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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. So

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Speaker 3: last week on Weird House Cinema we were taking a

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Speaker 3: look at the nineteen ninety three live action Super Mario

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Speaker 3: Brothers movie. I still stand by my characterization, even with

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Speaker 3: a little more time to process, my characterization of it

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Speaker 3: as one of the weirdest movies we've ever covered on

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Speaker 3: the show, and one of the weirdest movies I have

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Speaker 3: ever watched. It is still just it's bouncing like a

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Speaker 3: pinball in my head. But one of the many truly

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Speaker 3: bizarre aspects of that movie was that it had in

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Speaker 3: the role of the villain King Koopa, none other than

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Speaker 3: the late great Dennis Hopper. Now, one of the other

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Speaker 3: movies that came up when we were exploring sort of

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Speaker 3: the back catalog of Dennis Hopper's work was a nineteen

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Speaker 3: sixty six sci fi horror film called Queen of Blood.

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Speaker 3: And now I immediately liked that title. I looked up

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Speaker 3: the poster and I liked that too, So my attention

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Speaker 3: was raised. I kept digging in and I was like, well,

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Speaker 3: we've got to cover this movie, and so here we

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Speaker 3: are today, we're talking about Queen of Blood nineteen sixty six,

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Speaker 3: starring John Saxon, Dennis Hopper, Basil Rathbone, and Florence Marley.

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Speaker 2: Yeah, and I think it would be proper to position

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Speaker 2: this film within a trilogy of space vampire movies that

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Speaker 2: we'll probably get around to watching all of these at

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Speaker 2: one point. Planet a Vampire from nineteen sixty five, which

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Speaker 2: we have covered, the Mario Bava film Beautiful to Behold,

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Speaker 2: maybe a little bit qua lutic at times and its energy,

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Speaker 2: but still great, this film, which carries on the vampires

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Speaker 2: space tradition, just one year later, and then eventually we're

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Speaker 2: going to get to Life Force, that being the modern

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Speaker 2: version of this tale of you know, just female and

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Speaker 2: in the case of Planet of the Vapires, male vampires

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Speaker 2: as well, vampires of all gender coming from space wanting

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Speaker 2: to consume human blood.

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Speaker 3: Now, in life Force, I don't think it's exactly blood.

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Speaker 3: They just kind of generally want to suck all your

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Speaker 3: life force basically your life energy out and leave you

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Speaker 3: a very withered, skeletal kind of artifact. Yeah, but yes,

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Speaker 3: generally I agree with this arc, and I'm going to say,

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Speaker 3: of the three movies, the one we're talking about today

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Speaker 3: is by far the least of them, but not without

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Speaker 3: its pleasures. So we can talk about the kind of

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Speaker 3: weird jigsaw puzzle that is this film. But overall, I

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Speaker 3: did enjoy it. It raises a question, though, which is that,

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Speaker 3: of all the movies we've ever done on Weird House,

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Speaker 3: which one do you think is comprised to the largest

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Speaker 3: extent of pre existing footage. It's got to be this one.

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Speaker 2: Right, It's got to be this one by a long shot.

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Speaker 2: So to explain this to anyone who's not familiar with

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Speaker 2: this film, and I think most people are not familiar

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Speaker 2: with this film, it includes a lot of footage, especially

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Speaker 2: the effects footage from the nineteen fifty nine Soviet science

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Speaker 2: fiction film Nebo Zovyacht, a film that the producer of

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Speaker 2: this movie, Roger Korman, who of course you're familiar with

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Speaker 2: from past episodes, had purchased the US distribution rights for.

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Speaker 2: He even roped in a young Francis Ford Coppola, who

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Speaker 2: worked on some re editing. They apparently added some monster

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Speaker 2: scenes for US audiences and released it as Battle Beyond

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Speaker 2: the Sun. This movie also reuses footage from nineteen sixty

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Speaker 2: threes Mitchta Nevstretchu A Dream Come True, another Soviet science

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Speaker 2: fiction film. So these are both I've not seen either

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Speaker 2: of these in their entirety, but they are essentially big budget,

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Speaker 2: prestige sci fi films from the Soviet Union, and here

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Speaker 2: footed from them is reused for a low budget Roger

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Speaker 2: Korman produced sci fi spectacle you know that's going to

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Speaker 2: be released as part of a double feature.

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Speaker 3: Now, I was trying to think of a name for

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Speaker 3: what you would call this genre of movie genre, not

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Speaker 3: in terms of the not in terms of the story content,

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Speaker 3: but in terms of the way it came about. And

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Speaker 3: to borrow a phrase from the at least the current

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Speaker 3: edition of Dungeons and Dragons, I'm going to call this

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Speaker 3: an attack of opportunity film. Yeah, it is a film

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Speaker 3: that comes about because you have some opportunity in terms

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Speaker 3: of production capability. Maybe you suddenly own rights to a

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Speaker 3: bunch of footage and you can try to figure out

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Speaker 3: how to build a movie around that footage, like we

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Speaker 3: have in the case of this movie today. But there

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Speaker 3: are other such examples. There are cases where like we

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Speaker 3: have a very famous actor on hand and for you know,

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Speaker 3: two more days, can we do something with them that

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Speaker 3: we can build the rest of a movie around later,

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Speaker 3: Or maybe we have access to sets that have been

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Speaker 3: used in another movie or props that have been used

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Speaker 3: in another movie, and can we quickly throw something together

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Speaker 3: to make use of that. It's sort of an efficiency

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Speaker 3: based approach to cinematic storytelling.

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Speaker 2: Yeah, I think I've heard director Robert Rodriguez speak to

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Speaker 2: this as well. You know, like seeing what you have,

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Speaker 2: what do you have at your disposal that you can utilize,

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Speaker 2: and using that kind of as the skeleton to build

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Speaker 2: up what you're going to create, especially if you're dealing

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Speaker 2: with limited budget.

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Speaker 3: What is I feel like we talked about another movie

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Speaker 3: recently where there was like a big star who was

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Speaker 3: already on call having filmed another movie, and they had

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Speaker 3: him for like a couple more days, and so they

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Speaker 3: made something that we watched. Does that ring a bell

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Speaker 3: for you?

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Speaker 2: Oh? It does ring a bell? I feel like that's

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Speaker 2: been the case with various actors like, well, I guess

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Speaker 2: I'm going to stay in Rome for another week. Love

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Speaker 2: it here, you have a movie for me to work on,

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Speaker 2: you know, that sort of thing I feel like that's

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Speaker 2: the specific example has come up, but I don't recall

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Speaker 2: which film and which star it was.

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Speaker 3: This is how you get discount, Boris Karloff.

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Speaker 2: Yeah, but yeah.

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Speaker 3: So in the case of Queen of Blood, it's not

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Speaker 3: like an actor or some sets they had access to.

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Speaker 3: It was pre existing footage. So we've got a bunch

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Speaker 3: of shots that are already part of another movie. But

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Speaker 3: fortunately most of our audience will not have seen that movie,

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Speaker 3: and the footage looks pretty dang good. So what if

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Speaker 3: we can just sort of like figure out how to

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Speaker 3: build a narrative around these shots we have?

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Speaker 2: Also, I think they have the same space helmets. I

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Speaker 2: did some pausing of the film because I was really

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Speaker 2: distracted by the differences between these two obvious lines of

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Speaker 2: footage while watching the film, and I was like, are

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Speaker 2: they even using the same space helmets? Or do they

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Speaker 2: just get the color ride and it looks like they're

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Speaker 2: the same helmets, or they are such an accurate recreation

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Speaker 2: that it does matter. So I'll give them credit for that,

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Speaker 2: but there's so many other things that you just can't reproduce.

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Speaker 3: I feel like I would have noticed it even if

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Speaker 3: I did not read about the background of the film

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Speaker 3: because number one, like the art style is totally different,

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Speaker 3: Like all of the pre existing footage has a much

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Speaker 3: more beautifully lusciously realized kind of character to it. The

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Speaker 3: scenes that are actually shot directly for this film are

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Speaker 3: much more bare bones in terms of sets and stuff.

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Speaker 3: But also it's just totally different in terms of like

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Speaker 3: the film grain and things, like the shots just don't

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Speaker 3: really match. But you know, it's okay. You slot them

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Speaker 3: in there and you can make a movie.

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Speaker 2: And I knew this was coming. I knew this was

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Speaker 2: one of the notable things about this film, but I

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Speaker 2: wasn't prepared for just how much they were going to

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Speaker 2: dump in. Like my mind instantly turns to a single

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Speaker 2: episode of Night Gallery from the early seventies. There's an

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Speaker 2: episode called The Different Ones, or rather it's a segment

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Speaker 2: from an episode called The Different Ones, and it's a

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Speaker 2: science fiction story that involves characters traveling from one planet

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Speaker 2: to the next, and in syndication, they had to expand

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Speaker 2: its runtime a bit, so they inserted spaceship shots from

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Speaker 2: nineteen seventy two Silent Running, Silent Running, Great Motion Picture.

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Speaker 2: I think we have a podcast episode pre Weird House

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Speaker 2: dealing with it to some extent, but in that particular instance,

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Speaker 2: you know, it was very forgivable, and you can easily

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Speaker 2: gloss over it because it's like, Okay, we're exterior spaceship.

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Speaker 2: Here's a shot from Silent Running. You just go with it.

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Speaker 2: And I was expecting it to be more like that

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Speaker 2: with this film, that like, Okay, whenever we see an

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Speaker 2: exterior of a spaceship, it's going to be scenes from

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Speaker 2: one of these Russian films. But that's not the case.

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Speaker 2: It's all sorts of stuff. It's just so much stock

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Speaker 2: or in this case, reused footage dropped into the first hour.

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Speaker 2: It's like when you let an eight year old put

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Speaker 2: their own syrup on their pancakes.

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Speaker 3: Yes. Yeah, And there are a few things that you

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Speaker 3: can actually especially if you have a pause button available

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Speaker 3: to you. One of which is there's a scene where

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Speaker 3: Basil Rathbone is giving a speech to a big assembled crowd,

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Speaker 3: and then it does a cutaway to show the whole room,

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Speaker 3: and I guess it's still supposed to be him speaking,

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Speaker 3: but it's not actually him in the shot. And then

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Speaker 3: in this room there's a great statue of like a

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Speaker 3: god or at least a muscled, nude male figure and

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Speaker 3: he's holding something in his hand, and when he's holding

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Speaker 3: is Sputnik the Russia the Soviet spacecraft.

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Speaker 2: Yeah, yeah, there are a lot of details like that.

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Speaker 2: It's almost as if they were like, look, the kids

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Speaker 2: are just going to be making out for the first

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Speaker 2: hour of this movie. We don't have to stress too

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Speaker 2: much about it, and ultimately, like that's how it feels.

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Speaker 2: It feels like the first hour of the film. Once

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Speaker 2: you press through that, you have a kind of tight,

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Speaker 2: little thirty minute story to enjoy and some nice acting

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Speaker 2: and so forth. But you but at least for me,

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Speaker 2: I really had to press through that first hour.

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Speaker 3: I agree, yeah, that there's a lot of padding, but

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Speaker 3: there are some moments in that first hour that I

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Speaker 3: think are actually extremely effective, and we can explain more

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Speaker 3: about those when we get into the plot. But yeah,

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Speaker 3: there's a lot of Basil Rathbone talking and it's not

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Speaker 3: that interesting or just like seeing rockets blast off or

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Speaker 3: shoot through space. That's not that great either. But a

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Speaker 3: lot of the footage from the Soviet films is beautiful

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Speaker 3: and sometimes it is used to I think great effect.

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Speaker 3: I would say of the original stuff in the movie,

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Speaker 3: probably the best for me was all basically Florence Marley,

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Speaker 3: who plays the main alien character in the film.

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Speaker 2: Oh yeah, she doesn't say a single word, but she

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Speaker 2: emotes really well with her eyes and her eyebrows especially.

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Speaker 3: Yeah, her eyes, her teeth in the corners of her

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Speaker 3: mouth do more acting than most people do with one

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Speaker 3: hundred lines of dialogue.

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Speaker 2: Yeah, nice space vampire smirk. All right. Well, the other

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Speaker 2: fun thing about this is this is one of those

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Speaker 2: movies that takes us into the future, the far future

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Speaker 2: of nineteen ninety, So that that was pretty fun.

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Speaker 3: It's what the narrator actually says it. It's the first

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Speaker 3: thing you hear in the film is that the year

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Speaker 3: is nineteen ninety. All right.

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Speaker 2: My elevator pitch for this is pretty simple. Space Vampire

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Speaker 2: sixty six. That's all you need to know. It's just

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Speaker 2: nineteen sixty six, and this is a space vampire movie

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Speaker 2: coming out of sixty six. Though it's also interesting that

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Speaker 2: in many respects it's kind of a it feels more

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Speaker 2: old fashioned than sixty six. It feels a lot of

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Speaker 2: the energy of this film is maybe more in line

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Speaker 2: with what we might expect from the nineteen fifties. So

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Speaker 2: it's interesting to think about that. We'll discuss that as

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Speaker 2: we proceed. Let's go ahead and hear that trailer. Ween

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Speaker 2: of Blood.

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Speaker 4: A tantalizing, mystifying enigma.

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Speaker 2: She's gorgeous, all her fresh blood.

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Speaker 4: She's a monster. You had a good supply of blood

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Speaker 4: plasma with us. Use that defeeder and if we run

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Speaker 4: out of plasma, commander.

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Speaker 2: All right, if you want to watch Queen of Blood, well,

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Speaker 2: it's currently streaming. I know it's streaming on Prime. We

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Speaker 2: watched it there. I think it's streaming on some other sources.

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Speaker 2: It's also available on DVD from MGM's limited collection. There's

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Speaker 2: also a blu ray from Kino Lurber and Scorpion Releasing,

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Speaker 2: though it doesn't seem to be widely available right now,

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Speaker 2: maybe out of print or something. But I wasn't able

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Speaker 2: to get my hands on that one, but it looks

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Speaker 2: like it has possibly some extras on it. All right,

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Speaker 2: Getting into the people behind this film, because ultimately some

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Speaker 2: of the cast and crew here are what like kind

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Speaker 2: of pushed the movie over the edge for me, because

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Speaker 2: you know, I'm already interested in the concept and you

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Speaker 2: know the time period. But then I started reading about

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Speaker 2: the director and writer of this Curtis Harrington, who lived

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Speaker 2: nineteen twenty six through two thousand and seven. I wasn't

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Speaker 2: familiar with it with his work prior, but Curtis Harrington

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Speaker 2: was a respected Hollywood director, a film critic, an experimental

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Speaker 2: filmmaker who played an important role apparently in rediscovering James

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Speaker 2: Whale during the nineteen fifties. James Whale, of course, the

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Speaker 2: director of such pictures as Frankenstein and Bride of Frankenstein.

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Speaker 3: It's hard for me to imagine that James Whale ever

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Speaker 3: would have been like a forgotten filmmaker as long as

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Speaker 3: I've been aware of him. I was aware of him

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Speaker 3: with kind of icon status.

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Speaker 2: Yeah, I thought of it the same way. But I

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Speaker 2: was reading about this in Harrington's oh bit in the

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Speaker 2: Los Angeles Times. They're quoting Dennis Bartak, producer and screenwriter,

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Speaker 2: who says that that Whale had been quote pretty much

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Speaker 2: forgotten by everybody at this time during the last you know,

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Speaker 2: decade or less of Wales's life, so fastened detail there.

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Speaker 2: So anyway back to Harrington. Following a string of experimental

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Speaker 2: short films, his first feature was nineteen sixty one's Night Tide,

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Speaker 2: which also starred Dennis Hopper, apparently in his first leading role,

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Speaker 2: as a man who falls in love with a mysterious

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Speaker 2: woman who performs as a mermaid at the local carnival.

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Speaker 2: I've not seen it, but it's one of Harrington's best

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Speaker 2: known films and is apparently apparently very well regarded for

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Speaker 2: its sort of darkly fantastic elements. It's supposed to be

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Speaker 2: a rather retheranized film. It was a Corman production, and

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Speaker 2: he followed that movie up with two features for Corman,

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Speaker 2: utilizing big budget sci fi footage that Corman had gotten

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Speaker 2: his hands on from the Soviet Union. Those films were

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Speaker 2: Voyage to the Prehistoric Planet in sixty five and Queen

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Speaker 2: of Blood in sixty six. Harrington's late sixties early seventies

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Speaker 2: period contained several macabre films, including sixty seven Games with

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Speaker 2: James Kahn, seventy one's What's the Matter with Helen starring

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Speaker 2: Debbie Reynolds, seventy two's Whoever Slew? Anti? Crew? I guess

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Speaker 2: this is the question title period of his work. This

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Speaker 2: one starred Shelley Winters. There's seventy threes The Killing Kind,

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Speaker 2: and then mostly TV episodes and TV movies after that,

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Speaker 2: but with some intriguing titles like seventy threes The Cat

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Speaker 2: Creature and seventy eight's Devil Dog the Hound of Hell,

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Speaker 2: not to be confused with nineteen seventy seven's Dracula's Dog.

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Speaker 3: Is that like, they ran out of the son of Dracula,

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Speaker 3: daughter of Dracula, cousin of Dracula, and they work all

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Speaker 3: the way down to Dracula's.

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Speaker 2: Dog, Dracula's Dog. And I mean, obviously they should have

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Speaker 2: followed it up with Devil Dog versus Dracula's Dog, but

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Speaker 2: they didn't anyway. They're also two theatrical films. In the

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Speaker 2: later mix. There there's seventy seven's Ruby, a supernatural thriller

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Speaker 2: starring Piper Laurie, and nineteen eighty five's Matahari, a historical

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Speaker 2: erotic melodrama starring Sylvia Crystal. Best known for the Emmanuel films,

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Speaker 2: so Harrington's work is frequently explored in scholarship surrounding queer cinema,

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Speaker 2: though I believe much of this is contextual, as I'm

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Speaker 2: not sure that any of his films have expressly gay characters,

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Speaker 2: though Harrington himself was openly gay and wrote about it.

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Speaker 2: In his autobiography. But Queen of Blood, well, I can

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Speaker 2: only imagine this is not the best example of his work.

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Speaker 2: But I do feel like when Harrington actually has time

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Speaker 2: to build something here, again mostly in the last thirty

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Speaker 2: minutes or so of the picture, it mostly works. Like

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Speaker 2: he's able to make use of good actors and also

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Speaker 2: effectively build a certain amount of tension.

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Speaker 3: Oh, I fully agree. I would say, on one hand, yes,

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Speaker 3: this is the least of the three Space Vampire films

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Speaker 3: you mentioned, But also I mean, how could it be

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Speaker 3: anything other than that given the circumstances, Like this is

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Speaker 3: an attack of opportunity film, It is an efficiency project.

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Speaker 3: You're trying to build something mostly on the basis of

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Speaker 3: stock footage or not start, you know, pre existing footage.

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Speaker 3: So it is it's a difficult task, and I think

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Speaker 3: this movie, given that, actually is much better than it

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Speaker 3: has any right to be.

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Speaker 2: Oh, absolutely all right. The cast of this Baby is

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Speaker 2: also pretty interesting. We got John Saxon playing Alan Brynner,

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Speaker 2: our lead astronaut. Saxon with nineteen thirty six through twenty twenty.

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Speaker 2: He's a weird house cinema staple we've profiled on the show.

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Speaker 2: I want to say, three or four times at this point.

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Speaker 2: So I'm not going to go in into a lot

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Speaker 2: of detail regarding Saxon, but it was a former team.

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Speaker 3: I'm trying to remember what were the other We did

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Speaker 3: the Cannibal movie, but what were the other John Saxon movies?

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Speaker 2: Well, yes, there was the Cannibal movie. There was Hands

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Speaker 2: of Steel, in which he's one of the villains.

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Speaker 3: Yes, hands of Steel.

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Speaker 2: Okay, there's something else.

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Speaker 3: It's okay, okay, we can move on. Sorry, I just

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Speaker 3: was troubled that I couldn't remember the others. Okay, at

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Speaker 3: least two. That gets me there.

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Speaker 2: Every few weeks there's at least one John Saxon film

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Speaker 2: we were considering, especially from his seventies period, you know.

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Speaker 2: But in any rate, Saxon's definitely come up in the

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Speaker 2: show before him just blinking on some of the other

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Speaker 2: ones we may have discussed him in. But Saxon was

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Speaker 2: a former teen idol, and he'd been acting since the

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Speaker 2: mid fifties at this point, and had already worked with

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Speaker 2: Mario Bava on sixty three's The Girl who Knew Too

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Speaker 2: Much and Auto Preminger on sixty three Is the Cardinal.

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Speaker 2: He'd appeared alongside a young Robert Redford in the nineteen

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Speaker 2: sixty two war film War Hunt, which I've read is

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Speaker 2: quite good. He plays a soldier in that who also

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Speaker 2: happens to be like a serial murderer. But Saxon would

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Speaker 2: really come into his own, like I say, and more

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Speaker 2: than like the nineteen seventies, I think. I think most

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Speaker 2: of the pictures one is drawn to for John Saxon

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Speaker 2: are going to be from that period. So he's maybe

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Speaker 2: a little young here, he's not completely green. But on

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Speaker 2: the other hand, he's also playing a character who feels

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Speaker 2: like he's been extracted more or less from a nineteen

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Speaker 2: fifty sci fi adventure. You know, he's still better in

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Speaker 2: this sort of bland role than a lot of the

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Speaker 2: square jaw leads that you find in those fifty sci

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Speaker 2: fi films, but it still has a lot in common

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Speaker 2: with that.

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Speaker 3: Yeah, I think there's not much to this role. He

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Speaker 3: is the leading man, and he is, to use the

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Speaker 3: term I often used to describe leading men from fifties

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Speaker 3: genre movies, he's kind of a rectangle, like he's just

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Speaker 3: there to be the masculine energy of rectitude according to

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Speaker 3: the logic of the film.

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Speaker 2: And yet it's still is subdued compared to some of

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Speaker 2: the early example like he did I don't think he

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Speaker 2: ever punches anybody.

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Speaker 3: No, he doesn't. He does spend the last I don't

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Speaker 3: know ten minutes of the movie arguing for the destruction

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Speaker 3: of something, with everybody else being like, oh no, it's fine,

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Speaker 3: we don't have to destroy it.

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Speaker 2: All right, you mentioned him already, But Basil Rathbone is

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Speaker 2: in this place, Doctor Faraday. Rathbone lived I mean sorry

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Speaker 2: eighteen ninety two through nineteen sixty seven. This was one

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Speaker 2: of his final film performances, but he had a long

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Speaker 2: career of stage and screen. He was a South African

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Speaker 2: born English actor who served in the First World War

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Speaker 2: and started appearing in films in the early twenties. He

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Speaker 2: played Guy of Gisborne in nineteen thirty eight s The

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Speaker 2: Adventures of Robin Hood. He played Sherlock Holmes in fourteen

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Speaker 2: Hollywood films. Between thirty eight and forty six. He appeared

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Speaker 2: in various swashbucklers. He stayed active on the stage, won

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Speaker 2: a Tony Award in nineteen forty eight for The Heiress,

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Speaker 2: and he was nominated for two Oscars for nineteen thirty nine.

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Speaker 2: If I were King in nineteen thirty seven's Romeo and Juliet,

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Speaker 2: in which he played Tibolt opposite Leslie Howard as Romeo

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Speaker 2: and Norma Shearer as Juliet. He played Baron von Wolf

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Speaker 2: in nineteen thirty nine's Son of Frankenstein. That was the

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Speaker 2: third universal Frankenstein film, with Carloff and Legosi in it.

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Speaker 2: But I think there's kind of a drop off after

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Speaker 2: the first.

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Speaker 3: Yeah, this one was not James Whale, was it.

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Speaker 2: No, No, no.

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Speaker 3: I think Bride is definitely the peak for me.

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Speaker 2: Bride is the peak now. Rathbone definitely made his mark

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Speaker 2: in horror and noir stories, especially later in his career.

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Speaker 2: Just to name a few films of note here, at

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Speaker 2: least fifty six The Black Sleep co starring Laun Cheney,

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Speaker 2: Junior Bell, Lagosi and John Carradine. Sixty two is The

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Speaker 2: Magic Sword. That's a fun fantasy film that was featured

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Speaker 2: on MST three K back in the day. Roger Corman's

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Speaker 2: Tales of Terror starring Vincent Price and Peter Lourie. Sixty

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Speaker 2: three is the comedy of terror is starring Price, Lourie

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Speaker 2: and Carloff. Then we have sixty five Voyage to the

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Speaker 2: Prehistoric Planet. This movie. There's also sixty six is the

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Speaker 2: Ghost in the Invisible Bikini and nineteen sixty seven's Hillbilly's

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Speaker 2: in a Haunted House.

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Speaker 3: I just had to check something real quick. But yes,

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Speaker 3: the Magic Sword in sixty two was directed by Burt I.

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Speaker 2: Gordon. That's a fun one. That's fun. I would come

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Speaker 2: back for that. One's got a fun cast. And now

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Speaker 2: it's for the kids. It's a fairy tale movie. It's great.

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Speaker 3: Yes. Now, I will say of Basil Rathbone in this movie,

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Speaker 3: I think he you know, he does what is asked

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Speaker 3: of him, but this is certainly not his best work.

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Speaker 3: It's kind of a monotonous exposition role. He makes a

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Speaker 3: lot of bureaucratic statements on behalf of the Space Institution.

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Speaker 3: Seems kind of underused to me.

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Speaker 2: Yeah, he's fun at the end. It's gonna be fun

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Speaker 2: to discuss his final Yes, all right. We also have

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Speaker 2: a character named Laura James played by Judy Meredith, who

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Speaker 2: lived nineteen thirty six through twenty fourteen, best known for

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Speaker 2: this movie, Shirley Temple's Storybook in fifty eight and Jack

414
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Speaker 2: the Giant Killer in sixty two. Mostly a TV player,

415
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Speaker 2: she was also the longtime wife of Gary Nelson, who

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Speaker 2: lived thirty four through twenty twenty two, who directed nineteen

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Speaker 2: seventy nine's The Black Hole. Now.

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Speaker 3: I was looking at Judy Meredith's twenty fourteen obituary in

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Speaker 3: The Oregonian, and this had an interesting story. It said

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Speaker 3: that at the age of fifteen, she briefly became a

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Speaker 3: professional ice skater, participating in the Ice Follies, which was

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Speaker 3: some kind of touring ice show that would sometimes feature

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Speaker 3: like Olympic ice skaters, but also had various performances such

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Speaker 3: as the Swiss comedy ice skating duo Frick and Frack.

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Speaker 3: Do you know Frick and Frack rup?

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Speaker 2: I feel like maybe I've heard allusions to Frick and Frack,

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Speaker 2: but I didn't know who they were. Like, maybe there's

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Speaker 2: an old Mst. Three K joke about Frick and frag,

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Speaker 2: But boy, look at them, there they are.

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Speaker 3: I had no idea there was any such thing as

431
00:24:38,400 --> 00:24:39,960
Speaker 3: a comedy ice skating duo.

432
00:24:41,320 --> 00:24:43,720
Speaker 2: Which one has the mustache, which one looks like g

433
00:24:43,840 --> 00:24:44,399
Speaker 2: Gordon Lyddy.

434
00:24:44,720 --> 00:24:48,960
Speaker 3: I don't know, but that's gotta be Frack. Huh No,

435
00:24:49,080 --> 00:24:51,600
Speaker 3: maybe it's Frick. I really couldn't say but so I

436
00:24:51,760 --> 00:24:53,600
Speaker 3: wonder I haven't seen their routine. Is it like a

437
00:24:53,640 --> 00:24:55,919
Speaker 3: three stooges thing where they're poking each other in the

438
00:24:55,960 --> 00:24:58,000
Speaker 3: eyes and bopping on the top of the head, but

439
00:24:58,000 --> 00:24:58,880
Speaker 3: they're ice skating.

440
00:24:59,200 --> 00:25:01,440
Speaker 2: I mean one as soon. If you're in the middle

441
00:25:01,440 --> 00:25:03,399
Speaker 2: of an ice skating rink and you're trying to portray

442
00:25:04,040 --> 00:25:06,919
Speaker 2: comedy to the audience, it's got to be pretty broad, right.

443
00:25:06,960 --> 00:25:08,240
Speaker 3: Yeah, you got to be kind of physical.

444
00:25:08,560 --> 00:25:11,400
Speaker 2: You got to pad that butt for this act, I'm guessing.

445
00:25:11,800 --> 00:25:15,399
Speaker 3: But anyway, sorry, yes, Judy Meredith. So she briefly participated

446
00:25:15,480 --> 00:25:19,280
Speaker 3: in the ice Follies until she suffered a major skiing accident,

447
00:25:19,680 --> 00:25:22,439
Speaker 3: and this put an end to her ice skating career.

448
00:25:23,400 --> 00:25:26,640
Speaker 3: After this, she focused on acting in theater and was

449
00:25:27,040 --> 00:25:30,439
Speaker 3: apparently discovered by the comedian George Burns when she was

450
00:25:30,480 --> 00:25:34,120
Speaker 3: performing at the Pasadena Playhouse. This led to a role

451
00:25:34,200 --> 00:25:36,800
Speaker 3: on the half hour TV comedy show he presented with

452
00:25:36,880 --> 00:25:40,480
Speaker 3: Gracie Allen, and then this in turn led to more

453
00:25:40,520 --> 00:25:43,920
Speaker 3: TV and film roles, including Queen of Blood. But it

454
00:25:43,960 --> 00:25:45,960
Speaker 3: looks like a lot of you know, the kind off

455
00:25:46,119 --> 00:25:47,440
Speaker 3: the sixty stuff Western.

456
00:25:47,520 --> 00:25:47,680
Speaker 2: Yes.

457
00:25:48,119 --> 00:25:50,159
Speaker 3: Now, there was a line from the obit that struck

458
00:25:50,240 --> 00:25:53,760
Speaker 3: me as interesting. It said that Judy Meredith sort of

459
00:25:53,920 --> 00:25:58,120
Speaker 3: created the opportunity for her husband Gary Neilson to have

460
00:25:58,160 --> 00:26:02,359
Speaker 3: a directing career because she agreed to star in the

461
00:26:02,400 --> 00:26:06,280
Speaker 3: TV show Have Gun Will Travel for Free, but only

462
00:26:06,359 --> 00:26:09,680
Speaker 3: if Gary would be allowed to direct. That's a move.

463
00:26:10,320 --> 00:26:13,960
Speaker 2: Yeah, so without her intervention, we might not have gotten

464
00:26:13,960 --> 00:26:17,679
Speaker 2: to the point of the black Hole. Who knows. Yeah, well,

465
00:26:17,720 --> 00:26:19,080
Speaker 2: we may have to do black Hole at some point.

466
00:26:19,080 --> 00:26:20,639
Speaker 2: I can't get my family to watch it with me,

467
00:26:21,480 --> 00:26:23,520
Speaker 2: so I'm gonna have to revisit it on my own

468
00:26:23,560 --> 00:26:25,119
Speaker 2: at some point, so you can make me watch it

469
00:26:25,160 --> 00:26:25,399
Speaker 2: with you.

470
00:26:25,880 --> 00:26:29,600
Speaker 3: Yes, well I look forward to that. But yeah, to

471
00:26:29,600 --> 00:26:32,240
Speaker 3: come back to I like shooting Meredith in this again

472
00:26:32,720 --> 00:26:35,320
Speaker 3: kind of like Basil Rathbone here. I feel like she's

473
00:26:35,359 --> 00:26:38,359
Speaker 3: a little bit kind of underused by the script, but

474
00:26:38,560 --> 00:26:41,879
Speaker 3: she's got good spunk in her scenes. And also, like

475
00:26:41,960 --> 00:26:45,760
Speaker 3: Basil Rathbone's character, it becomes fun in the last ten

476
00:26:45,800 --> 00:26:48,240
Speaker 3: minutes or so, and she's kind of just like arguing

477
00:26:48,280 --> 00:26:50,480
Speaker 3: with John Saxon about whether or not we should let

478
00:26:50,480 --> 00:26:53,520
Speaker 3: these aliens completely drink all her blood.

479
00:26:53,720 --> 00:26:56,520
Speaker 2: I agree she doesn't have as much to do, but

480
00:26:56,760 --> 00:26:59,879
Speaker 2: you see the charisma sparkling through the performance, which is nice.

481
00:27:00,240 --> 00:27:01,960
Speaker 3: And you know what, Actually, so I've said that about

482
00:27:02,000 --> 00:27:04,639
Speaker 3: the last two actors, I'll also say that about Dennis Hopper.

483
00:27:05,320 --> 00:27:07,800
Speaker 3: He's good in this, but kind of underused. This is

484
00:27:07,840 --> 00:27:10,560
Speaker 3: the most subdued I have ever seen Dennis Hopper.

485
00:27:10,920 --> 00:27:13,439
Speaker 2: Yeah, it's interesting because this is, Yeah, this is not

486
00:27:13,600 --> 00:27:16,879
Speaker 2: Dennis Hopper as a villain or a wild man. I

487
00:27:17,359 --> 00:27:19,199
Speaker 2: feel like he says daddy O or something at some

488
00:27:19,280 --> 00:27:22,359
Speaker 2: point and we felt like an ad lib and maybe,

489
00:27:23,440 --> 00:27:25,640
Speaker 2: But aside from that, there's not a lot of what

490
00:27:25,680 --> 00:27:28,360
Speaker 2: you might expect from Dennis Hopper. He plays this kind

491
00:27:28,359 --> 00:27:32,800
Speaker 2: of kind and sensitive astronaut character that's like really, you know,

492
00:27:32,880 --> 00:27:35,120
Speaker 2: trying to connect with the They don't know it at

493
00:27:35,119 --> 00:27:37,639
Speaker 2: the time, but this alien vampire who they brought on board.

494
00:27:38,000 --> 00:27:40,800
Speaker 3: They make him a writer. So he there's a part

495
00:27:40,800 --> 00:27:43,239
Speaker 3: where I don't remember exactly what he says. We can

496
00:27:43,280 --> 00:27:46,680
Speaker 3: explore that later, but he he's like giving an update

497
00:27:46,760 --> 00:27:49,520
Speaker 3: on the ship's log and they're like, wow, Jack Kerouac,

498
00:27:49,680 --> 00:27:50,600
Speaker 3: nice work.

499
00:27:52,680 --> 00:27:55,440
Speaker 2: All right. So yeah, Dennis Hopper playing Paul Grant here

500
00:27:55,560 --> 00:27:58,000
Speaker 2: he lived in nineteen thirty six to twenty ten. We

501
00:27:58,080 --> 00:28:00,880
Speaker 2: profiled him last week on the Super Mario Brothers episodes.

502
00:28:00,920 --> 00:28:03,159
Speaker 2: We're not going to go into all that again, but

503
00:28:03,280 --> 00:28:06,200
Speaker 2: just to put it in context, Queen of Blood hits

504
00:28:06,400 --> 00:28:09,440
Speaker 2: just the year before sixty seven's Cool Hand Luke and

505
00:28:09,520 --> 00:28:12,400
Speaker 2: The Trip, as well as of course sixty eight heads

506
00:28:12,480 --> 00:28:15,919
Speaker 2: sixty nine's Easy Rider. So you know, it's like a

507
00:28:15,920 --> 00:28:18,160
Speaker 2: lot of big stuff was about to happen for Hopper,

508
00:28:18,880 --> 00:28:21,560
Speaker 2: but he'd still had over a decade's TV and film

509
00:28:21,600 --> 00:28:24,680
Speaker 2: experience at this point, though mostly in smaller roles. As

510
00:28:24,720 --> 00:28:28,480
Speaker 2: we mentioned earlier, Harrington gave Hopper his first starring role

511
00:28:28,640 --> 00:28:32,280
Speaker 2: in nineteen sixty one's Night Tide, and Hopper apparently always

512
00:28:32,280 --> 00:28:35,159
Speaker 2: spoke well of him due to that, you know, that

513
00:28:35,240 --> 00:28:38,920
Speaker 2: break that film gave him, but also his experiences on

514
00:28:39,040 --> 00:28:42,160
Speaker 2: that film. He felt like Harrington like gave him the

515
00:28:42,240 --> 00:28:45,840
Speaker 2: room he needed to, you know, to craft his performance,

516
00:28:46,000 --> 00:28:48,080
Speaker 2: and it just overall spoke well of him as a director.

517
00:28:48,400 --> 00:28:49,920
Speaker 3: Well that's nice, and it makes me want to see

518
00:28:49,920 --> 00:28:52,200
Speaker 3: that other movie. But Dennis Hopper, I'm just gonna say

519
00:28:52,240 --> 00:28:56,840
Speaker 3: he's on his best behavior in this one. Yeah, okay,

520
00:28:56,960 --> 00:29:00,640
Speaker 3: But so the last three actors I said, I felt

521
00:29:00,720 --> 00:29:04,800
Speaker 3: kind of underused, all talented but maybe they weren't given

522
00:29:04,920 --> 00:29:08,520
Speaker 3: enough attention, maybe their roles weren't given enough oomph in

523
00:29:08,560 --> 00:29:10,920
Speaker 3: the script. I don't think I would say that about

524
00:29:10,960 --> 00:29:13,840
Speaker 3: Florence Marley. She gets some close up time.

525
00:29:14,320 --> 00:29:17,400
Speaker 2: Oh yeah, just straight up coming at the camera with

526
00:29:18,160 --> 00:29:22,520
Speaker 2: glowing eyes and that face. She doesn't actually have any

527
00:29:22,560 --> 00:29:27,280
Speaker 2: lines in the movie, but it's a very physical performance. Yeah,

528
00:29:27,280 --> 00:29:29,640
Speaker 2: doesn't need a line. She speaks, She's doing everything psychically.

529
00:29:30,200 --> 00:29:33,560
Speaker 2: So yeah, Florence Marley playing on IMDb, its credit is

530
00:29:33,600 --> 00:29:37,760
Speaker 2: Alien Queen. In the post credits for the film, it's

531
00:29:37,840 --> 00:29:41,080
Speaker 2: just Florence Marley as question mark, like she doesn't given

532
00:29:41,080 --> 00:29:46,520
Speaker 2: a name and the New Mysterians, Yeah she was, but

533
00:29:46,640 --> 00:29:49,560
Speaker 2: she has lived nineteen nineteen through nineteen seventy eight. Checkborn

534
00:29:49,600 --> 00:29:52,000
Speaker 2: actress who made her mark in European film in the

535
00:29:52,040 --> 00:29:57,200
Speaker 2: thirties and forties, in such movies as forty eight's Krakatit

536
00:29:57,600 --> 00:30:00,640
Speaker 2: and forty seven's The Damned, before making the move to

537
00:30:00,680 --> 00:30:03,320
Speaker 2: Hollywood after the Second World War, she appeared in such

538
00:30:03,320 --> 00:30:06,960
Speaker 2: American movies as forty nine's Tokyo Joe opposite Humphrey Bogart,

539
00:30:07,240 --> 00:30:09,560
Speaker 2: fifty seven's under Sea Girl. I know that was the

540
00:30:09,600 --> 00:30:12,640
Speaker 2: title that got your attention, Like, what does that consist?

541
00:30:13,000 --> 00:30:14,920
Speaker 2: Is she a mermaid? Is she like in a wetsuit?

542
00:30:14,920 --> 00:30:19,240
Speaker 2: I don't know, Yeah, I didn't know. She also she

543
00:30:19,320 --> 00:30:21,400
Speaker 2: was on a number of TV series as well, including

544
00:30:21,400 --> 00:30:24,800
Speaker 2: the original Twilight Zone. Now, like other actors of the

545
00:30:24,840 --> 00:30:27,680
Speaker 2: mid twentieth century that we've discussed, she was impacted by

546
00:30:27,720 --> 00:30:31,280
Speaker 2: the House on American Activities Committee's Blacklist, though it turns

547
00:30:31,320 --> 00:30:34,280
Speaker 2: out that in her circumstances, it was due to a

548
00:30:34,320 --> 00:30:37,280
Speaker 2: case of mistaken identity, and even though this was eventually

549
00:30:37,280 --> 00:30:40,080
Speaker 2: cleared up, the damage to her career was done at

550
00:30:40,080 --> 00:30:42,480
Speaker 2: that point. This was one of the last handful of

551
00:30:42,560 --> 00:30:46,480
Speaker 2: films she worked on, though she later appeared in nineteen

552
00:30:46,560 --> 00:30:50,280
Speaker 2: seventy three's Doctor Death Seeker of Souls, and the nineteen

553
00:30:50,360 --> 00:30:53,760
Speaker 2: seventy six film The Astrologer, which I've heard great things about.

554
00:30:53,760 --> 00:30:56,920
Speaker 2: It's supposed to be kind of like a weird rediscovered classic.

555
00:30:58,400 --> 00:31:02,240
Speaker 2: She also apparently, and I'm going off of various databases

556
00:31:02,600 --> 00:31:05,400
Speaker 2: and so forth for this. She apparently wrote and starred

557
00:31:05,440 --> 00:31:09,400
Speaker 2: in a short film sequel of sorts to this movie

558
00:31:09,640 --> 00:31:14,280
Speaker 2: titled Space Boy Yes, with an electronic score by BBA

559
00:31:14,760 --> 00:31:18,320
Speaker 2: and Louis Baron of the Forbidden Plan of Forbidden Planet Fame,

560
00:31:19,760 --> 00:31:22,000
Speaker 2: and this would have been in nineteen seventy three. I

561
00:31:22,080 --> 00:31:24,840
Speaker 2: see various mentions of it. It's listed in the databases

562
00:31:25,400 --> 00:31:28,600
Speaker 2: I can, but I find no actual footage of it anywhere.

563
00:31:28,640 --> 00:31:30,840
Speaker 2: I don't see any indication that it was included as

564
00:31:30,880 --> 00:31:35,240
Speaker 2: an extra on anything or compiled anywhere. It's almost like

565
00:31:35,760 --> 00:31:39,479
Speaker 2: it's listed in error, or it's a lost film entirely.

566
00:31:39,520 --> 00:31:40,960
Speaker 2: I'm not sure what the story is here.

567
00:31:41,320 --> 00:31:44,520
Speaker 3: If you have spaceboy, send it to us. Upload now,

568
00:31:44,720 --> 00:31:47,160
Speaker 3: give us a link. I've got to see this because

569
00:31:47,280 --> 00:31:52,520
Speaker 3: I love Florence Marley in this movie of the original footage,

570
00:31:52,680 --> 00:31:54,080
Speaker 3: she makes the film.

571
00:31:54,240 --> 00:31:57,640
Speaker 2: Absolutely all right. Another actor in this I wasn't even

572
00:31:57,680 --> 00:31:59,440
Speaker 2: going to mention them because before we watched it, I

573
00:31:59,440 --> 00:32:01,520
Speaker 2: was thinking, oh, this is the fourth crewman on the ship.

574
00:32:01,800 --> 00:32:03,800
Speaker 2: He's just gonna die. He's not going to be that interesting.

575
00:32:03,880 --> 00:32:06,920
Speaker 2: But I actually found the performance kind of fun. This

576
00:32:07,000 --> 00:32:10,280
Speaker 2: is Robert Boone as Anders Brockman. He's like the practical

577
00:32:10,440 --> 00:32:14,560
Speaker 2: older guy on the on the vessel who says things like, well,

578
00:32:14,600 --> 00:32:18,720
Speaker 2: how different is it drinking blood from just enjoying a nice,

579
00:32:18,960 --> 00:32:21,400
Speaker 2: rare stake. It's not that different. We shouldn't be quick

580
00:32:21,400 --> 00:32:22,360
Speaker 2: to judge that sort of thing.

581
00:32:22,720 --> 00:32:25,640
Speaker 3: This is right after the alien has drained all of

582
00:32:25,680 --> 00:32:29,480
Speaker 3: Denis Hopper's blood. Yeah, this guy gives a speech about like, well,

583
00:32:29,480 --> 00:32:31,600
Speaker 3: hold on, now, let's not judge.

584
00:32:32,280 --> 00:32:35,880
Speaker 2: Yeah, she's just murdered his crewmate at this point. But

585
00:32:36,320 --> 00:32:39,680
Speaker 2: at any rate. This actor lived nineteen sixteen through twenty fifteen.

586
00:32:40,000 --> 00:32:42,520
Speaker 2: Dutch born actor active from the late forties through the

587
00:32:42,560 --> 00:32:46,120
Speaker 2: early eighties. And you look at this guy's credits. He

588
00:32:46,160 --> 00:32:50,920
Speaker 2: started off playing a lot of German soldiers and so

589
00:32:51,000 --> 00:32:54,280
Speaker 2: forth uncredited in war films, and I mean a lot

590
00:32:54,320 --> 00:32:57,720
Speaker 2: of them. It's an impressive list of like German soldier

591
00:32:57,840 --> 00:33:02,400
Speaker 2: uncredited and so forth, but eventually starts getting better parts.

592
00:33:02,440 --> 00:33:04,160
Speaker 2: He shows up on a couple episodes of the classic

593
00:33:04,160 --> 00:33:08,520
Speaker 2: Twilight Zone. Same year, he's an uncredited player in Hitchcock's

594
00:33:08,520 --> 00:33:11,880
Speaker 2: Torn Curtain. Mostly TV work follows, but I read that

595
00:33:11,920 --> 00:33:14,440
Speaker 2: he served as a member of the Motion Picture Academy's

596
00:33:14,440 --> 00:33:19,680
Speaker 2: Foreign Language Nominating Committee, So yeah, this is his most

597
00:33:19,680 --> 00:33:23,040
Speaker 2: well known film. But he's also it's not just an

598
00:33:23,080 --> 00:33:25,280
Speaker 2: invisible role in the movie. Like, I don't know, I

599
00:33:25,360 --> 00:33:29,600
Speaker 2: kind of like this character all right. Now, it's worth

600
00:33:29,680 --> 00:33:32,280
Speaker 2: noting I didn't actually mark him in this because he

601
00:33:32,320 --> 00:33:34,760
Speaker 2: would have been a bit younger, but Forrest j Ackerman

602
00:33:34,840 --> 00:33:38,920
Speaker 2: plays Faraday's aid in this with nineteen sixteen through two

603
00:33:38,920 --> 00:33:41,480
Speaker 2: thousand and eight. This is the father of sci fi fandom.

604
00:33:41,720 --> 00:33:45,640
Speaker 2: An avid collector of sci fi memorabilia, He was also

605
00:33:45,720 --> 00:33:48,760
Speaker 2: the founding editor and principal writer of the magazine Famous

606
00:33:48,800 --> 00:33:51,800
Speaker 2: Monsters of Film Land, and was a literary agent for

607
00:33:51,880 --> 00:33:54,479
Speaker 2: such authors as Ray Bradberry and l Ron Hubbard.

608
00:33:54,960 --> 00:33:57,320
Speaker 3: I think this is the guy Basil Rathbone is talking

609
00:33:57,360 --> 00:33:59,520
Speaker 3: to when he has just gotten a radio update saying

610
00:33:59,520 --> 00:34:02,200
Speaker 3: everybody on the ship is dead except for John Saxon

611
00:34:02,280 --> 00:34:05,000
Speaker 3: and Judy Meredith. And then he turns to this guy

612
00:34:05,000 --> 00:34:07,360
Speaker 3: and he's like, things are going very poorly on that ship.

613
00:34:08,040 --> 00:34:11,759
Speaker 2: Yes, yeah, I think that's probably him. Yeah. This is

614
00:34:11,760 --> 00:34:15,800
Speaker 2: also kind of interesting. Gary Kurtz was a production manager

615
00:34:15,840 --> 00:34:19,480
Speaker 2: on this picture. This is, of course, the future producer

616
00:34:19,600 --> 00:34:22,200
Speaker 2: of the first two Star Wars movies, The Dark Crystal

617
00:34:22,520 --> 00:34:26,160
Speaker 2: and returned to OZ. He lived nineteen forties through twenty eighteen.

618
00:34:27,840 --> 00:34:30,600
Speaker 2: Notable because if you've watched any documentaries about the making

619
00:34:30,680 --> 00:34:32,560
Speaker 2: of the first two Star Wars movies or The Dark

620
00:34:32,600 --> 00:34:36,719
Speaker 2: Crystal he's the guy with the whaler's beard, the kind

621
00:34:36,719 --> 00:34:39,799
Speaker 2: of Abraham Lincoln beard who talks and has a very

622
00:34:39,840 --> 00:34:44,560
Speaker 2: serious tone to his voice and always has some interesting

623
00:34:44,600 --> 00:34:48,720
Speaker 2: things to say about the production. That's him the production

624
00:34:48,800 --> 00:34:52,520
Speaker 2: manager on this movie. Wow. And then finally, the music

625
00:34:52,680 --> 00:34:55,560
Speaker 2: is by Ronald Stein, who lived nineteen thirty through nineteen

626
00:34:55,600 --> 00:34:57,480
Speaker 2: eighty eight. Composer who worked on a lot of low

627
00:34:57,480 --> 00:35:01,480
Speaker 2: budget films, particularly for American International Picture. His credits include

628
00:35:01,560 --> 00:35:04,319
Speaker 2: It Conquered the World, Not of This Earth, Attack of

629
00:35:04,320 --> 00:35:08,240
Speaker 2: the Crab Monsters, Dementia thirteen, and more, including The Rain People,

630
00:35:08,520 --> 00:35:10,960
Speaker 2: Coppola's picture prior to The Godfather.

631
00:35:11,280 --> 00:35:12,439
Speaker 3: Wow, he's writing her Zone.

632
00:35:13,239 --> 00:35:18,160
Speaker 2: Yeah. He's probably come up before, and as we just

633
00:35:18,200 --> 00:35:20,120
Speaker 2: don't remember him. I mean, the music in this is

634
00:35:20,160 --> 00:35:24,000
Speaker 2: not completely unforgettable. It has some nice, kind of haunting

635
00:35:24,280 --> 00:35:26,600
Speaker 2: little bits that have a bit of a night gallery

636
00:35:26,680 --> 00:35:29,600
Speaker 2: feel to them that I liked, But in other places

637
00:35:29,600 --> 00:35:40,359
Speaker 2: it's just more traditional. All right, Joe, are you ready

638
00:35:40,360 --> 00:35:41,319
Speaker 2: to jump into the plot here?

639
00:35:41,680 --> 00:35:42,840
Speaker 3: Oh yes, Oh yes.

640
00:35:43,400 --> 00:35:43,520
Speaker 4: So.

641
00:35:43,800 --> 00:35:46,160
Speaker 3: One thing that I as far as I know, was

642
00:35:46,320 --> 00:35:49,200
Speaker 3: not imported from the Soviet films. I think this may

643
00:35:49,200 --> 00:35:53,400
Speaker 3: be original is the beautiful art behind the opening credits.

644
00:35:53,520 --> 00:35:55,800
Speaker 2: Yeah, I, as far as I know, this is original

645
00:35:55,880 --> 00:35:58,360
Speaker 2: and it this is definitely was the section of the

646
00:35:58,360 --> 00:36:00,520
Speaker 2: film starts off strong for me because it does feel

647
00:36:00,600 --> 00:36:02,920
Speaker 2: very night Gallery skit. This looks like the kind of

648
00:36:02,920 --> 00:36:06,000
Speaker 2: thing that that would be on one of the Night

649
00:36:06,000 --> 00:36:08,600
Speaker 2: Gallery paintings, and the music also has that kind of

650
00:36:08,680 --> 00:36:11,759
Speaker 2: eerie vibe to it, like firmly establishing that, yes, you're

651
00:36:11,800 --> 00:36:14,000
Speaker 2: gonna see a lot of space stuff, but this movie

652
00:36:14,040 --> 00:36:16,879
Speaker 2: is going to at heart be spooky in one way

653
00:36:16,960 --> 00:36:17,400
Speaker 2: or another.

654
00:36:17,880 --> 00:36:20,040
Speaker 3: Yeah. So all of this stuff is attributed to an

655
00:36:20,120 --> 00:36:23,600
Speaker 3: artist named John Klein, who I wasn't otherwise familiar with.

656
00:36:23,680 --> 00:36:26,759
Speaker 3: But as the credits roll, we shuffle through kind of

657
00:36:27,840 --> 00:36:33,600
Speaker 3: lightly representative but mostly abstract illustrations with a psychedelic stained

658
00:36:33,640 --> 00:36:37,040
Speaker 3: glass effect, and I thought it might be fun to

659
00:36:37,080 --> 00:36:39,400
Speaker 3: try to describe some of these images. First, there is

660
00:36:39,480 --> 00:36:44,040
Speaker 3: a kind of a psilocybin yule lad butterfly with beard

661
00:36:44,239 --> 00:36:47,480
Speaker 3: made out of rainbow colored tumors. Then there is a

662
00:36:47,520 --> 00:36:50,560
Speaker 3: two headed witch king of Agmar, but he is chained

663
00:36:50,640 --> 00:36:54,360
Speaker 3: in the Jacob Marley fashion with sixteen dimensional Mardi Gras beads,

664
00:36:54,800 --> 00:36:57,720
Speaker 3: and in the background there are some mountains and twin moons.

665
00:36:58,440 --> 00:37:02,040
Speaker 3: After this, there is a giant pink root vegetable nostril

666
00:37:02,120 --> 00:37:05,080
Speaker 3: with a wing that has bones for feathers. Then there

667
00:37:05,120 --> 00:37:09,400
Speaker 3: is a scene of multicolored gravel eggs hatching into spoon

668
00:37:09,600 --> 00:37:11,799
Speaker 3: plants at the base of a mountain made out of

669
00:37:11,840 --> 00:37:14,799
Speaker 3: dog paws. This is when it says Dennis Hopper, by

670
00:37:14,800 --> 00:37:19,360
Speaker 3: the way. After that, it's blood volcano leaking more gravel

671
00:37:19,360 --> 00:37:23,000
Speaker 3: eggs and mandl brought fissures into the air, while there

672
00:37:23,000 --> 00:37:25,680
Speaker 3: are these white pale vines that reach up toward the

673
00:37:25,719 --> 00:37:30,480
Speaker 3: black sun. More bone wings, more blood planets. There's one

674
00:37:30,520 --> 00:37:32,400
Speaker 3: where there's sort of the top right corner of the

675
00:37:32,400 --> 00:37:35,279
Speaker 3: screen kind of looks like the Punisher logo version of

676
00:37:35,320 --> 00:37:39,080
Speaker 3: a bunny rabbit, but with terminator eyes, and then there's

677
00:37:39,080 --> 00:37:42,600
Speaker 3: a bunch of circuit board components under the rabbit's jaw.

678
00:37:43,280 --> 00:37:46,000
Speaker 3: Backgrounds for the title of the movie, I would describe

679
00:37:46,000 --> 00:37:49,640
Speaker 3: as a DMT furbie with a city skyline inside its

680
00:37:49,680 --> 00:37:52,839
Speaker 3: Hairdo maybe I'll stop there. There is more, but in

681
00:37:52,920 --> 00:37:55,000
Speaker 3: general I think this is all good stuff. Puts one

682
00:37:55,040 --> 00:37:57,760
Speaker 3: in an alien mood, goes well with theorem, and music

683
00:37:58,560 --> 00:38:02,000
Speaker 3: suggests that we may be in for sites beyond our comprehension,

684
00:38:02,040 --> 00:38:04,200
Speaker 3: and as much as I love Florence Marley, I don't

685
00:38:04,200 --> 00:38:07,360
Speaker 3: think the movie will be quite as psychedelic as the

686
00:38:07,400 --> 00:38:11,279
Speaker 3: credits imply. But after the credits we get a starfield

687
00:38:11,480 --> 00:38:14,400
Speaker 3: eerie strings playing, and the narrator says, what did we

688
00:38:14,440 --> 00:38:17,360
Speaker 3: say it was going to be? The year nineteen ninety?

689
00:38:18,520 --> 00:38:20,560
Speaker 3: It says the problem of traveling to the Moon has

690
00:38:20,600 --> 00:38:23,160
Speaker 3: been solved for many years. Note that this movie was

691
00:38:23,280 --> 00:38:26,160
Speaker 3: in sixty six. The first human moon landing was in

692
00:38:26,239 --> 00:38:29,000
Speaker 3: sixty nine, so that's you know, this comes out at

693
00:38:29,000 --> 00:38:31,160
Speaker 3: a time when humans had not yet walked on the Moon.

694
00:38:31,800 --> 00:38:35,160
Speaker 3: Narrator says, space stations have been built there, and authorized

695
00:38:35,160 --> 00:38:38,600
Speaker 3: personnel come and go as they wish of slight.

696
00:38:38,640 --> 00:38:41,080
Speaker 2: Note here two thousand and one, a Space Odyssey wouldn't

697
00:38:41,080 --> 00:38:43,920
Speaker 2: come out for another couple of years, So I don't know.

698
00:38:43,920 --> 00:38:47,920
Speaker 2: It's like I think all science fiction depicting travel within

699
00:38:47,960 --> 00:38:51,200
Speaker 2: our own solar system, like near future space travel and

700
00:38:51,200 --> 00:38:53,160
Speaker 2: our solar system, you almost have to judge it in

701
00:38:53,239 --> 00:38:55,960
Speaker 2: terms of before two thousand and one or post two

702
00:38:56,000 --> 00:38:56,719
Speaker 2: thousand and one.

703
00:38:57,160 --> 00:38:59,520
Speaker 3: Yeah, I agree, But so in these shots, we of

704
00:38:59,520 --> 00:39:02,400
Speaker 3: course see the Moon, we see tiny ships zooming past

705
00:39:02,560 --> 00:39:06,080
Speaker 3: and a shot of the surface with rockets posed upright

706
00:39:06,160 --> 00:39:09,760
Speaker 3: in this kind of rocky, shadowy landscape, and the narrator

707
00:39:09,800 --> 00:39:13,120
Speaker 3: goes on it says, but the Moon is a dead world,

708
00:39:13,280 --> 00:39:16,760
Speaker 3: and the great question about space still remains. Does life

709
00:39:16,800 --> 00:39:20,000
Speaker 3: exist on another planet? To seek an answer to this question,

710
00:39:20,080 --> 00:39:22,799
Speaker 3: the major powers of the world have been preparing at

711
00:39:22,840 --> 00:39:27,920
Speaker 3: the International Institute of Space Technology to explore the planets

712
00:39:28,000 --> 00:39:31,480
Speaker 3: Venus and Mars. And here we cut to shots of

713
00:39:31,520 --> 00:39:34,120
Speaker 3: a kind of hip institutional campus with a bit of

714
00:39:34,440 --> 00:39:38,200
Speaker 3: modern architecture flare. People are walking along in the sidewalks

715
00:39:38,239 --> 00:39:40,759
Speaker 3: and Rob, did you notice that they're all stepping in

716
00:39:40,880 --> 00:39:43,280
Speaker 3: sync with each other. It kind of makes a point

717
00:39:43,320 --> 00:39:45,120
Speaker 3: of showing this, and I wondered, why.

718
00:39:45,640 --> 00:39:47,640
Speaker 2: Oh yeah, I don't know. It's just everyone's on the

719
00:39:47,680 --> 00:39:50,680
Speaker 2: same page when it comes to space technology. I guess.

720
00:39:50,960 --> 00:39:54,480
Speaker 3: Yeah. Well, anyway, we cut inside and why here's John Saxon.

721
00:39:54,560 --> 00:39:58,360
Speaker 3: Look at his posture, it's really good. He enters a

722
00:39:58,440 --> 00:40:03,080
Speaker 3: door labeled Astro Communications, which is in a very strange font.

723
00:40:03,120 --> 00:40:05,560
Speaker 3: You remember the font on the door label, it's sort

724
00:40:05,600 --> 00:40:08,080
Speaker 3: of the font one would find on the record sleeve

725
00:40:08,320 --> 00:40:08,960
Speaker 3: of the band.

726
00:40:09,080 --> 00:40:11,719
Speaker 2: Yes, oh yeah, yeah, it was a little weird, but

727
00:40:11,760 --> 00:40:13,240
Speaker 2: it's the future. It's nineteen nine.

728
00:40:13,560 --> 00:40:16,640
Speaker 3: So John Saxon, I think his character's name is Alan Brenner,

729
00:40:16,840 --> 00:40:18,920
Speaker 3: is here to pick up a lady to go to lunch.

730
00:40:19,120 --> 00:40:22,719
Speaker 3: And this is Judy Meredith, playing an astronaut and communication

731
00:40:22,880 --> 00:40:27,479
Speaker 3: specialist named Laura James. She's like, I don't know about lunch.

732
00:40:27,480 --> 00:40:30,000
Speaker 3: I'm kind of busy. I'm picking up a radio broadcast

733
00:40:30,040 --> 00:40:34,120
Speaker 3: from another planet unlike anything we've ever heard before. It

734
00:40:34,200 --> 00:40:37,359
Speaker 3: may be our first confirmation of intelligent life anywhere else

735
00:40:37,360 --> 00:40:40,000
Speaker 3: in the universe. But yeah, okay, let's go to lunch.

736
00:40:40,480 --> 00:40:43,000
Speaker 3: She's just like, Bill, will you record this alien broadcast

737
00:40:43,040 --> 00:40:44,160
Speaker 3: for me? I'll check it out later.

738
00:40:44,520 --> 00:40:46,680
Speaker 2: I mean a pinwheel day at a cafeteria, so you

739
00:40:46,719 --> 00:40:51,440
Speaker 2: gotta go. But no, it's what do they actually say

740
00:40:51,480 --> 00:40:53,919
Speaker 2: they're eating it? I mean it looks disgusting. It looks

741
00:40:53,960 --> 00:40:57,919
Speaker 2: like a kind of burned waffle. But before we see

742
00:40:57,920 --> 00:41:00,360
Speaker 2: them at lunch, so they leave and we're seeing like

743
00:41:00,400 --> 00:41:04,880
Speaker 2: the equipment in the Earth based communications lab, and we

744
00:41:04,960 --> 00:41:07,800
Speaker 2: hear the droning of the signal from the other planet,

745
00:41:07,840 --> 00:41:10,239
Speaker 2: and the droning of the signal becomes louder, and we

746
00:41:10,320 --> 00:41:13,480
Speaker 2: cut into space, and we zoom toward the surface of

747
00:41:13,520 --> 00:41:16,360
Speaker 2: a pale green planet and then we see the surface.

748
00:41:16,400 --> 00:41:19,440
Speaker 3: We're on it. There are crashing waves in the foreground

749
00:41:19,480 --> 00:41:22,799
Speaker 3: against a horizon with giant spires of rock that are

750
00:41:23,239 --> 00:41:27,840
Speaker 3: taller than the top of a looming moon. Then and

751
00:41:27,880 --> 00:41:31,400
Speaker 3: then we see a giant ball of wires that's maybe

752
00:41:31,640 --> 00:41:35,080
Speaker 3: the thing that is sending out the signal. And inside

753
00:41:35,120 --> 00:41:37,239
Speaker 3: that ball of wires, I guess it's a building. We

754
00:41:37,280 --> 00:41:40,920
Speaker 3: see what must be aliens. There are humanoid bodies standing

755
00:41:40,960 --> 00:41:43,919
Speaker 3: in the shadows. It's very dark inside, and they're manipulating

756
00:41:44,000 --> 00:41:47,239
Speaker 3: machinery to guide a beam of turquoise light as it

757
00:41:47,320 --> 00:41:51,319
Speaker 3: sweeps across space, Like are they beaming a signal toward us?

758
00:41:51,680 --> 00:41:54,200
Speaker 3: We see hands reaching out for a series of darkened

759
00:41:54,360 --> 00:41:58,359
Speaker 3: orbs topped by prismatic triangles, and then cut to John

760
00:41:58,440 --> 00:41:59,880
Speaker 3: Saxon and Laura having lunch.

761
00:42:01,920 --> 00:42:04,400
Speaker 2: Yeah, this the this whole segment of course, on the

762
00:42:04,400 --> 00:42:07,799
Speaker 2: alien planet is all footage from the Soviet productions that

763
00:42:08,120 --> 00:42:11,600
Speaker 2: are sampled here. And it was I don't know, I

764
00:42:11,640 --> 00:42:15,200
Speaker 2: was distracted just thinking about like did we need to

765
00:42:15,200 --> 00:42:18,799
Speaker 2: see any of this? If? Like the causation of filmmaking

766
00:42:18,880 --> 00:42:21,360
Speaker 2: is kind of messed up here, because like, would you

767
00:42:22,239 --> 00:42:25,799
Speaker 2: create this footage for use in the film? You know,

768
00:42:26,000 --> 00:42:29,360
Speaker 2: does it actually serve an important purpose in the narrative

769
00:42:30,480 --> 00:42:32,239
Speaker 2: or is it really what we have here where it's

770
00:42:32,280 --> 00:42:34,160
Speaker 2: just like, well, we have it. We should show what

771
00:42:34,200 --> 00:42:36,919
Speaker 2: this other planet is, even though we're never actually going

772
00:42:36,960 --> 00:42:38,839
Speaker 2: to visit it, but we should just show it to

773
00:42:38,880 --> 00:42:41,440
Speaker 2: them because we have, you know, minutes worth of footage.

774
00:42:41,560 --> 00:42:43,880
Speaker 3: I agree, it is a tough question, like it removes

775
00:42:43,920 --> 00:42:47,560
Speaker 3: any sense of mystery here and it doesn't really add

776
00:42:47,600 --> 00:42:50,880
Speaker 3: anything narratively to the film, But particularly in one segment

777
00:42:50,920 --> 00:42:52,680
Speaker 3: coming up in a few minutes, I think it does

778
00:42:52,760 --> 00:42:57,000
Speaker 3: actually have a very good effect at achieving a mood.

779
00:42:57,080 --> 00:42:59,799
Speaker 3: But we'll get to that. So first we're going to

780
00:42:59,800 --> 00:43:03,120
Speaker 3: meet a few Earthling characters again. Alan and Laura are

781
00:43:03,160 --> 00:43:06,760
Speaker 3: having lunch. Alan is complaining that the astronaut food tastes

782
00:43:06,840 --> 00:43:10,239
Speaker 3: really bad. They're calling it exo biologic food, and he

783
00:43:10,400 --> 00:43:13,040
Speaker 3: likes banana splits on Earth better. And then these two

784
00:43:13,080 --> 00:43:16,000
Speaker 3: guys named Tony and Paul come to sit down with them.

785
00:43:16,440 --> 00:43:18,640
Speaker 3: All the dudes, by the way, are dressed the same

786
00:43:18,800 --> 00:43:22,520
Speaker 3: khaki pants, yellow shirt, slightly puffy jacket with a pattern

787
00:43:22,560 --> 00:43:26,120
Speaker 3: that looks like a mattress cover. And then we have

788
00:43:26,200 --> 00:43:28,640
Speaker 3: Dennis Hopper here on he sits down on the left.

789
00:43:28,680 --> 00:43:32,200
Speaker 3: His name is Paul. We learn from conversation that John

790
00:43:32,280 --> 00:43:35,640
Speaker 3: Saxon is scheduled to travel to Mars. And then we

791
00:43:35,680 --> 00:43:39,560
Speaker 3: get Dennis Hopper's first line, which is, what's the latest scuttle?

792
00:43:39,560 --> 00:43:40,800
Speaker 3: But there, Tony baby.

793
00:43:41,239 --> 00:43:44,160
Speaker 2: Yeah, yeah, Dennis Hopper lays and.

794
00:43:44,200 --> 00:43:46,040
Speaker 3: JOm, I think this is the line where you said

795
00:43:46,080 --> 00:43:49,480
Speaker 3: he may have been ad libbing. I would agree, Yeah,

796
00:43:49,680 --> 00:43:53,480
Speaker 3: what were we saying beforehand? It's imagining him doing the

797
00:43:54,040 --> 00:43:57,880
Speaker 3: voice and the trailer saying like space man, it's a

798
00:43:57,960 --> 00:43:59,200
Speaker 3: real bad trip.

799
00:44:00,640 --> 00:44:02,840
Speaker 2: That would have been That would have been a great tagline,

800
00:44:02,960 --> 00:44:06,040
Speaker 2: especially if this movie had been made just like two

801
00:44:06,120 --> 00:44:06,760
Speaker 2: years later.

802
00:44:07,239 --> 00:44:11,640
Speaker 3: Yeah, but we should clarify nothing about Dennis Hopper's look

803
00:44:12,000 --> 00:44:17,000
Speaker 3: or performance in this movie is shaggy, dangerous hippie. Instead,

804
00:44:17,040 --> 00:44:21,440
Speaker 3: he comes off very he's very clean cut and conventionally handsome.

805
00:44:22,280 --> 00:44:26,560
Speaker 2: Yeah, yeah, absolutely, And now I should also a couple

806
00:44:26,560 --> 00:44:28,360
Speaker 2: other things. You mentioned. The uniforms I do have to

807
00:44:28,400 --> 00:44:30,799
Speaker 2: drive home, these are not the uniforms in this film

808
00:44:30,800 --> 00:44:33,160
Speaker 2: are not on the same level at all with Planet

809
00:44:33,200 --> 00:44:35,960
Speaker 2: of the vampires. I mean, the colors match, everything has

810
00:44:36,000 --> 00:44:38,759
Speaker 2: a certain uniformity to it, but high fashion is not

811
00:44:38,920 --> 00:44:43,600
Speaker 2: in play. I also feel like this lunch scene that

812
00:44:43,680 --> 00:44:45,880
Speaker 2: everyone was very animated for this sequence. I don't know

813
00:44:45,880 --> 00:44:48,160
Speaker 2: if they just had a lot of fun setting around,

814
00:44:48,160 --> 00:44:50,640
Speaker 2: if there's a lot of cutting up in between takes,

815
00:44:51,280 --> 00:44:54,520
Speaker 2: but everyone seemed really happy to be on set for

816
00:44:54,600 --> 00:44:55,040
Speaker 2: this one.

817
00:44:55,280 --> 00:44:58,040
Speaker 3: I agree, yeah, spirits are high. But their lunch is

818
00:44:58,080 --> 00:45:01,040
Speaker 3: interrupted by an announcement on the loudspeed. It's calling everybody

819
00:45:01,080 --> 00:45:04,759
Speaker 3: to gather in Area one for an important announcement. The

820
00:45:04,840 --> 00:45:06,960
Speaker 3: dudes get up and they say that means us, but

821
00:45:07,040 --> 00:45:10,120
Speaker 3: the announcement literally says all personnels. I don't know why

822
00:45:10,120 --> 00:45:13,240
Speaker 3: they say that. But on the way, John Zackson he's

823
00:45:13,280 --> 00:45:16,080
Speaker 3: asking Laura, He's like, hey, have you ever imagined you'd

824
00:45:16,120 --> 00:45:19,160
Speaker 3: be getting married on a rocket ship to Mars? So apparently,

825
00:45:19,840 --> 00:45:20,840
Speaker 3: I guess they're engaged.

826
00:45:21,360 --> 00:45:23,280
Speaker 2: Zero g wedding sounds exciting.

827
00:45:23,400 --> 00:45:24,359
Speaker 3: Oh, that'd be very cool.

828
00:45:24,440 --> 00:45:24,720
Speaker 2: Yes.

829
00:45:25,120 --> 00:45:28,719
Speaker 3: So the meeting place is outdoors and the background here

830
00:45:28,840 --> 00:45:31,840
Speaker 3: is a gigantic sculpture. It's bigger than the Statue of Liberty.

831
00:45:31,840 --> 00:45:34,839
Speaker 3: It's huge, and it's a goddess leaping into the air

832
00:45:34,960 --> 00:45:38,520
Speaker 3: with arms outstretched, and there's a ringed planet at her feet.

833
00:45:38,880 --> 00:45:42,200
Speaker 3: Kind of reminds me of the winged victory of Samothrace.

834
00:45:43,840 --> 00:45:46,200
Speaker 3: But here we get an announcement from Basil Rathbone. He's

835
00:45:46,200 --> 00:45:48,800
Speaker 3: playing doctor Faraday, kind of the big boss at this place,

836
00:45:49,160 --> 00:45:51,520
Speaker 3: and he says, my friends and fellow workers in the

837
00:45:51,520 --> 00:45:54,720
Speaker 3: Great Adventure of Space, I have the most important news

838
00:45:54,719 --> 00:45:57,239
Speaker 3: to announce since our first successful landing on the Moon

839
00:45:57,280 --> 00:45:59,680
Speaker 3: twenty years ago. As many of you know, for several

840
00:45:59,719 --> 00:46:03,640
Speaker 3: weeks now, we've been receiving organized signals from a far galaxy.

841
00:46:04,080 --> 00:46:07,680
Speaker 3: This morning, our code experts finally deciphered the message these

842
00:46:07,719 --> 00:46:12,160
Speaker 3: signals contained. It is a most extraordinary document. It's very long,

843
00:46:12,239 --> 00:46:13,840
Speaker 3: and then he explains he's not going to read the

844
00:46:13,840 --> 00:46:17,200
Speaker 3: whole thing, but that it means the Aliens dispatched a

845
00:46:17,280 --> 00:46:20,640
Speaker 3: spaceship containing an ambassador who will come to Earth and

846
00:46:20,719 --> 00:46:24,040
Speaker 3: live with us here since our atmosphere will support their

847
00:46:24,080 --> 00:46:27,439
Speaker 3: form of life. Faraday says that the entire world will

848
00:46:27,440 --> 00:46:31,160
Speaker 3: await the arrival of the alien ambassador with the keenest anticipation,

849
00:46:31,640 --> 00:46:37,440
Speaker 3: and everybody applauds. But as the applause dies out, we

850
00:46:37,680 --> 00:46:40,480
Speaker 3: fade back to visions of the other world. So we

851
00:46:40,520 --> 00:46:45,080
Speaker 3: see again the waves crashing on knights Plutonian shore, and

852
00:46:45,120 --> 00:46:48,440
Speaker 3: we see the towers of rock and the beings moving

853
00:46:48,480 --> 00:46:51,520
Speaker 3: about in the shadows of their weird castles filled with

854
00:46:51,640 --> 00:46:56,080
Speaker 3: unrecognizable technology. There are pipes and hoses and big olds,

855
00:46:56,280 --> 00:47:01,120
Speaker 3: spheres that themselves seem to contain stars. And there's no

856
00:47:01,280 --> 00:47:05,000
Speaker 3: dialogue and no music, just the shrill droning of the

857
00:47:05,160 --> 00:47:08,960
Speaker 3: radio signal that's beaming out to Earth. And I actually

858
00:47:09,000 --> 00:47:12,680
Speaker 3: think that these scenes of the alien planet, especially the

859
00:47:12,719 --> 00:47:15,640
Speaker 3: way that they are inner cut with the scenes of

860
00:47:15,760 --> 00:47:20,000
Speaker 3: brightly lit, noisy gatherings and social activity on Earth, are

861
00:47:20,080 --> 00:47:23,520
Speaker 3: extremely effective. It's very moody and disconcerting, the way it

862
00:47:23,560 --> 00:47:28,400
Speaker 3: goes from like the crowd at the institute to the planet,

863
00:47:28,480 --> 00:47:31,440
Speaker 3: and that nobody's saying anything. They're just moving around in

864
00:47:31,480 --> 00:47:35,839
Speaker 3: the shadows, manipulating technology that we can't even understand.

865
00:47:36,320 --> 00:47:39,359
Speaker 2: Yeah, I think you're right. It visually drives home this

866
00:47:39,440 --> 00:47:42,960
Speaker 2: feeling that's later brought up in dialogue to some extent,

867
00:47:43,040 --> 00:47:46,279
Speaker 2: like this idea of like we really don't know what

868
00:47:46,960 --> 00:47:50,680
Speaker 2: these other beings consist of, like not only like their

869
00:47:51,400 --> 00:47:54,960
Speaker 2: biology but also their society. Like, what is it they value,

870
00:47:55,000 --> 00:47:56,680
Speaker 2: what do they want? And what does it mean that

871
00:47:56,680 --> 00:47:58,319
Speaker 2: they're sending an ambassador to us?

872
00:47:58,760 --> 00:48:02,879
Speaker 3: Yeah, everything we see of them is silent, methodical, wordless,

873
00:48:03,120 --> 00:48:07,640
Speaker 3: almost emotionless, just movements in the dark. So, despite the

874
00:48:07,920 --> 00:48:11,440
Speaker 3: limitations imposed by relying so much on pre existing footage

875
00:48:11,480 --> 00:48:14,239
Speaker 3: to construct this film, I think it is used to

876
00:48:14,280 --> 00:48:16,759
Speaker 3: great effect in some sequences, and this is one of them.

877
00:48:17,080 --> 00:48:18,720
Speaker 3: This part I thought was actually excellent.

878
00:48:18,920 --> 00:48:19,640
Speaker 2: Agreed, Agreed.

879
00:48:19,880 --> 00:48:21,440
Speaker 3: But then on the then we get some more kind

880
00:48:21,440 --> 00:48:24,360
Speaker 3: of like launch footage, and that stuff is less interesting.

881
00:48:24,480 --> 00:48:27,799
Speaker 3: But on the alien planet, we see this giant spherical

882
00:48:27,840 --> 00:48:30,799
Speaker 3: ship rise up out of an underground bay and the

883
00:48:30,880 --> 00:48:33,520
Speaker 3: crew rides a tram up to board it. We only

884
00:48:33,560 --> 00:48:36,520
Speaker 3: see the crew members. We see the vaguely humanoid shapes,

885
00:48:36,560 --> 00:48:38,640
Speaker 3: but only at the distance, so you never like get

886
00:48:38,640 --> 00:48:41,440
Speaker 3: a close up. And in the distance they're kind of

887
00:48:41,800 --> 00:48:45,239
Speaker 3: waving goodbye to a crowd, again silently. There's there's no

888
00:48:45,560 --> 00:48:48,560
Speaker 3: local sound, just the droning signal, and then they blast

889
00:48:48,680 --> 00:48:49,440
Speaker 3: off into space.

890
00:48:50,200 --> 00:48:53,160
Speaker 2: Yeah, it's a cool looking ship. These the circuit, the

891
00:48:54,000 --> 00:48:57,080
Speaker 2: spherical ship with the kind of halo around it. This

892
00:48:57,160 --> 00:49:00,919
Speaker 2: is from nineteen sixty threes. Mitch to now of stretch too,

893
00:49:01,640 --> 00:49:04,640
Speaker 2: So it looks good, but yeah, it's it's made by

894
00:49:05,040 --> 00:49:05,680
Speaker 2: other hands.

895
00:49:05,880 --> 00:49:08,920
Speaker 3: Then back on Earth, we see a giant television ball

896
00:49:09,120 --> 00:49:11,920
Speaker 3: appearing in the sky over the Institute with a dude

897
00:49:11,920 --> 00:49:15,000
Speaker 3: delivering the news. He's like wearing a suit and tie.

898
00:49:15,120 --> 00:49:18,720
Speaker 3: He's explaining how scientists have detected a ship approaching Earth

899
00:49:19,160 --> 00:49:24,640
Speaker 3: bringing aliens from quote a distant galaxy. I don't know. Okay,

900
00:49:25,320 --> 00:49:27,759
Speaker 3: As I've said before, I can always suspend disbelief, and

901
00:49:27,800 --> 00:49:30,760
Speaker 3: that's this is fine. But note to sci fi wriders,

902
00:49:30,840 --> 00:49:33,280
Speaker 3: if you care about being realistic at all, the space

903
00:49:33,320 --> 00:49:36,160
Speaker 3: between galaxies is immense. I think if if you want

904
00:49:36,200 --> 00:49:38,319
Speaker 3: to have aliens, they should be from another star in

905
00:49:38,360 --> 00:49:40,520
Speaker 3: our galaxy, now, from another galaxy.

906
00:49:40,960 --> 00:49:46,320
Speaker 2: Yeah, unless you're dealing with a far future interstellar empire

907
00:49:46,440 --> 00:49:48,520
Speaker 2: sort of scenario, then you can maybe get into these

908
00:49:48,600 --> 00:49:51,520
Speaker 2: distant galaxy ideas. But even then, like the galaxy is

909
00:49:51,520 --> 00:49:54,560
Speaker 2: big enough, there's still room for discoveries and surprises and

910
00:49:54,600 --> 00:49:55,080
Speaker 2: so forth.

911
00:49:55,640 --> 00:49:59,200
Speaker 3: Yes, Also, the guy in the TV ball, his lips

912
00:49:59,239 --> 00:50:01,680
Speaker 3: are not matching the words he's saying, which makes me

913
00:50:01,719 --> 00:50:04,960
Speaker 3: think this is also part of the Soviet film package.

914
00:50:05,400 --> 00:50:08,320
Speaker 3: But he says astronomers have determined that an unknown object

915
00:50:08,320 --> 00:50:10,600
Speaker 3: has passed the orbit of the Moon and is rapidly

916
00:50:10,600 --> 00:50:13,400
Speaker 3: approaching Earth. It is not the ship itself, but a

917
00:50:13,480 --> 00:50:16,759
Speaker 3: mechanical device sent ahead for reasons unknown. And then we

918
00:50:16,800 --> 00:50:20,239
Speaker 3: see a metal ball bobbing in the waves, so scientists

919
00:50:20,440 --> 00:50:24,319
Speaker 3: investigate this. We see Basil Rathbone and Judy Meredith like

920
00:50:24,480 --> 00:50:27,759
Speaker 3: watching a video. It seems that maybe what was sent

921
00:50:27,800 --> 00:50:30,960
Speaker 3: to Earth was like a video tape from the security

922
00:50:31,040 --> 00:50:35,680
Speaker 3: cameras on the alien ship, and so what happens on

923
00:50:35,760 --> 00:50:38,200
Speaker 3: the video they watch? Well, in the alien ship there

924
00:50:38,320 --> 00:50:41,399
Speaker 3: is the worrying of a great machine sort of tuning up,

925
00:50:41,680 --> 00:50:45,120
Speaker 3: and we see two aliens again, silent in the shadows.

926
00:50:45,400 --> 00:50:50,400
Speaker 3: One of them produces, in an almost ritualistic fashion, a

927
00:50:50,640 --> 00:50:53,600
Speaker 3: helmet and then places it on the other one's head.

928
00:50:53,880 --> 00:50:57,120
Speaker 3: And then the ship accelerates toward a red planet. And

929
00:50:57,160 --> 00:50:59,680
Speaker 3: then Basil Rathbone looks away from the screen and he says,

930
00:50:59,719 --> 00:51:03,680
Speaker 3: remark arkable crash landing on Mars. And this is their sos.

931
00:51:04,000 --> 00:51:06,399
Speaker 3: We're obviously in touch with beings that have a very

932
00:51:06,440 --> 00:51:09,440
Speaker 3: advanced technology. So there's a big meeting in a kind

933
00:51:09,480 --> 00:51:12,080
Speaker 3: of auditorium. This is the one with the giant statue

934
00:51:12,080 --> 00:51:16,560
Speaker 3: holding spot Nick in his hand like Youoric Skull and Basil.

935
00:51:16,600 --> 00:51:19,200
Speaker 3: Rathbon says, basically, the aliens need our help. They have

936
00:51:19,280 --> 00:51:21,960
Speaker 3: crash landed on Mars. They are stranded there. We are

937
00:51:22,000 --> 00:51:23,399
Speaker 3: obliged to go help them out.

938
00:51:24,000 --> 00:51:27,399
Speaker 2: It's a pretty good setup. Actually, yeah, more in retrospect

939
00:51:27,400 --> 00:51:29,960
Speaker 2: than I think in my actual experience of watching this

940
00:51:30,040 --> 00:51:32,399
Speaker 2: portion of the film. I feel like there's a there's

941
00:51:32,440 --> 00:51:34,480
Speaker 2: a bit of padding getting to this point, but once

942
00:51:34,480 --> 00:51:36,920
Speaker 2: we get there, it's like, Okay, we've got a mission here.

943
00:51:36,920 --> 00:51:39,200
Speaker 2: This sounds good. It was going to be like we

944
00:51:39,239 --> 00:51:42,800
Speaker 2: meet the Space Ambassador, but the Ambassador's ship is crashed

945
00:51:42,880 --> 00:51:44,239
Speaker 2: or something and we got to go check it out.

946
00:51:44,680 --> 00:51:46,799
Speaker 3: Yeah, there is a lot more padding to come, but

947
00:51:47,080 --> 00:51:50,360
Speaker 3: in a way, it like the premise makes sense. So

948
00:51:50,560 --> 00:51:53,600
Speaker 3: they say, there's the the spaceship Oceano, which was originally

949
00:51:53,600 --> 00:51:57,240
Speaker 3: planned to go to Mars on an exploratory mission. Rathbone's like, okay,

950
00:51:57,239 --> 00:52:00,879
Speaker 3: we're gonna move forward the schedule. We're going to turn

951
00:52:00,920 --> 00:52:03,920
Speaker 3: this into a rescue operation. And the time is now,

952
00:52:04,640 --> 00:52:07,279
Speaker 3: and obviously John Saxon must be thinking, I was not

953
00:52:07,400 --> 00:52:10,880
Speaker 3: ready to eat all of this exobiologic food. I want

954
00:52:10,920 --> 00:52:14,640
Speaker 3: my Earth meat loaf, I want my Earth waffles. But

955
00:52:14,719 --> 00:52:17,319
Speaker 3: they blast off. So the rescue mission is on the way.

956
00:52:17,400 --> 00:52:20,440
Speaker 3: There's a bunch of footage here of rockets, you know,

957
00:52:20,600 --> 00:52:23,960
Speaker 3: zooming around and landing and being sent on the Moon.

958
00:52:24,000 --> 00:52:25,719
Speaker 3: Once we actually see the surface of the Moon, the

959
00:52:25,719 --> 00:52:28,560
Speaker 3: footage is cooler again because I like the little model

960
00:52:28,600 --> 00:52:33,600
Speaker 3: set they have this from the original films. And once

961
00:52:33,640 --> 00:52:36,680
Speaker 3: they're on the Moon, Laura talks to Basil Rathbone. She says,

962
00:52:36,760 --> 00:52:39,040
Speaker 3: you know, I was hoping Alan would be on my flight,

963
00:52:39,239 --> 00:52:41,799
Speaker 3: but he's like, nope, no, can't do. We put you

964
00:52:41,840 --> 00:52:43,680
Speaker 3: on different flights. So Laura is going to be on

965
00:52:43,719 --> 00:52:47,960
Speaker 3: the first mission, Oceano one, that is going now Alan's

966
00:52:48,000 --> 00:52:50,880
Speaker 3: going to be on Oceano two, which goes later. And

967
00:52:50,920 --> 00:52:53,239
Speaker 3: so there's a sad conversation about how they won't be

968
00:52:53,280 --> 00:52:57,359
Speaker 3: traveling together and they embrace and then yeah, I guess

969
00:52:57,400 --> 00:52:59,480
Speaker 3: they leave. So there's a launch and the crew of

970
00:52:59,520 --> 00:53:03,440
Speaker 3: the first shi is Laura and then Paul that's Dennis Hopper,

971
00:53:03,560 --> 00:53:06,359
Speaker 3: and then Anders who is the commander, and that does

972
00:53:06,480 --> 00:53:10,840
Speaker 3: rhyme commander and reporting for duty. I think it's Commander

973
00:53:10,880 --> 00:53:15,520
Speaker 3: Alexander Anders, so they have some kind of relaxed cutting

974
00:53:15,560 --> 00:53:17,920
Speaker 3: up time on the ship. We talked about the scene

975
00:53:17,920 --> 00:53:21,040
Speaker 3: where Dennis Hopper is like narrating his space stuff and

976
00:53:21,080 --> 00:53:25,400
Speaker 3: then Laura is saying, Wow, you know, your logs of

977
00:53:25,440 --> 00:53:28,000
Speaker 3: this journey are so interesting. Maybe when you get back

978
00:53:28,000 --> 00:53:29,880
Speaker 3: to Earth you can have them published. You'll be that

979
00:53:29,920 --> 00:53:33,680
Speaker 3: famous writer slash astronaut fella. But I think the scene

980
00:53:33,680 --> 00:53:36,200
Speaker 3: could have used some punch up in the dialogue because

981
00:53:36,280 --> 00:53:39,160
Speaker 3: I wrote down exactly what Dennis Hopper says that impresses

982
00:53:39,160 --> 00:53:42,000
Speaker 3: them so much. This is it, he says, Mars is

983
00:53:42,000 --> 00:53:44,720
Speaker 3: giving off a red coloring and is becoming more vivid

984
00:53:44,719 --> 00:53:47,520
Speaker 3: as we approach. It suggests that there is a really

985
00:53:47,560 --> 00:53:50,320
Speaker 3: deep oxidation of the planet's major substance.

986
00:53:52,840 --> 00:53:59,040
Speaker 2: Yeah, it's not great, and Hopper's character has has some

987
00:53:59,080 --> 00:54:02,160
Speaker 2: better lines, but this is not one of them.

988
00:54:02,280 --> 00:54:06,600
Speaker 3: Yeah, it sounds more like they're impressed at his scientific vocabulary.

989
00:54:06,680 --> 00:54:10,960
Speaker 3: They're like, wow, he knows the word oxidation. Folks, that's

990
00:54:11,000 --> 00:54:14,440
Speaker 3: not what makes good writing. But come on, okay, so

991
00:54:14,640 --> 00:54:17,040
Speaker 3: we're just well accepted to move on. Okay, except the

992
00:54:17,080 --> 00:54:20,080
Speaker 3: premise Dennis Hopper's character has a way with words, but

993
00:54:20,360 --> 00:54:22,319
Speaker 3: on the way to Mars. They get hit by a

994
00:54:22,480 --> 00:54:25,319
Speaker 3: quote sunburst, which I think is supposed to be like

995
00:54:25,320 --> 00:54:29,200
Speaker 3: a solar flare or something. You know, there is a

996
00:54:29,680 --> 00:54:32,319
Speaker 3: burst of activity off the surface of the Sun and

997
00:54:32,800 --> 00:54:36,680
Speaker 3: their ship is damaged and they I don't know if

998
00:54:36,719 --> 00:54:38,960
Speaker 3: this really changes anything. It's damaged. But then they get

999
00:54:39,000 --> 00:54:41,239
Speaker 3: to Mars. They enter the orbit of Mars. Oh, they

1000
00:54:41,280 --> 00:54:45,560
Speaker 3: do have Dennishopper take quote oxygenator tablets, and when he

1001
00:54:45,800 --> 00:54:48,080
Speaker 3: takes them, he's like, oh, there's a symphony playing in

1002
00:54:48,120 --> 00:55:00,120
Speaker 3: my skull and it's not Brahms. The ship lands, there

1003
00:55:00,200 --> 00:55:03,880
Speaker 3: are some beautiful and eerie shots of the rocky red landscape,

1004
00:55:04,200 --> 00:55:06,960
Speaker 3: and Anders and Paul put on their spacesuits and they

1005
00:55:06,960 --> 00:55:10,239
Speaker 3: go out to explore the crash landed alien ship. Now

1006
00:55:10,280 --> 00:55:14,040
Speaker 3: at this point there is a powerful resemblance to the

1007
00:55:14,120 --> 00:55:17,960
Speaker 3: later sequence in Alien of exploring the stranded ship on

1008
00:55:18,080 --> 00:55:21,120
Speaker 3: LV four twenty six, And I think I would not

1009
00:55:21,239 --> 00:55:23,960
Speaker 3: be at all the first person to notice this. People

1010
00:55:23,960 --> 00:55:27,520
Speaker 3: have pointed out that in some ways aspects of Alien

1011
00:55:27,640 --> 00:55:30,120
Speaker 3: might have come from planet to the vampires, but aspects

1012
00:55:30,160 --> 00:55:32,160
Speaker 3: of alien may also have come from this.

1013
00:55:32,239 --> 00:55:35,880
Speaker 2: Right, Yeah, I think I saw that that. Harrington also

1014
00:55:36,120 --> 00:55:38,200
Speaker 2: commented on it at one point. I mean not in

1015
00:55:38,200 --> 00:55:41,160
Speaker 2: a mean way or a spiteful way or anything, but

1016
00:55:41,200 --> 00:55:44,560
Speaker 2: I mean it's part of the legacy of sci fi horror.

1017
00:55:46,000 --> 00:55:49,160
Speaker 2: The threads that connect these films are stronger than in

1018
00:55:49,200 --> 00:55:51,200
Speaker 2: other subgenres. I think yes.

1019
00:55:51,320 --> 00:55:53,560
Speaker 3: And there's good sound design in the scene, Like the

1020
00:55:53,600 --> 00:55:57,239
Speaker 3: scene kind of warbles and hums while Anders explores the

1021
00:55:57,280 --> 00:56:00,799
Speaker 3: ship and Dennis Hopper looks on from outside. Now, first

1022
00:56:00,800 --> 00:56:04,160
Speaker 3: of all, Anders finds a dead humanoid alien in the

1023
00:56:04,200 --> 00:56:07,440
Speaker 3: pilot's chair, and then we cut to a newspaper headline,

1024
00:56:07,480 --> 00:56:08,759
Speaker 3: which was jarring to me.

1025
00:56:08,920 --> 00:56:09,800
Speaker 2: I thought it was funny.

1026
00:56:09,960 --> 00:56:14,080
Speaker 3: It's like, single dead astronaut found on spacecraft, mystery deepens.

1027
00:56:15,560 --> 00:56:17,319
Speaker 2: Well, you want to read the rest of the story, right,

1028
00:56:17,920 --> 00:56:19,320
Speaker 2: The headline served its purpose.

1029
00:56:19,600 --> 00:56:21,520
Speaker 3: Yes, if a newspaper said that, I would want to

1030
00:56:21,520 --> 00:56:23,800
Speaker 3: read it, assuming it was not like the weekly World news.

1031
00:56:24,960 --> 00:56:27,759
Speaker 3: But they figure out what's going on. Basil Rathbone deduces

1032
00:56:27,800 --> 00:56:31,440
Speaker 3: that the other alien astronauts must have boarded a quote

1033
00:56:31,520 --> 00:56:36,000
Speaker 3: rescue rocket, and so they ejected from this ship before

1034
00:56:36,000 --> 00:56:39,640
Speaker 3: it crashed and killed the the one alien astronaut that

1035
00:56:39,719 --> 00:56:43,480
Speaker 3: remained on board, so Alan that's John Sackson and Tony,

1036
00:56:43,600 --> 00:56:46,040
Speaker 3: remember Tony from the meal earlier. They make a case,

1037
00:56:46,280 --> 00:56:49,600
Speaker 3: let's go on a supplemental mission to find the rescue rocket,

1038
00:56:49,640 --> 00:56:52,120
Speaker 3: and they're going to land on the Martian moon Phobos.

1039
00:56:52,640 --> 00:56:55,759
Speaker 3: Basil says, you are either fools or very brave men,

1040
00:56:55,920 --> 00:56:58,440
Speaker 3: but he in the end approves and they go. So

1041
00:56:58,480 --> 00:57:01,640
Speaker 3: they arrive in orbit, they make contact with Dennis Hopper

1042
00:57:01,719 --> 00:57:04,320
Speaker 3: on the radio, and there's a lot of Oh, Alan

1043
00:57:04,400 --> 00:57:07,200
Speaker 3: wants to talk to Laura. Oh, she can't talk right now. Oh,

1044
00:57:07,239 --> 00:57:11,319
Speaker 3: now she can talk. Okay, he's calling. So again there's

1045
00:57:11,320 --> 00:57:12,680
Speaker 3: a little bit of padding in this.

1046
00:57:13,760 --> 00:57:16,840
Speaker 2: But around this part of the film we're getting to

1047
00:57:16,880 --> 00:57:20,440
Speaker 2: the point where the movie really begins. There's about an

1048
00:57:20,480 --> 00:57:23,840
Speaker 2: hour in Yes, I feel like everything'says coming together and

1049
00:57:24,320 --> 00:57:28,720
Speaker 2: it becomes comes very watchable and and pretty good in places.

1050
00:57:28,520 --> 00:57:32,000
Speaker 3: I agree. So they're on the moon Phobos, and they

1051
00:57:32,040 --> 00:57:34,240
Speaker 3: were supposed to be just using this moon as like

1052
00:57:34,320 --> 00:57:37,640
Speaker 3: a sort of a launching pad to get to the planet.

1053
00:57:38,160 --> 00:57:40,040
Speaker 3: But out of the window of their ship, Alan and

1054
00:57:40,080 --> 00:57:43,080
Speaker 3: Tony see something in the distance and it is the

1055
00:57:43,240 --> 00:57:46,440
Speaker 3: rescue ship, the other ship from the alien ship. So

1056
00:57:46,440 --> 00:57:50,520
Speaker 3: they go to investigate. Inside they see a silhouette illuminated

1057
00:57:50,520 --> 00:57:53,280
Speaker 3: in the light from a door. It's a humanoid figure,

1058
00:57:53,480 --> 00:57:56,120
Speaker 3: but then she collapses, so they carry her back to

1059
00:57:56,200 --> 00:57:59,080
Speaker 3: their ship and it's a woman. She's dressed in a

1060
00:57:59,160 --> 00:58:02,080
Speaker 3: red jumpsuit. She has green skin, and she's wearing a

1061
00:58:02,120 --> 00:58:06,680
Speaker 3: helmet that looks kind of like a cathedral cupola or

1062
00:58:06,880 --> 00:58:08,200
Speaker 3: kind of like a Zultar machine.

1063
00:58:08,280 --> 00:58:12,720
Speaker 2: Also, yeah, it's a well designed spacesuit, like it feel.

1064
00:58:12,840 --> 00:58:15,120
Speaker 2: It's obviously a space suit, but it feels a little

1065
00:58:15,120 --> 00:58:18,760
Speaker 2: bit alien. It feels it has a good visual flare

1066
00:58:18,800 --> 00:58:19,080
Speaker 2: to it.

1067
00:58:19,480 --> 00:58:21,680
Speaker 3: So there is a moment where they have to decide

1068
00:58:21,680 --> 00:58:24,080
Speaker 3: what to do because now it's the two of them

1069
00:58:24,720 --> 00:58:31,040
Speaker 3: and this alien rescuee and their ship can only carry

1070
00:58:31,320 --> 00:58:33,920
Speaker 3: two people. They need to launch and go meet the

1071
00:58:33,960 --> 00:58:36,600
Speaker 3: other earth ship, but they can only go with two people,

1072
00:58:36,600 --> 00:58:38,760
Speaker 3: so they flip a coin to determine who goes with

1073
00:58:38,880 --> 00:58:42,640
Speaker 3: the alien astronaut and who stays behind. John Saxon says,

1074
00:58:42,680 --> 00:58:47,439
Speaker 3: all I have is paper moon money, And the movie

1075
00:58:47,480 --> 00:58:49,720
Speaker 3: keeps you in suspense for a while, But who's bringing

1076
00:58:49,760 --> 00:58:52,520
Speaker 3: the astronaut to the other ship. We see them walking

1077
00:58:52,640 --> 00:58:55,600
Speaker 3: through a dust storm on the surface of Mars, hunting

1078
00:58:55,680 --> 00:58:59,080
Speaker 3: down the main ship's beacon and eventually they collapse. But

1079
00:58:59,160 --> 00:59:03,120
Speaker 3: finally they are found. Dennis Hopper brings the alien inside

1080
00:59:03,680 --> 00:59:06,360
Speaker 3: and they look at her and Laura remarks, Wow, she

1081
00:59:06,400 --> 00:59:10,000
Speaker 3: seems so human yet not human at all, and Paul says,

1082
00:59:10,320 --> 00:59:13,200
Speaker 3: I know, it's uncanny. It's like what would have happened

1083
00:59:13,240 --> 00:59:16,200
Speaker 3: to us if we'd been in another atmosphere. And then

1084
00:59:16,240 --> 00:59:19,000
Speaker 3: suddenly Laura remembers to ask, wait, Paul, who brought her,

1085
00:59:19,120 --> 00:59:22,360
Speaker 3: But there's no time to answer. In walks John Saxon,

1086
00:59:22,440 --> 00:59:25,160
Speaker 3: her space fiance. He was the one who came, so

1087
00:59:25,400 --> 00:59:27,920
Speaker 3: he's okay. Now there's a whole thing that's kind of

1088
00:59:27,960 --> 00:59:32,360
Speaker 3: a side story about confirming that Oceano two, the other ship,

1089
00:59:32,400 --> 00:59:34,760
Speaker 3: will be able to come back to Mars to rescue Tony,

1090
00:59:34,840 --> 00:59:37,600
Speaker 3: the guy who was left behind on Phobos. So actually

1091
00:59:37,640 --> 00:59:40,880
Speaker 3: Tony really gets the better deal here considering what happens

1092
00:59:40,920 --> 00:59:45,880
Speaker 3: on the main ship. So let's see. Yeah, now it's Alan, Laura,

1093
00:59:46,040 --> 00:59:49,200
Speaker 3: Paul Anders and the alien lady and they're all on

1094
00:59:49,240 --> 00:59:52,360
Speaker 3: the ship together and they're gonna blast off. Now what

1095
00:59:52,480 --> 00:59:54,880
Speaker 3: comes next is I would argue the best scene in

1096
00:59:54,920 --> 00:59:58,640
Speaker 3: the film. It's the scene where the alien ambassador wakes up.

1097
00:59:58,960 --> 01:00:01,760
Speaker 3: She wakes up in the chair, and then she makes

1098
01:00:01,840 --> 01:00:04,680
Speaker 3: eye contact with the crew members one at a time,

1099
01:00:05,120 --> 01:00:08,680
Speaker 3: starting with Dennis Hopper. She looks at him and her

1100
01:00:08,720 --> 01:00:13,040
Speaker 3: face goes through these subtle changes, and she smiles, and

1101
01:00:13,120 --> 01:00:16,120
Speaker 3: she has these little flares of expression in her eyes

1102
01:00:16,560 --> 01:00:20,520
Speaker 3: and this gradually inflating grin as she looks from astronaut

1103
01:00:20,600 --> 01:00:24,680
Speaker 3: to astronaut, except she doesn't smile when she sees Laura.

1104
01:00:24,880 --> 01:00:29,640
Speaker 3: She looks at Laura and then suddenly exhales kind of sharply,

1105
01:00:29,760 --> 01:00:32,440
Speaker 3: leaving a blast of fog on the inside of the

1106
01:00:32,480 --> 01:00:36,600
Speaker 3: glass of her helmet. And ooh, this scene was chilling

1107
01:00:36,680 --> 01:00:39,880
Speaker 3: and very interesting, and Florence Marley is wonderful with the

1108
01:00:39,960 --> 01:00:41,919
Speaker 3: little tiny expressions.

1109
01:00:42,360 --> 01:00:45,280
Speaker 2: Yeah. Absolutely, Like this is the point in the film where, yeah,

1110
01:00:45,280 --> 01:00:49,160
Speaker 2: we're really after the races. Here, we have a strong cast,

1111
01:00:49,960 --> 01:00:53,240
Speaker 2: we have a limited and understandable set. We know where

1112
01:00:53,280 --> 01:00:55,680
Speaker 2: we are and what the immediate stakes are.

1113
01:00:56,000 --> 01:00:58,000
Speaker 3: Yeah. Here it kind of turns into a different movie.

1114
01:00:58,040 --> 01:01:00,400
Speaker 3: Where before it was like all about blasting off and

1115
01:01:00,480 --> 01:01:03,240
Speaker 3: landing and blasting off and discussing what to do and

1116
01:01:03,280 --> 01:01:07,640
Speaker 3: then blasting off and blasting off again. Now it's basically

1117
01:01:07,680 --> 01:01:10,320
Speaker 3: a bottle episode. It's just some character stuck in a

1118
01:01:10,360 --> 01:01:13,240
Speaker 3: ship with something that is acting a little strange.

1119
01:01:13,720 --> 01:01:17,120
Speaker 2: Yeah, yeah, like at this point it could be like

1120
01:01:17,160 --> 01:01:19,520
Speaker 2: a really interesting episode of the old Twilight Zone or

1121
01:01:19,560 --> 01:01:20,600
Speaker 2: Outer Limits or something.

1122
01:01:21,120 --> 01:01:24,560
Speaker 3: So first they put Dennis Hopper in charge of taking

1123
01:01:24,600 --> 01:01:27,120
Speaker 3: care of the alien lady, and he shows her how

1124
01:01:27,120 --> 01:01:29,720
Speaker 3: to drink water through a straw. She has some water

1125
01:01:29,800 --> 01:01:32,080
Speaker 3: through the straw, but she is not interested in food.

1126
01:01:32,200 --> 01:01:36,240
Speaker 3: Like she turns her face away from the exobiologics and

1127
01:01:36,240 --> 01:01:40,120
Speaker 3: anders wonders if perhaps she is used to some sort

1128
01:01:40,120 --> 01:01:43,240
Speaker 3: of liquid nourishment the whole time, by the way, she

1129
01:01:43,320 --> 01:01:47,440
Speaker 3: is just making eyes at the earth dudes. And oh

1130
01:01:47,440 --> 01:01:49,360
Speaker 3: and also we see that when her helmet is off

1131
01:01:49,440 --> 01:01:53,160
Speaker 3: she has a sort of onion shaped troll doll hairdoo.

1132
01:01:54,000 --> 01:01:56,480
Speaker 2: I couldn't help but wonder if this is a nod

1133
01:01:56,640 --> 01:02:03,840
Speaker 2: to Bride of Frankenstein. Certainly given Harrington's appreciation for the

1134
01:02:03,880 --> 01:02:06,600
Speaker 2: work of James Whale that she has tall hair.

1135
01:02:07,200 --> 01:02:10,120
Speaker 3: Yeah, yeah, that's interesting. Yeah I didn't put that together.

1136
01:02:10,160 --> 01:02:14,560
Speaker 3: But so also well, that's another performance that is wordless

1137
01:02:14,600 --> 01:02:19,680
Speaker 3: but relies on powerful facial expressions. Elsa Lanchester as the

1138
01:02:19,720 --> 01:02:22,800
Speaker 3: Bride of Frankenstein. But so after this, they try to

1139
01:02:22,840 --> 01:02:25,280
Speaker 3: take a blood sample. Anders also wants to do this

1140
01:02:25,440 --> 01:02:27,880
Speaker 3: to run some tests, but she will not allow it.

1141
01:02:27,960 --> 01:02:31,320
Speaker 3: She smacks the needle out of the dude's hand, and

1142
01:02:31,320 --> 01:02:34,200
Speaker 3: then we got to Later that night, Dennis Hopper is

1143
01:02:34,240 --> 01:02:37,120
Speaker 3: making some notes in his audio log and he says

1144
01:02:37,200 --> 01:02:40,600
Speaker 3: he thinks he's noticed something about the alien that the

1145
01:02:40,640 --> 01:02:44,120
Speaker 3: others haven't yet. He says she has, but then he

1146
01:02:44,200 --> 01:02:46,760
Speaker 3: trails off and he doesn't finish the sentence, And I

1147
01:02:46,800 --> 01:02:48,680
Speaker 3: want to know what was Dennis Hopper going to say?

1148
01:02:49,160 --> 01:02:51,040
Speaker 2: I know this. I thought this was one of my

1149
01:02:51,160 --> 01:02:55,320
Speaker 2: favorite acting moments in the entire movie. It was just

1150
01:02:55,320 --> 01:02:57,280
Speaker 2: just the fact that he trails off and he doesn't

1151
01:02:57,320 --> 01:02:59,800
Speaker 2: finish the thought, like it just it works so perfectly

1152
01:03:00,280 --> 01:03:02,680
Speaker 2: for this character and for what's about to come.

1153
01:03:03,160 --> 01:03:06,000
Speaker 3: Now, He's sitting there by himself while everybody else is asleep,

1154
01:03:06,040 --> 01:03:09,800
Speaker 3: and he notices an open doorway and he goes to investigate,

1155
01:03:10,560 --> 01:03:13,800
Speaker 3: and the Alien ambassador is not in her seat anymore,

1156
01:03:14,400 --> 01:03:17,280
Speaker 3: so he goes wandering around alone looking for her. This

1157
01:03:17,360 --> 01:03:20,280
Speaker 3: kind of reminded me of the scene an Alien where

1158
01:03:20,320 --> 01:03:23,920
Speaker 3: like Brett is looking for the cat, and in this

1159
01:03:24,040 --> 01:03:28,800
Speaker 3: Hopper stumbles into the engine room and there suddenly she appears.

1160
01:03:29,600 --> 01:03:32,440
Speaker 3: I wasn't sure about this. I think, is she in

1161
01:03:32,480 --> 01:03:35,120
Speaker 3: her alien way supposed to be nude? Like you see

1162
01:03:35,120 --> 01:03:37,520
Speaker 3: her back and it is green. She's not wearing her

1163
01:03:37,520 --> 01:03:41,240
Speaker 3: red jumpsuit, but maybe she was wearing Maybe she had

1164
01:03:41,360 --> 01:03:43,960
Speaker 3: like green clothes on under that, and that's what it's

1165
01:03:43,960 --> 01:03:46,680
Speaker 3: supposed to be. She's obviously actually wearing something in the scene,

1166
01:03:46,720 --> 01:03:48,200
Speaker 3: but it's the same color as her skin.

1167
01:03:49,200 --> 01:03:51,360
Speaker 2: Yeah, I wasn't sure. And there's another scene where it

1168
01:03:51,560 --> 01:03:54,120
Speaker 2: makes it seem like maybe the back of her costume

1169
01:03:54,200 --> 01:03:57,000
Speaker 2: is more exposed in the front. I'm not sure on that.

1170
01:03:58,000 --> 01:04:01,439
Speaker 3: Well, anyway, there she is, so something has changed about her.

1171
01:04:01,880 --> 01:04:04,880
Speaker 3: Now she has lights glowing in her eyes, and she

1172
01:04:04,960 --> 01:04:08,360
Speaker 3: seems to hypnotize Dennis Hopper and she walks up to him.

1173
01:04:08,400 --> 01:04:10,760
Speaker 3: She lays a hand on his chest, and her skin

1174
01:04:10,840 --> 01:04:15,240
Speaker 3: appears to have a shiny, almost polymerized texture, and she

1175
01:04:15,400 --> 01:04:19,000
Speaker 3: leans in and we see only from the perspective, like

1176
01:04:19,040 --> 01:04:21,600
Speaker 3: from behind her, and it's like, is she kissing him

1177
01:04:21,680 --> 01:04:26,040
Speaker 3: or is she biting his neck? Next morning, people wake up.

1178
01:04:26,080 --> 01:04:29,520
Speaker 3: They discover Paul dead. Dennis Hopper has left the building.

1179
01:04:30,040 --> 01:04:32,400
Speaker 2: What a shame? What is shame such a nice character.

1180
01:04:33,160 --> 01:04:37,640
Speaker 3: Yes, So his wrist has a bloody, ragged wound and

1181
01:04:37,680 --> 01:04:40,120
Speaker 3: he appears to have been drained of blood. And they

1182
01:04:40,120 --> 01:04:43,440
Speaker 3: find the alien ambassador sleeping with blood dripping out of

1183
01:04:43,440 --> 01:04:45,600
Speaker 3: the sides of her mouth. So there's no mystery about

1184
01:04:45,640 --> 01:04:47,680
Speaker 3: what happened. It's just like, oh, okay, here she is.

1185
01:04:47,720 --> 01:04:50,520
Speaker 3: She drank all his blood. Ander says, do you see

1186
01:04:50,640 --> 01:04:54,240
Speaker 3: how heavy she's breathing. She has gorged herself on blood

1187
01:04:54,560 --> 01:04:58,040
Speaker 3: and now she's digesting like a boa constrictor that swallowed

1188
01:04:58,040 --> 01:05:03,480
Speaker 3: a whole animal. It's fascinating. And then John Sackson goes fascinating,

1189
01:05:03,560 --> 01:05:06,680
Speaker 3: it's horrible. We ought to destroy her right now.

1190
01:05:06,920 --> 01:05:08,640
Speaker 2: And come on now and come on out, and he's

1191
01:05:08,680 --> 01:05:11,360
Speaker 2: just admiring her purity. That's all that's going on here.

1192
01:05:11,760 --> 01:05:15,120
Speaker 3: Yeah, it's like Ian Holme. Yeah, so it's a conflict.

1193
01:05:15,160 --> 01:05:18,600
Speaker 3: Anders thinks, you know, she's much too precious to destroy.

1194
01:05:19,040 --> 01:05:22,960
Speaker 3: In fact, he does go somewhere interesting. He says, she's

1195
01:05:23,120 --> 01:05:27,040
Speaker 3: not even necessarily aware that she's done anything wrong. This

1196
01:05:27,200 --> 01:05:30,560
Speaker 3: leads to like an argument about whether or not they

1197
01:05:30,640 --> 01:05:33,360
Speaker 3: because they can't converse with her that she never talks,

1198
01:05:33,880 --> 01:05:37,000
Speaker 3: So they argue about whether they should assume that the

1199
01:05:37,120 --> 01:05:40,960
Speaker 3: alien knows it has done something wrong by killing a

1200
01:05:41,040 --> 01:05:44,920
Speaker 3: human or not. I think that's a great question for

1201
01:05:44,960 --> 01:05:47,480
Speaker 3: a sci fi story. I can't recall if I've ever

1202
01:05:47,760 --> 01:05:51,600
Speaker 3: heard that being discussed before, Like should we hold the

1203
01:05:51,640 --> 01:05:53,360
Speaker 3: alien morally accountable?

1204
01:05:54,320 --> 01:05:57,720
Speaker 2: Yeah, this is a movie where the mission statement does

1205
01:05:57,760 --> 01:06:01,439
Speaker 2: not call for a lot of philosophical pund and yet

1206
01:06:01,440 --> 01:06:03,760
Speaker 2: there's just a little It dips its toes in a

1207
01:06:03,840 --> 01:06:05,400
Speaker 2: little bit right here, and it's nice.

1208
01:06:05,880 --> 01:06:08,560
Speaker 3: Anders makes some kind of interesting arguments. He says, you know,

1209
01:06:08,640 --> 01:06:12,560
Speaker 3: maybe this alien comes from a planet where it feeds

1210
01:06:12,600 --> 01:06:17,600
Speaker 3: on the blood of other organisms, and it doesn't think

1211
01:06:17,640 --> 01:06:19,920
Speaker 3: there's anything wrong with that, much the same way that

1212
01:06:20,040 --> 01:06:23,360
Speaker 3: we eat the flesh of other organisms. So is her

1213
01:06:24,320 --> 01:06:27,640
Speaker 3: Might she understand having drank Dennis Hopper's blood the same

1214
01:06:27,640 --> 01:06:31,440
Speaker 3: way we would understand eating a steak? And then Alan,

1215
01:06:31,880 --> 01:06:34,720
Speaker 3: so that's an interesting point, and Alan responds by saying,

1216
01:06:35,040 --> 01:06:39,920
Speaker 3: but we don't feed on blood. I think the philosophical

1217
01:06:39,920 --> 01:06:42,680
Speaker 3: dispute is going a bit over John Saxon's head, like

1218
01:06:42,720 --> 01:06:45,920
Speaker 3: he doesn't understand that it's not literally what the substance

1219
01:06:46,040 --> 01:06:46,880
Speaker 3: is that matters.

1220
01:06:47,480 --> 01:06:52,000
Speaker 2: Yeah, everyone's pissed, but everyone seems to agree. Thus far,

1221
01:06:52,040 --> 01:06:54,320
Speaker 2: they need to check back in with headquarters and not

1222
01:06:54,360 --> 01:06:55,760
Speaker 2: do anything drastic.

1223
01:06:55,720 --> 01:06:59,080
Speaker 3: Right, So they come up with a workaround. Anders says, Okay,

1224
01:06:59,080 --> 01:07:01,280
Speaker 3: we're going to feed her from our medical supply of

1225
01:07:01,360 --> 01:07:04,080
Speaker 3: blood plasma, and we keep her drinking that so that

1226
01:07:04,120 --> 01:07:06,120
Speaker 3: she doesn't drink the blood from our bodies. And that

1227
01:07:06,160 --> 01:07:07,000
Speaker 3: works for a while.

1228
01:07:07,360 --> 01:07:10,080
Speaker 2: Yeah, yeah, the basic understanding, it's like, if she's not hungry,

1229
01:07:10,160 --> 01:07:10,920
Speaker 2: she's not a threat.

1230
01:07:11,120 --> 01:07:13,600
Speaker 3: They make a report to Basil Wrathbone about the blood

1231
01:07:13,680 --> 01:07:17,200
Speaker 3: drinking and it shows Basil Wrathbone back at mission control

1232
01:07:17,240 --> 01:07:19,160
Speaker 3: and he just like puts his head in his hands,

1233
01:07:19,240 --> 01:07:22,600
Speaker 3: which made me laugh. Then I think he walks over

1234
01:07:22,640 --> 01:07:25,080
Speaker 3: to the wall and he says he looks at a

1235
01:07:25,120 --> 01:07:27,080
Speaker 3: map of the stars and he says, one should not

1236
01:07:27,120 --> 01:07:30,800
Speaker 3: be shocked by anything we find out there. And I'm like, man,

1237
01:07:30,880 --> 01:07:33,760
Speaker 3: you could imagine so much weirder forms of life than

1238
01:07:33,760 --> 01:07:36,960
Speaker 3: something that drinks blood. That's like something that a lot

1239
01:07:37,000 --> 01:07:38,000
Speaker 3: of Earth life does.

1240
01:07:38,640 --> 01:07:43,520
Speaker 2: Yeah, yeah, it shouldn't be really that shocking, But I

1241
01:07:43,560 --> 01:07:45,080
Speaker 2: don't know. I do kind of like it as this

1242
01:07:45,120 --> 01:07:48,640
Speaker 2: little flourish that puts you in the space of this

1243
01:07:49,200 --> 01:07:51,240
Speaker 2: you know, really kind of like an old fashioned pulpse

1244
01:07:51,280 --> 01:07:53,960
Speaker 2: sci fi where like the rest of the Solar system

1245
01:07:54,040 --> 01:07:56,560
Speaker 2: is wild, baby, you don't know what's out there, right,

1246
01:07:56,760 --> 01:07:59,160
Speaker 2: could be teeming with all sorts of weird life.

1247
01:07:59,080 --> 01:08:02,520
Speaker 3: Life forms you can't possibly imagine. This one drinks blood,

1248
01:08:02,560 --> 01:08:08,360
Speaker 3: This next one has three eyes. So they hold a

1249
01:08:08,400 --> 01:08:11,280
Speaker 3: funeral for Dennis Hopper. They blast his body out the airlock.

1250
01:08:11,360 --> 01:08:14,720
Speaker 3: The funeral includes readings from the Bible, and there is

1251
01:08:14,760 --> 01:08:18,400
Speaker 3: a discussion between John Saxon and Anders. John Saxon says,

1252
01:08:18,600 --> 01:08:21,599
Speaker 3: should we tie her up? Andrew says, nah, no, We'll

1253
01:08:21,640 --> 01:08:23,719
Speaker 3: be safe as long as we never all fall asleep

1254
01:08:23,760 --> 01:08:27,040
Speaker 3: at the same time. And John Saxon's like, well, but

1255
01:08:27,120 --> 01:08:30,200
Speaker 3: there was no sign of struggle, and Anders says, well,

1256
01:08:30,240 --> 01:08:32,120
Speaker 3: she must have gotten to him in his sleep.

1257
01:08:32,800 --> 01:08:36,640
Speaker 2: Yeah. They bring up the vampire bad as an example.

1258
01:08:37,000 --> 01:08:40,040
Speaker 3: Right, They say, yeah, okay, so vampire back can feed

1259
01:08:40,080 --> 01:08:43,400
Speaker 3: on animals without them necessarily detecting. Maybe she has something

1260
01:08:43,439 --> 01:08:45,639
Speaker 3: in her saliva that dulls the pain of the bite

1261
01:08:45,720 --> 01:08:48,000
Speaker 3: and thus you don't know when you get bitten. So

1262
01:08:48,120 --> 01:08:50,160
Speaker 3: they feed her a bunch of blood plasma. She drinks

1263
01:08:50,200 --> 01:08:54,320
Speaker 3: it through a straw until ooh, they run out of blood. Plasma.

1264
01:08:54,360 --> 01:08:57,559
Speaker 3: That's a problem. So next thing, there is a very

1265
01:08:57,600 --> 01:08:59,919
Speaker 3: creepy scene. Again, I thought this one was really effective.

1266
01:09:00,080 --> 01:09:03,360
Speaker 3: Anders is alone in the control room, awake while everybody

1267
01:09:03,360 --> 01:09:07,200
Speaker 3: else is asleep, and he clearly is tired. But he

1268
01:09:07,240 --> 01:09:10,320
Speaker 3: starts looking at the door of the room and was

1269
01:09:10,360 --> 01:09:13,599
Speaker 3: that a silhouette there? Although it's not there anymore. Oh,

1270
01:09:13,600 --> 01:09:16,320
Speaker 3: but there it is again and it's back lit, but

1271
01:09:16,360 --> 01:09:21,200
Speaker 3: it's like it's a female silhouette and she's approaching. The

1272
01:09:21,280 --> 01:09:24,760
Speaker 3: eyes are glowing. He drops his ray gun and then

1273
01:09:24,800 --> 01:09:26,000
Speaker 3: there's another blood feast.

1274
01:09:26,520 --> 01:09:30,160
Speaker 2: Yeah, it's a good sequence, a nice build up of tension,

1275
01:09:30,520 --> 01:09:33,840
Speaker 2: and you know, and especially I thought it worked well

1276
01:09:33,880 --> 01:09:37,280
Speaker 2: because you know that this guy is toast, like, he's

1277
01:09:37,280 --> 01:09:41,479
Speaker 2: not John Saxon's, he's not Alan, he's not Laura. He's

1278
01:09:41,520 --> 01:09:43,920
Speaker 2: going to get killed by the space vampire at some point,

1279
01:09:44,080 --> 01:09:47,280
Speaker 2: and yet it still feels it's still a tense sequence

1280
01:09:47,320 --> 01:09:48,040
Speaker 2: when it occurs.

1281
01:09:48,280 --> 01:09:51,320
Speaker 3: Agree, I really like that, like is he seeing her

1282
01:09:51,400 --> 01:09:54,479
Speaker 3: or is he not? A thing that makes it tense.

1283
01:09:55,240 --> 01:09:57,960
Speaker 3: So now only Alan and Laura are left, and so

1284
01:09:58,000 --> 01:10:01,480
Speaker 3: they tie up the alien while she is asleep and digesting.

1285
01:10:01,840 --> 01:10:03,920
Speaker 3: They conclude that she must work by some kind of

1286
01:10:03,960 --> 01:10:07,599
Speaker 3: deadly hypnosis. And here is the scene I mentioned earlier

1287
01:10:07,640 --> 01:10:10,679
Speaker 3: where they call Basil Rathbone to be like, hey, everybody's dead,

1288
01:10:10,800 --> 01:10:12,559
Speaker 3: and he turns to the guy next to him and

1289
01:10:12,560 --> 01:10:15,519
Speaker 3: says things are going very badly on that ship, very badly.

1290
01:10:15,600 --> 01:10:18,559
Speaker 2: Indeed, they are not having a good day up there.

1291
01:10:19,040 --> 01:10:22,720
Speaker 3: So the alien lady wakes up discovering she is restrained.

1292
01:10:22,760 --> 01:10:25,439
Speaker 3: They've tied her up, and her eyes light up and

1293
01:10:25,520 --> 01:10:29,120
Speaker 3: she somehow turns her skin hot enough to burn through

1294
01:10:29,120 --> 01:10:29,719
Speaker 3: the ropes.

1295
01:10:29,920 --> 01:10:32,400
Speaker 2: That was cool, Yeah, yeah, or yeah, some sort of

1296
01:10:32,439 --> 01:10:35,639
Speaker 2: like laser vision or her skin's heating up, but yeah,

1297
01:10:35,680 --> 01:10:38,400
Speaker 2: she burns through the bonds and now she's free to

1298
01:10:38,479 --> 01:10:40,920
Speaker 2: move around the ship and finds more of that sweet

1299
01:10:40,960 --> 01:10:41,639
Speaker 2: human blood.

1300
01:10:42,080 --> 01:10:44,280
Speaker 3: That's right, But I think it's implied that she is

1301
01:10:44,400 --> 01:10:48,360
Speaker 3: only interested in man blood because we see her shadow

1302
01:10:48,479 --> 01:10:51,599
Speaker 3: pass over the body of sleeping Laura, but she doesn't

1303
01:10:51,600 --> 01:10:54,719
Speaker 3: go for it. She just walks right past. And then

1304
01:10:55,160 --> 01:10:58,519
Speaker 3: Laura wakes up and she looks around and the room

1305
01:10:58,600 --> 01:11:01,200
Speaker 3: is very still, and she doesn't he or anything, So

1306
01:11:01,240 --> 01:11:04,640
Speaker 3: she gets up, she walks around, and then she suddenly

1307
01:11:04,760 --> 01:11:08,320
Speaker 3: catches the alien in the act of drinking. John Saxon's blood.

1308
01:11:08,360 --> 01:11:11,320
Speaker 3: I guess he got hypnotized. Off screen. There's a brief

1309
01:11:11,320 --> 01:11:14,840
Speaker 3: fight and Laura injures the alien. She like scratches her

1310
01:11:14,880 --> 01:11:18,960
Speaker 3: in the fight, and the alien begins bleeding green fluid,

1311
01:11:19,000 --> 01:11:22,360
Speaker 3: and she screams and runs away. John Saxon wakes up.

1312
01:11:22,400 --> 01:11:24,840
Speaker 3: He's all right, and then they go to look for

1313
01:11:24,880 --> 01:11:27,599
Speaker 3: the alien and she has collapsed on her bed and

1314
01:11:27,680 --> 01:11:31,479
Speaker 3: bled to death from only a tiny scratch. John Saxon

1315
01:11:31,520 --> 01:11:35,320
Speaker 3: concludes that she suffered from hemophilia. He says, perhaps she

1316
01:11:35,400 --> 01:11:38,400
Speaker 3: was some sort of royalty, a queen maybe, And this

1317
01:11:38,520 --> 01:11:42,000
Speaker 3: is referring to royal hemophilia on Earth that I think

1318
01:11:42,120 --> 01:11:45,240
Speaker 3: was a heritable trait that in many ways was related

1319
01:11:45,280 --> 01:11:48,280
Speaker 3: to I think Queen Victoria and her husband.

1320
01:11:48,800 --> 01:11:52,240
Speaker 2: M h yeah. I mean there's also some examples in

1321
01:11:53,360 --> 01:11:56,720
Speaker 2: the you know, the Russian royal family as well, if

1322
01:11:56,760 --> 01:11:57,880
Speaker 2: memory serves.

1323
01:11:57,920 --> 01:11:59,960
Speaker 3: They may have been related to Queen Victoria somehow.

1324
01:12:00,200 --> 01:12:00,559
Speaker 2: I think.

1325
01:12:00,720 --> 01:12:01,320
Speaker 3: I'm not sure.

1326
01:12:01,920 --> 01:12:02,639
Speaker 2: I think you're right.

1327
01:12:02,920 --> 01:12:07,439
Speaker 3: I just looked it up. I think Czar Nicholas's wife

1328
01:12:07,560 --> 01:12:11,519
Speaker 3: Alexandra was Queen Victoria's granddaughter. There's a lot of oh,

1329
01:12:11,600 --> 01:12:13,920
Speaker 3: there you go, they're all, you know, mixing and matching

1330
01:12:14,040 --> 01:12:15,960
Speaker 3: European royalty at any rate.

1331
01:12:16,000 --> 01:12:18,519
Speaker 2: The end result is that our Queen of Blood here

1332
01:12:18,840 --> 01:12:23,840
Speaker 2: is a glass cannon. The slightest little scratch is enough

1333
01:12:23,840 --> 01:12:26,880
Speaker 2: to cause her to bleed to death. And there she

1334
01:12:27,040 --> 01:12:29,400
Speaker 2: is dead on the ship, seemingly like it was kind

1335
01:12:29,439 --> 01:12:32,160
Speaker 2: of a freezing. Now we're done with the alien menace

1336
01:12:32,200 --> 01:12:33,600
Speaker 2: has been defeated.

1337
01:12:33,439 --> 01:12:36,599
Speaker 3: Right, so they land back on Earth and John Saxon

1338
01:12:36,720 --> 01:12:40,000
Speaker 3: and Laura are waiting, I guess, to be retrieved from

1339
01:12:40,080 --> 01:12:43,919
Speaker 3: the capsule they're in and whoops, oh, we just discovered

1340
01:12:43,960 --> 01:12:46,519
Speaker 3: that the alien here left a bunch of eggs in

1341
01:12:46,560 --> 01:12:51,360
Speaker 3: a cabinet, pulsing slime covered eggs, very cool looking. And

1342
01:12:51,439 --> 01:12:55,879
Speaker 3: John Saxon concludes she was a queen, a queen bee.

1343
01:12:56,120 --> 01:12:58,880
Speaker 3: She came here to deposit all of her eggs so

1344
01:12:58,880 --> 01:13:01,519
Speaker 3: they could hatch and take over Earth. And John Saxson

1345
01:13:01,560 --> 01:13:04,639
Speaker 3: wants to destroy the eggs. Laura says, we can't do that.

1346
01:13:04,800 --> 01:13:08,840
Speaker 3: Scientists will need to study them. She's arguing for their preservation.

1347
01:13:09,040 --> 01:13:12,360
Speaker 3: And then when Basil Rathbone runs in the door with

1348
01:13:12,400 --> 01:13:15,599
Speaker 3: all of the science dudes, John Saxon takes him aside

1349
01:13:15,640 --> 01:13:17,600
Speaker 3: and it's like, hey, listen, I've got something secret to

1350
01:13:17,640 --> 01:13:19,880
Speaker 3: tell you. We've got alien eggs all over the ship.

1351
01:13:19,920 --> 01:13:22,320
Speaker 3: We've got to destroy them before people find out about them.

1352
01:13:22,680 --> 01:13:25,280
Speaker 3: And Basil Rathbone is like, oh my dear boy, no,

1353
01:13:25,560 --> 01:13:28,799
Speaker 3: we must study them, not destroy them.

1354
01:13:29,000 --> 01:13:32,160
Speaker 2: Yeah. He suddenly has just all the vim and vigor

1355
01:13:32,200 --> 01:13:35,439
Speaker 2: in the world, just just scampering unto the space ship

1356
01:13:35,439 --> 01:13:38,080
Speaker 2: here to check out those alien eggs. Nobody's wearing a

1357
01:13:38,080 --> 01:13:40,840
Speaker 2: contamination suit or anything, now, like, let's just go get them,

1358
01:13:41,080 --> 01:13:42,559
Speaker 2: get big handfuls of these things.

1359
01:13:42,680 --> 01:13:44,799
Speaker 3: He really perks up here at the end.

1360
01:13:44,680 --> 01:13:47,200
Speaker 2: With the eggs. I have to say that the eggs.

1361
01:13:47,240 --> 01:13:49,360
Speaker 2: When we first see the eggs, I thought they looked hokey.

1362
01:13:49,680 --> 01:13:52,200
Speaker 2: They looked like they look like little pulsating red balloons.

1363
01:13:52,479 --> 01:13:55,120
Speaker 2: But then eventually we do get a close up off

1364
01:13:55,120 --> 01:13:58,000
Speaker 2: them as they're being taken off the ship on a tray,

1365
01:13:58,240 --> 01:14:00,759
Speaker 2: and in the close up they do look really cool.

1366
01:14:00,800 --> 01:14:04,280
Speaker 2: They look gross and pulsating and looks like there's something

1367
01:14:04,400 --> 01:14:07,320
Speaker 2: inside them. You know, I'll implied there's some sort of

1368
01:14:07,479 --> 01:14:12,439
Speaker 2: form there that is developing. So ultimately, great job. In

1369
01:14:12,479 --> 01:14:13,160
Speaker 2: these eggs.

1370
01:14:13,720 --> 01:14:16,080
Speaker 3: They are in a trade They're on like a quarter

1371
01:14:16,120 --> 01:14:20,160
Speaker 3: sheet baking pan, like there's gonna be some cookies or something.

1372
01:14:20,280 --> 01:14:22,759
Speaker 2: Yeah, And that's pretty much the close of the film.

1373
01:14:23,080 --> 01:14:26,559
Speaker 2: That's close up on the eggs, the end ominous music,

1374
01:14:26,680 --> 01:14:29,400
Speaker 2: because you know, ultimately this is I mean, it's it's

1375
01:14:29,479 --> 01:14:33,519
Speaker 2: ultimately a darker ending than than Alien because oh, you've

1376
01:14:33,520 --> 01:14:36,479
Speaker 2: brought them back, and now who knows what's going to occur.

1377
01:14:36,800 --> 01:14:39,599
Speaker 3: Well, I think we do get Alan and Laura. They're like, oh,

1378
01:14:39,640 --> 01:14:42,160
Speaker 3: we're back on Earth. I love you. You know, it's

1379
01:14:42,720 --> 01:14:44,880
Speaker 3: we can feel the sunshine on our faces again.

1380
01:14:44,960 --> 01:14:46,720
Speaker 2: I think they say, well that that is true. They

1381
01:14:46,720 --> 01:14:49,000
Speaker 2: do like having the sunshine back. But I don't know

1382
01:14:49,040 --> 01:14:50,679
Speaker 2: how long they're gonna get to enjoy it. I don't

1383
01:14:50,680 --> 01:14:52,679
Speaker 2: know why. How long it takes these eggs to develop

1384
01:14:52,680 --> 01:14:54,000
Speaker 2: into whatever they're going to grow into.

1385
01:14:54,400 --> 01:14:59,160
Speaker 3: I'd say I give Earth like twenty to thirty years, yeah,

1386
01:14:59,600 --> 01:15:01,839
Speaker 3: or they're the blood bags are all drained.

1387
01:15:02,720 --> 01:15:06,080
Speaker 2: So there you have it, Queen of Blood. Like I say,

1388
01:15:06,120 --> 01:15:08,840
Speaker 2: I feel like the last thirty minutes or so of

1389
01:15:08,880 --> 01:15:13,120
Speaker 2: the picture is pretty solid and pretty fun. I'm not

1390
01:15:13,160 --> 01:15:15,439
Speaker 2: sure I would have gotten to those last thirty minutes

1391
01:15:15,560 --> 01:15:17,599
Speaker 2: had I not been on a mission to watch this,

1392
01:15:17,720 --> 01:15:21,120
Speaker 2: you know, And I guess you have to think about

1393
01:15:21,160 --> 01:15:23,160
Speaker 2: the original context of the release, right, I mean, this

1394
01:15:23,280 --> 01:15:25,880
Speaker 2: was something that was going to be shown theatrically, the

1395
01:15:25,960 --> 01:15:28,640
Speaker 2: shown is part of a double feature, so you know,

1396
01:15:28,720 --> 01:15:30,960
Speaker 2: it's not something where you had to worry about keeping

1397
01:15:30,960 --> 01:15:34,000
Speaker 2: somebody on the same TV channel or keeping them you know,

1398
01:15:34,680 --> 01:15:37,160
Speaker 2: watching a film on a streaming service or anything like that.

1399
01:15:37,280 --> 01:15:40,400
Speaker 2: So it's a different a different mission statement for this

1400
01:15:40,520 --> 01:15:41,760
Speaker 2: film for sure. Yeah.

1401
01:15:41,760 --> 01:15:43,960
Speaker 3: I wonder if this was mostly destined for drive in

1402
01:15:44,080 --> 01:15:44,840
Speaker 3: theaters or not.

1403
01:15:45,800 --> 01:15:49,040
Speaker 2: I imagine, so, yeah, very much a double I forget

1404
01:15:49,040 --> 01:15:51,200
Speaker 2: what the film it was released with as a double feature,

1405
01:15:51,200 --> 01:15:54,799
Speaker 2: but it was part of the double feature. I also wondered,

1406
01:15:54,880 --> 01:15:57,479
Speaker 2: like to what extent did they study, like how people

1407
01:15:57,479 --> 01:15:59,960
Speaker 2: watch these films of those double features? They did they

1408
01:16:00,080 --> 01:16:03,040
Speaker 2: think about things like when will the teenagers be making out?

1409
01:16:03,720 --> 01:16:03,920
Speaker 4: Yeah?

1410
01:16:04,560 --> 01:16:06,439
Speaker 2: And what should be going on in the screen at

1411
01:16:06,439 --> 01:16:09,040
Speaker 2: that time. I've never read anything on that.

1412
01:16:09,240 --> 01:16:12,200
Speaker 3: Yeah, it wasn't a calculated decision to take an hour

1413
01:16:12,280 --> 01:16:14,080
Speaker 3: to get to Florence Marley.

1414
01:16:14,200 --> 01:16:17,160
Speaker 2: Yeah, but at any rate, I will, you know, coming

1415
01:16:17,200 --> 01:16:19,880
Speaker 2: back to Curtis Harrington, you know, I feel like he

1416
01:16:20,280 --> 01:16:23,960
Speaker 2: did given the weird limitations of this film, you know,

1417
01:16:24,080 --> 01:16:27,040
Speaker 2: having to use all of this footage from from from

1418
01:16:27,080 --> 01:16:31,240
Speaker 2: Soviet cinema and so forth, obviously not having a huge budget.

1419
01:16:31,720 --> 01:16:35,519
Speaker 2: I feel like like the end results work amazingly well

1420
01:16:35,600 --> 01:16:38,800
Speaker 2: given those constraints. I feel like the cast does a

1421
01:16:38,840 --> 01:16:41,479
Speaker 2: great job given what they're they're given to work with.

1422
01:16:41,640 --> 01:16:46,000
Speaker 2: So it is kind of an interesting exercise in in

1423
01:16:46,320 --> 01:16:49,840
Speaker 2: overachieving for for you a b picture like this.

1424
01:16:50,240 --> 01:16:53,720
Speaker 3: Totally agree. Yes, and despite the fact that it is

1425
01:16:53,800 --> 01:16:57,559
Speaker 3: overused and there's too much patting, I will emphasize yet again,

1426
01:16:58,520 --> 01:17:01,000
Speaker 3: most of the Russian footage does look pretty beautiful. I

1427
01:17:01,160 --> 01:17:01,919
Speaker 3: like the aesthetic.

1428
01:17:02,439 --> 01:17:04,960
Speaker 2: Yeah, it would be interesting to come back and what

1429
01:17:05,280 --> 01:17:07,320
Speaker 2: maybe I don't know if we would watch one of these,

1430
01:17:07,360 --> 01:17:10,960
Speaker 2: but there are a number of these Soviet sci fi

1431
01:17:11,040 --> 01:17:14,400
Speaker 2: films that I would be interesting to look at more.

1432
01:17:14,400 --> 01:17:18,200
Speaker 2: I think everyone called Planet a burr that may have

1433
01:17:18,320 --> 01:17:21,240
Speaker 2: been utilized in Voyage to the Prehistoric Planet. I think

1434
01:17:21,240 --> 01:17:25,439
Speaker 2: I've seen that one in full. There's like a whole

1435
01:17:25,479 --> 01:17:26,920
Speaker 2: box set of these. I think they have them a

1436
01:17:27,000 --> 01:17:29,240
Speaker 2: videodrome here in Atlanta, and I've rented one or two

1437
01:17:29,280 --> 01:17:31,680
Speaker 2: of them in the past, but I don't recall them much.

1438
01:17:31,720 --> 01:17:32,920
Speaker 2: I think I just kind of had them on in

1439
01:17:32,960 --> 01:17:37,240
Speaker 2: the background. Well, let's rnd them again. Yeah, yeah, yeah,

1440
01:17:37,280 --> 01:17:38,920
Speaker 2: all right, we'll go ahead and close it out there.

1441
01:17:38,960 --> 01:17:41,160
Speaker 2: But hey, we'd love to hear from everyone out there

1442
01:17:41,200 --> 01:17:44,120
Speaker 2: if you have thoughts on Queen of Blood, on space,

1443
01:17:44,240 --> 01:17:49,759
Speaker 2: vampire films, and media in general. Yeah, right in, let's

1444
01:17:49,760 --> 01:17:52,840
Speaker 2: talk about it. We have our listener mail episodes on

1445
01:17:52,920 --> 01:17:55,599
Speaker 2: Mondays and the Stuff to Blulr Mind podcast feed Core

1446
01:17:55,680 --> 01:17:59,720
Speaker 2: episodes on Tuesdays and Thursdays. On Wednesdays we do a

1447
01:17:59,720 --> 01:18:02,320
Speaker 2: short artifactor Monster Fact. On Fridays, we set aside most

1448
01:18:02,320 --> 01:18:04,120
Speaker 2: serious concerns and just talk about a weird film on

1449
01:18:04,200 --> 01:18:06,320
Speaker 2: Weird House Cinema if you want to see a complete

1450
01:18:06,360 --> 01:18:08,280
Speaker 2: rundown of the movies we've covered over the years. Here

1451
01:18:08,360 --> 01:18:11,040
Speaker 2: for Weird House Cinema. Going over to letterbox dot com,

1452
01:18:11,080 --> 01:18:12,519
Speaker 2: it's l E T T E R B O x

1453
01:18:12,640 --> 01:18:15,040
Speaker 2: D dot com. We have a profile there. Our profile

1454
01:18:15,120 --> 01:18:16,920
Speaker 2: is weird House and we have a list of all

1455
01:18:16,960 --> 01:18:19,479
Speaker 2: the movies we've covered so far, and sometimes there's a

1456
01:18:19,520 --> 01:18:21,080
Speaker 2: thiek ahead to what's coming up.

1457
01:18:21,560 --> 01:18:24,960
Speaker 3: Here's thanks to our audio producer Jjposway. If you would

1458
01:18:25,000 --> 01:18:27,000
Speaker 3: like to get in touch with us with feedback on

1459
01:18:27,040 --> 01:18:29,320
Speaker 3: this episode or any other, to suggest a topic for

1460
01:18:29,360 --> 01:18:31,519
Speaker 3: the future, or just to say hello. You can email

1461
01:18:31,600 --> 01:18:41,280
Speaker 3: us at contact a stuff to Blow your Mind dot com.

1462
01:18:41,400 --> 01:18:44,360
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1463
01:18:44,439 --> 01:18:47,240
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1464
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