00:38:39,800 --> 00:38:43,120
Speaker 3: as the credits imply. But after the credits we get

693
00:38:43,160 --> 00:38:46,759
Speaker 3: a starfield eerie string's playing and the narrator says, what

694
00:38:46,800 --> 00:38:48,520
Speaker 3: did we say it was going to be? The year

695
00:38:48,880 --> 00:38:52,840
Speaker 3: nineteen ninety? It says the problem of traveling to the

696
00:38:52,880 --> 00:38:55,239
Speaker 3: Moon has been solved for many years. Note that this

697
00:38:55,360 --> 00:38:58,560
Speaker 3: movie was in sixty six. The first human moon landing

698
00:38:58,640 --> 00:39:01,680
Speaker 3: was in sixty nine. You know this comes out at

699
00:39:01,680 --> 00:39:03,839
Speaker 3: a time when humans had not yet walked on the Moon.

700
00:39:04,480 --> 00:39:07,839
Speaker 3: Narrator says, space stations have been built there, and authorized

701
00:39:07,840 --> 00:39:09,920
Speaker 3: personnel come and go as they wish.

702
00:39:10,520 --> 00:39:12,960
Speaker 1: Of slight Note here two thousand and one, a space

703
00:39:13,000 --> 00:39:15,759
Speaker 1: odyssey wouldn't come out for another couple of years, So

704
00:39:16,239 --> 00:39:20,240
Speaker 1: I don't know's I think all science fiction depicting travel

705
00:39:20,320 --> 00:39:23,800
Speaker 1: within our own Solar system, like near future space travel

706
00:39:23,800 --> 00:39:25,759
Speaker 1: and our Solar system, you almost have to judge it

707
00:39:25,760 --> 00:39:28,440
Speaker 1: in terms of before two thousand and one or post

708
00:39:28,480 --> 00:39:29,399
Speaker 1: two thousand and one.

709
00:39:29,840 --> 00:39:32,239
Speaker 3: Yeah, I agree. But so in these shots, we of

710
00:39:32,239 --> 00:39:35,080
Speaker 3: course see the Moon, we see tiny ships zooming past,

711
00:39:35,239 --> 00:39:38,760
Speaker 3: and a shot of the surface with rockets posed upright

712
00:39:38,840 --> 00:39:42,440
Speaker 3: in this kind of rocky, shadowy landscape, and the narrator

713
00:39:42,480 --> 00:39:45,800
Speaker 3: goes on it says, but the Moon is a dead world,

714
00:39:45,960 --> 00:39:49,440
Speaker 3: and the great question about space still remains. Does life

715
00:39:49,480 --> 00:39:52,680
Speaker 3: exist on another planet? To seek an answer to this question,

716
00:39:52,760 --> 00:39:55,480
Speaker 3: the major powers of the world have been preparing at

717
00:39:55,520 --> 00:40:00,600
Speaker 3: the International Institute of Space Technology to explore the planets

718
00:40:00,680 --> 00:40:04,160
Speaker 3: Venus and Mars. And here we cut to shots of

719
00:40:04,200 --> 00:40:06,799
Speaker 3: a kind of hip institutional campus with a bit of

720
00:40:07,120 --> 00:40:10,880
Speaker 3: modern architecture flair. People are walking along in the sidewalks

721
00:40:10,920 --> 00:40:13,440
Speaker 3: and Rob, did you notice that they're all stepping in

722
00:40:13,560 --> 00:40:16,000
Speaker 3: sync with each other. It kind of makes a point

723
00:40:16,000 --> 00:40:17,799
Speaker 3: of showing this, and I wondered, why.

724
00:40:18,320 --> 00:40:20,360
Speaker 1: Oh yeah, I don't know. It's just everyone's on the

725
00:40:20,360 --> 00:40:23,360
Speaker 1: same page when it comes to space technology. I guess.

726
00:40:23,640 --> 00:40:27,160
Speaker 3: Yeah. Well, anyway, we cut inside, and why here's John Saxon.

727
00:40:27,239 --> 00:40:31,040
Speaker 3: Look at his posture, it's really good. He enters a

728
00:40:31,120 --> 00:40:35,759
Speaker 3: door labeled Astro Communications, which is in a very strange font.

729
00:40:35,800 --> 00:40:38,279
Speaker 3: You remember the font on the door label. It's sort

730
00:40:38,280 --> 00:40:40,760
Speaker 3: of the font one would find on the record sleeve

731
00:40:41,000 --> 00:40:41,640
Speaker 3: of the band.

732
00:40:41,760 --> 00:40:44,400
Speaker 1: Yes, oh yeah, yeah, it was a little weird, but

733
00:40:44,440 --> 00:40:45,920
Speaker 1: it's the future. It's ninety nine.

734
00:40:46,239 --> 00:40:49,320
Speaker 3: So John Saxon, I think his character's name is Alan Brenner,

735
00:40:49,520 --> 00:40:51,600
Speaker 3: is here to pick up a lady to go to lunch.

736
00:40:51,800 --> 00:40:55,400
Speaker 3: And this is Judy Meredith, playing an astronaut and communication

737
00:40:55,560 --> 00:40:59,839
Speaker 3: specialist named Laura James. She's like, I don't know about

738
00:41:00,200 --> 00:41:02,680
Speaker 3: I'm kind of busy. I'm picking up a radio broadcast

739
00:41:02,719 --> 00:41:06,799
Speaker 3: from another planet unlike anything we've ever heard before. It

740
00:41:06,880 --> 00:41:10,040
Speaker 3: may be our first confirmation of intelligent life anywhere else

741
00:41:10,040 --> 00:41:12,680
Speaker 3: in the universe. But yeah, okay, let's go to lunch.

742
00:41:13,160 --> 00:41:15,680
Speaker 3: She's just like Bill Will you record this alien broadcast

743
00:41:15,719 --> 00:41:16,839
Speaker 3: for me. I'll check it out later.

744
00:41:17,200 --> 00:41:19,360
Speaker 1: I mean a tinwheel day at a cafeteria, so you

745
00:41:19,400 --> 00:41:24,160
Speaker 1: gotta go. But no, it's what do they actually say

746
00:41:24,160 --> 00:41:26,600
Speaker 1: they're eating it? I mean it looks disgusting. It looks

747
00:41:26,640 --> 00:41:30,600
Speaker 1: like a kind of burned waffle. But before we see

748
00:41:30,600 --> 00:41:33,040
Speaker 1: them at lunch, so they leave, and we're seeing like

749
00:41:33,080 --> 00:41:37,560
Speaker 1: the equipment in the Earth based communications lab, and we

750
00:41:37,640 --> 00:41:40,480
Speaker 1: hear the droning of the signal from the other planet,

751
00:41:40,560 --> 00:41:42,920
Speaker 1: and the droning of the signal becomes louder, and we

752
00:41:43,000 --> 00:41:46,160
Speaker 1: cut into space and we zoom toward the surface of

753
00:41:46,200 --> 00:41:49,040
Speaker 1: a pale green planet, and then we see the surface.

754
00:41:49,080 --> 00:41:52,120
Speaker 3: We're on it. There are crashing waves in the foreground

755
00:41:52,160 --> 00:41:55,480
Speaker 3: against a horizon with giant spires of rock that are

756
00:41:55,920 --> 00:41:59,160
Speaker 3: taller than the top of a looming moon. And then

757
00:42:00,440 --> 00:42:03,440
Speaker 3: and then we see a giant ball of wires that's

758
00:42:03,719 --> 00:42:07,040
Speaker 3: maybe the thing that is sending out the signal. And

759
00:42:07,239 --> 00:42:09,800
Speaker 3: inside that ball of wires, I guess it's a building.

760
00:42:09,840 --> 00:42:12,800
Speaker 3: We see what must be aliens. There are humanoid bodies

761
00:42:13,200 --> 00:42:15,919
Speaker 3: standing in the shadows. It's very dark inside, and they're

762
00:42:15,960 --> 00:42:19,839
Speaker 3: manipulating machinery to guide a beam of turquoise light as

763
00:42:19,880 --> 00:42:23,360
Speaker 3: it sweeps across space, like are they beaming a signal

764
00:42:23,400 --> 00:42:26,320
Speaker 3: toward us? We see hands reaching out for a series

765
00:42:26,360 --> 00:42:30,520
Speaker 3: of darkened orbs topped by prismatic triangles, and then cut

766
00:42:30,560 --> 00:42:32,560
Speaker 3: to John Saxon and Laura having lunch.

767
00:42:34,600 --> 00:42:37,440
Speaker 1: Yeah, this, this whole segment, of course, on the alien

768
00:42:37,480 --> 00:42:40,920
Speaker 1: Planet is all footage from the Soviet productions that are

769
00:42:41,239 --> 00:42:44,400
Speaker 1: sampled here, and it was I don't know, I was

770
00:42:44,440 --> 00:42:48,120
Speaker 1: distracted just thinking about like did we need to see

771
00:42:48,120 --> 00:42:51,879
Speaker 1: any of this? Like the causation of filmmaking is kind

772
00:42:51,920 --> 00:42:55,400
Speaker 1: of messed up here, because like would you create this

773
00:42:55,520 --> 00:42:59,000
Speaker 1: footage for use in the film? You know, does it

774
00:42:59,040 --> 00:43:03,480
Speaker 1: actually serve an important purpose in the narrative or is

775
00:43:03,520 --> 00:43:05,080
Speaker 1: it really what we have here where it's just like,

776
00:43:05,160 --> 00:43:07,200
Speaker 1: well we have it. We should show what this other

777
00:43:07,320 --> 00:43:10,239
Speaker 1: planet is, even though we're never actually going to visit it,

778
00:43:10,520 --> 00:43:12,080
Speaker 1: but we should just show it to them because we

779
00:43:12,160 --> 00:43:14,120
Speaker 1: have minutes worth of footage.

780
00:43:14,239 --> 00:43:16,560
Speaker 3: I agree, it is a tough question, like it removes

781
00:43:16,600 --> 00:43:20,239
Speaker 3: any sense of mystery here and it doesn't really add

782
00:43:20,280 --> 00:43:23,560
Speaker 3: anything narratively to the film, But particularly in one segment

783
00:43:23,600 --> 00:43:25,359
Speaker 3: coming up in a few minutes, I think it does

784
00:43:25,440 --> 00:43:29,720
Speaker 3: actually have a very good effect at achieving a mood.

785
00:43:29,760 --> 00:43:32,520
Speaker 3: But we'll get to that. So first we're going to

786
00:43:32,560 --> 00:43:35,799
Speaker 3: meet a few Earthling characters again. Alan and Laura are

787
00:43:35,840 --> 00:43:39,440
Speaker 3: having lunch. Alan is complaining that the astronaut food tastes

788
00:43:39,520 --> 00:43:42,920
Speaker 3: really bad. They're calling it exo biologic food, and he

789
00:43:43,080 --> 00:43:45,719
Speaker 3: likes banana splits on Earth better. And then these two

790
00:43:45,800 --> 00:43:48,680
Speaker 3: guys named Tony and Paul come to sit down with them.

791
00:43:49,120 --> 00:43:51,320
Speaker 3: All the dudes, by the way, are dressed the same

792
00:43:51,480 --> 00:43:55,200
Speaker 3: khaki pants, yellow shirt, slightly puffy jacket with a pattern

793
00:43:55,239 --> 00:43:58,799
Speaker 3: that looks like a mattress cover. And then we have

794
00:43:58,880 --> 00:44:01,440
Speaker 3: Dennis Hopper here. He sits down on the left. His

795
00:44:01,520 --> 00:44:05,360
Speaker 3: name is Paul. We learned from conversation that John Saxon

796
00:44:05,480 --> 00:44:08,560
Speaker 3: is scheduled to travel to Mars. And then we get

797
00:44:08,600 --> 00:44:12,240
Speaker 3: Dennis Hopper's first line, which is what's the latest scuttle?

798
00:44:12,239 --> 00:44:13,839
Speaker 3: But there Tony baby.

799
00:44:13,920 --> 00:44:16,920
Speaker 1: Yeah, yeah, Dennis Hopper, Lads.

800
00:44:16,760 --> 00:44:18,520
Speaker 3: And chum, I think this is the line where you

801
00:44:18,560 --> 00:44:20,720
Speaker 3: said he may have been ad libbing. I would agree.

802
00:44:21,000 --> 00:44:22,840
Speaker 1: Yeah, what were.

803
00:44:22,719 --> 00:44:27,120
Speaker 3: We saying beforehand? It's imagining him doing the voice and

804
00:44:27,160 --> 00:44:31,880
Speaker 3: the trailer saying like space man, it's a real bad trip.

805
00:44:32,360 --> 00:44:34,600
Speaker 1: Yeah, that would have been That would have been a

806
00:44:34,600 --> 00:44:38,120
Speaker 1: great tagline, especially if this movie had been made just

807
00:44:38,239 --> 00:44:39,440
Speaker 1: like two years later.

808
00:44:39,920 --> 00:44:44,360
Speaker 3: Yeah, but we should clarify nothing about Dennis Hopper's look

809
00:44:44,680 --> 00:44:49,680
Speaker 3: or performance in this movie is shaggy, dangerous hippie. Instead,

810
00:44:49,719 --> 00:44:54,120
Speaker 3: he comes off very He's very clean cut and conventionally handsome.

811
00:44:54,960 --> 00:44:59,239
Speaker 1: Yeah. Yeah, absolutely, And now I should also a couple

812
00:44:59,239 --> 00:45:01,040
Speaker 1: other things you missed. The uniforms I do have to

813
00:45:01,080 --> 00:45:03,479
Speaker 1: drive home. These are not the uniforms in this film

814
00:45:03,480 --> 00:45:05,840
Speaker 1: are not on the same level at all with Planet

815
00:45:05,880 --> 00:45:08,680
Speaker 1: of the Vampires. I mean, the colors match, everything has

816
00:45:08,680 --> 00:45:11,480
Speaker 1: a certain uniformity to it, but high fashion is not

817
00:45:11,600 --> 00:45:16,200
Speaker 1: in play. I also feel like this lunch scene that

818
00:45:16,360 --> 00:45:18,560
Speaker 1: everyone was very animated for this sequence. I don't know

819
00:45:18,560 --> 00:45:20,840
Speaker 1: if they just had a lot of fun setting around,

820
00:45:20,840 --> 00:45:23,320
Speaker 1: if there's a lot of cutting up in between takes,

821
00:45:23,960 --> 00:45:27,239
Speaker 1: but everyone seemed really happy to be on set for

822
00:45:27,280 --> 00:45:27,760
Speaker 1: this one.

823
00:45:27,960 --> 00:45:30,719
Speaker 3: I agree, Yeah, spirits are high. But their lunch is

824
00:45:30,760 --> 00:45:33,239
Speaker 3: interrupted by an announcement on the loud speaker. It's calling

825
00:45:33,239 --> 00:45:36,560
Speaker 3: everybody to gather in Area one for an important announcement.

826
00:45:37,360 --> 00:45:39,520
Speaker 3: The dudes get up and they say that means us,

827
00:45:39,600 --> 00:45:42,600
Speaker 3: but the announcement literally says all personnels. I don't know

828
00:45:42,600 --> 00:45:45,520
Speaker 3: why they say that. But on the way, John Saxon

829
00:45:45,640 --> 00:45:48,520
Speaker 3: he's asking Laura. He's like, hey, have you ever imagined

830
00:45:48,560 --> 00:45:50,840
Speaker 3: you'd be getting married on a rocket ship to Mars?

831
00:45:51,080 --> 00:45:53,520
Speaker 3: So apparently they're I guess they're engaged.

832
00:45:54,040 --> 00:45:55,960
Speaker 1: Zero G wedding though sounds it sounds exciting.

833
00:45:56,080 --> 00:45:58,960
Speaker 3: Oh, that'd be very cool. Yes, So the meeting place

834
00:45:59,040 --> 00:46:02,840
Speaker 3: is outdoors and the background here is a gigantic sculpture.

835
00:46:02,880 --> 00:46:05,440
Speaker 3: It's bigger than the Statue of Liberty. It's huge, and

836
00:46:05,480 --> 00:46:09,000
Speaker 3: it's a goddess leaping into the air with arms outstretched,

837
00:46:09,040 --> 00:46:11,799
Speaker 3: and there's a ringed planet at her feet. Kind of

838
00:46:11,800 --> 00:46:16,839
Speaker 3: reminds me of the winged Victory of Samothrace. But here

839
00:46:16,880 --> 00:46:19,960
Speaker 3: we get an announcement from Basil Rathbone. He's playing Doctor Faraday,

840
00:46:20,040 --> 00:46:22,319
Speaker 3: kind of the big boss at this place, and he says,

841
00:46:22,360 --> 00:46:25,600
Speaker 3: my friends and fellow workers in the Great Adventure of Space,

842
00:46:25,840 --> 00:46:28,279
Speaker 3: I have the most important news to announce since our

843
00:46:28,320 --> 00:46:31,239
Speaker 3: first successful landing on the Moon twenty years ago. As

844
00:46:31,280 --> 00:46:33,279
Speaker 3: many of you know, for several weeks now, we've been

845
00:46:33,280 --> 00:46:37,520
Speaker 3: receiving organized signals from a far galaxy. This morning our

846
00:46:37,560 --> 00:46:41,960
Speaker 3: code experts finally deciphered the message these signals contained. It

847
00:46:42,040 --> 00:46:45,200
Speaker 3: is a most extraordinary document. It's very long. And then

848
00:46:45,200 --> 00:46:46,960
Speaker 3: he explains he's not going to read the whole thing,

849
00:46:47,040 --> 00:46:51,080
Speaker 3: but that it means the Aliens dispatched a spaceship containing

850
00:46:51,120 --> 00:46:53,719
Speaker 3: an ambassador who will come to Earth and live with

851
00:46:53,840 --> 00:46:57,520
Speaker 3: us here, since our atmosphere will support their form of life.

852
00:46:57,920 --> 00:47:00,960
Speaker 3: Faraday says that the entire world will await the arrival

853
00:47:01,000 --> 00:47:05,560
Speaker 3: of the alien ambassador with the keenest anticipation, and everybody applauds.

854
00:47:07,600 --> 00:47:11,200
Speaker 3: But as the applause dies out, we fade back to

855
00:47:11,280 --> 00:47:13,880
Speaker 3: visions of the other world. So we see again the

856
00:47:13,920 --> 00:47:18,279
Speaker 3: waves crashing on knights Plutonian shore, and we see the

857
00:47:18,320 --> 00:47:21,719
Speaker 3: towers of rock and the beings moving about in the

858
00:47:21,760 --> 00:47:26,480
Speaker 3: shadows of their weird castles filled with unrecognizable technology. There

859
00:47:26,480 --> 00:47:30,560
Speaker 3: are pipes and hoses and big olds, spheres that themselves

860
00:47:30,680 --> 00:47:35,640
Speaker 3: seem to contain stars. And there's no dialogue and no music,

861
00:47:35,880 --> 00:47:39,440
Speaker 3: just the shrill droning of the radio signal that's beaming

862
00:47:39,480 --> 00:47:43,240
Speaker 3: out to Earth. And I actually think that these scenes

863
00:47:43,280 --> 00:47:46,120
Speaker 3: of the alien planet, especially the way that they are

864
00:47:46,280 --> 00:47:50,560
Speaker 3: inner cut with the scenes of brightly lit noisy gatherings

865
00:47:50,600 --> 00:47:54,520
Speaker 3: and social activity on Earth are extremely effective. It's very

866
00:47:54,640 --> 00:47:56,920
Speaker 3: moody and disconcerting the way it goes from like the

867
00:47:57,040 --> 00:48:02,120
Speaker 3: crowd at the institute to the planet and that nobody's

868
00:48:02,160 --> 00:48:06,440
Speaker 3: saying anything. They're just moving around in the shadows, manipulating

869
00:48:06,520 --> 00:48:08,520
Speaker 3: technology that we can't even understand.

870
00:48:09,000 --> 00:48:12,000
Speaker 1: Yeah, I think you're right. It visually drives home this

871
00:48:12,120 --> 00:48:15,640
Speaker 1: feeling that's later brought up in dialogue to some extent,

872
00:48:15,719 --> 00:48:19,120
Speaker 1: like this idea of like we really don't know what

873
00:48:19,640 --> 00:48:23,480
Speaker 1: these other beings consist of, like not only like their

874
00:48:23,600 --> 00:48:26,640
Speaker 1: their their biology, but also their society, Like what what

875
00:48:26,800 --> 00:48:28,759
Speaker 1: is it they value? What do they want? And what

876
00:48:28,800 --> 00:48:31,000
Speaker 1: does it mean that they're sending an ambassador to us?

877
00:48:31,440 --> 00:48:35,600
Speaker 3: Yeah, everything we see of them as silent, methodical, wordless,

878
00:48:35,800 --> 00:48:40,319
Speaker 3: almost emotionless, just movements in the dark. So, despite the

879
00:48:40,600 --> 00:48:44,120
Speaker 3: limitations imposed by relying so much on pre existing footage

880
00:48:44,160 --> 00:48:46,920
Speaker 3: to construct this film, I think it is used to

881
00:48:46,960 --> 00:48:49,440
Speaker 3: great effect in some sequences, and this is one of them.

882
00:48:49,760 --> 00:48:51,400
Speaker 3: This part I thought was actually excellent.

883
00:48:51,600 --> 00:48:52,360
Speaker 1: Agreed, Agreed.

884
00:48:52,560 --> 00:48:54,120
Speaker 3: But then on the then we get some more kind

885
00:48:54,120 --> 00:48:57,080
Speaker 3: of like launch footage, and that stuff is less interesting.

886
00:48:57,160 --> 00:49:00,480
Speaker 3: But on the alien planet, we see this giant's vehicle

887
00:49:00,560 --> 00:49:03,480
Speaker 3: ship rise up out of an underground bay and the

888
00:49:03,560 --> 00:49:06,200
Speaker 3: crew rides a tram up to board it. We only

889
00:49:06,239 --> 00:49:09,200
Speaker 3: see the crew members. We see the vaguely humanoid shapes,

890
00:49:09,239 --> 00:49:11,319
Speaker 3: but only at the distance, so you never like get

891
00:49:11,320 --> 00:49:14,120
Speaker 3: a close up. And in the distance they're kind of

892
00:49:14,480 --> 00:49:18,919
Speaker 3: waving goodbye to a crowd again silently. There's no local sound,

893
00:49:19,040 --> 00:49:22,120
Speaker 3: just the droning signal, and then they blast off into space.

894
00:49:22,880 --> 00:49:27,239
Speaker 1: Yeah, it's a cool looking ship, the circuit, the spherical

895
00:49:27,280 --> 00:49:29,880
Speaker 1: ship with the kind of halo around it. This is

896
00:49:29,920 --> 00:49:34,440
Speaker 1: from nineteen sixty three's Mitch to navs Stretch. Who so

897
00:49:35,040 --> 00:49:38,360
Speaker 1: it looks good, but yeah, it's it's made by other hands.

898
00:49:38,560 --> 00:49:41,600
Speaker 3: Then back on Earth, we see a giant television ball

899
00:49:41,800 --> 00:49:44,560
Speaker 3: appearing in the sky over the Institute with a dude

900
00:49:44,600 --> 00:49:47,640
Speaker 3: delivering the news. He's like wearing a suit and tie.

901
00:49:47,800 --> 00:49:51,400
Speaker 3: He's explaining how scientists have detected a ship approaching Earth

902
00:49:51,840 --> 00:49:57,320
Speaker 3: bringing aliens from quote a distant galaxy. I don't know. Okay,

903
00:49:58,000 --> 00:50:00,760
Speaker 3: As I've said before, I can always suspend disp and

904
00:50:00,840 --> 00:50:03,759
Speaker 3: this is fine. But note to sci fi writers, if

905
00:50:03,800 --> 00:50:06,320
Speaker 3: you care about being realistic at all, the space between

906
00:50:06,320 --> 00:50:08,920
Speaker 3: galaxies is immense. I think if if you want to

907
00:50:08,960 --> 00:50:11,759
Speaker 3: have aliens, they should be from another star in our galaxy,

908
00:50:11,800 --> 00:50:13,200
Speaker 3: now from another galaxy.

909
00:50:13,640 --> 00:50:19,000
Speaker 1: Yeah, unless you're dealing with a far future interstellar empire

910
00:50:19,120 --> 00:50:21,200
Speaker 1: sort of scenario, then you can maybe get into these

911
00:50:21,280 --> 00:50:24,200
Speaker 1: distant galaxy ideas. But even then, like the galaxy is

912
00:50:24,200 --> 00:50:27,239
Speaker 1: big enough, there's still room for discoveries and surprises and

913
00:50:27,280 --> 00:50:27,760
Speaker 1: so forth.

914
00:50:28,320 --> 00:50:31,880
Speaker 3: Yes. Also, the guy in the TV ball his lips

915
00:50:31,920 --> 00:50:34,360
Speaker 3: are not matching the words he's saying, which makes me

916
00:50:34,400 --> 00:50:37,960
Speaker 3: think this is also part of the Soviet film package. Yeah,

917
00:50:38,080 --> 00:50:41,000
Speaker 3: but he says, astronomers have determined that an unknown object

918
00:50:41,000 --> 00:50:43,280
Speaker 3: has passed the orbit of the Moon and is rapidly

919
00:50:43,280 --> 00:50:46,080
Speaker 3: approaching Earth. It is not the ship itself, but a

920
00:50:46,160 --> 00:50:49,440
Speaker 3: mechanical device sent ahead for reasons unknown. And then we

921
00:50:49,480 --> 00:50:52,920
Speaker 3: see a metal ball bobbing in the waves, so scientists

922
00:50:53,120 --> 00:50:57,000
Speaker 3: investigate this. We see Basil Rathbone and Judy Meredith like

923
00:50:57,160 --> 00:51:00,439
Speaker 3: watching a video. It seems that maybe what was sent

924
00:51:00,480 --> 00:51:03,640
Speaker 3: to Earth was like a video tape from the security

925
00:51:03,719 --> 00:51:08,400
Speaker 3: cameras on the alien ship, and so what happens on

926
00:51:08,440 --> 00:51:10,919
Speaker 3: the video they watch, Well, in the alien ship, there

927
00:51:11,000 --> 00:51:14,080
Speaker 3: is the worrying of a great machine sort of tuning up,

928
00:51:14,360 --> 00:51:17,799
Speaker 3: and we see two aliens again, silent in the shadows.

929
00:51:18,080 --> 00:51:22,440
Speaker 3: One of them produces, in a an almost ritualistic fashion,

930
00:51:22,960 --> 00:51:26,280
Speaker 3: a helmet and then places it on the other one's head,

931
00:51:26,560 --> 00:51:29,799
Speaker 3: and then the ship accelerates toward a red planet. And

932
00:51:29,840 --> 00:51:33,080
Speaker 3: then Basil Rathbone looks away from the screen and he says, remarkable,

933
00:51:33,200 --> 00:51:36,879
Speaker 3: crash landing on Mars, and this is their sos. We're

934
00:51:36,920 --> 00:51:40,439
Speaker 3: obviously in touch with beings that have a very advanced technology.

935
00:51:40,760 --> 00:51:43,040
Speaker 3: So there's a big meeting in a kind of auditorium.

936
00:51:43,040 --> 00:51:45,560
Speaker 3: This is the one with the giant statue holding Sputnik

937
00:51:45,640 --> 00:51:50,400
Speaker 3: in his hand like oric skull, and Basil Rathbone says, basically,

938
00:51:50,520 --> 00:51:53,240
Speaker 3: the aliens need our help. They have crash landed on Mars.

939
00:51:53,320 --> 00:51:55,680
Speaker 3: They are stranded there. We are obliged to go help

940
00:51:55,719 --> 00:51:56,080
Speaker 3: them out.

941
00:51:56,680 --> 00:51:59,960
Speaker 1: It's a pretty good setup. Actually, yeah, more in retrospect

942
00:52:00,080 --> 00:52:02,640
Speaker 1: than I think in my actual experience of watching this

943
00:52:02,719 --> 00:52:05,120
Speaker 1: portion of the film. I feel like there's a there's

944
00:52:05,120 --> 00:52:07,160
Speaker 1: a bit of padding getting to this point, but once

945
00:52:07,160 --> 00:52:09,600
Speaker 1: we get there, it's like, Okay, we've got a mission here.

946
00:52:09,600 --> 00:52:11,879
Speaker 1: This sounds good. It was going to be like we

947
00:52:11,920 --> 00:52:15,480
Speaker 1: meet the Space Ambassador, but the Ambassador's ship is crashed

948
00:52:15,560 --> 00:52:16,919
Speaker 1: or something, and we got to go check it out.

949
00:52:17,360 --> 00:52:19,480
Speaker 3: Yeah, there is a lot more padding to come, but

950
00:52:19,760 --> 00:52:23,040
Speaker 3: in a way it like the premise makes sense. So

951
00:52:23,239 --> 00:52:26,280
Speaker 3: they say, there's the the spaceship Oceano, which was originally

952
00:52:26,280 --> 00:52:29,920
Speaker 3: planned to go to Mars on an exploratory mission. Rathbone's like, okay,

953
00:52:29,920 --> 00:52:33,560
Speaker 3: we're gonna move forward the schedule. We're going to turn

954
00:52:33,600 --> 00:52:36,600
Speaker 3: this into a rescue operation. And the time is now,

955
00:52:37,320 --> 00:52:39,960
Speaker 3: and obviously John Saxon must be thinking, I was not

956
00:52:40,080 --> 00:52:43,560
Speaker 3: ready to eat all of this exobiologic food. I want

957
00:52:43,600 --> 00:52:47,319
Speaker 3: my Earth meat loaf, I want my Earth waffles. But

958
00:52:47,400 --> 00:52:50,040
Speaker 3: they blast off, so the rescue mission is on the way.

959
00:52:50,080 --> 00:52:53,080
Speaker 3: There's a bunch of footage here of rockets, you know,

960
00:52:53,280 --> 00:52:56,640
Speaker 3: zooming around and landing and being sent on the Moon.

961
00:52:56,680 --> 00:52:58,400
Speaker 3: Once we actually see the surface of the Moon, the

962
00:52:58,440 --> 00:53:01,240
Speaker 3: footage is cooler again because I love the little model

963
00:53:01,280 --> 00:53:06,239
Speaker 3: set they have this from the original films. And once

964
00:53:06,320 --> 00:53:09,360
Speaker 3: they're on the Moon, Laura talks to Basil Rathbone. She says,

965
00:53:09,440 --> 00:53:11,720
Speaker 3: you know, I was hoping Alan would be on my flight,

966
00:53:11,920 --> 00:53:14,480
Speaker 3: but he's like, nope, no, can't do We put you

967
00:53:14,520 --> 00:53:16,360
Speaker 3: on different flights. So Laura is going to be on

968
00:53:16,400 --> 00:53:20,640
Speaker 3: the first mission Oceano one that is going now Alan's

969
00:53:20,680 --> 00:53:23,560
Speaker 3: going to be on Oceano two, which goes later. And

970
00:53:23,640 --> 00:53:25,920
Speaker 3: so there's a sad conversation about how they won't be

971
00:53:25,960 --> 00:53:30,040
Speaker 3: traveling together and they embrace and then yeah, I guess

972
00:53:30,080 --> 00:53:32,200
Speaker 3: they leave. So there's a launch and the crew of

973
00:53:32,239 --> 00:53:36,120
Speaker 3: the first ship is Laura and then Paul. That's Dennis Hopper,

974
00:53:36,239 --> 00:53:39,200
Speaker 3: and then Anders who is the commander, and that does.

975
00:53:39,160 --> 00:53:41,359
Speaker 1: Rhyme Commander Andrews reporting for duty.

976
00:53:42,719 --> 00:53:47,120
Speaker 3: I think it's Commander Alexander Anders. So they have some

977
00:53:47,200 --> 00:53:49,279
Speaker 3: kind of relaxed cutting up time on the ship. We

978
00:53:49,960 --> 00:53:52,440
Speaker 3: talked about the scene where Dennis Hoppers like narrating his

979
00:53:52,840 --> 00:53:56,080
Speaker 3: space stuff and then Laura is saying, Wow, you know,

980
00:53:56,160 --> 00:54:00,319
Speaker 3: your logs of this journey are so interesting. Maybe when

981
00:54:00,360 --> 00:54:02,080
Speaker 3: you get back to Earth you can have them published.

982
00:54:02,120 --> 00:54:05,759
Speaker 3: You'll be that famous writer slash astronaut fella. But I

983
00:54:05,800 --> 00:54:07,920
Speaker 3: think the scene could have used some punch up in

984
00:54:08,040 --> 00:54:11,120
Speaker 3: the dialoguecause I wrote down exactly what Dennis Hopper says

985
00:54:11,160 --> 00:54:13,520
Speaker 3: that impresses them so much. This is it, he says,

986
00:54:14,160 --> 00:54:16,400
Speaker 3: Mars is giving off a red coloring, and it is

987
00:54:16,400 --> 00:54:19,640
Speaker 3: becoming more vivid as we approach. It suggests that there

988
00:54:19,719 --> 00:54:23,000
Speaker 3: is a really deep oxidation of the planet's major substance.

989
00:54:25,520 --> 00:54:31,759
Speaker 1: Yeah, it's not great. Yeah, and Hopper's characters has some

990
00:54:31,760 --> 00:54:34,840
Speaker 1: better lines coming up, but this is not one of them.

991
00:54:34,920 --> 00:54:39,279
Speaker 3: Yeah, it sounds more like they're impressed at his scientific vocabulary.

992
00:54:39,360 --> 00:54:43,640
Speaker 3: They're like, wow, he knows the word oxidation. Folks, that's

993
00:54:43,680 --> 00:54:47,120
Speaker 3: not what makes good writing. But come on, Okay, so

994
00:54:47,320 --> 00:54:49,719
Speaker 3: we're just well accepted to move on. Okay, except the

995
00:54:49,760 --> 00:54:52,759
Speaker 3: premise Dennis Hopper's character has a way with words. But

996
00:54:53,040 --> 00:54:55,040
Speaker 3: on the way to Mars, they get hit by a

997
00:54:55,200 --> 00:54:58,000
Speaker 3: quote sunburst, which I think is supposed to be like

998
00:54:58,000 --> 00:54:59,400
Speaker 3: a solar flare or something.

999
00:55:00,880 --> 00:55:01,160
Speaker 4: You know.

1000
00:55:01,239 --> 00:55:04,200
Speaker 3: There is a burst of activity off the surface of

1001
00:55:04,239 --> 00:55:08,920
Speaker 3: the Sun and their ship is damaged and they I

1002
00:55:08,960 --> 00:55:11,200
Speaker 3: don't know if this really changes anything. It's damaged. But

1003
00:55:11,239 --> 00:55:13,719
Speaker 3: then they get to Mars. They enter the orbit of Mars. Oh,

1004
00:55:13,800 --> 00:55:17,880
Speaker 3: they do have Dennis Hopper take quote oxygenator tablets, and

1005
00:55:17,960 --> 00:55:20,320
Speaker 3: when he takes them, he's like, oh, there's a symphony

1006
00:55:20,360 --> 00:55:32,480
Speaker 3: playing in my skull and it's not Brahms. The ship lands,

1007
00:55:32,600 --> 00:55:35,680
Speaker 3: there are some beautiful and eerie shots of the rocky

1008
00:55:35,680 --> 00:55:39,440
Speaker 3: red landscape, and Anders and Paul put on their spacesuits

1009
00:55:39,440 --> 00:55:42,920
Speaker 3: and they go out to explore the crash landed alien ship. Now,

1010
00:55:42,960 --> 00:55:46,719
Speaker 3: at this point there is a powerful resemblance to the

1011
00:55:46,800 --> 00:55:50,640
Speaker 3: later sequence in Alien of exploring the stranded ship on

1012
00:55:50,760 --> 00:55:53,839
Speaker 3: LV four twenty six, And I think I would not

1013
00:55:53,920 --> 00:55:56,640
Speaker 3: be at all the first person to notice this. People

1014
00:55:56,640 --> 00:55:59,960
Speaker 3: have pointed out that in some ways aspects of alien

1015
00:56:00,320 --> 00:56:02,800
Speaker 3: might have come from Planet of the Vampires, but aspects

1016
00:56:02,840 --> 00:56:04,800
Speaker 3: of alien may also have come from this.

1017
00:56:04,920 --> 00:56:08,560
Speaker 1: Right, Yeah, I think I saw that that. Harrington also

1018
00:56:08,800 --> 00:56:10,880
Speaker 1: commented on it at one point. I mean not in

1019
00:56:10,920 --> 00:56:13,840
Speaker 1: a mean way or a spiteful way or anything, but

1020
00:56:13,880 --> 00:56:17,280
Speaker 1: I mean it's part of the legacy of sci fi horror.

1021
00:56:18,680 --> 00:56:21,840
Speaker 1: The threads that connect these films are stronger than in

1022
00:56:21,920 --> 00:56:23,959
Speaker 1: other subgenres, I think, yes.

1023
00:56:24,000 --> 00:56:26,239
Speaker 3: And there's good sound design in the scene, like the

1024
00:56:26,280 --> 00:56:29,920
Speaker 3: scene kind of warbles and hums while Anders explores the

1025
00:56:29,960 --> 00:56:33,479
Speaker 3: ship and Dennis Hopper looks on from outside. Now, first

1026
00:56:33,480 --> 00:56:36,840
Speaker 3: of all, Anders finds a dead humanoid alien in the

1027
00:56:36,880 --> 00:56:40,120
Speaker 3: pilot's chair, and then we cut to a newspaper headline

1028
00:56:40,160 --> 00:56:42,640
Speaker 3: which was jarring to me. I thought it was funny.

1029
00:56:42,640 --> 00:56:46,759
Speaker 3: It's like, single dead astronaut found on spacecraft, mystery deepens.

1030
00:56:48,239 --> 00:56:50,000
Speaker 1: Well, you want to read the rest of the story, right,

1031
00:56:50,600 --> 00:56:52,000
Speaker 1: The headline served its purpose.

1032
00:56:52,280 --> 00:56:54,200
Speaker 3: Yes, if a newspaper said that, I would want to

1033
00:56:54,200 --> 00:56:56,480
Speaker 3: read it, assuming it was not like the weekly World News.

1034
00:56:57,640 --> 00:56:59,960
Speaker 3: But they figure out what's going on, Basil Rathbone did

1035
00:57:00,360 --> 00:57:03,560
Speaker 3: is that the other alien astronauts must have boarded a

1036
00:57:03,760 --> 00:57:08,319
Speaker 3: quote rescue rocket, and so they ejected from this ship

1037
00:57:08,360 --> 00:57:12,319
Speaker 3: before it crashed and killed the one alien astronaut that

1038
00:57:12,400 --> 00:57:16,160
Speaker 3: remained on board. So Alan, that's John Sackson and Tony,

1039
00:57:16,280 --> 00:57:18,720
Speaker 3: remember Tony from the meal earlier. They make a case,

1040
00:57:18,960 --> 00:57:21,840
Speaker 3: let's go on a supplemental mission to find the rescue

1041
00:57:21,920 --> 00:57:24,800
Speaker 3: rocket and they're going to land on the Martian moon Phobos.

1042
00:57:25,320 --> 00:57:28,439
Speaker 3: Bezil says, you are either fools or very brave men,

1043
00:57:28,600 --> 00:57:31,120
Speaker 3: but he in the end approves and they go. So

1044
00:57:31,160 --> 00:57:34,360
Speaker 3: they arrive in orbit, they make contact with Dennis Hopper

1045
00:57:34,400 --> 00:57:37,000
Speaker 3: on the radio, and there's a lot of Oh, Alan

1046
00:57:37,080 --> 00:57:39,640
Speaker 3: wants to talk to Laura. Oh, she can't talk right now.

1047
00:57:39,720 --> 00:57:43,720
Speaker 3: Oh now she can talk. Okay, he's calling. So again

1048
00:57:43,800 --> 00:57:45,360
Speaker 3: there's a little bit of patting in this.

1049
00:57:46,440 --> 00:57:49,520
Speaker 1: But around this part of the film, we're getting to

1050
00:57:49,560 --> 00:57:53,120
Speaker 1: the point where the movie really begins. There's about an

1051
00:57:53,200 --> 00:57:56,080
Speaker 1: hour in Yes, I feel like everything says coming together

1052
00:57:56,280 --> 00:58:00,440
Speaker 1: and it becomes becomes very watchable and and pretty good

1053
00:58:00,440 --> 00:58:01,000
Speaker 1: in places.

1054
00:58:01,200 --> 00:58:04,320
Speaker 3: I agree. So they're on the moon Phobos, and they

1055
00:58:04,720 --> 00:58:06,920
Speaker 3: were supposed to be just using this moon as like

1056
00:58:07,000 --> 00:58:10,280
Speaker 3: a sort of a launching pad to get to the planet.

1057
00:58:10,840 --> 00:58:12,720
Speaker 3: But out of the window of their ship, Alan and

1058
00:58:12,760 --> 00:58:15,760
Speaker 3: Tony see something in the distance and it is the

1059
00:58:15,960 --> 00:58:19,120
Speaker 3: rescue ship, the other ship from the alien ship. So

1060
00:58:19,120 --> 00:58:23,200
Speaker 3: they go to investigate. Inside, they see a silhouette illuminated

1061
00:58:23,240 --> 00:58:25,960
Speaker 3: in the light from a door. It's a humanoid figure,

1062
00:58:26,160 --> 00:58:28,840
Speaker 3: but then she collapses, so they carry her back to

1063
00:58:28,920 --> 00:58:31,760
Speaker 3: their ship and it's a woman. She's dressed in a

1064
00:58:31,840 --> 00:58:34,760
Speaker 3: red jumpsuit. She has green skin, and she's wearing a

1065
00:58:34,800 --> 00:58:39,360
Speaker 3: helmet that looks kind of like a cathedral cupola or

1066
00:58:39,560 --> 00:58:40,920
Speaker 3: kind of like a Zultar machine.

1067
00:58:40,960 --> 00:58:45,400
Speaker 1: Also, yeah, it's a well designed spacesuit, like it feel

1068
00:58:45,520 --> 00:58:47,800
Speaker 1: it's obviously a space suit, but it feels a little

1069
00:58:47,800 --> 00:58:51,440
Speaker 1: bit alien. It feels it has a good visual flare

1070
00:58:51,520 --> 00:58:51,760
Speaker 1: to it.

1071
00:58:52,160 --> 00:58:54,360
Speaker 3: So there is a moment where they have to decide

1072
00:58:54,360 --> 00:58:56,760
Speaker 3: what to do because now it's the two of them

1073
00:58:57,400 --> 00:59:03,040
Speaker 3: and this and this alien rescuee and their ship can

1074
00:59:03,080 --> 00:59:06,080
Speaker 3: only carry two people. They need to launch and go

1075
00:59:06,200 --> 00:59:08,800
Speaker 3: meet the other earthship, but they can only go with

1076
00:59:08,840 --> 00:59:11,000
Speaker 3: two people, so they flip a coin to determine who

1077
00:59:11,040 --> 00:59:14,160
Speaker 3: goes with the alien astronaut and who stays behind. John

1078
00:59:14,200 --> 00:59:19,720
Speaker 3: Saxon says, all I have is paper moon money, and

1079
00:59:19,760 --> 00:59:21,600
Speaker 3: the movie keeps you in suspense for a while, But

1080
00:59:21,680 --> 00:59:24,480
Speaker 3: who's bringing the astronaut to the other ship. We see

1081
00:59:24,520 --> 00:59:27,840
Speaker 3: them walking through a dust storm on the surface of Mars,

1082
00:59:27,920 --> 00:59:31,600
Speaker 3: hunting down the main ship's beacon, and eventually they collapse,

1083
00:59:31,680 --> 00:59:35,200
Speaker 3: but finally they are found. Dennis Hopper brings the alien

1084
00:59:35,280 --> 00:59:38,880
Speaker 3: inside and they look at her and Laura remarks, Wow,

1085
00:59:38,920 --> 00:59:41,919
Speaker 3: she seems so human yet not human at all, and

1086
00:59:42,040 --> 00:59:45,400
Speaker 3: Paul says, I know, it's uncanny. It's like what would

1087
00:59:45,440 --> 00:59:48,200
Speaker 3: have happened to us if we'd been in another atmosphere.

1088
00:59:48,640 --> 00:59:51,160
Speaker 3: And then suddenly Laura remembers to ask, wait, Paul, who

1089
00:59:51,200 --> 00:59:54,240
Speaker 3: brought her, but there's no time to answer. In walks

1090
00:59:54,320 --> 00:59:57,280
Speaker 3: John Saxon, her space fiance. He was the one who came,

1091
00:59:57,720 --> 01:00:00,560
Speaker 3: so he's okay now. There's a whole thing. This kind

1092
01:00:00,560 --> 01:00:04,400
Speaker 3: of a side story about confirming that Oceano two, the

1093
01:00:04,520 --> 01:00:06,560
Speaker 3: other ship, will be able to come back to Mars

1094
01:00:06,560 --> 01:00:09,480
Speaker 3: to rescue Tony, the guy who is left behind on Phobos.

1095
01:00:09,720 --> 01:00:13,040
Speaker 3: So actually Tony really gets the better deal here considering

1096
01:00:13,040 --> 01:00:16,920
Speaker 3: what happens on the main ship. So let's see. Yeah,

1097
01:00:17,040 --> 01:00:21,040
Speaker 3: now it's Alan, Laura, Paul Anders and the Alien Lady

1098
01:00:21,160 --> 01:00:23,160
Speaker 3: and they're all on the ship together and they're gonna

1099
01:00:23,200 --> 01:00:26,919
Speaker 3: blast off. Now what comes next is I would argue

1100
01:00:26,960 --> 01:00:29,080
Speaker 3: the best scene in the film. It's the scene where

1101
01:00:29,120 --> 01:00:32,800
Speaker 3: the Alien Ambassador wakes up. She wakes up in the chair,

1102
01:00:33,680 --> 01:00:36,320
Speaker 3: and then she makes eye contact with the crew members

1103
01:00:36,520 --> 01:00:40,040
Speaker 3: one at a time, starting with Dennis Hopper. She looks

1104
01:00:40,080 --> 01:00:43,400
Speaker 3: at him and her face goes through these subtle changes,

1105
01:00:43,960 --> 01:00:47,360
Speaker 3: and she smiles, and she has these little flares of

1106
01:00:47,400 --> 01:00:51,800
Speaker 3: expression in her eyes and this gradually inflating grin as

1107
01:00:51,840 --> 01:00:56,320
Speaker 3: she looks from astronaut to astronaut, Except she doesn't smile

1108
01:00:56,360 --> 01:00:59,200
Speaker 3: when she sees Laura. She looks at Laura and then

1109
01:00:59,240 --> 01:01:03,760
Speaker 3: suddenly exhales kind of sharply, leaving a blast of fog

1110
01:01:03,880 --> 01:01:07,720
Speaker 3: on the inside of the glass of her helmet, and Ooh,

1111
01:01:07,800 --> 01:01:11,280
Speaker 3: this scene was chilling and very interesting, and Florence Marley

1112
01:01:11,400 --> 01:01:14,600
Speaker 3: is wonderful with the little tiny expressions.

1113
01:01:15,040 --> 01:01:17,960
Speaker 1: Yeah. Absolutely, Like this is the point in the film where, yeah,

1114
01:01:17,960 --> 01:01:21,000
Speaker 1: we're really off to the races here. We have a

1115
01:01:21,040 --> 01:01:25,400
Speaker 1: strong cast, we have a limited and understandable set. We

1116
01:01:25,480 --> 01:01:28,880
Speaker 1: know where we are and what the immediate stakes are. Yeah.

1117
01:01:28,880 --> 01:01:30,919
Speaker 3: Here it kind of turns into a different movie. Where

1118
01:01:30,960 --> 01:01:33,600
Speaker 3: before it was like all about blasting off and landing

1119
01:01:33,600 --> 01:01:36,080
Speaker 3: and blasting off and discussing what to do and then

1120
01:01:36,120 --> 01:01:40,440
Speaker 3: blasting off and blasting off again. Now it's basically a

1121
01:01:40,480 --> 01:01:43,320
Speaker 3: bottle episode. It's just some character stuck in a ship

1122
01:01:43,400 --> 01:01:45,920
Speaker 3: with something that is acting a little strange.

1123
01:01:46,400 --> 01:01:49,920
Speaker 1: Yeah. Yeah, at this point it could be like a

1124
01:01:49,960 --> 01:01:52,439
Speaker 1: really interesting episode of the old Twilight Zone or Outer

1125
01:01:52,520 --> 01:01:53,280
Speaker 1: Limits or something.

1126
01:01:53,800 --> 01:01:57,240
Speaker 3: So first they put Dennis Hopper in charge of taking

1127
01:01:57,280 --> 01:01:59,720
Speaker 3: care of the alien lady, and he shows her how

1128
01:01:59,760 --> 01:02:02,680
Speaker 3: to water through a straw. She has some water through

1129
01:02:02,680 --> 01:02:04,960
Speaker 3: the straw, but she is not interested in food. Like

1130
01:02:05,000 --> 01:02:09,480
Speaker 3: she turns her face away from the exobiologics and anders

1131
01:02:09,680 --> 01:02:12,880
Speaker 3: wonders if perhaps she is used to some sort of

1132
01:02:13,000 --> 01:02:16,120
Speaker 3: liquid nourishment the whole time. By the way she is

1133
01:02:16,160 --> 01:02:20,200
Speaker 3: just making eyes at the earth dudes. And oh and

1134
01:02:20,280 --> 01:02:22,200
Speaker 3: also we see that when her helmet is off, she

1135
01:02:22,280 --> 01:02:25,840
Speaker 3: has a sort of onion shaped troll doll hairdoo.

1136
01:02:26,680 --> 01:02:29,160
Speaker 1: I couldn't help but wonder if this is a nod

1137
01:02:29,320 --> 01:02:35,680
Speaker 1: to Bride of Frankenstein. You know, certainly given Harrington's appreciation

1138
01:02:35,840 --> 01:02:39,280
Speaker 1: for the work of James Whale, that she has tall hair.

1139
01:02:39,880 --> 01:02:42,800
Speaker 3: Yeah, yeah, that's interesting. Yeah I didn't put that together.

1140
01:02:42,880 --> 01:02:47,200
Speaker 3: But so also well, that's another performance that is wordless

1141
01:02:47,280 --> 01:02:52,360
Speaker 3: but relies on powerful facial expressions. Elsa Lanchester as the

1142
01:02:52,400 --> 01:02:55,480
Speaker 3: Bride of Frankenstein. But so after this, they try to

1143
01:02:55,520 --> 01:02:57,960
Speaker 3: take a blood sample. Anders also wants to do this

1144
01:02:58,120 --> 01:03:00,600
Speaker 3: to run some tests, but she will not allow it.

1145
01:03:00,640 --> 01:03:04,000
Speaker 3: She smacks the needle out of the dude's hand, and

1146
01:03:04,000 --> 01:03:06,880
Speaker 3: then we got to Later that night, Dennis Hopper is

1147
01:03:06,920 --> 01:03:09,800
Speaker 3: making some notes in his audio log and he says

1148
01:03:09,880 --> 01:03:13,280
Speaker 3: he thinks he's noticed something about the alien that the

1149
01:03:13,320 --> 01:03:16,800
Speaker 3: others haven't yet. He says she has, but then he

1150
01:03:16,880 --> 01:03:19,440
Speaker 3: trails off and he doesn't finish the sentence. And I

1151
01:03:19,480 --> 01:03:21,360
Speaker 3: want to know what was Dennis Hopper going to say?

1152
01:03:21,840 --> 01:03:23,720
Speaker 1: I know this, I thought this was one of my

1153
01:03:23,840 --> 01:03:28,000
Speaker 1: favorite acting moments in the entire movie. It was just

1154
01:03:28,000 --> 01:03:29,959
Speaker 1: just the fact that he trails off and he doesn't

1155
01:03:30,000 --> 01:03:32,520
Speaker 1: finish the thought, like it's just it works so perfectly

1156
01:03:32,960 --> 01:03:35,360
Speaker 1: for this character and for what's about to come.

1157
01:03:35,840 --> 01:03:38,680
Speaker 3: Now, He's sitting there by himself while everybody else is asleep,

1158
01:03:38,720 --> 01:03:42,480
Speaker 3: and he notices an open doorway and he goes to investigate,

1159
01:03:43,240 --> 01:03:46,480
Speaker 3: and the alien ambassador is not in her seat anymore,

1160
01:03:47,080 --> 01:03:49,960
Speaker 3: so he goes wandering around alone looking for her. This

1161
01:03:50,040 --> 01:03:52,959
Speaker 3: kind of reminded me of the scene an Alien where

1162
01:03:53,000 --> 01:03:57,040
Speaker 3: like Brett is looking for the cat and Dennis Hopper

1163
01:03:57,080 --> 01:04:01,480
Speaker 3: stumbles into the engine room and there suddenly she appears.

1164
01:04:02,280 --> 01:04:05,120
Speaker 3: I wasn't sure about this. I think, is she in

1165
01:04:05,160 --> 01:04:07,800
Speaker 3: her alien way supposed to be nude? Like you see

1166
01:04:07,800 --> 01:04:10,200
Speaker 3: her back and it is green. She's not wearing her

1167
01:04:10,200 --> 01:04:13,920
Speaker 3: red jumpsuit, but maybe she was wearing Maybe she had

1168
01:04:14,040 --> 01:04:16,640
Speaker 3: like green clothes on under that, and that's what it's

1169
01:04:16,640 --> 01:04:19,360
Speaker 3: supposed to be. She's obviously actually wearing something in the scene,

1170
01:04:19,400 --> 01:04:20,880
Speaker 3: but it's the same color as her skin.

1171
01:04:21,880 --> 01:04:24,040
Speaker 1: Yeah, I wasn't sure. On there's another scene where it

1172
01:04:24,240 --> 01:04:26,800
Speaker 1: makes it seem like maybe the back of her costume

1173
01:04:26,880 --> 01:04:29,600
Speaker 1: is more exposed in the front. I'm not sure on that.

1174
01:04:30,680 --> 01:04:34,120
Speaker 3: Well, anyway, there she is. Something has changed about her.

1175
01:04:34,560 --> 01:04:37,600
Speaker 3: Now she has lights glowing in her eyes, and she

1176
01:04:37,640 --> 01:04:41,040
Speaker 3: seems to hypnotize Dennis Hopper, and she walks up to him.

1177
01:04:41,080 --> 01:04:43,440
Speaker 3: She lays a hand on his chest, and her skin

1178
01:04:43,520 --> 01:04:47,920
Speaker 3: appears to have a shiny, almost polymerized texture, and she

1179
01:04:48,080 --> 01:04:51,440
Speaker 3: leans in and we see only from like the perspective,

1180
01:04:51,560 --> 01:04:54,280
Speaker 3: like from behind her, and it's like, is she kissing him?

1181
01:04:54,360 --> 01:04:58,720
Speaker 3: Or is she biting his neck? Next morning, people wake up.

1182
01:04:58,760 --> 01:05:02,200
Speaker 3: They discover Paul dead. Dennis Hopper has left the building.

1183
01:05:02,720 --> 01:05:05,080
Speaker 1: What a shame? What is shame? Is such a nice character?

1184
01:05:05,840 --> 01:05:10,320
Speaker 3: Yes, So his wrist has a bloody, ragged wound, and

1185
01:05:10,360 --> 01:05:12,800
Speaker 3: he appears to have been drained of blood. And they

1186
01:05:12,800 --> 01:05:16,120
Speaker 3: find the alien ambassador sleeping with blood dripping out of

1187
01:05:16,120 --> 01:05:18,280
Speaker 3: the sides of her mouth. So there's no mystery about

1188
01:05:18,320 --> 01:05:20,360
Speaker 3: what happened. It's just like, oh, okay, here she is.

1189
01:05:20,400 --> 01:05:23,200
Speaker 3: She drank all his blood. Anders says, do you see

1190
01:05:23,320 --> 01:05:26,920
Speaker 3: how heavy she's breathing. She has gorged herself on blood

1191
01:05:27,240 --> 01:05:30,720
Speaker 3: and now she's digesting like a boa constrictor that swallowed

1192
01:05:30,720 --> 01:05:36,160
Speaker 3: a whole animal. It's fascinating and then John Sackson goes fascinating,

1193
01:05:36,240 --> 01:05:39,760
Speaker 3: it's horrible. We ought to destroy her right now and.

1194
01:05:39,880 --> 01:05:41,440
Speaker 1: Come on ou and come on out. And he's just

1195
01:05:41,520 --> 01:05:44,200
Speaker 1: admiring her purity. That's all that's going on here.

1196
01:05:44,440 --> 01:05:47,800
Speaker 3: Yeah, it's like Ian Holme. Yeah, so it's a conflict.

1197
01:05:47,880 --> 01:05:51,280
Speaker 3: Anders thinks, you know, she's much too precious to destroy.

1198
01:05:51,760 --> 01:05:55,600
Speaker 3: In fact, he does go somewhere interesting. He says, she's

1199
01:05:55,800 --> 01:06:00,280
Speaker 3: not even necessarily aware that she's done anything wrong. To

1200
01:06:00,360 --> 01:06:03,760
Speaker 3: like an argument about whether or not they because they

1201
01:06:03,760 --> 01:06:06,880
Speaker 3: can't converse with her, that she never talks. So they

1202
01:06:07,000 --> 01:06:10,880
Speaker 3: argue about whether they should assume that the alien knows

1203
01:06:11,600 --> 01:06:14,440
Speaker 3: it has done something wrong by killing a human or not.

1204
01:06:15,920 --> 01:06:18,480
Speaker 3: I think that's a great question for a sci fi story.

1205
01:06:18,520 --> 01:06:22,560
Speaker 3: I can't recall if I've ever heard that being discussed before,

1206
01:06:22,600 --> 01:06:26,040
Speaker 3: Like should we hold the alien morally accountable?

1207
01:06:27,040 --> 01:06:30,400
Speaker 1: Yeah, this is a movie where the mission statement does

1208
01:06:30,440 --> 01:06:34,120
Speaker 1: not call for a lot of philosophical pondering. And yet

1209
01:06:34,120 --> 01:06:36,440
Speaker 1: there's just a little it dips its toes in a

1210
01:06:36,520 --> 01:06:38,080
Speaker 1: little bit right here, and it's nice.

1211
01:06:38,560 --> 01:06:41,240
Speaker 3: Andrews makes some kind of interesting arguments. He says, you know,

1212
01:06:41,320 --> 01:06:45,240
Speaker 3: maybe this alien comes from a planet where it feeds

1213
01:06:45,280 --> 01:06:50,280
Speaker 3: on the blood of other organisms, and it doesn't think

1214
01:06:50,320 --> 01:06:52,640
Speaker 3: there's anything wrong with that, much the same way that

1215
01:06:52,720 --> 01:06:56,040
Speaker 3: we eat the flesh of other organisms. So is her

1216
01:06:57,000 --> 01:07:00,320
Speaker 3: Might she understand having drank Dennis Hopper's blood the same

1217
01:07:00,320 --> 01:07:04,120
Speaker 3: way we would understand eating a steak? And then Alan,

1218
01:07:04,560 --> 01:07:07,400
Speaker 3: so that's an interesting point, and Alan responds by saying,

1219
01:07:07,720 --> 01:07:12,600
Speaker 3: but we don't feed on blood. I think the philosophical

1220
01:07:12,640 --> 01:07:15,360
Speaker 3: dispute is going a bit over John Saxon's head, like

1221
01:07:15,400 --> 01:07:18,600
Speaker 3: he doesn't understand that it's not literally what the substance

1222
01:07:18,720 --> 01:07:19,560
Speaker 3: is that matters.

1223
01:07:20,160 --> 01:07:24,680
Speaker 1: Yeah, everyone's pissed, but everyone seems to agree thus far.

1224
01:07:24,720 --> 01:07:27,000
Speaker 1: They need to check back in with headquarters and not

1225
01:07:27,040 --> 01:07:28,440
Speaker 1: do anything drastic.

1226
01:07:28,400 --> 01:07:31,760
Speaker 3: Right, So they come up with a workaround. Anders says, Okay,

1227
01:07:31,760 --> 01:07:33,960
Speaker 3: we're going to feed her from our medical supply of

1228
01:07:34,040 --> 01:07:36,760
Speaker 3: blood plasma, and we keep her drinking that so that

1229
01:07:36,800 --> 01:07:38,800
Speaker 3: she doesn't drink the blood from our bodies and that

1230
01:07:38,840 --> 01:07:39,680
Speaker 3: works for a while.

1231
01:07:40,040 --> 01:07:42,760
Speaker 1: Yeah. Yeah, the basic understanding it is like she's not hungry,

1232
01:07:42,840 --> 01:07:43,600
Speaker 1: she's not a threat.

1233
01:07:43,840 --> 01:07:46,320
Speaker 3: They make a report to Basil Rathbone about the blood

1234
01:07:46,360 --> 01:07:49,880
Speaker 3: drinking and it shows Basil Rathbone back at Mission control

1235
01:07:49,920 --> 01:07:51,840
Speaker 3: and he just like puts his head in his hands,

1236
01:07:51,920 --> 01:07:55,280
Speaker 3: which made me laugh. Then I think he walks over

1237
01:07:55,320 --> 01:07:57,760
Speaker 3: to the wall and he says he looks at a

1238
01:07:57,800 --> 01:07:59,680
Speaker 3: map of the stars, and he says, one should not

1239
01:07:59,720 --> 01:08:03,479
Speaker 3: be shocked by anything we find out there. And I'm like, man,

1240
01:08:03,560 --> 01:08:06,440
Speaker 3: you could imagine so much weirder forms of life than

1241
01:08:06,480 --> 01:08:09,600
Speaker 3: something that drinks blood. That's like something that a lot

1242
01:08:09,680 --> 01:08:10,680
Speaker 3: of Earth life does.

1243
01:08:11,320 --> 01:08:16,200
Speaker 1: Yeah, yeah, it shouldn't be really that shocking, But I

1244
01:08:16,240 --> 01:08:17,760
Speaker 1: don't know. I do kind of like it as this

1245
01:08:17,800 --> 01:08:20,920
Speaker 1: little flourish that you know, puts you in the space

1246
01:08:21,000 --> 01:08:23,040
Speaker 1: of this you know, really kind of like an old

1247
01:08:23,040 --> 01:08:25,880
Speaker 1: fashioned pulpse sci fi where like the rest of the

1248
01:08:25,920 --> 01:08:28,360
Speaker 1: Solar System is wild. Baby, you don't know what's out

1249
01:08:28,400 --> 01:08:31,000
Speaker 1: there right, could be teeming with all sorts of weird

1250
01:08:31,040 --> 01:08:32,280
Speaker 1: life life forms.

1251
01:08:32,320 --> 01:08:35,759
Speaker 3: You can't possibly imagine. This one drinks blood, this next

1252
01:08:35,800 --> 01:08:41,680
Speaker 3: one has three eyes. So they hold a funeral for

1253
01:08:41,720 --> 01:08:43,960
Speaker 3: Dennis Hopper. They blast his body out the air lock.

1254
01:08:44,040 --> 01:08:47,400
Speaker 3: The funeral includes readings from the Bible, and there is

1255
01:08:47,439 --> 01:08:51,120
Speaker 3: a discussion between John Saxon and Anders. John Saxon says,

1256
01:08:51,280 --> 01:08:54,280
Speaker 3: should we tie her up? Andrew says no, no, we'll

1257
01:08:54,320 --> 01:08:56,400
Speaker 3: be safe as long as we never all fall asleep

1258
01:08:56,439 --> 01:08:59,680
Speaker 3: at the same time. And John Saxon's like, well, but

1259
01:08:59,720 --> 01:09:02,880
Speaker 3: there there's no sign of struggle, and Andre says, well,

1260
01:09:02,920 --> 01:09:04,799
Speaker 3: she must have gotten to him in his sleep.

1261
01:09:05,479 --> 01:09:08,400
Speaker 1: Yeah. They bring up the vampire bad as an.

1262
01:09:08,360 --> 01:09:12,439
Speaker 3: Example, right, They say, yeah, okay, so vampire back can

1263
01:09:12,479 --> 01:09:15,800
Speaker 3: feed on animals without them necessarily detecting. Maybe she has

1264
01:09:15,840 --> 01:09:18,320
Speaker 3: something in her saliva that dulls the pain of the bite,

1265
01:09:18,400 --> 01:09:20,680
Speaker 3: and thus you don't know when you get bitten. So

1266
01:09:20,800 --> 01:09:22,840
Speaker 3: they feed her a bunch of blood plasma. She drinks

1267
01:09:22,880 --> 01:09:26,000
Speaker 3: it through a straw until ooh, they run out of

1268
01:09:26,080 --> 01:09:29,760
Speaker 3: blood plasma. That's a problem. So next thing, there is

1269
01:09:29,800 --> 01:09:31,920
Speaker 3: a very creepy scene. Again I thought this one was

1270
01:09:31,960 --> 01:09:35,360
Speaker 3: really effective. Anders is alone in the control room, awake

1271
01:09:35,400 --> 01:09:39,679
Speaker 3: while everybody else is asleep, and he clearly is tired.

1272
01:09:39,720 --> 01:09:41,599
Speaker 3: But he starts looking at the door of the room

1273
01:09:42,479 --> 01:09:46,280
Speaker 3: and was that a silhouette there? Although it's not there anymore. Oh,

1274
01:09:46,280 --> 01:09:49,000
Speaker 3: but there it is again, and it's back lit, but

1275
01:09:49,040 --> 01:09:53,800
Speaker 3: it's like it's a female silhouette and she's approaching. The

1276
01:09:53,960 --> 01:09:57,439
Speaker 3: eyes are glowing. He drops his ray gun and then

1277
01:09:57,479 --> 01:09:58,679
Speaker 3: there's another blood feast.

1278
01:09:59,200 --> 01:10:02,120
Speaker 1: Yeah, it's a good seat, quin say, a nice build

1279
01:10:02,200 --> 01:10:06,000
Speaker 1: up of tension, and you know, and especially I thought

1280
01:10:06,000 --> 01:10:08,560
Speaker 1: it worked well because you know that this guy is

1281
01:10:08,640 --> 01:10:12,920
Speaker 1: toast like, he's not John Saxon's, he's not Alan, he's

1282
01:10:12,960 --> 01:10:15,439
Speaker 1: not Laura. He's going to get killed by the space

1283
01:10:15,520 --> 01:10:18,320
Speaker 1: vampire at some point, and yet it still feels it's

1284
01:10:18,320 --> 01:10:20,719
Speaker 1: still a tense sequence when it occurs.

1285
01:10:20,960 --> 01:10:24,000
Speaker 3: Agree, I really like that, like is he seeing her

1286
01:10:24,080 --> 01:10:27,160
Speaker 3: or is he not? A thing that makes it tense.

1287
01:10:27,920 --> 01:10:30,680
Speaker 3: So now only Alan and Laura are left, and so

1288
01:10:30,720 --> 01:10:34,160
Speaker 3: they tie up the alien while she is asleep and digesting.

1289
01:10:34,520 --> 01:10:36,600
Speaker 3: They conclude that she must work by some kind of

1290
01:10:36,640 --> 01:10:40,280
Speaker 3: deadly hypnosis. And here is the scene I mentioned earlier

1291
01:10:40,320 --> 01:10:43,360
Speaker 3: where they call Basil Rathbone to be like, hey, everybody's dead,

1292
01:10:43,479 --> 01:10:45,240
Speaker 3: and he turns to the guy next to him and

1293
01:10:45,240 --> 01:10:48,200
Speaker 3: says things are going very badly on that ship, very badly.

1294
01:10:48,280 --> 01:10:51,240
Speaker 1: Indeed, they are not having a good day up there.

1295
01:10:51,720 --> 01:10:55,400
Speaker 3: So the alien lady wakes up, discovering she is restrained.

1296
01:10:55,439 --> 01:10:58,160
Speaker 3: They've tied her up, and her eyes light up and

1297
01:10:58,200 --> 01:11:02,400
Speaker 3: she somehow turns her hot enough to burn through the ropes.

1298
01:11:02,600 --> 01:11:05,080
Speaker 1: That was cool, yeah, yeah, or yeah, some sort of

1299
01:11:05,120 --> 01:11:08,320
Speaker 1: like laser vision or her skin's heating up. But yeah,

1300
01:11:08,360 --> 01:11:11,080
Speaker 1: she burns through the bonds and now she's free to

1301
01:11:11,160 --> 01:11:13,599
Speaker 1: move around the ship and finds more of that sweet

1302
01:11:13,640 --> 01:11:14,320
Speaker 1: human blood.

1303
01:11:14,760 --> 01:11:16,960
Speaker 3: That's right, but I think it's implied that she is

1304
01:11:17,080 --> 01:11:21,040
Speaker 3: only interested in man blood because we see her shadow

1305
01:11:21,160 --> 01:11:24,280
Speaker 3: pass over the body of sleeping Laura, but she doesn't

1306
01:11:24,280 --> 01:11:27,400
Speaker 3: go for it. She just walks right past. And then

1307
01:11:27,840 --> 01:11:31,200
Speaker 3: Laura wakes up and she looks around and the room

1308
01:11:31,280 --> 01:11:34,000
Speaker 3: is very still, and she doesn't hear anything, so she

1309
01:11:34,120 --> 01:11:37,919
Speaker 3: gets up, she walks around, and then she suddenly catches

1310
01:11:38,000 --> 01:11:41,000
Speaker 3: the alien in the act of drinking John Saxon's blood.

1311
01:11:41,040 --> 01:11:44,000
Speaker 3: I guess he got hypnotized off screen. There's a brief

1312
01:11:44,000 --> 01:11:47,519
Speaker 3: fight and Laura injures the alien. She like scratches her

1313
01:11:47,560 --> 01:11:51,639
Speaker 3: in the fight, and the alien begins bleeding green fluid,

1314
01:11:51,680 --> 01:11:55,040
Speaker 3: and she screams and runs away. John Saxon wakes up,

1315
01:11:55,080 --> 01:11:57,519
Speaker 3: he's all right, And then they go to look for

1316
01:11:57,560 --> 01:12:00,320
Speaker 3: the alien and she has collapsed on her bed and

1317
01:12:00,360 --> 01:12:04,120
Speaker 3: bled to death from only a tiny scratch. John Sackson

1318
01:12:04,200 --> 01:12:08,000
Speaker 3: concludes that she suffered from hemophilia. He says perhaps she

1319
01:12:08,080 --> 01:12:10,759
Speaker 3: was some sort of royalty, a queen maybe.

1320
01:12:10,800 --> 01:12:11,360
Speaker 1: And this is.

1321
01:12:11,360 --> 01:12:14,880
Speaker 3: Referring to royal hemophilia on Earth that I think was

1322
01:12:15,240 --> 01:12:18,040
Speaker 3: a heritable trait that in many ways was related to

1323
01:12:18,720 --> 01:12:20,960
Speaker 3: I think Queen Victoria and her husband.

1324
01:12:22,080 --> 01:12:26,600
Speaker 1: Yeah. I mean there's also some examples in the you know,

1325
01:12:26,680 --> 01:12:30,560
Speaker 1: the Russian royal family as well, if memory serves.

1326
01:12:30,600 --> 01:12:32,840
Speaker 3: They may have been related to Queen Victoria somehow.

1327
01:12:32,880 --> 01:12:33,240
Speaker 1: I think.

1328
01:12:33,400 --> 01:12:34,000
Speaker 3: I'm not sure.

1329
01:12:34,600 --> 01:12:35,280
Speaker 1: I think you're right.

1330
01:12:35,600 --> 01:12:40,080
Speaker 3: I just looked it up. I think Czar Nicholas's wife

1331
01:12:40,240 --> 01:12:44,200
Speaker 3: Alexandra was Queen Victoria's granddaughter. There's a lot of oh,

1332
01:12:44,280 --> 01:12:46,519
Speaker 3: there you go. They're all, you know, mixing and match

1333
01:12:46,560 --> 01:12:47,719
Speaker 3: in European royalty.

1334
01:12:48,160 --> 01:12:50,400
Speaker 1: At any rate, the end result is that our Queen

1335
01:12:50,439 --> 01:12:55,320
Speaker 1: of Blood here is a glass cannon. She the slightest

1336
01:12:55,320 --> 01:12:58,240
Speaker 1: little scratch is enough to cause her to bleed to death.

1337
01:12:58,640 --> 01:13:01,800
Speaker 1: And there she is on the ship seemingly like that

1338
01:13:01,880 --> 01:13:03,840
Speaker 1: was kind of a freezing. Now we're done with the

1339
01:13:03,920 --> 01:13:06,280
Speaker 1: alien menace has been defeated.

1340
01:13:06,120 --> 01:13:09,280
Speaker 3: Right, so they land back on Earth and John Saxon

1341
01:13:09,400 --> 01:13:12,680
Speaker 3: and Laura are waiting, I guess, to be retrieved from

1342
01:13:12,760 --> 01:13:16,599
Speaker 3: the capsule they're in and whoops, oh, we just discovered

1343
01:13:16,640 --> 01:13:19,200
Speaker 3: that the alien here left a bunch of eggs in

1344
01:13:19,240 --> 01:13:24,040
Speaker 3: a cabinet, pulsing slime covered eggs, very cool looking, and

1345
01:13:24,160 --> 01:13:28,360
Speaker 3: John Saxon concludes she was a queen, a queen bee.

1346
01:13:28,800 --> 01:13:31,559
Speaker 3: She came here to deposit all of her eggs so

1347
01:13:31,600 --> 01:13:34,200
Speaker 3: they could hatch and take over Earth. And John Saxon

1348
01:13:34,240 --> 01:13:37,320
Speaker 3: wants to destroy the eggs. Laura says, we can't do that.

1349
01:13:37,479 --> 01:13:41,560
Speaker 3: Scientists will need to study them. She's arguing for their preservation.

1350
01:13:41,720 --> 01:13:45,040
Speaker 3: And then when Basil Rathbone runs in the door with

1351
01:13:45,080 --> 01:13:48,320
Speaker 3: all of the science dudes, John Saxon takes him aside

1352
01:13:48,320 --> 01:13:50,200
Speaker 3: and it is like, hey, listen, I've got something secret

1353
01:13:50,200 --> 01:13:52,559
Speaker 3: to tell you. We've got alien eggs all over the ship.

1354
01:13:52,600 --> 01:13:55,000
Speaker 3: We've got to destroy them before people find out about them.

1355
01:13:55,360 --> 01:13:57,960
Speaker 3: And Basil Rathbone is like, oh my dear boy, no,

1356
01:13:58,240 --> 01:14:01,519
Speaker 3: we must study them, not destroy them.

1357
01:14:01,680 --> 01:14:04,840
Speaker 1: Yeah. He suddenly has just all the vim and vigor

1358
01:14:04,880 --> 01:14:08,120
Speaker 1: in the world just just scampering unto the space ship

1359
01:14:08,120 --> 01:14:10,760
Speaker 1: here to check out those alien eggs. Nobody's wearing a

1360
01:14:10,800 --> 01:14:13,519
Speaker 1: contamination suit or anything like, let's just go get them,

1361
01:14:13,760 --> 01:14:15,240
Speaker 1: get big handfuls of these things.

1362
01:14:15,360 --> 01:14:17,560
Speaker 3: He really perks up here at the end with the

1363
01:14:17,680 --> 01:14:19,880
Speaker 3: eggs I have to say that the eggs.

1364
01:14:19,920 --> 01:14:22,040
Speaker 1: When we first see the eggs, I thought they looked hokey.

1365
01:14:22,360 --> 01:14:24,879
Speaker 1: They looked like they looked like little pulsating red balloons.

1366
01:14:25,160 --> 01:14:27,800
Speaker 1: But then eventually we do get a close up off

1367
01:14:27,800 --> 01:14:30,679
Speaker 1: them as they're being taken off the ship on a tray,

1368
01:14:30,920 --> 01:14:33,439
Speaker 1: and in the close up they do look really cool.

1369
01:14:33,479 --> 01:14:36,639
Speaker 1: They look gross and pulsating and it looks like there's

1370
01:14:36,640 --> 01:14:40,080
Speaker 1: something inside them, you know, implied there's some sort of

1371
01:14:40,120 --> 01:14:45,120
Speaker 1: form there that is developing. So ultimately, great job. In

1372
01:14:45,160 --> 01:14:45,599
Speaker 1: these eggs.

1373
01:14:46,400 --> 01:14:48,759
Speaker 3: They are in a tray, they're on like a quarter

1374
01:14:48,800 --> 01:14:52,840
Speaker 3: sheet baking pan, like there's gonna be some cookies or something.

1375
01:14:52,960 --> 01:14:55,439
Speaker 1: Yeah, And that's pretty much the close of the film,

1376
01:14:55,760 --> 01:14:59,240
Speaker 1: that close up on the eggs, the end ominous music,

1377
01:14:59,360 --> 01:15:02,599
Speaker 1: because you know, ultimately this is I mean, it's ultimately

1378
01:15:02,600 --> 01:15:06,880
Speaker 1: a darker ending than Alien because oh, you've brought them back,

1379
01:15:07,040 --> 01:15:09,160
Speaker 1: and now who knows what's going to occur.

1380
01:15:09,479 --> 01:15:12,280
Speaker 3: Well, I think we do get Alan and Laura. They're like, oh,

1381
01:15:12,320 --> 01:15:14,840
Speaker 3: we're back on Earth. I love you, you know, it's

1382
01:15:15,400 --> 01:15:17,559
Speaker 3: we can feel the sunshine on our faces again.

1383
01:15:17,640 --> 01:15:19,479
Speaker 1: I think they say, well, that is true. They do

1384
01:15:19,600 --> 01:15:21,800
Speaker 1: like having the sunshine back. But I don't know how

1385
01:15:21,840 --> 01:15:23,360
Speaker 1: long they're going to get to enjoy it. I don't

1386
01:15:23,360 --> 01:15:25,559
Speaker 1: know how long it takes these eggs to develop into

1387
01:15:25,560 --> 01:15:26,719
Speaker 1: whatever they're going to grow into.

1388
01:15:27,080 --> 01:15:31,840
Speaker 3: I'd say I give earth like twenty to thirty years. Yeah,

1389
01:15:32,320 --> 01:15:34,519
Speaker 3: or they're just the blood bags are all drained.

1390
01:15:35,400 --> 01:15:38,760
Speaker 1: So there you have it, Queen of Blood. Like I say,

1391
01:15:38,800 --> 01:15:41,519
Speaker 1: I feel like the last thirty minutes or so of

1392
01:15:41,560 --> 01:15:45,800
Speaker 1: the picture is pretty solid and pretty fun. I'm not

1393
01:15:45,840 --> 01:15:48,120
Speaker 1: sure I would have gotten to those last thirty minutes

1394
01:15:48,240 --> 01:15:50,280
Speaker 1: had I not been on a mission to watch this,

1395
01:15:50,400 --> 01:15:53,800
Speaker 1: you know, And I guess you have to think about

1396
01:15:53,840 --> 01:15:55,840
Speaker 1: the original context of the release, right, I mean, this

1397
01:15:55,960 --> 01:15:58,560
Speaker 1: was something that was going to be shown theatrically, the

1398
01:15:58,640 --> 01:16:01,320
Speaker 1: shown is part of a double feature, so you know,

1399
01:16:01,400 --> 01:16:03,320
Speaker 1: it's it's it's not something we had to worry about

1400
01:16:03,400 --> 01:16:06,360
Speaker 1: keeping somebody on the same TV channel or keeping them

1401
01:16:06,479 --> 01:16:09,120
Speaker 1: you know, watching a film on a streaming service or

1402
01:16:09,160 --> 01:16:12,400
Speaker 1: anything like that. So it's a different a different mission

1403
01:16:12,439 --> 01:16:13,880
Speaker 1: statement for this film, for sure.

1404
01:16:14,240 --> 01:16:14,439
Speaker 4: Yeah.

1405
01:16:14,439 --> 01:16:16,640
Speaker 3: I wonder if this was mostly destined for drive in

1406
01:16:16,760 --> 01:16:17,519
Speaker 3: theaters or not.

1407
01:16:18,479 --> 01:16:21,719
Speaker 1: I imagine, so, yeah, very much a double I forget

1408
01:16:21,720 --> 01:16:23,880
Speaker 1: what the film it was released with as a double feature,

1409
01:16:23,880 --> 01:16:27,640
Speaker 1: but it was part of the double feature. I also wondered, like,

1410
01:16:27,720 --> 01:16:30,400
Speaker 1: to what extent did they study, like how people watch

1411
01:16:30,479 --> 01:16:32,680
Speaker 1: these films of those double features? Did they did they

1412
01:16:32,720 --> 01:16:36,080
Speaker 1: think about things like when will the teenagers be making out?

1413
01:16:36,200 --> 01:16:38,559
Speaker 1: And yeah, and what should be going on in the

1414
01:16:38,560 --> 01:16:41,720
Speaker 1: screen at that time. I've never read anything on that.

1415
01:16:41,920 --> 01:16:44,880
Speaker 3: Yeah, it wasn't a calculated decision to take an hour

1416
01:16:44,960 --> 01:16:46,720
Speaker 3: to get to Florence Marley.

1417
01:16:46,880 --> 01:16:49,840
Speaker 1: Yeah, but at any rate, I will, you know, coming

1418
01:16:49,880 --> 01:16:52,560
Speaker 1: back to Curtis Harrington, you know, I feel like he

1419
01:16:52,960 --> 01:16:56,640
Speaker 1: did given the weird limitations of this film, you know,

1420
01:16:56,760 --> 01:16:59,720
Speaker 1: having to use all of this footage from from from

1421
01:16:59,720 --> 01:17:03,200
Speaker 1: so at cinema and so forth, obviously not having a

1422
01:17:03,280 --> 01:17:07,120
Speaker 1: huge budget, I feel like like the end results work

1423
01:17:07,360 --> 01:17:11,120
Speaker 1: amazingly well given those constraints. I feel like the cast

1424
01:17:11,240 --> 01:17:13,640
Speaker 1: does a great job given what they're they're given to

1425
01:17:13,680 --> 01:17:17,040
Speaker 1: work with. So it is kind of an interesting exercise

1426
01:17:17,600 --> 01:17:22,160
Speaker 1: in in overachieving for for you know, a B picture

1427
01:17:22,280 --> 01:17:23,759
Speaker 1: like this. Totally agree.

1428
01:17:23,880 --> 01:17:27,200
Speaker 3: Yes, And despite the fact that it is overused and

1429
01:17:27,240 --> 01:17:31,479
Speaker 3: there's too much padding, I will emphasize yet again, most

1430
01:17:31,479 --> 01:17:33,920
Speaker 3: of the Russian footage does look pretty beautiful. I like

1431
01:17:33,960 --> 01:17:34,599
Speaker 3: the aesthetic.

1432
01:17:35,120 --> 01:17:37,640
Speaker 1: Yeah, it would be interesting to come back and what

1433
01:17:37,960 --> 01:17:40,000
Speaker 1: maybe I don't know if we would watch one of these,

1434
01:17:40,040 --> 01:17:43,639
Speaker 1: but they are a number of these Soviet sci fi

1435
01:17:43,720 --> 01:17:47,080
Speaker 1: films that I would be interesting to look at more.

1436
01:17:47,080 --> 01:17:50,760
Speaker 1: I think everyone called Planet a burr that that may

1437
01:17:50,800 --> 01:17:53,760
Speaker 1: have been utilized in Voyage to the Prehistoric Planet. I

1438
01:17:53,760 --> 01:17:57,720
Speaker 1: think I've seen that one in full. There's a there's

1439
01:17:57,760 --> 01:17:59,280
Speaker 1: like a whole box set of these. I think they

1440
01:17:59,280 --> 01:18:01,640
Speaker 1: have a video here in Atlanta, and I've rented one

1441
01:18:01,680 --> 01:18:03,760
Speaker 1: or two of them in the past, but I don't

1442
01:18:03,800 --> 01:18:05,160
Speaker 1: recall them much. I think I just kind of had

1443
01:18:05,160 --> 01:18:09,920
Speaker 1: them on in the background. Well, let's rind them again. Yeah, yeah, yeah,

1444
01:18:09,960 --> 01:18:11,599
Speaker 1: all right, we'll go ahead and close it out there.

1445
01:18:11,640 --> 01:18:13,840
Speaker 1: But hey, we'd love to hear from everyone out there

1446
01:18:13,880 --> 01:18:16,799
Speaker 1: if you have thoughts on Queen of Blood, on space,

1447
01:18:16,920 --> 01:18:22,439
Speaker 1: vampire films, and media in general. Yeah, right in, let's

1448
01:18:22,439 --> 01:18:25,519
Speaker 1: talk about it. We have our listener Mail episodes on

1449
01:18:25,600 --> 01:18:27,760
Speaker 1: Mondays and the Stuff to Blow Your Mind podcast feed

1450
01:18:28,040 --> 01:18:32,360
Speaker 1: Core episodes on Tuesdays and Thursdays. On Wednesdays, we do

1451
01:18:32,360 --> 01:18:34,519
Speaker 1: a short form artifactor Monster Factor. On Fridays. We set

1452
01:18:34,560 --> 01:18:36,479
Speaker 1: aside most serious concerns and just talk about a weird

1453
01:18:36,479 --> 01:18:38,679
Speaker 1: film on Weird House Cinema if you want to see

1454
01:18:38,680 --> 01:18:40,560
Speaker 1: a complete rundown of the movies we've covered over the

1455
01:18:40,640 --> 01:18:43,400
Speaker 1: years here for Weird House Cinema. Going over to letterbox

1456
01:18:43,439 --> 01:18:45,200
Speaker 1: dot com, it's l E T T E R box

1457
01:18:45,320 --> 01:18:47,719
Speaker 1: d dot com. We have a profile there. Our profile

1458
01:18:47,800 --> 01:18:49,599
Speaker 1: is weird House and we have a list of all

1459
01:18:49,640 --> 01:18:52,160
Speaker 1: the movies we've covered so far, and sometimes there's a

1460
01:18:52,200 --> 01:18:53,760
Speaker 1: peek ahead to what's coming up.

1461
01:18:54,240 --> 01:18:57,400
Speaker 3: Here's thanks to our audio producer JJ Posway. If you

1462
01:18:57,400 --> 01:18:59,559
Speaker 3: would like to get in touch with us with feedback

1463
01:18:59,560 --> 01:19:02,000
Speaker 3: on this or any other, to suggest a topic for

1464
01:19:02,040 --> 01:19:04,200
Speaker 3: the future, or just to say hello, you can email

1465
01:19:04,280 --> 01:19:13,960
Speaker 3: us at contact at stuff to Blow your Mind dot com.

1466
01:19:14,080 --> 01:19:17,040
Speaker 2: Stuff to Blow your Mind is production of iHeartRadio. For

1467
01:19:17,120 --> 01:19:19,920
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1468
01:19:20,080 --> 01:19:23,320
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.