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Speaker 1: Hey, everyone, Rob Lamb here, I'd like to dedicate this

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Speaker 1: episode of Weird House Cinema to my mother Dorothy. On

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Speaker 1: July fifteenth of this year, she passed away after seven

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Speaker 1: years of cancer treatments, and I was able to be

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Speaker 1: with her towards the end there went up. I was

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Speaker 1: a visitor in the hospital, and you know how it

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Speaker 1: goes in a hospital room. After you've chatted for a while,

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Speaker 1: there's not much else to do but to turn on

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Speaker 1: the television. And there was almost nothing on, of course,

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Speaker 1: but there was a single option that presented itself, nineteen

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Speaker 1: seventy one's Willy Wonka in the Chocolate Factory. So we

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Speaker 1: jumped into it, neither of us realizing that this would

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Speaker 1: be the last movie we'd ever watched together. Now. To

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Speaker 1: be clear, my mom was never a big fan of

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Speaker 1: weird movies, certainly not much in the way of sci

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Speaker 1: fi or horror. She loved the Halloween season, though, and

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Speaker 1: she took me to see all of my first cinematic experiences,

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Speaker 1: you know, the Star Wars, the Disney movies and so forth.

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Speaker 1: And she was, of course, unsurprisingly as a supportive mother,

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Speaker 1: a big fan of stufftable your mind. She didn't listen

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Speaker 1: to many Weird House episodes, but she would make an

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Speaker 1: exception if she knew the film or liked one of

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Speaker 1: the stars. So, for instance, she did specifically listen to

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Speaker 1: our episode Unforbidden Planet because it's course starred Leslie Nielsen.

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Speaker 1: And she even tuned in for the episode of Cannibal

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Speaker 1: Apocalypse because it starred John Saxon, So if Forbidden Planet

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Speaker 1: had been on, we might have watched that. But clearly

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Speaker 1: Willy Wonka in the Chocolate Factory was meant to be.

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Speaker 1: It's a weird and whimsical film, at times dangerous feeling,

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Speaker 1: but full of heart, full of song, and built around

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Speaker 1: a tremendous weed performance by the late Gene Wilder. Furthermore,

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Speaker 1: it concerns children, and this felt appropriate given my mother's

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Speaker 1: long career as an elementary school teacher. And finally, this film,

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Speaker 1: like perhaps all great films, does not ignore themes of

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Speaker 1: life and death. So again, I want to dedicate this

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Speaker 1: episode of Weird House Cinema to my mother, Dorothy nineteen

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Speaker 1: forty six through twenty twenty five, who always encouraged me

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Speaker 1: toward a world of pure imagination.

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Speaker 2: Welcome to Stuff to Blow your mind. A production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema. This is Rob

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Speaker 1: Lamb and this is Joe McCormick. And as I just

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Speaker 1: laid out in the cold open, we're talking about nineteen

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Speaker 1: seventy one's Willie Wonka and the Chocolate Factory. This is

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Speaker 1: definitely a film I grew up watching. I think we

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Speaker 1: were talking about this before we recorded, maybe exclusively on television.

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Speaker 1: And I've seen it therefore in a kind of scattered

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Speaker 1: way over the years, many different times, popping in at

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Speaker 1: different points in the film. So I've always been very

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Speaker 1: familiar with certain scenes and themes and characters, but maybe

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Speaker 1: less focused on certain beats in the plot.

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Speaker 2: Exactly the same experience here. I have seen this movie

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Speaker 2: many times, but honestly, watching it for Weird House today

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Speaker 2: may have been the first time I ever saw the

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Speaker 2: whole movie at once. I saw it in pieces on

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Speaker 2: TV over and over.

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Speaker 1: Yeah, absolutely, like I very of course, very recently watched

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Speaker 1: it with my mom in a hospital with TV commercial

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Speaker 1: so there are a lot of distractions there obviously, and

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Speaker 1: we're chatting back and forth. But then this dedicated rewatch

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Speaker 1: that I did exclusively for Weird House. Yeah, I don't

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Speaker 1: know if I'd ever watched it beginning to end like

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Speaker 1: this before. Willie Wonka in the Chocolate Factory is, without

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Speaker 1: a doubt, though, a weird kid's musical, and it's weirdness,

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Speaker 1: it's unhinged vibe, and honestly, the dangerous energy that it

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Speaker 1: has at times. This is the reason that many of

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Speaker 1: us have kept coming back to it year after a year,

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Speaker 1: either tuning in to parts of it when we catch

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Speaker 1: it on TV, doing a dedicated rewatch, or even just

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Speaker 1: thinking about it and engaging with memes and so forth.

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Speaker 1: And we've done this as children, We've done it as

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Speaker 1: out of adolescence, we've done it as adults. I think

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Speaker 1: there's a genuine imagination to this film, but there's also

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Speaker 1: complexity and certain gruesomeness at times. This movie, as I

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Speaker 1: think most of you are well aware, it genuinely and

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Speaker 1: intentionally leans into a horror vibe.

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Speaker 2: I used to have a theory about Willy Wonka when

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Speaker 2: I was in high school. This is a very high

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Speaker 2: school Joe kind of theory that Willy Wonka was a

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Speaker 2: slasher movie for kids. Now I'm not still arguing this today,

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Speaker 2: but the idea I had was, you know, In it,

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Speaker 2: you establish a cast of mostly unlikable kids, each with

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Speaker 2: a characteristic sin, and then you have them punished for

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Speaker 2: expressing that sin, with a consequence that feels like violence

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Speaker 2: that we're told in the end that they're all okay.

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Speaker 2: Of course, Charlie is kind of the final girl archetype,

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Speaker 2: and I think this theory does not hold up super well,

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Speaker 2: especially since Willy Wonka predates the invention of the moralistic

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Speaker 2: slasher film, and it doesn't really resemble the model in

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Speaker 2: other ways. I think the best you could say for

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Speaker 2: this is that instead, both Willy Wonka and slasher films

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Speaker 2: are inspired by a much older tradition of moralistic fiction,

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Speaker 2: in which we get to see bad people get their

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Speaker 2: come upance while a virtuous and good hearted protagonist in

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Speaker 2: their midst is frightened but ultimately rewarded. I mean, I

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Speaker 2: think you see this model in the Canterbury Tales and stuff.

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Speaker 1: Yeah, And to the film's credit, it also kind of

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Speaker 1: toys with the possibility that well, maybe nobody gets to win,

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Speaker 1: you know, maybe Charlie isn't good enough and so forth.

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Speaker 1: It's a fascinating picture to contemplate.

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Speaker 2: But I like that you mentioned the idea that the

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Speaker 2: movie feels dangerous. I do think this is key to

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Speaker 2: its appeal and to the appeal of a lot of

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Speaker 2: the most popular children's films and the stuff that really

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Speaker 2: sticks in our mind and we want to keep coming

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Speaker 2: back to. This is a movie that invites children to

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Speaker 2: bowl without the bumpers on.

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Speaker 1: Yeah, that's a good way of putting it. Yeah, reminding

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Speaker 1: me of several children's films that we've talked about in

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Speaker 1: Weird House Cinema, films that would come later in the

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Speaker 1: wake of Willy Wonka, The Never Ending Story, Labyrinth, Return

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Speaker 1: to Oz, I feel like Willy Wonk in the Chocolate Factory.

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Speaker 1: It reveals complications and contradictions and its depiction of the fantastic.

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Speaker 1: So it's not merely creating a simplified or sanitized version

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Speaker 1: of reality. I mean it's doing a bit of that too,

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Speaker 1: in the way that all movies do that. It also

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Speaker 1: seems like it's laying this imagined topography rather snugly over

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Speaker 1: the peaks and valleys of the real world, if that

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Speaker 1: makes sense.

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Speaker 2: Yes, certainly. There are a lot of ways in which

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Speaker 2: the movie is unreal and represents unreal scenarios. But the

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Speaker 2: scenarios it does represent have dangers that feel like they

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Speaker 2: reflect reality. If that makes it.

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Speaker 1: Yeah, yeah, absolutely, yeah, it almost I'm almost tempted to

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Speaker 1: say that it's not sugarcoating anything, but I mean it

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Speaker 1: is sugarcoating some things, and it is a film about

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Speaker 1: things coated and sugar. Yes. At the time that it

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Speaker 1: came out, Roger Ebert wrote a nice review of it,

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Speaker 1: and but also he kind of used as an opportunity

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Speaker 1: to just do a scathing review of all other children's films.

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Speaker 1: He wrote that nine out of ten children's films quote

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Speaker 1: were stupid, witless, and that they displayed contempt for their audiences.

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Speaker 1: And he said that's why kids hate them, and and

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Speaker 1: it also said that's why this film stood apart from

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Speaker 1: the rest of what was coming out at the time.

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Speaker 1: Though he did he did make a point of singling

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Speaker 1: Outstay the Wizard of Oz as being a film that

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Speaker 1: was was also cherished for similar reasons that the children

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Speaker 1: didn't feel like it was talking down to them. Now

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Speaker 1: at the same time, you know, we're talking about, you know,

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Speaker 1: how great this movie is. I also want to stress

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Speaker 1: this movie is quite silly, and it does have it

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Speaker 1: does raise a lot of questions about about the morality

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Speaker 1: of the picture, like why is why is this film

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Speaker 1: so concerned with gum chewing as a cardinal sin that

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Speaker 1: sort of thing.

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Speaker 2: It's placed on the same level as being like a

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Speaker 2: dark triad narcissistic, you know, manipulator.

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Speaker 1: And yeah, yeah, so we'll get into more of that

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Speaker 1: when we get into the characters and then into the plot.

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Speaker 1: But for some just some random thoughts about this. I

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Speaker 1: kept thinking about The Abominable Doctor Fibes as I was

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Speaker 1: watching it, and it's very interesting that these films came

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Speaker 1: out the same year. They feel kind of like spiritual

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Speaker 1: siblings from different video shelves.

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Speaker 2: Absolutely, Willie Wonka's dark and wobbly sense of humor feels

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Speaker 2: extremely similar to that of Doctor Fibes, just pitched at

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Speaker 2: a younger audience. I also think you could find some

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Speaker 2: comparisons between Vincent Price and Gene Wilder in these two projects.

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Speaker 2: Both of them feel like loose ham.

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Speaker 1: Yeah. Yeah.

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Speaker 2: After watching Willy Wonka this time, I had another thought,

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Speaker 2: which is the question, why is this movie so imminently

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Speaker 2: memable both visually and in its dialogue. I'm not the

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Speaker 2: most online person these days. I'm not on the socials,

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Speaker 2: But I believe I have seen a ton of individual

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Speaker 2: frames and little animated clips from Willy Wonka popping up

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Speaker 2: as memes usually feature, usually featuring the character of Willy

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Speaker 2: Wonka himself. Is this just a function of the movie's

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Speaker 2: popularity everybody saw it as a kid, It's nostalgic, so

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Speaker 2: it's an easy thing to draw from. Or is there

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Speaker 2: something particular about Gene Wilder as Wonka that is especially

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Speaker 2: compelling out of its original context and applied to a

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Speaker 2: new one. You know, I think one of the most

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Speaker 2: common types you'll just see is like a Gene Wilder

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Speaker 2: face or a Wonka quote reacting to whatever the original

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Speaker 2: post or piece of content is.

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Speaker 1: Yeah, yeah, I know what you mean. I've seen many

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Speaker 1: of these, and they're often very shallow pieces. Again, just

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Speaker 1: using a still of Wonka, I would venture to guess

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Speaker 1: that part of it comes from our memories of a

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Speaker 1: vibe that we get from Wonka at various points the

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Speaker 1: stop don't come back, the note don't Stop, where a

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Speaker 1: child is about to meet their possible doom, and he

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Speaker 1: in a very lukewarm way, tells them that they shouldn't

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Speaker 1: do it, knowing that they're going to do it anyway.

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Speaker 1: So there's kind of like this sly, sassy judgment on

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Speaker 1: the choices and morality of those around him. And maybe

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Speaker 1: that's a vibe that people are trying to dip into

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Speaker 1: when they share one of these memes.

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Speaker 2: I think that's right. I think one of the most

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Speaker 2: popular rhetorical stances to adopt on the internet, especially in reacting,

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Speaker 2: is a loof snarkiness. Yes, and Willie Wonka is sometimes

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Speaker 2: full of aloof snark.

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Speaker 1: That it is one of the many flavors in the

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Speaker 1: everlasting gobstopper of his character. And we were talking about

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Speaker 1: this off Mike, and we'll get back into it repeatedly

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Speaker 1: as we continue. But I think this is one of

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Speaker 1: the great things about Gene Wilder's performance as Willy Wonka

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Speaker 1: is that he hits so many of these different notes.

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Speaker 1: There's so many different different in a way like wild

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Speaker 1: dimensions to the performance and to his character. He is

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Speaker 1: at times heartfelt, and I feel, in my viewing of

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Speaker 1: it anyway, just genuinely heartfelt, like I totally believe him.

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Speaker 1: For instance, when we first meet him and he's telling

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Speaker 1: the children, you know, I hope you have a good time.

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Speaker 1: I think you will have a good time, Like, I

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Speaker 1: don't you can tease that apart and be like, he's

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Speaker 1: about to put these children through a horrendous loyalty test.

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Speaker 1: Some of these children surely may not survive. Does he

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Speaker 1: really think they're going to have a good time? And

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Speaker 1: yet I believe him when he says that, Like it's

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Speaker 1: a contradiction, and it's weird that that's part of the

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Speaker 1: magic of the character. Other times he's raving. Other times

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Speaker 1: there's a deep sadness to him. Other times, yeah it's

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Speaker 1: whimsy or yeah, this snarkiness or sassiness as he's speaking

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Speaker 1: to the adults and the children in his environment.

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Speaker 2: Willy Wonka is a strange character in that he is

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Speaker 2: on one hand a guardian and a guide, and on

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Speaker 2: the other hand a trickster and a Shakespearean fool. He

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Speaker 2: is like a combination of Virgil and the Mad Hatter,

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Speaker 2: not really a combo you'd expect to see. And also

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Speaker 2: a bit of Captain Nemo thrown in there too, in

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Speaker 2: that he is a mysterious inventor of mechanical marvels. He

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Speaker 2: has a secretive agenda which the characters are not privy to,

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Speaker 2: and he is leading hapless guests slash prisoners on a

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Speaker 2: tour of sites beyond their wildest dreams.

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Speaker 1: Yeah, that's a great comparison. All right. Well, my elevator

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Speaker 1: pitch for this one is Willy Wonka and the elaborately

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Speaker 1: cruel loyalty Test. Yeah it's more than that, but it

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Speaker 1: also it's totally that.

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Speaker 2: Let's hear some trailer audio.

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Speaker 3: From the pin about rolled dall to the motion picture

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Speaker 3: screen comes a most unusual trumpet factory and the mysterious

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Speaker 3: candy man inside.

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Speaker 1: I'm so glad you could come. This is going to

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Speaker 1: be such an exciting day.

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Speaker 3: Gene Wilder is the mythical candy man Willie Wonka, and

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Speaker 3: he's opening his factory gates for five lucky children who

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Speaker 3: find a golden ticket. He wrote, Charlie Buckett wants his

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Speaker 3: golden chance more than anyone over there. Charlie, let's see

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Speaker 3: the golden ticketed.

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Speaker 1: To fanatastic, it's not there to raise his home from

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Speaker 1: a mind all over the Charlie, I want to see

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Speaker 1: the gold stopping dead. I've got to see chances anybody else, haven't.

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Speaker 3: I eat your way through the chopet room, take a

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Speaker 3: ride on the per polic wencome Obsle, float around the

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Speaker 3: Bubbly Becusey Lifting Room, sail down the Chocolate River on

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Speaker 3: the s s Wancotania, step on the Wanca Beator end,

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Speaker 3: gold through the roof, destination the scrum little, yumptious world

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Speaker 3: of Willy Wonka and the Chocolate Factory rated g.

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Speaker 1: All right, Well, if you would like to watch Willy

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Speaker 1: Wonka and the Chocolate Factory, perhaps for the first time,

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Speaker 1: perhaps for the ten millionth time, well, you can buy

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Speaker 1: or rented wherever you like. You can definitely catch it

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Speaker 1: on television, Like I said, I caught it on television

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Speaker 1: last month. It's also currently streaming on HBO Max in

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Speaker 1: the US, and there have been many physical releases of

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Speaker 1: the movie over the year every format you could possibly

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Speaker 1: ask for, including a recent Ultimate Collector's Edition set that

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Speaker 1: comes in a candy box and includes a book and

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Speaker 1: things like candy scented pencils, and a golden.

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Speaker 2: Ticket doesn't actually have candy in it.

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Speaker 1: It might have candy. I get less into special editions

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Speaker 1: that have too many things that are not the movie.

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Speaker 1: I mean, that's fine for people who are into that,

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Speaker 1: but I like a little of that. But maybe if

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Speaker 1: there's too much of it. I just kind of like,

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Speaker 1: I don't want to read the whole list, but this

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Speaker 1: particular set does have like a full disc of extra

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Speaker 1: so it seems like a solid buy.

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Speaker 2: All right. Should we talk about the people involved?

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Speaker 1: Yeah, let's start at the top with the director. It's

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Speaker 1: Mel Stewart, who lived nineteen twenty eight through twenty twelve,

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Speaker 1: not to be confused with the American actor of the

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Speaker 1: same name. This Stuart worked extensively with producer David L. Wolper,

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Speaker 1: who was a producer on this film and as such

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Speaker 1: has a number of producer credits himself. He worked a

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Speaker 1: lot in documentaries, and he won the nineteen sixty five

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Speaker 1: Oscar in the category for four Days in November. That

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Speaker 1: was a JFK documentary, and his other features include sixty

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Speaker 1: nine's If It's Tuesday, This Must be Belgium, nineteen seventies,

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Speaker 1: I Love My Wife, seventy twos one is a lonely number,

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Speaker 1: in seventy eight's Mean Dog Blues. And I know if

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Speaker 1: a lot of you're probably not familiar with any of

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Speaker 1: those titles outside of Willy Wonk in the Chocolate Factory,

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Speaker 1: And is my understanding that nothing else he really did

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Speaker 1: is it all like Willy Wonka in the Chocolate Factory.

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Speaker 1: So not a big musical or children's movie guy.

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Speaker 2: But of course Willy Wonka in the Chocolate Factory. The

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Speaker 2: movie is based on a book with a slightly different name,

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Speaker 2: Charlie in the Chocolate Factory.

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Speaker 1: That's right, book by Raal Dahl, who lived nineteen sixteen

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Speaker 1: through nineteen ninety British author of fiction for both children

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Speaker 1: and adults. He wrote the original book and its sequel,

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Speaker 1: and he also wrote the screenplay, the main screenplay, and

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Speaker 1: then there were some changes maybe the screenplay after he

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Speaker 1: was done with it, which to understand is one of

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Speaker 1: the reasons that he did not like this film and

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Speaker 1: kind of disowned it to some extent. Now, we've never

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Speaker 1: directly covered Rall Dahl on Weird House Cinema, but we've

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Speaker 1: mentioned a number of projects that either involved him or

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Speaker 1: were based on his work. When Seth filled in for

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Speaker 1: you on an Anthology of Horror special a couple of

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Speaker 1: years back, Seth had picked an episode of Doll's Tales

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Speaker 1: of the Unexpected. This was a TV anthology series kind

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Speaker 1: of a Tales from the Crypt except instead of the

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Speaker 1: Cryptkeeper you got actual raw Dahl on screen and often

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Speaker 1: with a kind of creepy vibe. And the episode in

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Speaker 1: particular that we watched was called Royal Jelly that aired

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Speaker 1: in nineteen eighty It's about bees. Yeah, yeah, it's about

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Speaker 1: a guy who's a little too into bees. And then

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Speaker 1: in our recently rerun Ninja series, we mentioned Doll's role

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Speaker 1: in nineteen sixty seven's You Only Live Twice, which was

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Speaker 1: a James Bond film that played an important role establishing

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Speaker 1: Ninja mania in the West. Ah. Yes, yeah, that was

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Speaker 1: a film that Dolls scripted, and it should be noted

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Speaker 1: that and we got into this in those Ninja episodes

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Speaker 1: that by today's standards, there's some culturally insensitive and or

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Speaker 1: cringy content in that one. Yeah, And that's been a

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Speaker 1: bit of There's been a bit of similar controversy with

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Speaker 1: Doll's fiction in general because of this. His I should

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Speaker 1: preface here and say that I'm not super familiar with

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Speaker 1: his written work. I don't know that I've ever read

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Speaker 1: one of his full books before, but I'm to understand

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Speaker 1: his work often had that I'm going to tell you

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Speaker 1: like it is voice to it, which unsurprisingly maybe sometimes

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Speaker 1: translates into a whole host of express views that were

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Speaker 1: at the very least curmudgeonly and at the worst maybe

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Speaker 1: blatantly if offensive by today's standards. These are difficult conversations

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Speaker 1: to have about many authors, obviously now. Dahl's most popular

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Speaker 1: books for children include James and the Giant Peach, Charlie

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Speaker 1: and the Chocolate Factory, Matilda, The Witches, The Fantastic Mister Fox,

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Speaker 1: and The BFG. All of these have been adapted into films.

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Speaker 1: And I don't know about you, Joe, but I think

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Speaker 1: I not only have I seen film adaptations of all

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Speaker 1: of these works, I think I loved all of them,

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Speaker 1: with the possible exception of the BFG, which I didn't dislike,

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Speaker 1: I just maybe didn't enjoy at all on the same

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Speaker 1: level as these other adaptations.

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Speaker 2: Well, let's see, I think the only ones I've seen

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Speaker 2: are Willy Wonka and The Chocolate Factory. Actually, I have

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Speaker 2: never seen the mid two thousands remake Charlie and the

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Speaker 2: Chocolate Factory, which to B. Frank has always looked absolutely

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Speaker 2: repulsive to me. The Tim Burton one, Yeah what, Ian,

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Speaker 2: I don't like hate all Tim Burton movies. I love,

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Speaker 2: especially some of his earlier ones, but that one I

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Speaker 2: remember from the trailer it looked so unpleasant that I

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Speaker 2: never even tried it, and I think I have actually

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Speaker 2: left rooms where the movie was put on. Maybe I'm

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Speaker 2: being unfair, and maybe I should give it a try,

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Speaker 2: but it just looks dreadful. When I'm asked to think

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Speaker 2: of a really off putting acting performance, one of the

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Speaker 2: first things that pops into my head or moments in

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Speaker 2: the trailer for that movie with Johnny Depp doing these

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Speaker 2: like twoty little reactions to children.

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Speaker 1: Mm, yeah, yeah, I mean, it's maybe unfair. It's not

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Speaker 1: impossible to compare Johnny Depp's performance in that movie to

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Speaker 1: Gene Wilders. Here. I saw this movie when it came out,

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Speaker 1: but I really don't remember much about it. I might

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Speaker 1: have even seen it in the theater. I always enjoy

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Speaker 1: a Tim Burton movie, but this is probably not like

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Speaker 1: top tier Tim Burton for me.

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Speaker 2: I think it is not considered one of his best.

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Speaker 2: But anyway, but coming back to it, let's see the

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Speaker 2: other one saying, oh, I've seen Matilda long ago. I remember,

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Speaker 2: I think I liked that when I was a kid,

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Speaker 2: and The Fantastic Mister Fox, which I saw the Wes

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Speaker 2: Anderson adaptation and I liked that too.

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Speaker 1: Yeah, Wes Anderson came back and did a trio of

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Speaker 1: Roaldahl Schwartz for Netflix as well. I loved at least

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Speaker 1: one of them, and they're all good. And then Let's

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Speaker 1: See Matilda. We had the of course it became a

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Speaker 1: stage musical, and then they did the film adaptation of

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Speaker 1: the stage musical, and I really enjoyed that as well

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Speaker 1: as the original film. And I love both adaptations of

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Speaker 1: The Witches. Nicholas Rogues nineteen ninety versions starring Angelica Houston,

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Speaker 1: and I know it has some haters, but Robert Za

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Speaker 1: Machis's twenty twenty version starring Anne Hathaway, It's like, I'm sorry.

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Speaker 1: If you're gonna have Anne Hathaway play like a killer

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Speaker 1: mutant witch, I'm totally like, I'm totally on board for that,

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Speaker 1: and I thought she did a great job all right.

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Speaker 1: So outside of the aforementioned films and You Only Lived Twice,

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Speaker 1: Doll's screenplay credits include Let's See nineteen sixty eight's Chitty

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Speaker 1: Chitty Bang Bang. This was also based on a book

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Speaker 1: by Ian Fleming James Bond, James Bond's creator. And then

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Speaker 1: there's also nineteen seventy one's The Night Digger, also known

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Speaker 1: as The Roadbuilder, which is a horror film that I'm

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Speaker 1: not familiar with. There was also a nineteen sixty nine

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Speaker 1: film starring Gregory Peck and a young Ian McKellen titled

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Speaker 1: Death Where is Thy Stingling Ling? But it was it

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Speaker 1: was never finished, so all we have are I don't

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Speaker 1: know if there's any footage of it, but all I've

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Speaker 1: seen are just some stills.

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Speaker 2: With a title like that, How can it not be boded?

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Speaker 1: Yeah? Yeah, all right. I mentioned that there were some

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Speaker 1: changes made to the script. These were apparently made by

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Speaker 1: first Robert Kaufman nineteen thirty one through nineteen ninety one,

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Speaker 1: American screenwriter whose credits includes sixty SEVENS Divorce American Style,

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Speaker 1: seventy eight Freebie and the Bean, and seventy nine S

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Speaker 1: Loved First Bite. He was also a writer on The

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Speaker 1: Bob Newhart Show. I believe he maybe did some comedy

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Speaker 1: punching up comedic punching up in this picture. And then

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Speaker 1: David Selt Serb born nineteen forty American screenwriter, best known

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Speaker 1: for seventy six Is the Omen and seventy nine Is

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Speaker 1: The Prophecy, also apparently tinkered with the script a little.

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Speaker 2: Interesting apocalyptic horror connections.

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Speaker 1: Yeah, all right, Now getting into the cast, Yeah, we

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Speaker 1: got to, of course, start with Gene Wilder playing Willie

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Speaker 1: Wonk here. He lived nineteen thirty three through twenty sixteen,

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Speaker 1: a beloved American comedic actor, best remembered for his work

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Speaker 1: in the late sixties as well as in the seventies

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Speaker 1: and eighties. He worked on the stage in New York

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Speaker 1: during the nineteen fifties, in the early sixties in off

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Speaker 1: Broadway and finally Broadway productions, and during the early sixties

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Speaker 1: he started making TV appearances as well. He appeared in

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Speaker 1: a nineteen sixty six TV film adaptation of Death of

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Speaker 1: a Salesman and in sixty seven a couple of films

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Speaker 1: of note. First of all, he has a small part

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Speaker 1: in Bonnie and Clyde, which I had forgotten about his

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Speaker 1: role in this. I think he plays someone that he's like,

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Speaker 1: is he's a hostage or something that they take.

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Speaker 2: Is that guy like Faye Dunaway in it? Yeah?

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Speaker 1: Yeah, okay, yeah, that's the one, the Bonnie and Clyde. Okay,

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Speaker 1: But that same year he also co starred in the

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Speaker 1: Producers from mel Brooks, and this, of course is a

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Speaker 1: collaboration that would lead to two other of his best

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Speaker 1: remembered films with Brooks, Blazing Saddles and Young Frankenstein, which

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Speaker 1: I was shocked to remind myself. Both of these films

429
00:23:16,960 --> 00:23:18,879
Speaker 1: came out in seventy four that was the heck of

430
00:23:18,880 --> 00:23:21,600
Speaker 1: the year for mel Brooks and Gene Wilder on Fire.

431
00:23:24,040 --> 00:23:27,480
Speaker 1: So Blazing Saddles would lead also to four more films

432
00:23:27,880 --> 00:23:31,240
Speaker 1: in which Wilder co starred with comedian Richard Pryor seventy

433
00:23:31,280 --> 00:23:34,560
Speaker 1: six is Silver Streak, nineteen eighty Stir Crazy eighty nine,

434
00:23:34,640 --> 00:23:36,920
Speaker 1: See No Evil Here, No Evil in nineteen ninety one's

435
00:23:36,960 --> 00:23:40,760
Speaker 1: Another U. I should also mention this is not necessarily

436
00:23:40,840 --> 00:23:43,800
Speaker 1: his best work, but he did play the mock turtle

437
00:23:43,840 --> 00:23:46,600
Speaker 1: in nineteen ninety nine's Alice in Wonderland, so it seems

438
00:23:46,640 --> 00:23:48,920
Speaker 1: worth mentioning. In a discussion of Willie Wonka in the

439
00:23:49,000 --> 00:23:53,199
Speaker 1: Chocolate Factory, ohe quick insert here listener, Amy wrote in

440
00:23:53,280 --> 00:23:56,160
Speaker 1: after this episode published to remind me that while Richard

441
00:23:56,200 --> 00:23:58,800
Speaker 1: Pryor was one of the writers on Blazing Saddles and

442
00:23:58,920 --> 00:24:00,960
Speaker 1: was attached to a peer in it early on, he

443
00:24:01,040 --> 00:24:03,840
Speaker 1: of course doesn't actually share the screen with Gene Wilder

444
00:24:04,040 --> 00:24:07,119
Speaker 1: in this one at any point. Wilder's co star, Emblazing

445
00:24:07,119 --> 00:24:10,159
Speaker 1: Saddles is of course Cleven' Little and he's tremendous in it.

446
00:24:10,320 --> 00:24:12,360
Speaker 1: So thanks Amy for writing it and reminding me.

447
00:24:12,760 --> 00:24:15,000
Speaker 2: There is a well I already mentioned the Mad Hatter,

448
00:24:15,160 --> 00:24:19,639
Speaker 2: I think, but there is a Lewis Carrolinus. To Willie Walker,

449
00:24:19,720 --> 00:24:20,520
Speaker 2: I would say.

450
00:24:20,520 --> 00:24:24,040
Speaker 1: Mm hmm, yeah, yeah, absolutely now is a writer. Gene

451
00:24:24,040 --> 00:24:27,560
Speaker 1: Wilder's screenplay credits include Young Frankenstein, See No Evil, Hear

452
00:24:27,640 --> 00:24:30,320
Speaker 1: No Evil, and ninety nine's Murder in a Small Town,

453
00:24:30,400 --> 00:24:33,119
Speaker 1: all of which he also starred in. Additionally, he also

454
00:24:33,200 --> 00:24:36,480
Speaker 1: wrote and directed and starred in five films, including seventy

455
00:24:36,520 --> 00:24:39,679
Speaker 1: five's The Adventure of Sherlock Holmes Smarter Brother and nineteen

456
00:24:39,680 --> 00:24:42,560
Speaker 1: eighty six's Haunted Honeymoon, one of the films in which

457
00:24:42,560 --> 00:24:45,800
Speaker 1: he co starred with then wife Gilda Radner. Again, this

458
00:24:45,920 --> 00:24:48,400
Speaker 1: is just an amazing performance to watch, just to take

459
00:24:48,440 --> 00:24:50,920
Speaker 1: in all the little details of it, no matter what

460
00:24:51,080 --> 00:24:54,640
Speaker 1: mode Walk is in at the time, whether it's sarcasm,

461
00:24:54,680 --> 00:24:59,480
Speaker 1: whimsy mania or something else. I buy, like I say,

462
00:24:59,520 --> 00:25:01,760
Speaker 1: I just buy all of it, and I totally believe

463
00:25:01,880 --> 00:25:05,679
Speaker 1: that it is ultimately the different dimensions of a cohesive character.

464
00:25:06,280 --> 00:25:10,720
Speaker 2: It's very captivating, It's a highly charismatic performance. It doesn't

465
00:25:10,960 --> 00:25:15,880
Speaker 2: feel to me like a normal movie star performance. Instead,

466
00:25:16,040 --> 00:25:19,639
Speaker 2: something feels a little more improv comedy night to it,

467
00:25:19,680 --> 00:25:21,800
Speaker 2: if that makes any sense, But in a good way.

468
00:25:22,160 --> 00:25:24,520
Speaker 1: Yeah, there is kind of an improvisational feel at times,

469
00:25:24,640 --> 00:25:26,879
Speaker 1: and I'm to understand there are parts of the film

470
00:25:26,920 --> 00:25:31,040
Speaker 1: where they intentionally held things back from the children, the

471
00:25:31,320 --> 00:25:34,600
Speaker 1: child actors in the picture in a way kind of

472
00:25:34,600 --> 00:25:38,360
Speaker 1: fittingly manipulative for really walking the chocolate factory. I guess

473
00:25:38,440 --> 00:25:42,040
Speaker 1: this is just one approach to getting quality performances out

474
00:25:42,040 --> 00:25:45,480
Speaker 1: of young, you know, young actors who maybe you know,

475
00:25:45,520 --> 00:25:48,240
Speaker 1: don't have all the tools of an adult actor. Though,

476
00:25:48,640 --> 00:25:51,879
Speaker 1: of note, there are plenty of directors who have used

477
00:25:51,920 --> 00:25:56,439
Speaker 1: these techniques on adult actors, treating them like children in

478
00:25:56,520 --> 00:26:00,400
Speaker 1: order to get various assumingly you know, authentic reaction actions

479
00:26:00,440 --> 00:26:02,239
Speaker 1: out of them. One that comes to mind is when

480
00:26:02,280 --> 00:26:06,280
Speaker 1: we first meet Wonka, or when we first venture into

481
00:26:06,359 --> 00:26:08,760
Speaker 1: the Big Candy Room, like these are things that they

482
00:26:08,800 --> 00:26:10,520
Speaker 1: held back so that the kids would have a more

483
00:26:10,560 --> 00:26:12,080
Speaker 1: authentic response to them.

484
00:26:12,680 --> 00:26:17,440
Speaker 2: I started thinking after this viewing of the movie that

485
00:26:18,359 --> 00:26:20,240
Speaker 2: I think we sort of have to see the Willy

486
00:26:20,320 --> 00:26:24,879
Speaker 2: Wonka character as some kind of god or angel or

487
00:26:24,920 --> 00:26:28,120
Speaker 2: otherworldly being. And I've got a specific reason for that,

488
00:26:28,640 --> 00:26:33,080
Speaker 2: which is that he is presented in the end as benevolent,

489
00:26:34,080 --> 00:26:37,000
Speaker 2: which I think we're supposed to accept, but it doesn't

490
00:26:37,080 --> 00:26:40,000
Speaker 2: quite work if we think of him as a mortal man.

491
00:26:40,680 --> 00:26:43,639
Speaker 2: If he is a mortal man, the danger he puts

492
00:26:43,680 --> 00:26:46,679
Speaker 2: the children in throughout the movie would be a crime.

493
00:26:47,000 --> 00:26:50,880
Speaker 2: It's like only excusable because it's implied that they all

494
00:26:50,880 --> 00:26:53,680
Speaker 2: turn out okay in the end. But if he were

495
00:26:53,760 --> 00:26:56,919
Speaker 2: a mortal man with only mortal powers, there is no

496
00:26:57,040 --> 00:26:59,440
Speaker 2: way he could have known in advance that they would

497
00:26:59,480 --> 00:27:01,399
Speaker 2: all be all right in the end, to give all

498
00:27:01,440 --> 00:27:04,720
Speaker 2: the given all the weird threats they face. So he

499
00:27:04,800 --> 00:27:09,440
Speaker 2: could only be benevolent if he were somehow omnipotent and omniscient,

500
00:27:09,560 --> 00:27:13,240
Speaker 2: or at least had superhuman powers of foreknowledge and control.

501
00:27:13,520 --> 00:27:16,920
Speaker 2: And because he is benevolent peop we're told that, and

502
00:27:17,080 --> 00:27:19,879
Speaker 2: he you know, we accept it. I think he is

503
00:27:19,920 --> 00:27:23,720
Speaker 2: therefore necessarily a god, an angel, or a mayar. He

504
00:27:23,840 --> 00:27:25,119
Speaker 2: is goofy Saruman.

505
00:27:26,800 --> 00:27:29,159
Speaker 1: Yeah, that's a good point. Yeah, things like the fizzy

506
00:27:29,200 --> 00:27:32,719
Speaker 1: lifting drink experience, which we'll get to like it. If

507
00:27:32,760 --> 00:27:35,840
Speaker 1: he's just a mortal man, then this is just completely reckless,

508
00:27:35,880 --> 00:27:38,439
Speaker 1: Like he wasn't even there to stop them, give them

509
00:27:38,440 --> 00:27:41,640
Speaker 1: any hints about how to save themselves from the rotating

510
00:27:41,720 --> 00:27:45,120
Speaker 1: fan blades at the top of the room. But yeah,

511
00:27:45,240 --> 00:27:47,800
Speaker 1: he knows and sees everything, and we get some indication

512
00:27:48,200 --> 00:27:51,000
Speaker 1: that he does. Then he was in control the whole time,

513
00:27:51,040 --> 00:27:54,200
Speaker 1: but not in a mortal sense, in a divine sense.

514
00:27:54,440 --> 00:27:55,760
Speaker 2: I mean, I was thinking about this when I was

515
00:27:55,760 --> 00:27:58,480
Speaker 2: watching poor A Gusta's glup stuck in a pipe. I mean,

516
00:27:58,560 --> 00:28:02,520
Speaker 2: that's horrible things. It was only if he could magically

517
00:28:02,600 --> 00:28:04,720
Speaker 2: know ahead of time that he would get unstuck and

518
00:28:04,760 --> 00:28:07,320
Speaker 2: be okay, that this is like, oh well he's all right.

519
00:28:07,160 --> 00:28:10,320
Speaker 1: Then yeah, yeah, especially as he's you know, saying like, oh,

520
00:28:10,359 --> 00:28:15,040
Speaker 1: I don't know, he might be okay, yeah. Yeah. He

521
00:28:15,080 --> 00:28:19,520
Speaker 1: takes a very detached view on the potential fates of

522
00:28:19,560 --> 00:28:22,760
Speaker 1: the children, though again later on in a scene that

523
00:28:22,880 --> 00:28:26,120
Speaker 1: I had completely forgotten about until I rewatched the film

524
00:28:26,320 --> 00:28:30,040
Speaker 1: in July, that where he tells Charlie, I don't worry

525
00:28:30,040 --> 00:28:32,320
Speaker 1: about any of the children. They're all Okay, none of

526
00:28:32,320 --> 00:28:35,680
Speaker 1: them were hurt. They just might be a little wiser. Now.

527
00:28:36,480 --> 00:28:38,920
Speaker 1: I'd totally forgotten that happened. I thought that the movie

528
00:28:39,000 --> 00:28:42,320
Speaker 1: just left the door open that they were all dead. Yeah,

529
00:28:42,520 --> 00:28:44,239
Speaker 1: all right, we'll have more to say about Wonk as

530
00:28:44,280 --> 00:28:46,000
Speaker 1: we proceed, but let's look at some of the other

531
00:28:46,040 --> 00:28:50,560
Speaker 1: cast members. We have Jack Albertson playing Grandpa. Joe Albertson

532
00:28:50,640 --> 00:28:52,680
Speaker 1: lived nineteen oh seven through nineteen eighty one. This is

533
00:28:52,760 --> 00:28:57,160
Speaker 1: Charlie's lovable, grumpy grandfather. Albertson was a vaudeville and stage

534
00:28:57,240 --> 00:28:59,920
Speaker 1: veteran whose uncredited bit roles go back to at least

535
00:29:00,000 --> 00:29:03,080
Speaker 1: I think nineteen forty, maybe even a little earlier. He

536
00:29:03,160 --> 00:29:05,760
Speaker 1: even pops up in the background in forty seven's Miracle

537
00:29:05,760 --> 00:29:08,280
Speaker 1: on thirty Fourth Street. He did a lot of TV

538
00:29:08,400 --> 00:29:11,040
Speaker 1: and occasional bit parts through the fifties, and in the

539
00:29:11,080 --> 00:29:14,680
Speaker 1: sixties earned himself a Tony, an Emmy, and an Oscar.

540
00:29:15,320 --> 00:29:17,520
Speaker 1: So he won the Tony for the sixty four play

541
00:29:17,600 --> 00:29:20,480
Speaker 1: The subject was Roses, and he won the Oscar for

542
00:29:20,520 --> 00:29:23,719
Speaker 1: the nineteen sixty eight film adaptation of that play, and

543
00:29:23,760 --> 00:29:26,320
Speaker 1: he won the Emmy for the sitcom Chico and the Man.

544
00:29:26,480 --> 00:29:31,760
Speaker 1: Other major films featuring Albertson included seventy twos The Poseidon Adventure.

545
00:29:31,800 --> 00:29:34,000
Speaker 1: In nineteen eighty one's The Fox and the Hound, the

546
00:29:34,360 --> 00:29:37,120
Speaker 1: Disney animated film, he provides one of the voices, and

547
00:29:37,160 --> 00:29:39,920
Speaker 1: he also appeared in a single horror film, nineteen eighty

548
00:29:39,920 --> 00:29:44,160
Speaker 1: one's Dead and Buried, written by Dan O'Bannon and Ronald shusan.

549
00:29:44,240 --> 00:29:45,360
Speaker 2: Ah the Alien Duo.

550
00:29:45,600 --> 00:29:48,920
Speaker 1: Yeah, I have to admit that I like the character

551
00:29:48,960 --> 00:29:52,280
Speaker 1: of Grandpa Joe a little less in my recent rewatches.

552
00:29:53,920 --> 00:29:57,840
Speaker 1: He's always bad mouthing the other children to Charlie right

553
00:29:57,920 --> 00:30:01,400
Speaker 1: in front of the kids and their parents, which I'm I,

554
00:30:01,520 --> 00:30:04,600
Speaker 1: you know, I On one level, it totally feels on

555
00:30:04,720 --> 00:30:08,000
Speaker 1: brand for a grumpy old man to do that, and

556
00:30:08,320 --> 00:30:11,480
Speaker 1: he's passing judgments that the film agrees with and we

557
00:30:11,640 --> 00:30:13,680
Speaker 1: as the viewer are supposed to agree with as well.

558
00:30:13,920 --> 00:30:16,160
Speaker 1: But I'm also kind of like, come on, dude, those

559
00:30:16,200 --> 00:30:18,320
Speaker 1: are kids. Don't say that in front of the kids

560
00:30:18,360 --> 00:30:21,400
Speaker 1: and their parents. That's just you're being a little rude.

561
00:30:22,000 --> 00:30:23,960
Speaker 1: You're gonna get an Opa Loompus song if you keep

562
00:30:24,000 --> 00:30:28,800
Speaker 1: this up, dude. Still great performance, no doubt about it. Yeah,

563
00:30:28,920 --> 00:30:31,800
Speaker 1: all right, who's playing Charlie. It is Peter Astrom born

564
00:30:31,880 --> 00:30:35,600
Speaker 1: nineteen fifty seven, child actor and future veterinarian. This is

565
00:30:35,640 --> 00:30:38,000
Speaker 1: his only film role, so this is sometimes the case

566
00:30:38,040 --> 00:30:40,280
Speaker 1: with child actor. Is this one's one and done. But

567
00:30:41,240 --> 00:30:44,840
Speaker 1: great kid performance here, And you know, he feels just

568
00:30:44,960 --> 00:30:49,800
Speaker 1: authentically like a real child, doesn't even necessarily feel like

569
00:30:49,840 --> 00:30:52,080
Speaker 1: a child actor. And I mean that in you know,

570
00:30:52,120 --> 00:30:52,960
Speaker 1: all the best ways.

571
00:30:53,360 --> 00:30:57,160
Speaker 2: Yes, there is a sweet, regular wholesomeness to him.

572
00:30:57,560 --> 00:31:00,480
Speaker 1: Yeah, all right. Getting into some of the other rental

573
00:31:00,680 --> 00:31:04,600
Speaker 1: unit and child duos, let's start with the Salts. Mister

574
00:31:04,680 --> 00:31:07,480
Speaker 1: Salt is played by Roy Kaneer who lived nineteen thirty

575
00:31:07,480 --> 00:31:11,240
Speaker 1: four through nineteen eighty eight, a rotun British character actor

576
00:31:11,240 --> 00:31:13,960
Speaker 1: who is great here as the nervous straight man to

577
00:31:14,040 --> 00:31:19,800
Speaker 1: Wonka's antics and is the overclocked daughter spoiler the father

578
00:31:19,960 --> 00:31:20,920
Speaker 1: of Veruka Salt.

579
00:31:21,200 --> 00:31:24,280
Speaker 2: As we learn in the Opa Lumpa song about Varuka Salt,

580
00:31:24,680 --> 00:31:26,880
Speaker 2: it is the mother and the father's fault, that's what

581
00:31:26,920 --> 00:31:30,720
Speaker 2: they say. And so this guy is to blame for Veruka,

582
00:31:30,760 --> 00:31:33,400
Speaker 2: who is a nightmar incarnate. But I guess we'll get

583
00:31:33,440 --> 00:31:34,160
Speaker 2: to her in a second.

584
00:31:34,640 --> 00:31:38,080
Speaker 1: Kannier also appears in sixty five's help He's in nineteen

585
00:31:38,120 --> 00:31:40,920
Speaker 1: seventy Scrooge. More on that in a bit, and he

586
00:31:40,960 --> 00:31:44,600
Speaker 1: provided the voice of Pipkin in nineteen seventy eight's Watershipped Down.

587
00:31:45,000 --> 00:31:47,720
Speaker 1: His other credits include four episodes of The Avengers playing

588
00:31:47,760 --> 00:31:51,280
Speaker 1: different roles, nineteen seventies Tastes the Blood of Dracula and

589
00:31:51,360 --> 00:31:53,800
Speaker 1: seventy two is Alice's Adventures in Wonderland, in which he

590
00:31:53,840 --> 00:31:57,640
Speaker 1: plays the chechire Cat and then playing his daughter. Veruka

591
00:31:57,640 --> 00:32:01,760
Speaker 1: Assault is Julie don Cole born nineteen fifty seven. This

592
00:32:01,920 --> 00:32:05,520
Speaker 1: is just an amazing performance. Everything that Varuk Assault is,

593
00:32:07,000 --> 00:32:09,959
Speaker 1: which is a lot, Julie don Cole just does an

594
00:32:09,960 --> 00:32:12,800
Speaker 1: amazing job here bringing it to life.

595
00:32:13,240 --> 00:32:17,760
Speaker 2: She is not subtle, just screeching and screeching from moment one.

596
00:32:17,920 --> 00:32:21,520
Speaker 2: I want a ticket, I want to go first. People

597
00:32:21,600 --> 00:32:24,600
Speaker 2: talk about the boat ride as the scariest part of

598
00:32:24,640 --> 00:32:27,320
Speaker 2: this movie. I think I used to think that, but

599
00:32:27,440 --> 00:32:30,160
Speaker 2: now that I am a parent, I think Varuka Sault

600
00:32:30,200 --> 00:32:33,719
Speaker 2: is the most frightening thing in the film. I'd be like,

601
00:32:34,440 --> 00:32:36,920
Speaker 2: what if I become the mister Salt and I create

602
00:32:36,960 --> 00:32:39,720
Speaker 2: a child like this? I don't think that's quite possible.

603
00:32:39,760 --> 00:32:41,320
Speaker 2: I don't think there are real children.

604
00:32:41,440 --> 00:32:46,160
Speaker 1: This bad Varuk assault is an exaggeration, to be sure, though.

605
00:32:46,200 --> 00:32:48,040
Speaker 1: I think one of the interesting things about All the

606
00:32:48,120 --> 00:32:51,440
Speaker 1: Children is that all the children are to varying degrees

607
00:32:51,640 --> 00:32:56,160
Speaker 1: exaggerations of aspects of all children, Like there's a little

608
00:32:56,240 --> 00:32:59,520
Speaker 1: Varuk assault sprinkled in every child. Every child has some

609
00:32:59,560 --> 00:33:05,440
Speaker 1: sort of of greed or entitledness. And you know, when

610
00:33:05,440 --> 00:33:07,959
Speaker 1: you start thinking about the movie along those lines, it's

611
00:33:08,040 --> 00:33:10,440
Speaker 1: kind of like Wonker, You're just punishing children for being children.

612
00:33:11,120 --> 00:33:14,000
Speaker 1: What a grumpy stance to take on everything. But that

613
00:33:14,080 --> 00:33:18,680
Speaker 1: being said, verukasault really is the worst or possibly the best,

614
00:33:18,840 --> 00:33:23,560
Speaker 1: depending on your viewpoint on human behavior. But yeah, Julie

615
00:33:23,600 --> 00:33:26,040
Speaker 1: don Cole's great here. This is her first TV or

616
00:33:26,040 --> 00:33:28,080
Speaker 1: film role, and she'd continue to act until at least

617
00:33:28,080 --> 00:33:31,480
Speaker 1: twenty thirteen. Her subsequent credits included the seventy seven poll

618
00:33:31,560 --> 00:33:34,719
Speaker 1: Dark series and an episode of Tales of the Unexpected

619
00:33:34,720 --> 00:33:35,280
Speaker 1: in eighty two.

620
00:33:35,720 --> 00:33:38,320
Speaker 2: Hats off to Cole, she does a great job. It

621
00:33:37,960 --> 00:33:39,600
Speaker 2: makes it makes your blood run cold.

622
00:33:39,920 --> 00:33:42,560
Speaker 1: All right, let's move on to the Beauregards. We have

623
00:33:42,680 --> 00:33:46,400
Speaker 1: Mister Beauregard played by Leonard Stone lived nineteen twenty three

624
00:33:46,480 --> 00:33:48,840
Speaker 1: through twenty eleven American actor whose TV credits go back

625
00:33:48,880 --> 00:33:51,560
Speaker 1: to the mid fifties, and those credits include a lot

626
00:33:51,560 --> 00:33:55,080
Speaker 1: of cop and cop adjacent shows. But there's also the

627
00:33:55,160 --> 00:33:57,880
Speaker 1: nineteen sixty three episode of The Outer Limits the Architects

628
00:33:57,880 --> 00:34:00,360
Speaker 1: of Fear, and he pops up in seventy three is

629
00:34:00,440 --> 00:34:03,800
Speaker 1: Soylent Green. It all makes sense because this is a

630
00:34:03,920 --> 00:34:07,760
Speaker 1: very very straight laced American car salesman character.

631
00:34:07,880 --> 00:34:09,800
Speaker 2: Here, I can get you a deal on a Chrysler.

632
00:34:09,920 --> 00:34:14,080
Speaker 1: Yeah. Yeah, he's great at what he does here, and

633
00:34:14,160 --> 00:34:18,680
Speaker 1: you know, he's concerned about contracts and so forth. And

634
00:34:18,719 --> 00:34:22,960
Speaker 1: then his daughter is Violet, and she's played by Denise Nickerson,

635
00:34:23,000 --> 00:34:26,360
Speaker 1: who lived nineteen fifty seven through twenty nineteen. She previously

636
00:34:26,360 --> 00:34:29,000
Speaker 1: appeared on TV's Flipper and Dark Shadows, and she'd go

637
00:34:29,040 --> 00:34:30,960
Speaker 1: on to appear as a grown actor in seventy eight

638
00:34:31,080 --> 00:34:36,319
Speaker 1: zero to sixties, starring Darren McGavin. Violet Violet likes gum.

639
00:34:36,520 --> 00:34:38,160
Speaker 1: That's the Violet's big thing.

640
00:34:38,800 --> 00:34:41,680
Speaker 2: Yeah, I can't remember. We have already talked about this.

641
00:34:41,719 --> 00:34:43,640
Speaker 2: I can't remember if it was on MIC or off now,

642
00:34:43,680 --> 00:34:47,719
Speaker 2: But it is incongruous to say the least, to say,

643
00:34:47,760 --> 00:34:51,520
Speaker 2: like each of these children has bad qualities, And like,

644
00:34:51,560 --> 00:34:54,239
Speaker 2: on one hand, you've got Varruka Salt, who's just like

645
00:34:54,680 --> 00:34:57,840
Speaker 2: evil incarnate, and then you've got Violet, whose problem is

646
00:34:57,880 --> 00:35:00,279
Speaker 2: she choose gum. She I mean, she's also a little

647
00:35:00,320 --> 00:35:03,040
Speaker 2: bit of she's a loud mouth, she's a bit obnoxious,

648
00:35:03,080 --> 00:35:06,200
Speaker 2: but it's not like really blameworthy in that sense.

649
00:35:06,440 --> 00:35:08,920
Speaker 1: Yeah, there are a number of things that you can

650
00:35:08,960 --> 00:35:11,720
Speaker 1: attribute to her. Yeah, she is loud, she's a little rude,

651
00:35:11,760 --> 00:35:14,799
Speaker 1: and she picks her nose at one point and so

652
00:35:14,840 --> 00:35:16,680
Speaker 1: forth does a lot of things again that a lot

653
00:35:16,680 --> 00:35:20,680
Speaker 1: of children do. But the song the Umpah Lumpas Sing

654
00:35:20,800 --> 00:35:25,960
Speaker 1: is specifically about her chewing too much gum. So yeah,

655
00:35:26,000 --> 00:35:27,759
Speaker 1: she also doesn't take no for an answer. There's a

656
00:35:27,760 --> 00:35:31,879
Speaker 1: bit of a Varukas sault to Violet as well. All right,

657
00:35:31,880 --> 00:35:36,480
Speaker 1: now let's move on to the TVs. That's spelled tee vee,

658
00:35:36,680 --> 00:35:40,640
Speaker 1: but it is pronounced like TV television, So missus TV

659
00:35:40,880 --> 00:35:44,520
Speaker 1: is played by Nora Denny, credited here as Dodo Denny.

660
00:35:45,320 --> 00:35:47,520
Speaker 1: She lived nineteen twenty seven through two thousand and five,

661
00:35:47,640 --> 00:35:51,440
Speaker 1: longtime TV staple who got her start as local horror

662
00:35:51,440 --> 00:35:55,640
Speaker 1: host Marilyn the Witch on KCMO TV five Kansas City's

663
00:35:55,960 --> 00:35:56,759
Speaker 1: The Witching Hour.

664
00:35:57,440 --> 00:35:58,640
Speaker 2: I would love to see that.

665
00:35:59,040 --> 00:36:00,840
Speaker 1: I included a picture for why Are You Here? I

666
00:36:00,840 --> 00:36:03,880
Speaker 1: haven't found any footage, but I found these various stills,

667
00:36:03,880 --> 00:36:07,520
Speaker 1: and yeah, it's Nora Denny in a full blown witch costume.

668
00:36:07,680 --> 00:36:11,120
Speaker 1: And she would have been presenting various horror movies on

669
00:36:11,680 --> 00:36:13,640
Speaker 1: Kansas City Television. So I love that.

670
00:36:13,880 --> 00:36:16,360
Speaker 2: My god, I would love to let this witch show

671
00:36:16,400 --> 00:36:17,840
Speaker 2: me creature with the Adam brain.

672
00:36:19,400 --> 00:36:21,880
Speaker 1: She also pops up in nineteen eighty four Splash the

673
00:36:21,920 --> 00:36:25,799
Speaker 1: Mermaid movie. Mike TV is played by Piis Themen born

674
00:36:25,880 --> 00:36:28,240
Speaker 1: nineteen fifty nine, child actor who appeared in a handful

675
00:36:28,280 --> 00:36:30,680
Speaker 1: of credits, but clearly this is the big one.

676
00:36:30,840 --> 00:36:33,720
Speaker 2: While we're on the subject of evaluating these children's sins,

677
00:36:33,920 --> 00:36:38,279
Speaker 2: is Mike TV's sin that he is obsessed with violence

678
00:36:38,600 --> 00:36:39,800
Speaker 2: or that he watches TV?

679
00:36:40,600 --> 00:36:43,439
Speaker 1: The song is about TV, that he's watching too much

680
00:36:43,440 --> 00:36:47,759
Speaker 1: TV and maybe not reading enough books. But yeah, we

681
00:36:47,800 --> 00:36:51,520
Speaker 1: do see that he's really into violence and toy guns,

682
00:36:51,880 --> 00:36:54,200
Speaker 1: and this seems to be part of the whole TV

683
00:36:54,280 --> 00:36:57,680
Speaker 1: obsession package. Yeah, all right, now let's meet the Glops.

684
00:36:57,960 --> 00:37:00,799
Speaker 1: We have Missus Gluke played by Ursula Right, who lived

685
00:37:00,880 --> 00:37:04,839
Speaker 1: nineteen fourteen through nineteen ninety eight, German character actress who

686
00:37:04,880 --> 00:37:07,800
Speaker 1: mostly worked in German television in the sixties through nineties,

687
00:37:07,920 --> 00:37:10,560
Speaker 1: as well as in some supporting roles in some German

688
00:37:10,600 --> 00:37:13,880
Speaker 1: exploitation films of the sixties and seventies, such as seventy

689
00:37:13,880 --> 00:37:16,719
Speaker 1: threes She Devils of the SS and seventy Fours the

690
00:37:16,760 --> 00:37:20,520
Speaker 1: Devil's Female and then Augustus Glup the child is played

691
00:37:20,520 --> 00:37:24,600
Speaker 1: by Michael Bolner for nineteen fifty eight German Child Actor

692
00:37:24,680 --> 00:37:26,280
Speaker 1: and this is I believe his only credit.

693
00:37:26,520 --> 00:37:29,000
Speaker 2: I just today made this connection for the first time,

694
00:37:29,080 --> 00:37:32,120
Speaker 2: but I believe I, like many people out there, might

695
00:37:32,160 --> 00:37:37,080
Speaker 2: have become familiar with this character in parody form before

696
00:37:37,120 --> 00:37:40,520
Speaker 2: seeing it in the Willy Wonker movie. And that character

697
00:37:40,640 --> 00:37:42,080
Speaker 2: is Uder on the Simpson.

698
00:37:43,000 --> 00:37:45,399
Speaker 1: I hadn't thought about that before, but I think you're right. Yeah,

699
00:37:45,440 --> 00:37:49,440
Speaker 1: like Uder is basically Augustus Glupe in later Housen. Yeah,

700
00:37:49,680 --> 00:37:51,800
Speaker 1: all right, so those are the children, those are the

701
00:37:51,800 --> 00:37:54,000
Speaker 1: grown ups. We have a couple of other supporting characters

702
00:37:54,000 --> 00:37:57,680
Speaker 1: of note. Aubrey Woods plays Bill, the candy store owner.

703
00:37:58,040 --> 00:38:00,560
Speaker 1: He lived nineteen twenty eight through twenty thirteen. Kind of

704
00:38:00,560 --> 00:38:02,799
Speaker 1: a minor character in many ways. He just runs the

705
00:38:02,840 --> 00:38:05,640
Speaker 1: local candy store, but he gets to sing one of

706
00:38:05,640 --> 00:38:08,360
Speaker 1: the movie's best songs, The Candyman can.

707
00:38:08,800 --> 00:38:11,359
Speaker 2: Why does the world Taste sweet? Because the Candyman thinks

708
00:38:11,360 --> 00:38:11,800
Speaker 2: it should?

709
00:38:12,080 --> 00:38:12,640
Speaker 1: Yeah?

710
00:38:12,680 --> 00:38:14,359
Speaker 2: Really, giving the candyman a lot of.

711
00:38:14,360 --> 00:38:17,040
Speaker 1: Power, yeah, power that he does seem to have.

712
00:38:17,480 --> 00:38:18,120
Speaker 2: Yeah.

713
00:38:18,560 --> 00:38:20,680
Speaker 1: Now. One of the interesting things about Aubrey Woods is

714
00:38:20,680 --> 00:38:24,040
Speaker 1: the same year he also appeared in The Abominable Doctor Fibes.

715
00:38:24,080 --> 00:38:28,440
Speaker 1: He plays the Goldsmith and the m Okay. Longtime British

716
00:38:28,520 --> 00:38:31,640
Speaker 1: character actor here, who also appeared in the seventy two

717
00:38:31,719 --> 00:38:34,400
Speaker 1: Days of the Dalek series on Doctor Who, and he

718
00:38:34,440 --> 00:38:37,360
Speaker 1: also pops up in nineteen seventy two's ZPG. Now we

719
00:38:37,360 --> 00:38:40,759
Speaker 1: should mention mister Slugworth as well, at least playing the

720
00:38:40,760 --> 00:38:44,680
Speaker 1: physical mister Slugworth. A different actor does the voice, but

721
00:38:44,800 --> 00:38:48,799
Speaker 1: Gunt Meisner plays this particular character. He lived nineteen twenty

722
00:38:48,800 --> 00:38:51,600
Speaker 1: six through nineteen ninety four. German actor with a great

723
00:38:51,680 --> 00:38:54,479
Speaker 1: menacing face. He'd go on to appear in seventy eight's

724
00:38:54,520 --> 00:38:57,359
Speaker 1: The Boys from Brazil and played Hitler in the eighty

725
00:38:57,360 --> 00:39:00,280
Speaker 1: three mini series The Wins of War. Other credits includes

726
00:39:00,320 --> 00:39:03,560
Speaker 1: seventy seven's The Serpent's egg, eighty four's under the volcano,

727
00:39:03,719 --> 00:39:05,760
Speaker 1: and eighty six is in a glass cage.

728
00:39:06,120 --> 00:39:10,240
Speaker 2: Not surprised he gets Nazi roles. He has that look,

729
00:39:10,640 --> 00:39:13,560
Speaker 2: that creepy, that creepy kind of look like the guy

730
00:39:13,560 --> 00:39:17,680
Speaker 2: who plays the bad guy in Raiders of the Lost Arc.

731
00:39:18,160 --> 00:39:21,600
Speaker 1: Yeah, yeah, he just has a good, good German villain

732
00:39:21,680 --> 00:39:24,680
Speaker 1: appearance for sure. Now I'll mention in passing here that

733
00:39:24,680 --> 00:39:27,960
Speaker 1: the cinematographer on this film was Arthur Evanston, who lived

734
00:39:28,040 --> 00:39:30,759
Speaker 1: nineteen twenty two through nineteen ninety seven. He was an

735
00:39:30,760 --> 00:39:34,080
Speaker 1: Academy Award winning cinematographer for nineteen seventies and of One

736
00:39:34,120 --> 00:39:37,160
Speaker 1: Thousand Days, and his other credits include sixty Eights Where

737
00:39:37,200 --> 00:39:39,560
Speaker 1: Eagles Dare and eighty four is the Bounty. And this

738
00:39:39,600 --> 00:39:42,120
Speaker 1: brings us to the music. The music comes to us

739
00:39:42,200 --> 00:39:47,000
Speaker 1: via songwriting partners Leslie Brickis and Anthony Newley, for which

740
00:39:47,040 --> 00:39:49,840
Speaker 1: they received an Academy Award nomination, and these two have

741
00:39:49,960 --> 00:39:53,800
Speaker 1: loads of credentials. Both have lyrics and music credits. Leslie

742
00:39:53,800 --> 00:39:57,000
Speaker 1: Brickis lived nineteen thirty one through twenty twenty one, three

743
00:39:57,040 --> 00:40:01,040
Speaker 1: time Oscar winner, whose other big film music include nineteen

744
00:40:01,080 --> 00:40:05,000
Speaker 1: sixty seven's Doctor Doolittle and one of my absolute favorites

745
00:40:05,080 --> 00:40:07,960
Speaker 1: nineteen seventy Scrooge, starring Albert Finney.

746
00:40:08,200 --> 00:40:10,719
Speaker 2: Oh, it's been so long since I've seen that that's

747
00:40:10,760 --> 00:40:14,400
Speaker 2: actually a musical. Yeah, yeah, I forgotten that aspect of it.

748
00:40:14,560 --> 00:40:17,000
Speaker 1: Oh, it's such a good musical. I mean, it's telling

749
00:40:17,080 --> 00:40:19,759
Speaker 1: that I love Scrooge and I love Willy Wonka, so

750
00:40:19,840 --> 00:40:22,640
Speaker 1: it makes sense that they're shared musical dna here. But yeah,

751
00:40:22,640 --> 00:40:24,759
Speaker 1: Scrooge has a load of great songs, just a great

752
00:40:24,800 --> 00:40:27,880
Speaker 1: performance overall, and also just a in many ways a weird,

753
00:40:28,920 --> 00:40:33,240
Speaker 1: weird adaptation of a Christmas Carol with devils and rotting

754
00:40:33,320 --> 00:40:34,520
Speaker 1: ghosts and so forth.

755
00:40:34,760 --> 00:40:37,759
Speaker 2: Oh, we can bookmark that for Christmas season this year.

756
00:40:38,200 --> 00:40:40,640
Speaker 1: Yeah, you know, I got the family to watch it

757
00:40:40,680 --> 00:40:43,600
Speaker 1: with me this previous Christmas. I'm like, Okay, now's the time.

758
00:40:44,160 --> 00:40:46,480
Speaker 1: I know y'all are hesitant, but now you've got to

759
00:40:46,480 --> 00:40:50,239
Speaker 1: watch Scrooge with me. Maybe they'll watch it again. There's

760
00:40:50,280 --> 00:40:53,359
Speaker 1: more musical energy in the family at the moment, all right.

761
00:40:53,400 --> 00:40:56,799
Speaker 1: And then the other individual, Anthony Newley lived nineteen thirty

762
00:40:56,800 --> 00:41:00,360
Speaker 1: one through nineteen ninety nine, actor, comedian, singer, and poser,

763
00:41:00,680 --> 00:41:03,439
Speaker 1: who also gave us the Grammy winning song what kind

764
00:41:03,440 --> 00:41:07,200
Speaker 1: of Fool Am I? As well as Feeling Good, co

765
00:41:07,239 --> 00:41:11,080
Speaker 1: written with Brickus and famously performed by Nina Simone. This

766
00:41:11,200 --> 00:41:13,160
Speaker 1: is that song. You might not recognize it by the title,

767
00:41:13,239 --> 00:41:15,560
Speaker 1: but it has the lyrics It's a new day, it's

768
00:41:15,560 --> 00:41:18,200
Speaker 1: a new dawn, It's a new life for me. They

769
00:41:18,200 --> 00:41:21,080
Speaker 1: were the original writers, so that that amazing song that's

770
00:41:21,400 --> 00:41:25,719
Speaker 1: been covered so perfectly by Nina Simone. And he also

771
00:41:25,760 --> 00:41:28,000
Speaker 1: co wrote the lyrics to the Goldfinger theme song.

772
00:41:28,320 --> 00:41:37,800
Speaker 2: Oh okay, He's a man, a man yeahing rhymes spider

773
00:41:37,880 --> 00:41:38,560
Speaker 2: with Midas.

774
00:41:39,960 --> 00:41:43,080
Speaker 1: That's just that's just musical genius right there. So yet

775
00:41:43,239 --> 00:41:44,759
Speaker 1: to be clear. We'll come back to this as we

776
00:41:44,800 --> 00:41:47,960
Speaker 1: talk about the individual songs. This this movie has some

777
00:41:48,160 --> 00:41:50,840
Speaker 1: amazing musical numbers in it. Uh. There were one or

778
00:41:50,840 --> 00:41:55,120
Speaker 1: two that are completely forgettable that I completely forgot existed.

779
00:41:55,480 --> 00:41:57,480
Speaker 1: But for the most part, we have some real bangers

780
00:41:57,480 --> 00:41:58,840
Speaker 1: in this this this film.

781
00:41:59,160 --> 00:42:01,600
Speaker 2: Do you think they all wrote the Boat Tunnel song

782
00:42:01,719 --> 00:42:16,280
Speaker 2: even though it's basically a cappella I believe so, yes, Okay, yeah, okay,

783
00:42:16,360 --> 00:42:17,720
Speaker 2: is it time to talk about the plot.

784
00:42:17,920 --> 00:42:20,400
Speaker 1: Yeah, let's do it. And I think one of the

785
00:42:20,800 --> 00:42:22,880
Speaker 1: fun things here is we're going to have to really

786
00:42:23,360 --> 00:42:26,359
Speaker 1: acknowledge that it takes us a little while to get

787
00:42:26,440 --> 00:42:29,880
Speaker 1: to the chocolate factory. The chocolate factory is the part

788
00:42:30,040 --> 00:42:33,160
Speaker 1: that I think most of us remember the most, especially

789
00:42:33,200 --> 00:42:35,560
Speaker 1: from catching it on television, But there are a number

790
00:42:35,560 --> 00:42:37,200
Speaker 1: of steps we have to go through in order to

791
00:42:37,200 --> 00:42:37,600
Speaker 1: get there.

792
00:42:37,800 --> 00:42:40,919
Speaker 2: The parts that I remember the least are all of

793
00:42:40,960 --> 00:42:45,640
Speaker 2: the news segments and everything like that when they announced

794
00:42:45,680 --> 00:42:48,280
Speaker 2: the contest. But some of that stuff was really funny.

795
00:42:48,560 --> 00:42:49,680
Speaker 2: I thought it held up good.

796
00:42:50,480 --> 00:42:52,520
Speaker 1: I suspect, and I have not looked this up at all.

797
00:42:52,600 --> 00:42:55,000
Speaker 1: I suspect this is where they made some of the

798
00:42:55,840 --> 00:42:59,680
Speaker 1: edited for television cuts in order to fit it down

799
00:43:00,320 --> 00:43:01,719
Speaker 1: into the right time bright.

800
00:43:02,840 --> 00:43:05,719
Speaker 2: So the opening credits play over hypnotic footage of the

801
00:43:05,760 --> 00:43:08,960
Speaker 2: candy making process. We get a very how It's made

802
00:43:09,080 --> 00:43:13,240
Speaker 2: style montage of milk, chocolate waterfalls, and these churning dunes

803
00:43:13,280 --> 00:43:16,719
Speaker 2: of cocoa powder, and then the action opens on a

804
00:43:16,800 --> 00:43:20,200
Speaker 2: clock tower with a bell clanging down in the city below.

805
00:43:20,320 --> 00:43:24,200
Speaker 2: We see heavy schoolhouse doors creak open and children come

806
00:43:24,280 --> 00:43:26,640
Speaker 2: running out. So school's out for the day, and where

807
00:43:26,680 --> 00:43:28,960
Speaker 2: are the kids going? They are all running to the

808
00:43:29,000 --> 00:43:34,200
Speaker 2: nearby candy shop to get some treats. Now, personal experience question, Rob,

809
00:43:34,239 --> 00:43:37,560
Speaker 2: because I can think of one place in particular I've

810
00:43:37,600 --> 00:43:41,320
Speaker 2: had this experience. Have you ever been in a store

811
00:43:41,480 --> 00:43:44,319
Speaker 2: that's like adjacent to a school that in the same way,

812
00:43:44,560 --> 00:43:47,200
Speaker 2: just gets flooded with children when the bell rings?

813
00:43:47,600 --> 00:43:50,520
Speaker 1: Oh? Yes, Actually, there is a market in one of

814
00:43:50,560 --> 00:43:53,200
Speaker 1: the adjoining neighborhoods that is, you know, handy for picking

815
00:43:53,239 --> 00:43:56,080
Speaker 1: up odds and ends. And if you go around the

816
00:43:56,120 --> 00:43:58,600
Speaker 1: time school gets out, there are going to be a

817
00:43:58,600 --> 00:44:01,080
Speaker 1: bunch of kids in there, and they they're focused on

818
00:44:01,080 --> 00:44:01,960
Speaker 1: the sugar retreats.

819
00:44:02,280 --> 00:44:04,080
Speaker 2: Yeah, good luck. You're trying to go in there for

820
00:44:04,120 --> 00:44:06,160
Speaker 2: a couple of groceries on the way home, and it's

821
00:44:06,200 --> 00:44:08,719
Speaker 2: like right when school is out, you are you're not

822
00:44:08,719 --> 00:44:09,919
Speaker 2: getting out anytime soon.

823
00:44:10,560 --> 00:44:13,680
Speaker 1: But a candy store, that's that's perfect. Nobody's dropping by

824
00:44:13,760 --> 00:44:16,319
Speaker 1: to get toilet paper, or if they are, it's some

825
00:44:16,360 --> 00:44:19,600
Speaker 1: sort of novelty toilet paper that's like sugar coated.

826
00:44:19,800 --> 00:44:22,040
Speaker 2: There's not like a dad trying to buy beer there.

827
00:44:22,080 --> 00:44:24,880
Speaker 2: Who's the twenty fifth person in line and all the

828
00:44:24,960 --> 00:44:29,200
Speaker 2: kids getting candy. Yeah, But and I think I'm thinking

829
00:44:29,200 --> 00:44:32,520
Speaker 2: of the exact same store you are in Atlanta. But yeah,

830
00:44:32,520 --> 00:44:34,919
Speaker 2: so anyway, the kids run into the candy shop, they're

831
00:44:34,920 --> 00:44:38,040
Speaker 2: gonna get some treats. One thing I wanted to mention

832
00:44:38,200 --> 00:44:42,120
Speaker 2: here is I remember in the past being confused about

833
00:44:42,200 --> 00:44:46,360
Speaker 2: where this movie takes place because it's an American movie.

834
00:44:47,000 --> 00:44:49,239
Speaker 2: Just looking at it, I think I could have even

835
00:44:49,840 --> 00:44:52,239
Speaker 2: told when I was a kid, this is obviously not

836
00:44:52,320 --> 00:44:55,760
Speaker 2: an American city. I think this was shot in Germany.

837
00:44:55,840 --> 00:44:58,719
Speaker 1: Yes, yeah, Well the exteriors we see here are from

838
00:44:58,760 --> 00:45:01,440
Speaker 1: like Munich and some other parts of Bavaria.

839
00:45:01,840 --> 00:45:05,440
Speaker 2: It's clearly just not American architecture. This is somewhere in Europe.

840
00:45:05,480 --> 00:45:07,279
Speaker 2: I mean, I probably couldn't have said Germany when I

841
00:45:07,360 --> 00:45:09,800
Speaker 2: was a kid, but it looks like Germany now, and

842
00:45:09,880 --> 00:45:14,040
Speaker 2: so there's that. But then also there's a millage of

843
00:45:14,120 --> 00:45:18,440
Speaker 2: different accents, all just mixed together. Like some people. It's

844
00:45:18,520 --> 00:45:22,200
Speaker 2: in English, and there's some American accents, some kind of

845
00:45:22,239 --> 00:45:26,080
Speaker 2: Transatlantic old school accents, and a lot of British accents.

846
00:45:26,520 --> 00:45:31,319
Speaker 1: Yes, yes, and we only have a few characters who

847
00:45:31,360 --> 00:45:35,239
Speaker 1: are specifically German, but it does seem to be a

848
00:45:35,280 --> 00:45:38,239
Speaker 1: Germanic setting. So again a case could be made that

849
00:45:38,560 --> 00:45:42,520
Speaker 1: all of the characters here are German unless specified, you

850
00:45:42,560 --> 00:45:44,480
Speaker 1: know that they're from America and so forth.

851
00:45:44,840 --> 00:45:48,680
Speaker 2: It almost feels like an alternate history, post World War

852
00:45:48,680 --> 00:45:54,000
Speaker 2: two American and British colony settlement in Germany.

853
00:45:54,600 --> 00:45:56,719
Speaker 1: Yeah, I agree, it is very It's a little bit

854
00:45:56,719 --> 00:45:58,520
Speaker 1: confusing when you're trying to figure out exactly where this

855
00:45:58,560 --> 00:46:01,640
Speaker 1: takes place. Like I think part of it is everything

856
00:46:01,640 --> 00:46:04,640
Speaker 1: you've just mentioned, But on top of that, the original

857
00:46:04,680 --> 00:46:07,920
Speaker 1: novel takes place in the UK, and it's my understanding

858
00:46:07,960 --> 00:46:12,080
Speaker 1: that Doll loosely based some of the initial ideas on

859
00:46:12,239 --> 00:46:16,920
Speaker 1: actual candy company espionage that was going on, or allegedly

860
00:46:17,080 --> 00:46:19,239
Speaker 1: was going on. And then on top of that, like

861
00:46:19,280 --> 00:46:21,920
Speaker 1: you're watching it, in my case, you're watching it as

862
00:46:21,960 --> 00:46:25,200
Speaker 1: an American kid in America on American television. With these

863
00:46:25,560 --> 00:46:30,440
Speaker 1: American characters, it feels very American. And also in the

864
00:46:30,520 --> 00:46:33,120
Speaker 1: back of your mind you have something like Hershey, Pennsylvania

865
00:46:33,160 --> 00:46:35,000
Speaker 1: in your head, like, oh, well, there's a real place

866
00:46:35,040 --> 00:46:37,400
Speaker 1: that maybe this is a riff on that, when in

867
00:46:37,400 --> 00:46:39,360
Speaker 1: reality I think it largely wasn't.

868
00:46:39,640 --> 00:46:42,160
Speaker 2: It is a strange mix. I mean, if I had to,

869
00:46:42,680 --> 00:46:44,359
Speaker 2: you know, if I had to say, I would say,

870
00:46:44,400 --> 00:46:47,319
Speaker 2: this is supposed to be set in America, but it's

871
00:46:47,360 --> 00:46:50,600
Speaker 2: got such a you know, European and British flavor, and

872
00:46:50,640 --> 00:46:54,279
Speaker 2: there's even the candy company idea. It feels very Cadbury.

873
00:46:54,719 --> 00:46:57,799
Speaker 1: Yeah, yeah, yeah. Cadbury, if memory serves, was one of

874
00:46:58,280 --> 00:47:00,600
Speaker 1: the companies that was maybe involved in sort of war

875
00:47:00,640 --> 00:47:02,000
Speaker 1: of spies over chocolate.

876
00:47:02,880 --> 00:47:04,919
Speaker 2: So this candy shop that all the kids go into

877
00:47:05,040 --> 00:47:07,800
Speaker 2: is Bill's Candy Shop. And they gather around the counter

878
00:47:08,360 --> 00:47:10,719
Speaker 2: and they're they're yelling at the candy store clerk. I

879
00:47:10,719 --> 00:47:13,319
Speaker 2: guess this is Bill. And the clerk knows them all

880
00:47:13,360 --> 00:47:15,680
Speaker 2: by name, and he knows what they like. It's like, oh,

881
00:47:15,840 --> 00:47:19,120
Speaker 2: you know, Cindy, here's your Wonka bar, and here's the

882
00:47:19,200 --> 00:47:21,840
Speaker 2: thing you want. But he has a new item to

883
00:47:21,880 --> 00:47:25,160
Speaker 2: show off, which is the Wonka scrum died ly umptious Bar.

884
00:47:26,040 --> 00:47:28,680
Speaker 2: A little boy wants to know how Willy Wonka makes

885
00:47:28,719 --> 00:47:31,759
Speaker 2: all these delicious candy bars. But Bill chides him for

886
00:47:31,800 --> 00:47:34,600
Speaker 2: this question. You shall not ask why, he says, Do

887
00:47:34,640 --> 00:47:37,120
Speaker 2: you ask a fish how it swims or a bird

888
00:47:37,160 --> 00:47:40,360
Speaker 2: how it flies? No, Surri, you don't. And this guy's

889
00:47:40,360 --> 00:47:45,240
Speaker 2: got a almost kind of the music man energy, you know. Yeah,

890
00:47:45,280 --> 00:47:48,240
Speaker 2: he feels like a character in the Music Man. He says, no, Surria,

891
00:47:48,280 --> 00:47:50,160
Speaker 2: you don't. They do it because they were born to

892
00:47:50,160 --> 00:47:52,400
Speaker 2: do it, just like Willy Wonka was born to be

893
00:47:52,440 --> 00:47:53,239
Speaker 2: a candy man.

894
00:47:53,840 --> 00:47:55,680
Speaker 1: And He's like, whoa, but I just wanted to know

895
00:47:55,760 --> 00:47:56,799
Speaker 1: if it was organic or Now.

896
00:47:59,800 --> 00:48:01,920
Speaker 2: I got to say. This is some tricky and evasive

897
00:48:01,960 --> 00:48:05,200
Speaker 2: rhetoric on Bill's part, but it leads into the first

898
00:48:05,239 --> 00:48:07,200
Speaker 2: song in the movie The Candy Man.

899
00:48:08,239 --> 00:48:10,759
Speaker 1: Yes, and this is a great, great track, great song,

900
00:48:12,239 --> 00:48:15,080
Speaker 1: one of my favorites. And I love this candy shop

901
00:48:15,080 --> 00:48:18,920
Speaker 1: in general. Joe, I'm sure you noticed the pagan candy

902
00:48:18,920 --> 00:48:21,040
Speaker 1: frogs that were out there on a tray.

903
00:48:21,320 --> 00:48:23,400
Speaker 2: I'm glad you brought it to my attention because I

904
00:48:23,440 --> 00:48:25,800
Speaker 2: did not. But they could have been from May Morrison's

905
00:48:25,840 --> 00:48:26,840
Speaker 2: shop in The Wickerman.

906
00:48:26,960 --> 00:48:30,920
Speaker 1: Yes, yes, yes, absolutely, two films from the early nineteen

907
00:48:30,960 --> 00:48:33,720
Speaker 1: seventies that feature strong candy shops.

908
00:48:33,880 --> 00:48:36,759
Speaker 2: Who can take a sunrise, sprinkle it with dew, cover

909
00:48:36,840 --> 00:48:40,319
Speaker 2: it with chocolate and a miracle or two? Nuada Nuada Can.

910
00:48:41,400 --> 00:48:44,960
Speaker 1: Lord summerle Can. That would actually, that would fit the cadence.

911
00:48:45,120 --> 00:48:47,359
Speaker 2: He is a kind of candy candy man of sorts. Yeah,

912
00:48:47,360 --> 00:48:49,719
Speaker 2: but no, the answer is the candy man can. The

913
00:48:49,760 --> 00:48:52,560
Speaker 2: candy man can because he mixes it with love and

914
00:48:52,600 --> 00:48:56,560
Speaker 2: makes the world taste good. So he sings this great

915
00:48:56,600 --> 00:48:59,759
Speaker 2: song about candy. It's a wholesome, innocent song about eating

916
00:48:59,800 --> 00:49:02,279
Speaker 2: a lot of sugar. And then at the end of

917
00:49:02,320 --> 00:49:04,600
Speaker 2: the song he says, in the world tastes good because

918
00:49:04,640 --> 00:49:09,160
Speaker 2: the candy man thinks it should, attributing a lot of divine,

919
00:49:09,200 --> 00:49:12,200
Speaker 2: almost omnipotent power to this figure of the candy man,

920
00:49:12,400 --> 00:49:14,640
Speaker 2: which I think relates back to my idea that we

921
00:49:14,640 --> 00:49:18,080
Speaker 2: should understand Willy Wonka as a higher being. He is

922
00:49:18,160 --> 00:49:20,200
Speaker 2: not a mortal man. He is at the least a

923
00:49:20,280 --> 00:49:23,399
Speaker 2: mir and maybe like an angel or a god.

924
00:49:23,520 --> 00:49:23,840
Speaker 1: Yes.

925
00:49:24,200 --> 00:49:26,800
Speaker 2: Also in this song, while he's singing about the genius

926
00:49:26,800 --> 00:49:29,880
Speaker 2: of Willy Wonka, Bill just keeps throwing handfuls of loose

927
00:49:30,000 --> 00:49:33,680
Speaker 2: candy over the heads of the children. That's kind of

928
00:49:33,719 --> 00:49:35,200
Speaker 2: go on the floor and then they're going to pick

929
00:49:35,239 --> 00:49:35,480
Speaker 2: it up.

930
00:49:35,520 --> 00:49:38,800
Speaker 1: And Yeah, it also seems like it's a weird business

931
00:49:38,800 --> 00:49:40,759
Speaker 1: practice because are they going to buy less because you're

932
00:49:40,760 --> 00:49:42,560
Speaker 1: giving more away? I don't know. Maybe it's just the appeal.

933
00:49:42,600 --> 00:49:44,520
Speaker 1: This is a candy store, it's a magical place.

934
00:49:44,880 --> 00:49:47,319
Speaker 2: This will be an episode Rob where we can share

935
00:49:47,360 --> 00:49:51,799
Speaker 2: our preferences about candies. I'm just one of those weird

936
00:49:51,880 --> 00:49:53,880
Speaker 2: kids that, even going back to when I was little,

937
00:49:54,400 --> 00:49:56,640
Speaker 2: I was not huge on candy. I mean, I like

938
00:49:56,719 --> 00:49:59,359
Speaker 2: sweets and candy, but I've always liked savory foods more.

939
00:49:59,440 --> 00:50:01,319
Speaker 2: You know, when I was a kid, I would rather

940
00:50:01,400 --> 00:50:05,600
Speaker 2: have some pizza than a bunch of candy. But but

941
00:50:06,160 --> 00:50:08,760
Speaker 2: one of the things that they get into in this shop,

942
00:50:09,239 --> 00:50:12,480
Speaker 2: or those little pills that are stuck to paper, you know,

943
00:50:12,520 --> 00:50:15,400
Speaker 2: the little sugar pill he peels off the ticker like

944
00:50:15,440 --> 00:50:16,840
Speaker 2: it's a stock ticker and.

945
00:50:17,520 --> 00:50:19,480
Speaker 1: Offld or something.

946
00:50:20,080 --> 00:50:22,680
Speaker 2: The kids are pulling them off. There, that's a candy.

947
00:50:22,719 --> 00:50:24,680
Speaker 2: I don't think I ever understood. I was like, what

948
00:50:24,800 --> 00:50:25,480
Speaker 2: is the appeal?

949
00:50:26,080 --> 00:50:28,040
Speaker 1: Yeah, that one maybe felt a little bit old school,

950
00:50:28,160 --> 00:50:30,360
Speaker 1: like you don't have to make candies like this anymore,

951
00:50:31,440 --> 00:50:34,280
Speaker 1: you know kind of Look. I have similar attitudes towards

952
00:50:34,280 --> 00:50:39,200
Speaker 1: Circus peanuts. Oh yeah, yeah, some of the other ones. Uh.

953
00:50:39,840 --> 00:50:41,719
Speaker 1: I'm not going to name any brand names, but there's

954
00:50:41,760 --> 00:50:44,160
Speaker 1: some candies that just were never for me. But at

955
00:50:44,160 --> 00:50:47,520
Speaker 1: the same time, I always loved Twizzlers, which I love

956
00:50:47,600 --> 00:50:50,799
Speaker 1: them and loved them, but it's like eating plastic, but

957
00:50:50,840 --> 00:50:53,440
Speaker 1: it's like eating delicious plastic. I can't explain it. I

958
00:50:53,719 --> 00:50:57,120
Speaker 1: can't forgive myself for it. But I do have a

959
00:50:57,120 --> 00:51:00,560
Speaker 1: weakness for Twizzlers. Generally I am able to avoid that. Nowadays,

960
00:51:00,600 --> 00:51:02,560
Speaker 1: I'm more inclined to go for a dark chocolate. I'll

961
00:51:02,600 --> 00:51:05,080
Speaker 1: still go for like a Reese's Peanut butter cup. And

962
00:51:05,120 --> 00:51:06,919
Speaker 1: when I was a kid, I think the Reese's Peanut

963
00:51:06,960 --> 00:51:10,240
Speaker 1: butter Cup, in its various forms, was the top shelf

964
00:51:10,400 --> 00:51:11,040
Speaker 1: candy for me.

965
00:51:11,840 --> 00:51:13,759
Speaker 2: Yeah, to the extent that I liked candy. I think

966
00:51:13,800 --> 00:51:16,360
Speaker 2: my tastes were pretty straightforward. You know. I liked like

967
00:51:16,640 --> 00:51:18,240
Speaker 2: a Snickers bar or whatever.

968
00:51:18,719 --> 00:51:20,640
Speaker 1: But then there's a lot going on in Snickers Bar,

969
00:51:20,760 --> 00:51:24,040
Speaker 1: so you know, I guess it's a pretty complex profile.

970
00:51:24,160 --> 00:51:25,600
Speaker 1: It's got all sorts of stuff in there.

971
00:51:26,120 --> 00:51:29,400
Speaker 2: Out through the window in the candy shop scene, we

972
00:51:29,440 --> 00:51:33,080
Speaker 2: see another child, not among the kids who are getting

973
00:51:33,120 --> 00:51:35,480
Speaker 2: the candies thrown over the tops of their heads. This

974
00:51:35,680 --> 00:51:39,000
Speaker 2: is our protagonist, Charlie Buckett, and he is watching the

975
00:51:39,040 --> 00:51:43,040
Speaker 2: scene through the glass. It's almost suggesting that he can't

976
00:51:43,040 --> 00:51:45,520
Speaker 2: afford to buy anything in the shop. We will learn

977
00:51:45,560 --> 00:51:48,399
Speaker 2: that his family is very, very poor, so maybe that's

978
00:51:48,400 --> 00:51:51,160
Speaker 2: what's suggested here. But this would be a good time

979
00:51:51,200 --> 00:51:53,160
Speaker 2: for him to run in and take part because the

980
00:51:53,160 --> 00:51:55,160
Speaker 2: guy's just throwing out free candy right now.

981
00:51:55,600 --> 00:51:57,959
Speaker 1: Yeah, yeah, I guess, as we'll see, he does seem

982
00:51:58,000 --> 00:51:59,600
Speaker 1: to have somewhere he needs to go, so maybe he

983
00:51:59,640 --> 00:52:02,000
Speaker 1: realized it's a real time sink to go in there.

984
00:52:02,200 --> 00:52:02,680
Speaker 2: Yeah.

985
00:52:02,719 --> 00:52:04,520
Speaker 1: It's like it's like if this were a movie about

986
00:52:04,520 --> 00:52:06,200
Speaker 1: grown ups, and he's like, should I go into the

987
00:52:06,239 --> 00:52:08,800
Speaker 1: bar for a pint knowing that like one pipe becomes

988
00:52:08,800 --> 00:52:11,160
Speaker 1: two pints becomes darts and so forth.

989
00:52:11,239 --> 00:52:14,480
Speaker 2: That's right, and we do see Charlie he begins to it.

990
00:52:14,640 --> 00:52:16,840
Speaker 2: The only time in the movie he really exhibits derange

991
00:52:16,880 --> 00:52:19,160
Speaker 2: to behavior is when he goes into the candy shop

992
00:52:19,200 --> 00:52:23,799
Speaker 2: and eats a bar. Yeah, so, Charlie. He heads on

993
00:52:23,840 --> 00:52:26,719
Speaker 2: down the street to a newspaper vendor stand. This is

994
00:52:26,800 --> 00:52:30,759
Speaker 2: his boss, mister Jopek and Charlie. He works as a

995
00:52:30,800 --> 00:52:34,319
Speaker 2: newspaper delivery boy, and it's payday, so he accepts his pay,

996
00:52:34,360 --> 00:52:36,920
Speaker 2: which appears to be a big single coin, and then

997
00:52:36,920 --> 00:52:39,839
Speaker 2: he runs off with a satchel full of newspapers two deliveries,

998
00:52:39,840 --> 00:52:42,560
Speaker 2: tossing them into shops and yards and open doors all

999
00:52:42,560 --> 00:52:46,560
Speaker 2: around the city. After a long shift of delivering papers,

1000
00:52:46,680 --> 00:52:50,280
Speaker 2: Charlie wanders down a lonely road up to a huge

1001
00:52:50,360 --> 00:52:53,880
Speaker 2: pair of wrought iron gates which are locked shut. And

1002
00:52:53,920 --> 00:52:57,640
Speaker 2: beyond the gates he sees a factory with smokestacks billowing,

1003
00:52:58,239 --> 00:53:00,560
Speaker 2: and on one of the towers it's got some letters

1004
00:53:00,600 --> 00:53:03,960
Speaker 2: that light up slowly, one at a time, spelling Wonka.

1005
00:53:04,239 --> 00:53:08,279
Speaker 2: This is the Willy Wonka candy factory. Suddenly, in a

1006
00:53:08,320 --> 00:53:11,840
Speaker 2: moment that I was surprised by, I did not remember

1007
00:53:11,880 --> 00:53:15,239
Speaker 2: this at all, and I loved this, Charlie is startled

1008
00:53:15,280 --> 00:53:18,960
Speaker 2: by a man who approaches from behind. This is a tinker,

1009
00:53:19,080 --> 00:53:21,600
Speaker 2: like a guy who's got a cart rattling with scissor

1010
00:53:21,600 --> 00:53:24,960
Speaker 2: blades and butcher knives. And he comes up behind Charlie

1011
00:53:25,200 --> 00:53:29,200
Speaker 2: and he starts to recite a poem. He says, up

1012
00:53:29,239 --> 00:53:33,200
Speaker 2: the airy mountain, down the rushing glen, we dare not

1013
00:53:33,320 --> 00:53:37,439
Speaker 2: go a hunting for fear of little men. Wo ooh,

1014
00:53:37,640 --> 00:53:39,840
Speaker 2: that's good. I was like, what is that, and I

1015
00:53:39,840 --> 00:53:42,200
Speaker 2: looked it up. This is a real poem. It's from

1016
00:53:42,200 --> 00:53:46,319
Speaker 2: a poem called the Fairies by William Allingham, and it's

1017
00:53:46,360 --> 00:53:49,880
Speaker 2: not the whole poem. There's a bunch more. It's about fairies,

1018
00:53:49,920 --> 00:53:53,840
Speaker 2: it's about the good folk. And this wonderful little tone

1019
00:53:53,920 --> 00:53:57,759
Speaker 2: setter there because it doesn't fit the tone of the

1020
00:53:57,840 --> 00:54:01,400
Speaker 2: Candyman Can song, Suddenly it's quite spooky in this movie.

1021
00:54:01,600 --> 00:54:04,000
Speaker 1: Yeah, yeah, this is this. That's a very spooky tone.

1022
00:54:04,040 --> 00:54:06,040
Speaker 1: I also don't remember this from when I would watch

1023
00:54:06,120 --> 00:54:09,160
Speaker 1: this film as a kid. But you know already it's

1024
00:54:09,200 --> 00:54:12,239
Speaker 1: like we have a mystery in place. Nobody's going in

1025
00:54:12,280 --> 00:54:15,320
Speaker 1: and nobody's coming out of of the Wonka Chocolate factory.

1026
00:54:15,840 --> 00:54:18,480
Speaker 2: He says that after the quote. Sorry I didn't mention that, but.

1027
00:54:18,520 --> 00:54:21,560
Speaker 1: Yeah, yeah, and then the and then this this hint

1028
00:54:21,840 --> 00:54:27,120
Speaker 1: of of little men, very folk of some sort. Uh,

1029
00:54:27,800 --> 00:54:29,680
Speaker 1: you know, as we of course, we all know what

1030
00:54:29,680 --> 00:54:31,759
Speaker 1: this is going to be. He's talking about the Oplumpas,

1031
00:54:32,640 --> 00:54:35,360
Speaker 1: and our experience of the Oople loop is going to

1032
00:54:35,400 --> 00:54:38,760
Speaker 1: be a little different from this, but not completely removed

1033
00:54:38,760 --> 00:54:42,360
Speaker 1: from this. But I think this line helps firmly establish

1034
00:54:42,440 --> 00:54:44,799
Speaker 1: that the the Oopleloopas in the film at least are

1035
00:54:44,840 --> 00:54:48,000
Speaker 1: meant to be seen more as something like a leprechaun

1036
00:54:48,280 --> 00:54:52,600
Speaker 1: or a fairy, as opposed to some sort of colonial

1037
00:54:52,719 --> 00:54:56,680
Speaker 1: fantasy uh involving pygmy humans or something.

1038
00:54:57,280 --> 00:54:59,680
Speaker 2: After this encounter where the guy quotes the poem and

1039
00:55:00,040 --> 00:55:02,440
Speaker 2: says nobody ever goes in or out of the factory,

1040
00:55:04,080 --> 00:55:06,600
Speaker 2: Charlie is clearly he's a bit rattled and he runs

1041
00:55:06,680 --> 00:55:10,760
Speaker 2: back to his house. So the situation with the family

1042
00:55:10,840 --> 00:55:14,040
Speaker 2: is Charlie and his mom lived with Charlie's four grandparents,

1043
00:55:14,160 --> 00:55:17,480
Speaker 2: all of whom have been bedridden in the same bed

1044
00:55:17,680 --> 00:55:20,520
Speaker 2: for twenty years. So it's four people in the bed.

1045
00:55:20,680 --> 00:55:24,600
Speaker 2: They're kind of crisscrossed, and I think it's supposed to

1046
00:55:24,600 --> 00:55:27,879
Speaker 2: be funny, but I do remember that being a head

1047
00:55:27,880 --> 00:55:28,680
Speaker 2: scratcher for me.

1048
00:55:28,920 --> 00:55:31,560
Speaker 1: Yeah, that was a head scratcher for me. And I've

1049
00:55:31,600 --> 00:55:33,479
Speaker 1: kind of heard back and forth over it over the years,

1050
00:55:33,480 --> 00:55:36,360
Speaker 1: with you know, some definitely making the case that it's

1051
00:55:36,400 --> 00:55:38,880
Speaker 1: intentionally over the top and maybe it's supposed to be humorous.

1052
00:55:39,360 --> 00:55:41,920
Speaker 1: I've seen it ridiculed for being like a kind of

1053
00:55:42,000 --> 00:55:45,160
Speaker 1: over the top upper class person's idea of what poverty is.

1054
00:55:45,920 --> 00:55:48,320
Speaker 1: But at the same time, and I honestly don't remember

1055
00:55:48,360 --> 00:55:51,319
Speaker 1: who I was talking to, somebody was like reminiscing about

1056
00:55:51,360 --> 00:55:53,840
Speaker 1: growing up and they're like, oh, yeah, those were basically

1057
00:55:53,880 --> 00:55:56,600
Speaker 1: my grandparents, and I was just kind of shocked back

1058
00:55:56,600 --> 00:56:03,320
Speaker 1: because generally I've heard people criticize this as being you know, ridiculous,

1059
00:56:03,520 --> 00:56:06,680
Speaker 1: unfunny or and so forth. But then somebody's like, oh, yeah, yeah,

1060
00:56:06,680 --> 00:56:10,000
Speaker 1: that tracks, and I'm like, whoa, Okay, maybe I'm going

1061
00:56:10,040 --> 00:56:10,680
Speaker 1: that's out of touch.

1062
00:56:11,160 --> 00:56:14,759
Speaker 2: Well, Charlie's family, it's clear that they, though they are

1063
00:56:14,880 --> 00:56:18,120
Speaker 2: very poor, this is a good home. These people love

1064
00:56:18,160 --> 00:56:20,160
Speaker 2: each other and take care of each other, and Charlie

1065
00:56:20,200 --> 00:56:23,040
Speaker 2: works very hard to help take care of his grandparents.

1066
00:56:23,760 --> 00:56:26,400
Speaker 2: So as a demonstration of that, when he gets home,

1067
00:56:26,680 --> 00:56:29,440
Speaker 2: he's like, hey, everybody, we are not just having cabbage

1068
00:56:29,480 --> 00:56:32,080
Speaker 2: water tonight. Seems like it's always cabbage water for them.

1069
00:56:32,360 --> 00:56:34,439
Speaker 2: He says, with the money I made at my delivery job,

1070
00:56:34,520 --> 00:56:36,759
Speaker 2: I bought us a loaf of bread. And so he

1071
00:56:36,840 --> 00:56:39,000
Speaker 2: pulls it out and it looks like a big pretzel bread.

1072
00:56:39,360 --> 00:56:43,799
Speaker 2: The family is overjoyed. We also learned that Grandpa Joe,

1073
00:56:43,480 --> 00:56:47,040
Speaker 2: the grandparent we get to know the best, has a

1074
00:56:47,080 --> 00:56:50,040
Speaker 2: regular pipe smoking habit, but he decides that he's going

1075
00:56:50,120 --> 00:56:52,480
Speaker 2: to give it up, not for health reasons, but to

1076
00:56:52,640 --> 00:56:57,520
Speaker 2: save the family money on tobacco. Finally, yeah, yeah, I

1077
00:56:57,520 --> 00:56:59,839
Speaker 2: wonder how long has this been going on? How much

1078
00:56:59,840 --> 00:57:01,360
Speaker 2: of it they sank into that tobacco.

1079
00:57:02,239 --> 00:57:03,600
Speaker 1: That's not a get in bread till now.

1080
00:57:04,840 --> 00:57:08,080
Speaker 2: So later that night, Charlie tells Grandpa Joe about his

1081
00:57:08,160 --> 00:57:11,399
Speaker 2: experiences that day and about what the tinker told him

1082
00:57:11,480 --> 00:57:15,920
Speaker 2: outside the Wonka factory, and Grandpa Joe says, it's all true.

1083
00:57:16,040 --> 00:57:18,920
Speaker 2: He says, for years nobody has gone in or out

1084
00:57:19,000 --> 00:57:23,040
Speaker 2: of the factory. The deal is Wonka closed it years

1085
00:57:23,080 --> 00:57:27,760
Speaker 2: ago because he was besieged with spies. Double agents from

1086
00:57:27,880 --> 00:57:32,080
Speaker 2: rival confectioners and chocolate ears would dress as workers and

1087
00:57:32,160 --> 00:57:35,480
Speaker 2: sneak into his factory to try to steal his secret recipes.

1088
00:57:36,160 --> 00:57:39,240
Speaker 2: And the worst of these rivals was a man named Slugworth,

1089
00:57:39,800 --> 00:57:41,840
Speaker 2: And I was like, yeah, that's the name of a

1090
00:57:41,880 --> 00:57:44,440
Speaker 2: man born to operate a candy company. They were actually

1091
00:57:44,480 --> 00:57:46,600
Speaker 2: like slug Worth bars in this movie.

1092
00:57:47,760 --> 00:57:51,240
Speaker 1: I mean slug Worth bars presumably have their followers. They're like,

1093
00:57:51,360 --> 00:57:53,160
Speaker 1: uh yeah, They're like you want to walk a bar

1094
00:57:53,200 --> 00:57:54,760
Speaker 1: and they're like, nope, I'm a slug Worth man.

1095
00:57:55,120 --> 00:57:56,200
Speaker 2: That's right, get me that.

1096
00:57:56,320 --> 00:57:56,480
Speaker 1: Yeah.

1097
00:57:56,520 --> 00:58:02,280
Speaker 2: It's like Cores. No offense to Cores. I have no opinion.

1098
00:58:02,560 --> 00:58:05,160
Speaker 2: I mean, as a second most well known brand. I

1099
00:58:05,160 --> 00:58:10,320
Speaker 2: guess anyway, Wonka closed the factory completely after he had

1100
00:58:10,480 --> 00:58:12,640
Speaker 2: all the spy problems, and then a few years after

1101
00:58:12,680 --> 00:58:16,720
Speaker 2: that production resumed and the Wonka Company started putting out

1102
00:58:16,760 --> 00:58:20,560
Speaker 2: more delicious candies than ever before. And yet nobody has

1103
00:58:20,600 --> 00:58:24,000
Speaker 2: ever seen crossing the threshold. Nobody goes in, nobody comes out.

1104
00:58:24,040 --> 00:58:27,160
Speaker 2: It's just trucks leave full of candies, and that's it.

1105
00:58:27,920 --> 00:58:30,880
Speaker 2: So if the factory is always closed and nobody ever

1106
00:58:30,920 --> 00:58:33,080
Speaker 2: goes in or out, how does the candy get made?

1107
00:58:33,160 --> 00:58:36,240
Speaker 2: Who is working there? Grandpa Joe says, that is the

1108
00:58:36,240 --> 00:58:37,400
Speaker 2: biggest mystery of all.

1109
00:58:37,720 --> 00:58:40,880
Speaker 1: So to be clear, we're left to imply, also knowing

1110
00:58:40,960 --> 00:58:44,160
Speaker 1: what's going to happen, that since he couldn't trust any

1111
00:58:44,240 --> 00:58:48,080
Speaker 1: human workers, Wonka made a pact with beings perhaps from

1112
00:58:48,120 --> 00:58:53,400
Speaker 1: another dimension, yeah, to work in his factory. And clearly,

1113
00:58:53,880 --> 00:58:56,400
Speaker 1: I guess you know, due to some sort of special

1114
00:58:56,520 --> 00:58:59,520
Speaker 1: arrangement with the local and federal government of wherever this

1115
00:58:59,600 --> 00:59:03,760
Speaker 1: factory is has there are no health inspections. No, no,

1116
00:59:03,800 --> 00:59:04,480
Speaker 1: I don't.

1117
00:59:04,280 --> 00:59:08,040
Speaker 2: Know what's going on there because if the inspectors came in, yeah,

1118
00:59:08,080 --> 00:59:10,560
Speaker 2: they would see like a show goths stirring the big

1119
00:59:10,680 --> 00:59:12,320
Speaker 2: vat of the sugar syrup.

1120
00:59:12,600 --> 00:59:16,280
Speaker 1: It's like the funeral Home and Phantasm a number of

1121
00:59:16,360 --> 00:59:17,240
Speaker 1: ways it matches up.

1122
00:59:17,280 --> 00:59:21,680
Speaker 2: Actually, yeah, yeah, he's sending the He's sending the hard

1123
00:59:21,680 --> 00:59:24,240
Speaker 2: candies to another planet to be crushed under the gravity

1124
00:59:24,280 --> 00:59:25,680
Speaker 2: into a denser and denser ball.

1125
00:59:25,880 --> 00:59:28,640
Speaker 1: Oh that would be a Wonka would totally make hard

1126
00:59:28,680 --> 00:59:29,360
Speaker 1: candy that way.

1127
00:59:29,560 --> 00:59:34,600
Speaker 2: Yes. So one day at school, word gets around that

1128
00:59:34,720 --> 00:59:38,000
Speaker 2: there's there's something new happening with the Wonka factory. That

1129
00:59:38,080 --> 00:59:40,880
Speaker 2: Wonka is holding a contest where he's going to open

1130
00:59:40,920 --> 00:59:43,720
Speaker 2: his factory up to a tour for a tour, but

1131
00:59:43,840 --> 00:59:47,160
Speaker 2: not just to anyone, only to the holders of five

1132
00:59:47,280 --> 00:59:51,440
Speaker 2: golden tickets, which have separately been hidden in random Wonka

1133
00:59:51,480 --> 00:59:53,680
Speaker 2: bars and send out into the world to be sold.

1134
00:59:54,280 --> 00:59:56,200
Speaker 2: Not only will the winners get a private tour of

1135
00:59:56,240 --> 00:59:59,480
Speaker 2: the candy works, they will each get a free lifetime

1136
00:59:59,560 --> 01:00:03,640
Speaker 2: supply of chocolate. And by the way, Charlie finds out

1137
01:00:03,640 --> 01:00:06,480
Speaker 2: about this in his chemistry class at school where the

1138
01:00:06,560 --> 01:00:08,880
Speaker 2: teacher there, I wish I don't know the actor's name,

1139
01:00:08,920 --> 01:00:10,440
Speaker 2: but I could flag him. He's funny.

1140
01:00:10,520 --> 01:00:11,600
Speaker 1: Oh yeah, he's very funny.

1141
01:00:12,040 --> 01:00:15,960
Speaker 2: He's like creating a wart remover in the scene and

1142
01:00:16,440 --> 01:00:19,600
Speaker 2: he dismisses class when he finds out about the chocolate

1143
01:00:19,680 --> 01:00:21,800
Speaker 2: because I think presumably he wants to go buy all

1144
01:00:21,800 --> 01:00:23,560
Speaker 2: the Wonka bars he can find to try to get

1145
01:00:23,560 --> 01:00:24,360
Speaker 2: into the factory.

1146
01:00:24,440 --> 01:00:28,440
Speaker 1: Well, everybody wants this prize, and as the next I

1147
01:00:28,440 --> 01:00:30,600
Speaker 1: don't know. Then the next section of the film is

1148
01:00:30,600 --> 01:00:34,440
Speaker 1: going to be devoted to how this almost breaks society.

1149
01:00:34,760 --> 01:00:39,160
Speaker 2: Yes, yeah, it's like this is it tests the limits

1150
01:00:39,240 --> 01:00:42,200
Speaker 2: of our civil society. That's right. So in the world

1151
01:00:42,240 --> 01:00:45,200
Speaker 2: of this movie, the Wonka contest is the top story

1152
01:00:45,280 --> 01:00:48,280
Speaker 2: on the nightly news. They run a bunch of footage

1153
01:00:48,280 --> 01:00:51,120
Speaker 2: from candy shops and grocery stores around the world showing

1154
01:00:51,200 --> 01:00:55,200
Speaker 2: Wonka madness, shopping carts just piled high with Wonka bars,

1155
01:00:55,520 --> 01:00:58,800
Speaker 2: crowds screaming at the candy man like it's Beatlemania. Yeah,

1156
01:00:58,960 --> 01:01:01,600
Speaker 2: give me the bars. There's also a shot of a

1157
01:01:01,640 --> 01:01:05,280
Speaker 2: Wonka delivery van unloading outside of the White House, and

1158
01:01:05,360 --> 01:01:07,440
Speaker 2: that made me laugh because at the time this movie

1159
01:01:07,520 --> 01:01:09,400
Speaker 2: was made, the president was Nixon.

1160
01:01:09,520 --> 01:01:09,600
Speaker 1: So.

1161
01:01:11,240 --> 01:01:14,080
Speaker 2: Tricky Dick Stranda, he's got the bars, he's unwrapping him.

1162
01:01:14,080 --> 01:01:15,520
Speaker 2: He's trying to get that golden ticket.

1163
01:01:15,720 --> 01:01:17,480
Speaker 1: He had a favorite, They all had a favorite. Candy.

1164
01:01:17,480 --> 01:01:20,919
Speaker 1: Didn't Nixon have a favorite candy? Was it Charleston Chow's

1165
01:01:21,000 --> 01:01:23,000
Speaker 1: or is that just a futurama joke. I can't remember.

1166
01:01:24,400 --> 01:01:27,080
Speaker 2: Oh, I've got to go through that factory.

1167
01:01:28,320 --> 01:01:31,440
Speaker 1: So this section of the movie again probably more easily forgotten,

1168
01:01:31,560 --> 01:01:34,560
Speaker 1: especially by young viewers, over time, but it does an

1169
01:01:34,600 --> 01:01:38,560
Speaker 1: interesting job depicting just the massive international effect that the

1170
01:01:38,600 --> 01:01:42,000
Speaker 1: contest is having. I almost get like Black Mirror or

1171
01:01:42,080 --> 01:01:43,960
Speaker 1: shin Godzilla vibes here. Almost.

1172
01:01:44,160 --> 01:01:47,400
Speaker 2: Yeah. There's another funny scene to show how much everybody

1173
01:01:47,400 --> 01:01:51,000
Speaker 2: wants it, where there's like a guy who's at his

1174
01:01:51,200 --> 01:01:53,520
Speaker 2: therapist is a man lying on a couch talking to

1175
01:01:53,560 --> 01:01:58,360
Speaker 2: a therapist. The therapist is a stereotypically grim Freudian psychiatrist

1176
01:01:58,400 --> 01:02:02,040
Speaker 2: with a German accent, and the man describes a vivid

1177
01:02:02,120 --> 01:02:05,560
Speaker 2: dream in which an archangel appeared to him, and the

1178
01:02:05,600 --> 01:02:08,800
Speaker 2: psychiatrist is like, you recognize these are just delusions, it's

1179
01:02:08,800 --> 01:02:11,760
Speaker 2: nothing real, and then the man says the archangel told

1180
01:02:11,840 --> 01:02:14,000
Speaker 2: him where he could find one of the Golden tickets.

1181
01:02:14,440 --> 01:02:17,040
Speaker 2: And the guy starts going on about what the dream means,

1182
01:02:17,560 --> 01:02:19,840
Speaker 2: what it's telling him about his subconscious but then the

1183
01:02:19,840 --> 01:02:22,280
Speaker 2: therapist interrupts him and he's like, you've got to tell

1184
01:02:22,320 --> 01:02:27,040
Speaker 2: me what the archangel said? Where is the ticket? So

1185
01:02:27,560 --> 01:02:30,880
Speaker 2: who gets the tickets? Well, we start seeing news reports that,

1186
01:02:31,000 --> 01:02:35,240
Speaker 2: let us know, in Dusselheim, Germany, one ticket is found

1187
01:02:35,280 --> 01:02:38,200
Speaker 2: by the son of a butcher named Agustas Gloop. The

1188
01:02:38,520 --> 01:02:42,240
Speaker 2: newscasters are interviewing him while he's shoveling potato salad into

1189
01:02:42,280 --> 01:02:44,880
Speaker 2: his mouth at a beer hall. They say, Augustas, how

1190
01:02:44,880 --> 01:02:46,480
Speaker 2: does it make you feel to be the winner, and

1191
01:02:46,520 --> 01:02:51,240
Speaker 2: he says hungry, And then they try to interview his father,

1192
01:02:51,360 --> 01:02:55,560
Speaker 2: but his father eats the microphone and Augustas says, I

1193
01:02:55,560 --> 01:02:57,960
Speaker 2: feel sorry for mister Wonka. It's going to cost him

1194
01:02:57,960 --> 01:03:00,640
Speaker 2: a fortune. I think that presumably me. It's the lifetime

1195
01:03:00,680 --> 01:03:02,760
Speaker 2: supply of chocolate. That's going to be a lot of chocolate.

1196
01:03:03,400 --> 01:03:06,400
Speaker 1: Yeah, now one might question the lifetime with a diet

1197
01:03:06,440 --> 01:03:10,320
Speaker 1: like this, but we'll leave that quip to Willie Wonka.

1198
01:03:10,640 --> 01:03:14,880
Speaker 2: Each segment that introduces a new child makes clear their

1199
01:03:15,000 --> 01:03:19,720
Speaker 2: characteristic sin, and Augustus's is gluttony. As you know, they're saying, like,

1200
01:03:19,760 --> 01:03:23,280
Speaker 2: this kid eats too much. That's the that's the prod Here. Now,

1201
01:03:23,400 --> 01:03:28,200
Speaker 2: somewhere in England, we're about to get a more diabolical child.

1202
01:03:28,880 --> 01:03:32,160
Speaker 2: Another ticket is claimed by Veruca salt the daughter of

1203
01:03:32,200 --> 01:03:37,960
Speaker 2: a rich peanut processing facility owner. Varuka is spoiled, manipulative,

1204
01:03:38,000 --> 01:03:42,480
Speaker 2: and vicious, and she bullies her parents into converting her

1205
01:03:42,520 --> 01:03:45,760
Speaker 2: father's workplace into a round the clock Wonka bar peeling

1206
01:03:45,800 --> 01:03:49,080
Speaker 2: operation where all of his workers are just like opening

1207
01:03:49,160 --> 01:03:51,840
Speaker 2: truckloads of bars, checking for tickets and then throwing the

1208
01:03:51,920 --> 01:03:55,240
Speaker 2: chocolate away. And we see we see her throw a

1209
01:03:55,280 --> 01:03:58,360
Speaker 2: tantrum because she was not the first child to obtain

1210
01:03:58,400 --> 01:04:01,600
Speaker 2: a ticket, and her father is like desperately trying to

1211
01:04:01,600 --> 01:04:04,320
Speaker 2: placate her, promising they will find a ticket soon, and

1212
01:04:04,360 --> 01:04:08,320
Speaker 2: eventually one of his workers does so the worker runs

1213
01:04:08,400 --> 01:04:11,280
Speaker 2: up and gives it to her. Vukas sin Is, I

1214
01:04:11,280 --> 01:04:15,680
Speaker 2: think all of them she has like wrath machiavelianism again,

1215
01:04:15,840 --> 01:04:16,960
Speaker 2: dark triad child.

1216
01:04:17,280 --> 01:04:20,320
Speaker 1: Yeah, Varuka salt Is is awful, but at the same

1217
01:04:20,360 --> 01:04:22,840
Speaker 1: time she's also kind of awesome because hey, she knows

1218
01:04:22,840 --> 01:04:24,960
Speaker 1: what she wants, right, I mean, there's a reason there

1219
01:04:25,040 --> 01:04:26,720
Speaker 1: was a band called Veruka Salt.

1220
01:04:26,480 --> 01:04:29,480
Speaker 2: Right, Oh yeah, yeah, yeah, I like them. I've got

1221
01:04:29,480 --> 01:04:31,800
Speaker 2: some of their songs on a playlist. I've got the

1222
01:04:31,960 --> 01:04:33,919
Speaker 2: is a song seether Is that right?

1223
01:04:34,280 --> 01:04:37,040
Speaker 1: That sounds right? Yeah? Yeah. Oh. And then this scene

1224
01:04:37,080 --> 01:04:39,600
Speaker 1: where they're they're opening all the candy bars. This reminds

1225
01:04:39,640 --> 01:04:41,920
Speaker 1: me like Willie Walk is a film where I think

1226
01:04:41,960 --> 01:04:46,400
Speaker 1: there's so many things in it, lines, scenes, gags that

1227
01:04:46,640 --> 01:04:50,360
Speaker 1: it probably bubbles up in my brain on a regular

1228
01:04:50,400 --> 01:04:53,520
Speaker 1: basis more often than I than I usually acknowledge. But

1229
01:04:53,600 --> 01:04:56,760
Speaker 1: this is a scene with them working on an assembly

1230
01:04:56,840 --> 01:04:59,800
Speaker 1: line to open chocolate bars. I frequently think of this

1231
01:05:00,040 --> 01:05:04,000
Speaker 1: anytime I encounter some sort of a contest a consumerist,

1232
01:05:04,480 --> 01:05:06,120
Speaker 1: you know, contest where you got to buy a bunch

1233
01:05:06,120 --> 01:05:08,320
Speaker 1: of a product or open a bunch of a product.

1234
01:05:08,560 --> 01:05:10,480
Speaker 1: At least in the back of my mind, I'm seeing

1235
01:05:10,560 --> 01:05:14,120
Speaker 1: that that disassembly line in the peanut factory.

1236
01:05:14,000 --> 01:05:18,320
Speaker 2: Or let's be real, Sometimes certain workplace directives kind of

1237
01:05:18,320 --> 01:05:20,920
Speaker 2: feel like, okay, we are now, we are now opening

1238
01:05:20,960 --> 01:05:26,360
Speaker 2: the chocolate bars to not speaking of any particular employer,

1239
01:05:26,480 --> 01:05:28,800
Speaker 2: but you know, that's that's life sometimes.

1240
01:05:28,960 --> 01:05:38,200
Speaker 1: Yeah, all right.

1241
01:05:38,240 --> 01:05:42,320
Speaker 2: The next Ticket is discovered in Miles City, Montana, by

1242
01:05:42,360 --> 01:05:46,360
Speaker 2: a child named Violet Beauregard. Violet is the daughter of

1243
01:05:46,400 --> 01:05:49,440
Speaker 2: a used car dealer who tries to parlay the golden

1244
01:05:49,440 --> 01:05:52,840
Speaker 2: ticket media attention into a free ad for his dealership.

1245
01:05:52,840 --> 01:05:55,040
Speaker 2: It's like, come on down and get a great deal.

1246
01:05:55,680 --> 01:05:58,680
Speaker 2: Violet herself is we were sort of describing earlier. She

1247
01:05:58,760 --> 01:06:02,640
Speaker 2: is brash and patient and extremely competitive, and she loves

1248
01:06:02,680 --> 01:06:05,520
Speaker 2: to chew gum. She claims to hold the world record

1249
01:06:05,560 --> 01:06:07,600
Speaker 2: for the longest time a single piece of gum has

1250
01:06:07,640 --> 01:06:11,280
Speaker 2: been chewed. She says that's three months, and she manages

1251
01:06:11,320 --> 01:06:13,280
Speaker 2: to keep chewing the same piece of gum for three

1252
01:06:13,280 --> 01:06:18,080
Speaker 2: months by sticking it behind her ear at meal times. Now,

1253
01:06:18,120 --> 01:06:20,680
Speaker 2: at first, I was like, wait, what is Violet sin.

1254
01:06:21,160 --> 01:06:25,840
Speaker 2: She's just like too obnoxious, Like she's loud and brash.

1255
01:06:25,840 --> 01:06:28,880
Speaker 2: But no, it's not the it's not that. Actually it's

1256
01:06:28,920 --> 01:06:29,880
Speaker 2: the gum, right.

1257
01:06:30,240 --> 01:06:32,400
Speaker 1: Yeah, yeah, it's the gum. That's what the op Olympas

1258
01:06:32,400 --> 01:06:36,880
Speaker 1: song is gonna focus on exclusively, which seems more like

1259
01:06:37,240 --> 01:06:41,120
Speaker 1: like like the author's pet peeve here than anything. But

1260
01:06:41,120 --> 01:06:43,480
Speaker 1: but yeah, I think on top of that, she she

1261
01:06:43,640 --> 01:06:46,160
Speaker 1: is a loud mouth. She doesn't really take no for

1262
01:06:46,200 --> 01:06:49,280
Speaker 1: an answer. There's a lot of crossover, like we described

1263
01:06:49,320 --> 01:06:53,640
Speaker 1: with Veraruk as Salt, but she is quint essentially American.

1264
01:06:53,680 --> 01:06:56,400
Speaker 1: I don't know to what extent Varuk Assault feels quint

1265
01:06:56,440 --> 01:07:00,640
Speaker 1: essentially British, but this it feels like a fair amount

1266
01:07:00,640 --> 01:07:04,200
Speaker 1: of American satire in our presentation of Violet.

1267
01:07:04,240 --> 01:07:06,960
Speaker 2: Here there's less class tangled up in the way Violet

1268
01:07:07,000 --> 01:07:12,000
Speaker 2: is portrayed. I mean, Rouk Assault is characteristically a spoiled, obnoxious,

1269
01:07:12,320 --> 01:07:17,160
Speaker 2: rich child, and Violet she's not like that. She's just like,

1270
01:07:17,280 --> 01:07:20,360
Speaker 2: she's just two in your face. Yeah, she's poochy, She's

1271
01:07:20,440 --> 01:07:26,000
Speaker 2: kind of poochy. Yeah, yeah, to the extreme. Busted now.

1272
01:07:26,000 --> 01:07:29,000
Speaker 2: The last one is from Marble Falls, Arizona. This is

1273
01:07:29,040 --> 01:07:31,840
Speaker 2: a kid named Mike TV who dresses in a cowboy

1274
01:07:31,960 --> 01:07:35,480
Speaker 2: suit and carries a cap gun revolver. Mike spends every

1275
01:07:35,560 --> 01:07:39,200
Speaker 2: waking moment watching TV shows where people get shot, and

1276
01:07:39,360 --> 01:07:41,760
Speaker 2: he can't wait to get his hands on a real gun,

1277
01:07:41,960 --> 01:07:44,800
Speaker 2: he tells the news. I get the feeling this was

1278
01:07:44,840 --> 01:07:47,960
Speaker 2: a cuter and more amusing theme when the movie was

1279
01:07:48,000 --> 01:07:49,120
Speaker 2: made than it is now.

1280
01:07:50,040 --> 01:07:52,200
Speaker 1: Yeah. Yeah, yeah, yeah, I know what you mean. But

1281
01:07:53,480 --> 01:07:55,520
Speaker 1: it does seem to be the case, though, that his

1282
01:07:55,560 --> 01:07:59,320
Speaker 1: TV consumption is tied up with over consumption of violent media.

1283
01:07:59,440 --> 01:08:01,080
Speaker 1: Yeah yeah. Oh.

1284
01:08:01,160 --> 01:08:03,280
Speaker 2: Also, the one other thing is that each time we

1285
01:08:03,360 --> 01:08:06,280
Speaker 2: meet a child, we see a creepy looking guy with

1286
01:08:06,400 --> 01:08:09,880
Speaker 2: kind of tinted spectacles sneak in and start whispering something

1287
01:08:09,920 --> 01:08:12,560
Speaker 2: to the kid. Same guy each time. This will be

1288
01:08:12,680 --> 01:08:13,680
Speaker 2: our slug worth.

1289
01:08:14,200 --> 01:08:18,600
Speaker 1: Yeah. Yeah. The the CEO of the rival company is

1290
01:08:18,640 --> 01:08:22,920
Speaker 1: coming up personally to pester the families and of course

1291
01:08:22,920 --> 01:08:25,439
Speaker 1: try and cut some sort of secret arrangement arrangement with him.

1292
01:08:25,479 --> 01:08:26,760
Speaker 1: Then we'll find out more about later.

1293
01:08:26,880 --> 01:08:29,799
Speaker 2: Now intercut with all this, we follow Charlie and his family.

1294
01:08:29,920 --> 01:08:32,800
Speaker 2: He's occasionally he will get a walk a bar like.

1295
01:08:32,880 --> 01:08:34,840
Speaker 2: His family gives him one for his birthday and they're

1296
01:08:35,000 --> 01:08:37,439
Speaker 2: very hopeful that it will have the Golden Ticket inside,

1297
01:08:37,439 --> 01:08:41,800
Speaker 2: but it doesn't. He's very sad about this, and there's

1298
01:08:41,920 --> 01:08:44,360
Speaker 2: even one point where he visits his mom at work

1299
01:08:44,400 --> 01:08:47,640
Speaker 2: and report. He reports his disappointment with the fact that

1300
01:08:47,680 --> 01:08:49,559
Speaker 2: he is not going to get to tour the factory,

1301
01:08:49,600 --> 01:08:52,519
Speaker 2: even though he believes that he wants it more than anyone,

1302
01:08:52,920 --> 01:08:55,479
Speaker 2: and his mom sings a song called Cheer Up Charlie

1303
01:08:55,560 --> 01:08:58,559
Speaker 2: about how he needs to, you know, stay stay strong,

1304
01:08:58,880 --> 01:09:01,519
Speaker 2: bet because he's a sweet he's a good boy and

1305
01:09:01,560 --> 01:09:03,080
Speaker 2: one day his luck will come.

1306
01:09:03,760 --> 01:09:06,559
Speaker 1: Not one of the better songs in the movie, So

1307
01:09:06,600 --> 01:09:07,479
Speaker 1: no wonder didn't work.

1308
01:09:07,680 --> 01:09:10,960
Speaker 2: There's a whole subplot where there's a guy in Paraguay

1309
01:09:11,080 --> 01:09:14,400
Speaker 2: who claims he got the last ticket, but then he didn't. Really,

1310
01:09:14,520 --> 01:09:18,679
Speaker 2: it's just a fake. And anyway, on the way home

1311
01:09:18,680 --> 01:09:22,160
Speaker 2: from school one day, Charlie hears the story about how

1312
01:09:22,160 --> 01:09:25,920
Speaker 2: the last ticket didn't actually get found by the guy

1313
01:09:26,000 --> 01:09:28,760
Speaker 2: yet and so there's still one out there somewhere. So

1314
01:09:28,880 --> 01:09:31,960
Speaker 2: Charlie finds a coin in a sewer drain and uses

1315
01:09:32,000 --> 01:09:35,000
Speaker 2: it to buy a couple of chocolate bars from I

1316
01:09:35,000 --> 01:09:37,080
Speaker 2: believe from Bill's Candy Shot.

1317
01:09:37,360 --> 01:09:39,600
Speaker 1: Ye goes back to Bill's eats.

1318
01:09:39,320 --> 01:09:40,920
Speaker 2: One of them in the store too fast.

1319
01:09:41,160 --> 01:09:43,760
Speaker 1: Yes, yeah, yeah, he's just slamming that bar.

1320
01:09:44,760 --> 01:09:46,880
Speaker 2: Bill warns him. He's like, hey, you can't eat that

1321
01:09:46,960 --> 01:09:50,040
Speaker 2: much candy that fast. And you get Bill warning you,

1322
01:09:50,040 --> 01:09:51,479
Speaker 2: you know you really got a problem.

1323
01:09:51,760 --> 01:09:53,400
Speaker 1: Yeah.

1324
01:09:53,439 --> 01:09:55,679
Speaker 2: But the other one he takes home for Grandpa Joe,

1325
01:09:55,920 --> 01:09:58,400
Speaker 2: and on the way home he gets curious and he

1326
01:09:58,520 --> 01:10:01,160
Speaker 2: opens it and what you know, there it is there's

1327
01:10:01,200 --> 01:10:03,600
Speaker 2: the last ticket, golden ticket in his hand, and he

1328
01:10:03,680 --> 01:10:08,400
Speaker 2: is immediately swarmed by a mob of frenzied adults. They're like, look, look,

1329
01:10:08,439 --> 01:10:10,479
Speaker 2: this kid's got it, and some are kind of reaching

1330
01:10:10,479 --> 01:10:12,080
Speaker 2: at it, but he runs away and he takes the

1331
01:10:12,080 --> 01:10:15,320
Speaker 2: ticket home. On the way home, he is confronted by

1332
01:10:15,800 --> 01:10:20,240
Speaker 2: Arthur Slugworth, a rival candy man. Slugworth tells Charlie he

1333
01:10:20,240 --> 01:10:23,800
Speaker 2: has a proposition that he could make Charlie very rich.

1334
01:10:24,400 --> 01:10:27,200
Speaker 2: He says, Willie Walker has been developing a new invention

1335
01:10:27,479 --> 01:10:32,679
Speaker 2: called the Everlasting Gobstopper. If he succeeds, it will prove

1336
01:10:32,720 --> 01:10:36,439
Speaker 2: the ruin of Slugworth's business. All Charlie has to do

1337
01:10:36,640 --> 01:10:40,640
Speaker 2: is smuggle one Everlasting Gobstopper out of the factory and

1338
01:10:40,720 --> 01:10:43,559
Speaker 2: give it to Slugworth so he can discover the secret formula.

1339
01:10:44,000 --> 01:10:46,880
Speaker 2: And if he does that, he says, Charlie will get

1340
01:10:47,120 --> 01:10:52,920
Speaker 2: ten thousand of these, which are conspicuously unspecified paper bills,

1341
01:10:53,840 --> 01:10:56,479
Speaker 2: once again not being very clear about where this is set,

1342
01:10:56,800 --> 01:10:58,560
Speaker 2: but the gist is that his family's going to be

1343
01:10:58,680 --> 01:11:02,040
Speaker 2: rich now, no more power concerns. He'll make him rich

1344
01:11:02,040 --> 01:11:03,599
Speaker 2: if he just brings him the cob Stopper.

1345
01:11:04,120 --> 01:11:07,439
Speaker 1: All right, ten thousand marks, that's the offer.

1346
01:11:07,520 --> 01:11:11,280
Speaker 2: Ten thousand credits. Also, the slug Worth scene is made

1347
01:11:11,400 --> 01:11:15,519
Speaker 2: extra creepy by the way Slugworth's voice is dubbed. It

1348
01:11:15,560 --> 01:11:18,519
Speaker 2: does not perfectly match the speaking we see on the

1349
01:11:18,520 --> 01:11:22,120
Speaker 2: screen in multiple ways. It doesn't perfectly match the timing,

1350
01:11:22,760 --> 01:11:25,840
Speaker 2: and it just doesn't look like the voice of the

1351
01:11:25,880 --> 01:11:27,200
Speaker 2: guy who's playing this part.

1352
01:11:28,320 --> 01:11:30,719
Speaker 1: Yeah, so like it's like some sort of cosmic entity.

1353
01:11:31,080 --> 01:11:32,439
Speaker 1: It's trying to stop Wonka.

1354
01:11:32,640 --> 01:11:35,360
Speaker 2: So back home, Charlie shows the Golden Ticket to his family,

1355
01:11:35,439 --> 01:11:38,280
Speaker 2: and Grandpa Joe is so overjoyed that he gets up

1356
01:11:38,280 --> 01:11:40,280
Speaker 2: out of bed for the first time in twenty years,

1357
01:11:40,320 --> 01:11:42,599
Speaker 2: and he sings a song about the Golden Ticket called

1358
01:11:42,760 --> 01:11:46,160
Speaker 2: I've Got a Golden Ticket. Now that he can walk again,

1359
01:11:46,280 --> 01:11:48,800
Speaker 2: it has decided that he's going to be charlie chaperone

1360
01:11:48,880 --> 01:11:51,479
Speaker 2: at the factory tour. So should we go straight to

1361
01:11:51,520 --> 01:11:51,840
Speaker 2: the tour?

1362
01:11:52,479 --> 01:11:54,400
Speaker 1: Let's go to the tour. This is where things really

1363
01:11:54,439 --> 01:11:56,160
Speaker 1: begin to kick into high gear, because this is where

1364
01:11:56,160 --> 01:11:57,240
Speaker 1: we're going to meet Willie Wonka.

1365
01:11:57,720 --> 01:12:01,639
Speaker 2: Outside the factory gates, a crowd gathers and the clock

1366
01:12:01,680 --> 01:12:04,880
Speaker 2: strikes ten. The front door opens, and then down a

1367
01:12:04,920 --> 01:12:08,280
Speaker 2: red carpet comes Willy Wonka. It is Gene Wilder in

1368
01:12:08,320 --> 01:12:10,840
Speaker 2: a purple coat and a top hat with a big

1369
01:12:10,880 --> 01:12:15,840
Speaker 2: olive green bow tie. He first hobbles slowly and walks

1370
01:12:15,840 --> 01:12:18,320
Speaker 2: with a cane, so his approach to the gate takes

1371
01:12:18,360 --> 01:12:19,160
Speaker 2: a long time.

1372
01:12:20,160 --> 01:12:20,400
Speaker 1: Rob.

1373
01:12:20,439 --> 01:12:22,680
Speaker 2: Did you say what happens next was kept as a

1374
01:12:22,720 --> 01:12:24,479
Speaker 2: surprise for the kids in the scene.

1375
01:12:25,200 --> 01:12:27,000
Speaker 1: Yeah, that's that's what I read. Yeah that this was

1376
01:12:27,080 --> 01:12:28,920
Speaker 1: one of This is one of the moments in the

1377
01:12:28,920 --> 01:12:32,280
Speaker 1: film where they had all or most of the children

1378
01:12:33,000 --> 01:12:34,800
Speaker 1: were going into this cold so they could get a

1379
01:12:35,200 --> 01:12:39,439
Speaker 1: more organic reaction. Yeah. So what happens, Well, he comes up. Yeah,

1380
01:12:39,439 --> 01:12:44,439
Speaker 1: he's doing this this interesting cane affectation, like he's limping

1381
01:12:44,479 --> 01:12:46,840
Speaker 1: up towards the gate, and then he makes like he's

1382
01:12:46,880 --> 01:12:50,840
Speaker 1: gonna just do like a complete face plant, but it's

1383
01:12:50,840 --> 01:12:53,880
Speaker 1: a fake out fall and tumble rises to his feet.

1384
01:12:54,680 --> 01:13:00,120
Speaker 1: Thunderous applause. Hey, Willy Wonka's here now it is. It's

1385
01:13:00,160 --> 01:13:03,479
Speaker 1: interesting that he is already manipulating everyone here in this

1386
01:13:03,600 --> 01:13:07,519
Speaker 1: moment and faking him. Yeah. But at the same time,

1387
01:13:07,600 --> 01:13:11,200
Speaker 1: you know, he greets them and it feels very heartfelt.

1388
01:13:11,200 --> 01:13:12,519
Speaker 1: This is the part where he tells them that he

1389
01:13:12,520 --> 01:13:14,760
Speaker 1: thinks everyone's going to have a good time, and like

1390
01:13:14,760 --> 01:13:17,320
Speaker 1: I say, I believe him. He meets each of the

1391
01:13:17,400 --> 01:13:20,800
Speaker 1: children and he's already laying out a few singers here

1392
01:13:20,800 --> 01:13:25,320
Speaker 1: and there, but so we're already getting beginning to get

1393
01:13:25,320 --> 01:13:29,080
Speaker 1: a taste of the character of Willy Wonka, his aloofness,

1394
01:13:29,120 --> 01:13:32,799
Speaker 1: his wit, his charm. But yeah, also the zingers.

1395
01:13:33,240 --> 01:13:36,000
Speaker 2: So as we enter the factory, I'm not going to

1396
01:13:36,200 --> 01:13:39,160
Speaker 2: narrate each room in order, one by one. Instead, maybe

1397
01:13:39,160 --> 01:13:41,439
Speaker 2: we can do a brief overview and then come back

1398
01:13:41,439 --> 01:13:44,920
Speaker 2: and talk about the highlights in some different parts. So

1399
01:13:45,000 --> 01:13:47,120
Speaker 2: the rest of the movie is a tour of the

1400
01:13:47,160 --> 01:13:50,879
Speaker 2: factory where Willy Wonka shows off a sequence of rooms

1401
01:13:50,960 --> 01:13:56,360
Speaker 2: containing his wonderful, magical inventions and products, including the Chocolate

1402
01:13:56,439 --> 01:14:01,040
Speaker 2: Room more on that later, The Inventing Room of inventions

1403
01:14:01,120 --> 01:14:04,720
Speaker 2: like the the all important, everlasting gobstopper, of course, but

1404
01:14:04,760 --> 01:14:09,800
Speaker 2: then also the three course dinner chewing gum Yuck. The

1405
01:14:09,960 --> 01:14:13,360
Speaker 2: Fizzy Lifting Drink Room, in which is brewed a soda

1406
01:14:13,400 --> 01:14:16,080
Speaker 2: that causes you to defy gravity and fly up to

1407
01:14:16,160 --> 01:14:18,599
Speaker 2: the ceiling, even up into a big you know, chop

1408
01:14:18,640 --> 01:14:20,679
Speaker 2: you up fan, like it's a half life game.

1409
01:14:21,200 --> 01:14:21,720
Speaker 1: Yeah yeah.

1410
01:14:22,439 --> 01:14:25,840
Speaker 2: The Golden Goose Room, where geese lay golden eggs. The

1411
01:14:25,840 --> 01:14:27,920
Speaker 2: good eggs are kept and the bad ones are sent

1412
01:14:28,000 --> 01:14:30,400
Speaker 2: down a garbage choot. I think the golden eggs are

1413
01:14:30,479 --> 01:14:31,599
Speaker 2: chocolate golden eggs.

1414
01:14:31,720 --> 01:14:32,479
Speaker 1: They are chocolate.

1415
01:14:32,560 --> 01:14:36,080
Speaker 2: Yes, I think I'm to understand that this was a

1416
01:14:36,120 --> 01:14:38,280
Speaker 2: somewhat different room in the book that was like a

1417
01:14:38,400 --> 01:14:43,000
Speaker 2: nut room or something. And then the walka vision room,

1418
01:14:43,120 --> 01:14:45,679
Speaker 2: a Willie walka version of the telepods from the Fly,

1419
01:14:45,920 --> 01:14:49,200
Speaker 2: where objects are photographed by a huge camera and then

1420
01:14:49,240 --> 01:14:53,479
Speaker 2: somehow both teleported and miniaturized into a box across the room.

1421
01:14:54,240 --> 01:14:57,439
Speaker 1: And it's something about like you have to make a

1422
01:14:57,439 --> 01:14:59,840
Speaker 1: giant chocolate bar in order to shrink it down to

1423
01:14:59,840 --> 01:15:02,280
Speaker 1: make a normal sized chocolate bar. So the economics of

1424
01:15:02,320 --> 01:15:04,800
Speaker 1: the granted, it's still in the testing phase, and that's

1425
01:15:04,840 --> 01:15:07,960
Speaker 1: the thing about the the Wonka company. They're continuing to

1426
01:15:07,960 --> 01:15:11,839
Speaker 1: innovate and try new things. But I'm not sure why

1427
01:15:11,880 --> 01:15:15,400
Speaker 1: this is even gonna eventually be practical. Maybe the idea

1428
01:15:15,520 --> 01:15:17,439
Speaker 1: is it's like all that flavor of a giant bar

1429
01:15:17,560 --> 01:15:19,840
Speaker 1: is concentrated into a small bar. I don't know.

1430
01:15:20,640 --> 01:15:24,479
Speaker 2: But then by analogy, all the flavor of a bad

1431
01:15:24,600 --> 01:15:27,719
Speaker 2: child with a tainted soul will now be concentrated into

1432
01:15:27,720 --> 01:15:30,000
Speaker 2: a smaller miniaturized child with a tainted soul.

1433
01:15:30,120 --> 01:15:32,559
Speaker 1: Yes, that is the way it'll work its way out.

1434
01:15:32,640 --> 01:15:35,479
Speaker 2: Yeah, So as the kids go through the factory. One

1435
01:15:35,520 --> 01:15:38,280
Speaker 2: by one, they are each sucked away into a bad

1436
01:15:38,400 --> 01:15:41,519
Speaker 2: place or bodily deformed as a result of their greed

1437
01:15:41,560 --> 01:15:45,800
Speaker 2: and bad manners, until only Charlie and Grandpa Joe are left.

1438
01:15:46,240 --> 01:15:49,479
Speaker 2: And then we proceed on to a sort of double twist,

1439
01:15:49,600 --> 01:15:53,240
Speaker 2: ending that maybe we'll save that for later. But some

1440
01:15:53,280 --> 01:15:56,600
Speaker 2: of the great imagery as they first come into the factory.

1441
01:15:56,840 --> 01:15:59,519
Speaker 2: One thing I love is the helping hands on the wall.

1442
01:15:59,600 --> 01:16:01,040
Speaker 2: I didn't remember this detail.

1443
01:16:01,280 --> 01:16:03,400
Speaker 1: I didn't remember this either, Yeah, but they're like, yeah,

1444
01:16:03,479 --> 01:16:05,479
Speaker 1: hands the golden I can't remember that.

1445
01:16:05,520 --> 01:16:08,840
Speaker 2: Ye, instead of coat hooks. So the people go, they

1446
01:16:08,840 --> 01:16:10,360
Speaker 2: go to hang their coats on the wall, and there

1447
01:16:10,360 --> 01:16:14,120
Speaker 2: are just these live hands painted gold that grab hold

1448
01:16:14,160 --> 01:16:17,080
Speaker 2: of your hat and your coat. And then also there

1449
01:16:17,160 --> 01:16:20,200
Speaker 2: is a great scene with a contract before the tour begins.

1450
01:16:20,240 --> 01:16:22,599
Speaker 2: Willy Wonka is going to force the children to sign

1451
01:16:22,640 --> 01:16:25,880
Speaker 2: a giant waiver emblazoned on the wall, which is so

1452
01:16:26,160 --> 01:16:30,280
Speaker 2: vast that its fine print vanishes into nothing. I'm certain

1453
01:16:30,320 --> 01:16:34,120
Speaker 2: that this would not be enforceable in reality for multiple reasons.

1454
01:16:35,880 --> 01:16:39,720
Speaker 2: Mister Beauregard, Violet's father is wary, seemingly because he is

1455
01:16:39,760 --> 01:16:43,720
Speaker 2: familiar with tricking people into signing sketchy contracts at his dealership,

1456
01:16:44,479 --> 01:16:47,720
Speaker 2: but all of the children sign and then from here,

1457
01:16:47,840 --> 01:16:50,400
Speaker 2: this is when we go on into the Chocolate Room,

1458
01:16:50,439 --> 01:16:53,759
Speaker 2: which is sort of the centerpiece sequence in the movie.

1459
01:16:54,360 --> 01:16:56,920
Speaker 2: This is like the main thing everybody remembers.

1460
01:16:57,360 --> 01:17:02,600
Speaker 1: Yeah, a giant, enclosed space that is like, it's like

1461
01:17:02,640 --> 01:17:05,160
Speaker 1: the Garden of Eden, except chocolate, you know, it is.

1462
01:17:05,760 --> 01:17:10,000
Speaker 1: It is like a botanical garden except chocolate. It is.

1463
01:17:10,240 --> 01:17:13,360
Speaker 1: It is a place of dreams and beauty. To quote

1464
01:17:13,520 --> 01:17:15,960
Speaker 1: Willy Wonk says, inside this room, all of my dreams

1465
01:17:15,960 --> 01:17:19,320
Speaker 1: become realities, and some of my realities become dreams, which

1466
01:17:20,080 --> 01:17:23,479
Speaker 1: that's lovely, lovely line, but also the sort of line

1467
01:17:23,520 --> 01:17:27,360
Speaker 1: that Lilly Wonka keeps utilizing where he does a little switcheroo,

1468
01:17:27,520 --> 01:17:27,720
Speaker 1: you know.

1469
01:17:28,000 --> 01:17:31,559
Speaker 2: Yeah. So it's a huge indoor set made up like

1470
01:17:31,640 --> 01:17:35,840
Speaker 2: an outdoor candyland meadow with hills and valleys and a

1471
01:17:35,880 --> 01:17:40,559
Speaker 2: brook of flowing liquid chocolate. At first, somebody comments that

1472
01:17:41,240 --> 01:17:44,519
Speaker 2: I think it's mister salt Verruka's dad is like, oh,

1473
01:17:44,720 --> 01:17:47,120
Speaker 2: you know, your river must be full of toxic waste

1474
01:17:47,160 --> 01:17:50,400
Speaker 2: due to the color, but Wonka corrects them it is

1475
01:17:50,400 --> 01:17:52,720
Speaker 2: not water. It's chocolate. It's supposed to look like that,

1476
01:17:53,360 --> 01:17:55,559
Speaker 2: and points out the chocolate waterfall and all that. But

1477
01:17:55,600 --> 01:17:58,800
Speaker 2: then also everything in this meadow is edible, as you're saying,

1478
01:17:58,840 --> 01:18:02,200
Speaker 2: all the flowers are able. There are big mushrooms that

1479
01:18:02,200 --> 01:18:05,719
Speaker 2: are seemingly full of marshmallow cream. You can just walk

1480
01:18:05,800 --> 01:18:08,479
Speaker 2: through the walk through nature and pick up and eat

1481
01:18:08,560 --> 01:18:10,599
Speaker 2: everything you find, and it's all candy.

1482
01:18:11,040 --> 01:18:12,800
Speaker 1: Yeah, yeah, he tells them you can you can eat it.

1483
01:18:12,920 --> 01:18:14,880
Speaker 1: You can eat anything in here, and boy do they

1484
01:18:14,880 --> 01:18:17,760
Speaker 1: do it. They just dig in. But along the way,

1485
01:18:17,800 --> 01:18:23,720
Speaker 1: of course, we get probably the best song on the soundtrack,

1486
01:18:24,120 --> 01:18:27,280
Speaker 1: certainly one that I think has resonated well beyond the

1487
01:18:27,320 --> 01:18:29,720
Speaker 1: confines of the movie, and one that I believe is

1488
01:18:29,720 --> 01:18:32,439
Speaker 1: featured in the Timothy Shallowy film as well, which I

1489
01:18:32,439 --> 01:18:36,360
Speaker 1: also enjoyed. But the song of for Us is pure imagination,

1490
01:18:37,280 --> 01:18:41,800
Speaker 1: where Wonka is introducing you, is introducing us, inviting us

1491
01:18:41,840 --> 01:18:45,760
Speaker 1: into this sacred space of candy making U. And it's

1492
01:18:45,800 --> 01:18:49,040
Speaker 1: just a great sequence. We get, you know, Wonka's voice,

1493
01:18:49,080 --> 01:18:53,479
Speaker 1: Wonka's strange little dance moves as he like walks down

1494
01:18:53,520 --> 01:18:56,719
Speaker 1: the steps. All the little moments here are nice and

1495
01:18:56,439 --> 01:18:59,320
Speaker 1: and and the candy is I don't know, varying levels

1496
01:18:59,320 --> 01:19:02,200
Speaker 1: of grotesque. But I also really like the bit where

1497
01:19:02,200 --> 01:19:06,920
Speaker 1: we have the buttercup teacup that Wonka himself drinks from

1498
01:19:06,920 --> 01:19:08,320
Speaker 1: and then begins to eat the cup.

1499
01:19:08,600 --> 01:19:11,759
Speaker 2: Yes, that's my favorite, but I'd say the main theme

1500
01:19:11,800 --> 01:19:15,200
Speaker 2: of the song is the freedom provided by living a

1501
01:19:15,240 --> 01:19:18,200
Speaker 2: life of the imagination. You know, there is no life

1502
01:19:18,240 --> 01:19:21,160
Speaker 2: I know to compare with pure imagination. Living there, You'll

1503
01:19:21,160 --> 01:19:22,840
Speaker 2: be free if you truly wish to be.

1504
01:19:23,600 --> 01:19:28,280
Speaker 1: Yeah, beautiful song, love everything about it, and then you know,

1505
01:19:28,320 --> 01:19:30,919
Speaker 1: we begin to learn more about about the room itself.

1506
01:19:31,680 --> 01:19:34,040
Speaker 1: The bit where he's talking the description of the nature

1507
01:19:34,080 --> 01:19:36,560
Speaker 1: and purpose of the chocolate waterfall is brilliant. This is

1508
01:19:36,600 --> 01:19:37,920
Speaker 1: the only place in the world where they mix their

1509
01:19:38,000 --> 01:19:42,800
Speaker 1: chocolate by waterfall. And I realized watching this this is

1510
01:19:42,840 --> 01:19:45,920
Speaker 1: a scene I think about every single time I encounter

1511
01:19:45,960 --> 01:19:49,360
Speaker 1: an artificial waterfall, be it at a botanical garden, a mall,

1512
01:19:49,600 --> 01:19:52,000
Speaker 1: a mini golf course, you name it. If I see

1513
01:19:52,000 --> 01:19:55,640
Speaker 1: an artificial waterfall, I always think of the scene in

1514
01:19:55,640 --> 01:19:56,320
Speaker 1: Willy Wonka.

1515
01:19:56,479 --> 01:19:58,599
Speaker 2: This is also the scene where we meet the Oupa

1516
01:19:58,680 --> 01:20:01,880
Speaker 2: Lumpas for the first time, are the workers in the

1517
01:20:01,880 --> 01:20:06,040
Speaker 2: factory who make all the chocolate who are there seem

1518
01:20:06,080 --> 01:20:09,680
Speaker 2: to be powered by a combination of you know, can

1519
01:20:09,760 --> 01:20:14,639
Speaker 2: do spirit and industriousness, but also magic. Like are are

1520
01:20:14,680 --> 01:20:15,760
Speaker 2: they magical? I think so?

1521
01:20:16,760 --> 01:20:19,080
Speaker 1: Yeah. They're Like I said, they really lean into the

1522
01:20:19,120 --> 01:20:21,960
Speaker 1: idea that they are from another world. They're more like leprechauns.

1523
01:20:22,000 --> 01:20:27,800
Speaker 1: They have orange skin. They they're also very emotionless. They're

1524
01:20:27,920 --> 01:20:31,360
Speaker 1: very grim in their demeanor. Not to say they're threatening,

1525
01:20:31,439 --> 01:20:34,799
Speaker 1: but they It's fitting that they sing so many songs

1526
01:20:35,400 --> 01:20:39,880
Speaker 1: in judgment of what is transpired. You know, they take

1527
01:20:39,920 --> 01:20:42,280
Speaker 1: no joy in it, though they are dancing and singing.

1528
01:20:42,520 --> 01:20:44,840
Speaker 1: They take no joy in it. But they present the

1529
01:20:44,920 --> 01:20:46,400
Speaker 1: facts as they see them.

1530
01:20:46,560 --> 01:20:50,320
Speaker 2: They are, in a way like Old Testament prophets, not

1531
01:20:50,520 --> 01:20:52,559
Speaker 2: you know, not the kind, not the idea we have

1532
01:20:52,600 --> 01:20:55,519
Speaker 2: of prophet being someone who tells the future, but someone

1533
01:20:55,560 --> 01:20:59,639
Speaker 2: who channels the will of the Almighty and casting judgment

1534
01:20:59,760 --> 01:21:02,000
Speaker 2: on on sin and injustice in the world.

1535
01:21:02,560 --> 01:21:04,120
Speaker 1: All right, So it's in here that we're going to

1536
01:21:04,200 --> 01:21:08,200
Speaker 1: get our first early elimination, and it's going to be

1537
01:21:08,240 --> 01:21:11,479
Speaker 1: Augustus Glue because what happens, and I have to stress,

1538
01:21:11,479 --> 01:21:13,799
Speaker 1: I always feel a lot of compassion for Augustus because

1539
01:21:14,200 --> 01:21:18,800
Speaker 1: we've established that his sin is gluttony, and he's going

1540
01:21:18,840 --> 01:21:22,080
Speaker 1: to fall into the chocolate river because he's leaning over

1541
01:21:22,120 --> 01:21:24,959
Speaker 1: to drink from it. But wanka, where are the railings?

1542
01:21:25,120 --> 01:21:26,960
Speaker 1: And why didn't you warn them not to drink from

1543
01:21:27,000 --> 01:21:29,040
Speaker 1: the chocolate river? If it was forbidden, you should have

1544
01:21:29,479 --> 01:21:32,680
Speaker 1: said that thou shalt all the what's the line from

1545
01:21:32,760 --> 01:21:34,960
Speaker 1: the the Old Testament, you know, like all the fruits

1546
01:21:35,000 --> 01:21:37,680
Speaker 1: of the of this room or for your pleasure, but

1547
01:21:37,760 --> 01:21:38,720
Speaker 1: not the chocolate river.

1548
01:21:38,920 --> 01:21:40,519
Speaker 2: I don't Yeah, I don't think he said that. I

1549
01:21:40,560 --> 01:21:43,599
Speaker 2: think he when they're going into the room, he's like, yeah,

1550
01:21:43,640 --> 01:21:44,840
Speaker 2: you can eat anything in here.

1551
01:21:44,880 --> 01:21:47,559
Speaker 1: That's what I thought. He said, yeah, yeah, that's what

1552
01:21:47,600 --> 01:21:50,439
Speaker 1: I heard. And then then but he does say, please stop,

1553
01:21:50,479 --> 01:21:52,559
Speaker 1: don't do that. You're not supposed to drink from the fountain.

1554
01:21:52,960 --> 01:21:55,960
Speaker 1: And then he falls in and then it gets it

1555
01:21:56,000 --> 01:21:57,960
Speaker 1: gets grimmer from that point on, all.

1556
01:21:57,880 --> 01:22:00,920
Speaker 2: Right, So they say the suctions got him. Oh and

1557
01:22:00,960 --> 01:22:04,880
Speaker 2: then there is a glass pipe that is leading up

1558
01:22:04,880 --> 01:22:07,759
Speaker 2: from the chocolate river and they see it goestus gloop

1559
01:22:08,000 --> 01:22:11,080
Speaker 2: like get sucked up into the pipe. And this this

1560
01:22:11,200 --> 01:22:14,680
Speaker 2: is like horrible because trying to imagine the reality of

1561
01:22:14,760 --> 01:22:17,639
Speaker 2: being sucked into a pipe. Is a is a nightmare.

1562
01:22:17,800 --> 01:22:21,360
Speaker 2: This is a terrible thing. But yeah, and this is

1563
01:22:21,400 --> 01:22:23,240
Speaker 2: just kind of like, oh, he's gonna be okay. You know,

1564
01:22:23,280 --> 01:22:25,200
Speaker 2: he'll come out at the what did they say, there's

1565
01:22:25,200 --> 01:22:27,200
Speaker 2: another room where he'll come out, and they send his

1566
01:22:27,280 --> 01:22:28,120
Speaker 2: mom to go get him.

1567
01:22:28,439 --> 01:22:31,599
Speaker 1: Yeah. Yeah, and you know Wonka is not too concerned.

1568
01:22:32,400 --> 01:22:35,360
Speaker 1: So one down, the rest still to go. And I

1569
01:22:35,360 --> 01:22:39,360
Speaker 1: believe this is where we bored the Wonkatania the tunnel

1570
01:22:39,360 --> 01:22:42,400
Speaker 1: boat ride and this is just this is a boat

1571
01:22:42,439 --> 01:22:47,000
Speaker 1: ride through hell. Such an amazing, darkly psychedelic sequence with

1572
01:22:47,200 --> 01:22:51,880
Speaker 1: wilder givings. Just an unhinged performance here, musical performance.

1573
01:22:52,479 --> 01:22:55,439
Speaker 2: I remember, I don't know, many years back now reading

1574
01:22:55,479 --> 01:22:58,840
Speaker 2: some article somebody wrote about like how insane this this

1575
01:22:58,920 --> 01:23:02,880
Speaker 2: sequence is for a kid's movie. It is crazy and

1576
01:23:03,000 --> 01:23:06,360
Speaker 2: dark and has some weird background footage. It's like, while

1577
01:23:06,400 --> 01:23:10,000
Speaker 2: they're going down, he's singing the song and his eyes

1578
01:23:10,040 --> 01:23:11,880
Speaker 2: are going back and forth in this creepy way, and

1579
01:23:11,920 --> 01:23:14,240
Speaker 2: these lights are playing all over the place. But then

1580
01:23:14,400 --> 01:23:17,800
Speaker 2: in the background they're playing basically the tape from the Ring.

1581
01:23:18,840 --> 01:23:22,519
Speaker 1: Yes, yeah, with like like centipede crawling across somebody's face,

1582
01:23:22,920 --> 01:23:27,120
Speaker 1: a flash of slug Worth and other nightmarish things happening

1583
01:23:27,200 --> 01:23:31,679
Speaker 1: and flashes, and meanwhile, yeah, he's reciting this poem, kind

1584
01:23:31,680 --> 01:23:35,040
Speaker 1: of singing this song, and he's getting more and more

1585
01:23:35,080 --> 01:23:37,760
Speaker 1: intense and unhinged as he's doing it. You know, not

1586
01:23:37,880 --> 01:23:40,080
Speaker 1: a speck of light is showing, so the danger must

1587
01:23:40,080 --> 01:23:43,040
Speaker 1: be growing. Are the fires of hell a glowing? Is

1588
01:23:43,080 --> 01:23:49,400
Speaker 1: the Grizzly Reaper mowing. It's getting really intense. People, children

1589
01:23:49,439 --> 01:23:53,120
Speaker 1: and adults are screaming, and then it ends and they've

1590
01:23:53,200 --> 01:23:54,720
Speaker 1: arrived at their destination, I think.

1591
01:23:54,800 --> 01:23:57,080
Speaker 2: So one of them says like, Walker, you got to

1592
01:23:57,120 --> 01:23:59,240
Speaker 2: stop this, and he's like, Okay, here we are.

1593
01:23:59,600 --> 01:24:02,719
Speaker 1: Yeah, And I'm to understand this is another scene where

1594
01:24:03,120 --> 01:24:05,680
Speaker 1: the children were maybe not quite prepared and maybe the

1595
01:24:05,680 --> 01:24:07,719
Speaker 1: adult actors too for what they were going to see

1596
01:24:08,680 --> 01:24:11,640
Speaker 1: or experience. But this is where we arrive at the

1597
01:24:11,760 --> 01:24:14,640
Speaker 1: inventing room, and this is where they're making those everlasting

1598
01:24:14,640 --> 01:24:16,679
Speaker 1: gobstoppers along with some other gags.

1599
01:24:17,160 --> 01:24:20,040
Speaker 2: Right, So, the deal with the everlasting gobstopper is it

1600
01:24:20,120 --> 01:24:23,400
Speaker 2: is a candy, a hard candy that you suck, and

1601
01:24:23,560 --> 01:24:26,200
Speaker 2: normally a gobstopper would as you gradually suck at, it

1602
01:24:26,280 --> 01:24:29,080
Speaker 2: disintegrates in your mouth and goes away. This one you

1603
01:24:29,120 --> 01:24:32,160
Speaker 2: can suck forever and it will never go away. I

1604
01:24:32,200 --> 01:24:35,640
Speaker 2: don't know how great that would actually be. You know,

1605
01:24:35,720 --> 01:24:38,040
Speaker 2: do you want to have this candy in your mouth forever?

1606
01:24:38,920 --> 01:24:41,040
Speaker 1: Yeah? Well, I think Slugworth is approaching it like, if

1607
01:24:41,080 --> 01:24:43,519
Speaker 1: you sell them this one candy, they'll never buy candy again.

1608
01:24:44,439 --> 01:24:46,760
Speaker 1: But on the other hand, it's kind of like water

1609
01:24:46,800 --> 01:24:49,639
Speaker 1: bottles and children. Like Joe, you're not at this point

1610
01:24:49,720 --> 01:24:52,200
Speaker 1: yet with your child, but don't fool yourself into thinking

1611
01:24:52,240 --> 01:24:54,760
Speaker 1: you're buying this child one water bottle. You will buy

1612
01:24:54,800 --> 01:24:57,760
Speaker 1: them so many water bottles and they will lose them all.

1613
01:24:58,120 --> 01:25:01,800
Speaker 1: The same would be true if the everlasting gobstopper. These

1614
01:25:01,880 --> 01:25:03,639
Speaker 1: kids are gonna lose one a week.

1615
01:25:03,920 --> 01:25:06,400
Speaker 2: We've already got several, and we keep losing them in

1616
01:25:06,479 --> 01:25:06,920
Speaker 2: the house.

1617
01:25:07,640 --> 01:25:09,160
Speaker 1: There you go, Okay, you do have a taste of it.

1618
01:25:09,280 --> 01:25:12,320
Speaker 2: Yeah, where's the cat bus water bottle? I don't know

1619
01:25:12,600 --> 01:25:15,640
Speaker 2: where's it. Then we'll go get the Totoro water bottle.

1620
01:25:15,360 --> 01:25:17,880
Speaker 1: Okay, yeah, yeah, And once they start leaving the house, yeah,

1621
01:25:17,880 --> 01:25:20,000
Speaker 1: I forget about it. Oh but this is also where

1622
01:25:20,000 --> 01:25:22,920
Speaker 1: we have the multi coarse meal gum.

1623
01:25:23,240 --> 01:25:25,760
Speaker 2: But anyway, so he gives them the Gobstoppers. He's like,

1624
01:25:25,920 --> 01:25:28,439
Speaker 2: you got to be very careful because you can never

1625
01:25:28,479 --> 01:25:30,880
Speaker 2: share this with anybody, only keep it for yourself. And

1626
01:25:30,920 --> 01:25:33,120
Speaker 2: we've seen slug Worth talk to all these kids, so

1627
01:25:33,120 --> 01:25:36,040
Speaker 2: we just know all of them or they're dying to

1628
01:25:36,080 --> 01:25:37,800
Speaker 2: give this thing to slug Worth as soon as they

1629
01:25:37,800 --> 01:25:40,120
Speaker 2: get out of there and get the money. Does Vruca

1630
01:25:40,160 --> 01:25:41,679
Speaker 2: Salt need it? She's rich anyway?

1631
01:25:42,200 --> 01:25:45,439
Speaker 1: Yeah, yeah, I don't know what her motivations are, necessarily.

1632
01:25:45,040 --> 01:25:46,880
Speaker 2: Just pure treachery for its own sake.

1633
01:25:47,080 --> 01:25:50,400
Speaker 1: Yeah. In fact, it seems like she would want to

1634
01:25:50,479 --> 01:25:52,920
Speaker 1: keep it because it's hers, right, she wants it all,

1635
01:25:53,040 --> 01:25:55,000
Speaker 1: as we will learn in song later on.

1636
01:26:04,280 --> 01:26:08,120
Speaker 2: But here we get another elimination that's right, and it

1637
01:26:08,240 --> 01:26:11,439
Speaker 2: is based on an invention that I mentioned earlier, the

1638
01:26:11,560 --> 01:26:16,240
Speaker 2: three course dinner chewing gum, which he gives to Violet

1639
01:26:16,280 --> 01:26:18,080
Speaker 2: Beauregard to taste.

1640
01:26:18,520 --> 01:26:20,439
Speaker 1: No, no, he just snatches it, that's right.

1641
01:26:20,560 --> 01:26:23,320
Speaker 2: Yeah, she grabs it, that's right, because she's being greedy.

1642
01:26:23,880 --> 01:26:26,800
Speaker 2: He doesn't tell her it's ready yet. They're still experimenting

1643
01:26:26,840 --> 01:26:28,439
Speaker 2: on it, but she's like, give it to me, puts

1644
01:26:28,479 --> 01:26:32,120
Speaker 2: it in her mouth, and the first course is tomato

1645
01:26:32,160 --> 01:26:34,200
Speaker 2: soup and it tastes like tomato soup. She says, it

1646
01:26:34,200 --> 01:26:37,080
Speaker 2: feels like tomato soup going down your throat. I'm like, oh,

1647
01:26:37,200 --> 01:26:38,360
Speaker 2: what kind of gum is that?

1648
01:26:40,120 --> 01:26:42,519
Speaker 1: But you said you like savory stuff more as a kid,

1649
01:26:42,600 --> 01:26:45,479
Speaker 1: so you know this is for the savory kids.

1650
01:26:45,600 --> 01:26:48,479
Speaker 2: Should gum ever feel like it's going down your throat?

1651
01:26:50,320 --> 01:26:51,439
Speaker 1: Maybe not? Okay?

1652
01:26:51,520 --> 01:26:54,120
Speaker 2: So the second course is roast beef, and then the

1653
01:26:54,160 --> 01:26:58,280
Speaker 2: third course, the dessert is blueberry pie. But uh oh,

1654
01:26:58,360 --> 01:27:01,160
Speaker 2: when she gets to the dessert course, she starts turning

1655
01:27:01,200 --> 01:27:04,400
Speaker 2: blue and then puffs up like that guy in Big

1656
01:27:04,439 --> 01:27:08,160
Speaker 2: Trouble in Little China, And then she's a blueberry now,

1657
01:27:08,280 --> 01:27:11,479
Speaker 2: And of course Willie Wonk is like, yeah, blueberries. They

1658
01:27:11,560 --> 01:27:13,200
Speaker 2: always turn into blueberries.

1659
01:27:13,360 --> 01:27:16,920
Speaker 1: Their DNA always fuses with blueberries during the late last

1660
01:27:16,920 --> 01:27:20,519
Speaker 1: stage of the gum. And there's nothing to be done,

1661
01:27:20,600 --> 01:27:23,080
Speaker 1: we learned, except that she needs to be juiced. That's

1662
01:27:23,120 --> 01:27:25,720
Speaker 1: her solution, that's the cure. So they roll her out

1663
01:27:25,720 --> 01:27:29,000
Speaker 1: of there and with Dad following close behind, and we.

1664
01:27:28,920 --> 01:27:31,680
Speaker 2: Get another Oopeloopa song. Did we mention last time that

1665
01:27:31,680 --> 01:27:34,760
Speaker 2: the Umploopa's judgment of augustas gloop came in the form

1666
01:27:34,800 --> 01:27:35,280
Speaker 2: of a song.

1667
01:27:35,760 --> 01:27:38,800
Speaker 1: Yes, that was largely based on fat shaming. It was

1668
01:27:38,880 --> 01:27:42,400
Speaker 1: mostly about how he was overweight, which again that's another reason.

1669
01:27:42,400 --> 01:27:45,040
Speaker 1: I'm like, come on, now we established he's a bit

1670
01:27:45,080 --> 01:27:47,559
Speaker 1: of a glutton, but how much of that can he help,

1671
01:27:47,640 --> 01:27:50,280
Speaker 1: you know, as far as his weight is concerned.

1672
01:27:50,080 --> 01:27:52,640
Speaker 2: This case, they're like, they're going after her with the

1673
01:27:52,720 --> 01:27:56,080
Speaker 2: Uploopa song for chewing gum. But I don't think it's

1674
01:27:56,160 --> 01:27:58,759
Speaker 2: the fact that she choose gum that was the problem.

1675
01:27:58,800 --> 01:28:00,920
Speaker 2: It was that she was told not to chew this

1676
01:28:01,000 --> 01:28:02,360
Speaker 2: gum and she did it anyway.

1677
01:28:02,520 --> 01:28:05,840
Speaker 1: Yeah, but that's all the op Olympus song fixates on gum.

1678
01:28:05,920 --> 01:28:07,800
Speaker 1: Chewing's fine when it's done once in a while. It

1679
01:28:07,840 --> 01:28:10,719
Speaker 1: stops you from smoking and brightens your smile, which sounds

1680
01:28:10,720 --> 01:28:14,040
Speaker 1: pretty good. But then it continues. But it's repulsive, revolting

1681
01:28:14,040 --> 01:28:16,840
Speaker 1: and wrong, chewing and chewing all day long the way

1682
01:28:16,880 --> 01:28:20,360
Speaker 1: a cow does. And I don't know, I think they're

1683
01:28:20,560 --> 01:28:26,080
Speaker 1: they are worse things. Does at least they're not smoking, right,

1684
01:28:26,240 --> 01:28:27,440
Speaker 1: come on, Olympus.

1685
01:28:27,920 --> 01:28:30,080
Speaker 2: Yeah, I think the op Olympus they get one in

1686
01:28:30,160 --> 01:28:31,400
Speaker 2: on her here it's a sick burn.

1687
01:28:31,800 --> 01:28:37,040
Speaker 1: Yeah, but now it's time to go to the goose room. Right,

1688
01:28:37,120 --> 01:28:39,000
Speaker 1: the right, the Golden Egg Room.

1689
01:28:39,160 --> 01:28:40,479
Speaker 2: Well, I don't know if we're doing these in the

1690
01:28:40,520 --> 01:28:41,000
Speaker 2: right order.

1691
01:28:41,280 --> 01:28:44,479
Speaker 1: Are we may have missed? Okay, so the fizzy Lifting

1692
01:28:44,520 --> 01:28:46,080
Speaker 1: room occurs at some point in all this.

1693
01:28:46,200 --> 01:28:48,240
Speaker 2: Let's talk about the fizzy lifting drinking room. I think

1694
01:28:48,240 --> 01:28:51,400
Speaker 2: that probably comes in here anyway. Uh So they're taken

1695
01:28:51,439 --> 01:28:55,360
Speaker 2: to this room where there is a soda that Wonka

1696
01:28:55,439 --> 01:28:58,639
Speaker 2: makes that will allow you to defy gravity. He tells

1697
01:28:58,680 --> 01:29:00,760
Speaker 2: them not to drink it. But after after everybody else

1698
01:29:00,840 --> 01:29:03,240
Speaker 2: leaves the room, Grandpa Joe is like, come on, let's

1699
01:29:03,240 --> 01:29:07,360
Speaker 2: break the rules. Grandpa Joe convinces Charlie to drink some

1700
01:29:07,479 --> 01:29:09,919
Speaker 2: and he drinks some too, and then they start floating

1701
01:29:10,000 --> 01:29:12,240
Speaker 2: up towards the ceiling where there is a giant fan.

1702
01:29:13,200 --> 01:29:15,800
Speaker 2: Like you know earlier I said half Life, but it's

1703
01:29:15,880 --> 01:29:17,519
Speaker 2: like Highlander.

1704
01:29:16,960 --> 01:29:19,320
Speaker 1: Two quick is exactly Island two.

1705
01:29:19,240 --> 01:29:22,280
Speaker 2: Highlander two the Quickening. They're going to be death by fan.

1706
01:29:22,840 --> 01:29:28,559
Speaker 2: But whereas Sean Connery defeated the Fan by saying, most

1707
01:29:28,560 --> 01:29:31,439
Speaker 2: people have a full measure of life, but most people

1708
01:29:31,520 --> 01:29:33,880
Speaker 2: watch it slowly drip away. But if you can sum

1709
01:29:33,880 --> 01:29:35,800
Speaker 2: it it all up at one time, in one place,

1710
01:29:35,840 --> 01:29:39,439
Speaker 2: you can accomplish something glorious. In this case, they defeat

1711
01:29:39,439 --> 01:29:42,680
Speaker 2: the fan by burping. Yes, so they burp out the

1712
01:29:42,760 --> 01:29:45,920
Speaker 2: gases produced by the fizzy lifting drink and slowly descend

1713
01:29:46,000 --> 01:29:47,920
Speaker 2: back to the floor, and then they are able to

1714
01:29:48,040 --> 01:29:48,920
Speaker 2: rejoin the group.

1715
01:29:49,400 --> 01:29:52,160
Speaker 1: Yeah, they catch it in the nick of time. Eventually, though,

1716
01:29:52,160 --> 01:29:54,040
Speaker 1: we end up in that goose room. And this is

1717
01:29:54,360 --> 01:29:56,240
Speaker 1: this is where you were talking about this earlier. The

1718
01:29:56,280 --> 01:30:01,679
Speaker 1: geese are these are Eastern geese laying giant chocolate Easter eggs,

1719
01:30:01,760 --> 01:30:04,280
Speaker 1: but they don't know that it's not Easter because walk

1720
01:30:04,400 --> 01:30:07,960
Speaker 1: is trying to get ahead of the Easter season. And

1721
01:30:08,000 --> 01:30:10,280
Speaker 1: I'm and then yeah, they're wrapped in gold foil, and

1722
01:30:10,320 --> 01:30:12,840
Speaker 1: you just have giant chocolate Easter eggs, which I'm not

1723
01:30:12,880 --> 01:30:15,240
Speaker 1: sure what the market is for these exactly. They don't

1724
01:30:15,240 --> 01:30:18,200
Speaker 1: seem to be processed any further. But I never got

1725
01:30:18,200 --> 01:30:21,040
Speaker 1: a giant chocolate Easter egg in my Easter basket.

1726
01:30:21,479 --> 01:30:25,479
Speaker 2: I don't think I did either. So Veruka Salt doesn't

1727
01:30:25,520 --> 01:30:28,120
Speaker 2: just want candy. She wants a golden goose. She wants

1728
01:30:28,240 --> 01:30:31,200
Speaker 2: to take a goose home herself. She's like, Daddy, buy

1729
01:30:31,240 --> 01:30:35,840
Speaker 2: me a goose, and her dad obeys as he always does,

1730
01:30:35,880 --> 01:30:37,519
Speaker 2: and He's like, all right, walk He gets out of

1731
01:30:37,560 --> 01:30:40,320
Speaker 2: his check book, how much for the goose, and Walka

1732
01:30:40,320 --> 01:30:43,840
Speaker 2: says they're not for sale. Uh oh, Veruka salt will

1733
01:30:43,880 --> 01:30:47,040
Speaker 2: not be denied, so she starts throwing a tantrum. Does

1734
01:30:47,080 --> 01:30:48,120
Speaker 2: she sing a song here?

1735
01:30:48,600 --> 01:30:51,519
Speaker 1: Yes, not only does she sing a song, she sings

1736
01:30:51,560 --> 01:30:53,880
Speaker 1: one of the best songs in the film. This is

1737
01:30:53,920 --> 01:30:58,240
Speaker 1: the I want the world, I want the whole world. Yeah,

1738
01:30:58,280 --> 01:30:59,920
Speaker 1: I want to lock it all up in my pocket.

1739
01:31:00,120 --> 01:31:02,480
Speaker 1: It's my bar of chocolate, give it to me now.

1740
01:31:02,560 --> 01:31:05,840
Speaker 2: But at the end of the song we established there

1741
01:31:05,920 --> 01:31:08,200
Speaker 2: there's like a little mechanism where when the geese lay

1742
01:31:08,200 --> 01:31:11,000
Speaker 2: a golden egg, it rolls down onto a scale that

1743
01:31:11,080 --> 01:31:13,160
Speaker 2: decides if it's a good egg or a bad egg.

1744
01:31:13,240 --> 01:31:15,960
Speaker 2: Good eggs or kept bad eggs go down the chute.

1745
01:31:16,400 --> 01:31:18,880
Speaker 2: Veruka climbs up onto the scale and uh oh, it

1746
01:31:18,960 --> 01:31:23,120
Speaker 2: says she's a bad egg and goes straight down the chute.

1747
01:31:23,479 --> 01:31:26,080
Speaker 2: And then the question is, well, let's see half of

1748
01:31:26,120 --> 01:31:29,080
Speaker 2: the shoots go into the furnace and they are incinerated

1749
01:31:29,120 --> 01:31:31,040
Speaker 2: and the other half go somewhere else, So we'll hope

1750
01:31:31,080 --> 01:31:32,040
Speaker 2: it's one of the good ones.

1751
01:31:32,400 --> 01:31:35,680
Speaker 1: Yeah, yeah, she has a fifty to fifty chance and

1752
01:31:35,720 --> 01:31:38,200
Speaker 1: then the ople Lump of Shame brigade shows up to

1753
01:31:38,280 --> 01:31:41,679
Speaker 1: place the blame firmly on bad parenting, and of course

1754
01:31:41,720 --> 01:31:44,360
Speaker 1: makes all of us parents watching the show suddenly question

1755
01:31:44,479 --> 01:31:46,559
Speaker 1: all of the gifts that we've bought for our children.

1756
01:31:46,600 --> 01:31:49,280
Speaker 1: We're like, are we making a Veruka salt? And I

1757
01:31:49,280 --> 01:31:51,519
Speaker 1: guess that's the intent. But this is the first case

1758
01:31:51,520 --> 01:31:53,840
Speaker 1: where the ople Loops have been like, no, not the

1759
01:31:53,920 --> 01:31:56,120
Speaker 1: kid's fault, this is all the parents.

1760
01:31:57,080 --> 01:31:59,400
Speaker 2: Which is funny because again this is clearly the worst

1761
01:31:59,439 --> 01:32:00,240
Speaker 2: of the kids.

1762
01:32:00,520 --> 01:32:00,720
Speaker 1: Yeah.

1763
01:32:01,040 --> 01:32:03,679
Speaker 2: Uh so then we then we go to the Wonka

1764
01:32:03,760 --> 01:32:07,760
Speaker 2: Vision room. Uh that's the one with the fly telepods,

1765
01:32:07,760 --> 01:32:11,960
Speaker 2: where they've got a camera that does TV except its teleportation.

1766
01:32:12,640 --> 01:32:15,759
Speaker 2: This leads to the elimination of the last non Charlie

1767
01:32:15,840 --> 01:32:17,280
Speaker 2: child there, Mike TV.

1768
01:32:17,680 --> 01:32:20,920
Speaker 1: That's right. Love the set here, love the costumes Wonka,

1769
01:32:21,000 --> 01:32:23,200
Speaker 1: and even in the opeloopus are wearing these you know,

1770
01:32:23,280 --> 01:32:26,240
Speaker 1: these solid white get ups with cool goggles.

1771
01:32:26,320 --> 01:32:27,920
Speaker 2: It's THX eleven thirty eight.

1772
01:32:28,320 --> 01:32:30,720
Speaker 1: Yeah, yeah, that's that's solid. That's exactly what it is.

1773
01:32:31,080 --> 01:32:34,480
Speaker 2: But uh oh but anyway, so they show he demonstrates

1774
01:32:34,520 --> 01:32:37,599
Speaker 2: the teleportation of a candy bar, and then Mike TV

1775
01:32:37,760 --> 01:32:39,559
Speaker 2: is like, could that work on a person?

1776
01:32:40,439 --> 01:32:40,679
Speaker 1: Yeah?

1777
01:32:40,920 --> 01:32:43,280
Speaker 2: Wonka's like probably maybe.

1778
01:32:43,320 --> 01:32:46,800
Speaker 1: Yeah. What Wonka convincingly seems to have not thought of

1779
01:32:46,840 --> 01:32:48,439
Speaker 1: this before, and it's like, I don't know, I guess

1780
01:32:48,439 --> 01:32:52,559
Speaker 1: it's possible. And then that's enough for Mike TV. He's like,

1781
01:32:52,760 --> 01:32:56,080
Speaker 1: give it to me, yeah, jumps up on the platform. Yeah.

1782
01:32:56,080 --> 01:32:59,000
Speaker 1: He's like, telepod me across the room please, I.

1783
01:32:59,040 --> 01:33:02,120
Speaker 2: Want to be the first in the fly Yeah.

1784
01:33:02,400 --> 01:33:05,680
Speaker 1: Yeah, and you know, and Wonka's you know, does the

1785
01:33:06,240 --> 01:33:08,879
Speaker 1: normal like wait, stop, come back back kind of response,

1786
01:33:08,960 --> 01:33:11,080
Speaker 1: but the ooper oop is alright already pulling the levers.

1787
01:33:11,080 --> 01:33:13,360
Speaker 1: They're like, all right, boss, we're doing it. They shoot

1788
01:33:13,400 --> 01:33:16,200
Speaker 1: him across the room and he is, of course reduced

1789
01:33:16,200 --> 01:33:20,720
Speaker 1: to a pocket sized version of himself. His mother is horrified.

1790
01:33:21,320 --> 01:33:24,200
Speaker 1: Mike seems really impressed by it. He's like, I've made history.

1791
01:33:24,240 --> 01:33:27,760
Speaker 1: I'm the first person in history to be miniaturized. And

1792
01:33:27,800 --> 01:33:29,559
Speaker 1: then they realized, well, we're gonna have to take him

1793
01:33:29,560 --> 01:33:31,519
Speaker 1: to the taffy room to stretch him out to full

1794
01:33:31,560 --> 01:33:32,200
Speaker 1: size again.

1795
01:33:33,080 --> 01:33:36,559
Speaker 2: Once again, this is similar to the Violet thing. The

1796
01:33:36,600 --> 01:33:40,600
Speaker 2: ople Lumpa song here blames the problem on TV, but

1797
01:33:40,760 --> 01:33:43,479
Speaker 2: wasn't the problem that Mike TV just like wasn't paying

1798
01:33:43,479 --> 01:33:45,679
Speaker 2: attention to what he was told by adults.

1799
01:33:45,920 --> 01:33:49,040
Speaker 1: Yeah yeah, there seemed to be other aspects of the

1800
01:33:50,000 --> 01:33:54,360
Speaker 1: Primes then here. But the Oopa Lumpa song here is tremendous.

1801
01:33:54,640 --> 01:33:57,120
Speaker 1: Like they come out, they're decked in those protective sci

1802
01:33:57,120 --> 01:34:00,759
Speaker 1: fi suits, and there seems to be an an increase

1803
01:34:00,880 --> 01:34:03,160
Speaker 1: seriousness to this number. I don't know how much of

1804
01:34:03,160 --> 01:34:05,559
Speaker 1: it is, like the music or the movements, and I

1805
01:34:05,560 --> 01:34:07,880
Speaker 1: do want to stress all the performers playing Opa loompa's

1806
01:34:07,880 --> 01:34:12,599
Speaker 1: in this are amazing, you know, the grim faced doing

1807
01:34:12,640 --> 01:34:15,679
Speaker 1: the dance routines, the different poses. Their poses are very

1808
01:34:15,720 --> 01:34:18,880
Speaker 1: serious here as well, and it is they're starting it up.

1809
01:34:18,920 --> 01:34:20,519
Speaker 1: It kind of feels like, Okay, this is the final

1810
01:34:20,600 --> 01:34:24,080
Speaker 1: judgment song, this one they're really going to cut down

1811
01:34:24,160 --> 01:34:27,200
Speaker 1: to like some prime sin. But again it is just

1812
01:34:27,400 --> 01:34:29,600
Speaker 1: don't watch too much television, which.

1813
01:34:29,560 --> 01:34:32,280
Speaker 2: Not bad advice. I mean, screen time concerns I think

1814
01:34:32,320 --> 01:34:35,439
Speaker 2: are real, but I think was not exactly the problem here.

1815
01:34:36,080 --> 01:34:39,960
Speaker 1: Yeah yeah, I mean I get the you know, today

1816
01:34:40,000 --> 01:34:42,040
Speaker 1: we would talk about screen time and too much screen

1817
01:34:42,120 --> 01:34:44,880
Speaker 1: time and the perils of screen time, and I think

1818
01:34:44,960 --> 01:34:48,920
Speaker 1: some of that is legitimately manifested here as well, you know,

1819
01:34:48,960 --> 01:34:52,040
Speaker 1: with like the violence, the consumption of violent media that

1820
01:34:52,120 --> 01:34:55,160
Speaker 1: Mike seems to be affected by. But the song is

1821
01:34:55,200 --> 01:34:58,839
Speaker 1: more like saying like, you should just read a book instead,

1822
01:34:59,120 --> 01:35:05,200
Speaker 1: where there's never vibe of sexuality obviously, and also pointing

1823
01:35:05,200 --> 01:35:10,320
Speaker 1: out you'll get no commercials, very dramatically reminding me that

1824
01:35:10,360 --> 01:35:13,000
Speaker 1: if you read a book there will be no commercials.

1825
01:35:13,040 --> 01:35:15,040
Speaker 2: If you're lucky. I don't know what the e readers

1826
01:35:15,040 --> 01:35:16,679
Speaker 2: in the next few decades are going to be.

1827
01:35:16,640 --> 01:35:19,280
Speaker 1: Like, oh no, the e readers now you still you

1828
01:35:19,280 --> 01:35:20,840
Speaker 1: have to, or at least in my experience, I had

1829
01:35:20,880 --> 01:35:23,160
Speaker 1: to pay extra to get the advertisement off the front

1830
01:35:23,160 --> 01:35:27,200
Speaker 1: of it, but it was I gladly did it after

1831
01:35:27,240 --> 01:35:29,960
Speaker 1: a while. And you know, in books, I remember paperback books,

1832
01:35:29,960 --> 01:35:31,479
Speaker 1: you'd have adds in the back. There were commercials in

1833
01:35:31,520 --> 01:35:33,040
Speaker 1: the back for like other Stephen King books.

1834
01:35:33,080 --> 01:35:35,000
Speaker 2: Yeah, that's true. We talked about that recently.

1835
01:35:35,080 --> 01:35:38,000
Speaker 1: Yeah, and I think we were talking about this offline. Though.

1836
01:35:38,000 --> 01:35:40,680
Speaker 1: It is also ironic that so many people grew up

1837
01:35:40,720 --> 01:35:43,640
Speaker 1: watching Willie Wank in the Chocolate Factory on TV with

1838
01:35:43,800 --> 01:35:48,479
Speaker 1: the commercials. Yeah, with commercials, and this number is like saying, hey,

1839
01:35:49,000 --> 01:35:52,200
Speaker 1: don't watch television, don't watch commercials. You got better things

1840
01:35:52,240 --> 01:35:54,920
Speaker 1: to do, like watch Tales of the Unexpected this Spring

1841
01:35:54,960 --> 01:35:55,479
Speaker 1: on ITV.

1842
01:36:04,960 --> 01:36:06,840
Speaker 2: All right, So finally at the end, we come down

1843
01:36:06,880 --> 01:36:10,920
Speaker 2: to the only tour members left are Charlie and Grandpa Joe,

1844
01:36:11,880 --> 01:36:14,280
Speaker 2: and we get a double twist ending it's a bad

1845
01:36:14,320 --> 01:36:18,200
Speaker 2: twist followed by a good twist. So the bad twist

1846
01:36:18,320 --> 01:36:21,280
Speaker 2: is that Charlie and Grandpa Joe are they're sort of

1847
01:36:21,479 --> 01:36:25,080
Speaker 2: sent home, and then Grandpa Joe's like, huh, what about

1848
01:36:25,120 --> 01:36:27,959
Speaker 2: the lifetime supply of chocolate? And he barges into Walka's

1849
01:36:28,000 --> 01:36:31,840
Speaker 2: office and Walka says, you can't have your lifetime supply

1850
01:36:31,880 --> 01:36:35,080
Speaker 2: of chocolate because you violated the contract you signed on

1851
01:36:35,200 --> 01:36:37,439
Speaker 2: coming in which they didn't have time to read and

1852
01:36:37,439 --> 01:36:41,880
Speaker 2: it was too small to e again, not enforceable, but

1853
01:36:41,960 --> 01:36:43,760
Speaker 2: he says, you know, I know that you drank the

1854
01:36:43,760 --> 01:36:47,960
Speaker 2: phizzy lifting drinks, which was Grandpa Joe's idea by the way, Yeah,

1855
01:36:48,000 --> 01:36:50,799
Speaker 2: I know that you did that, and therefore you get nothing.

1856
01:36:50,960 --> 01:36:54,479
Speaker 2: You lose. It's that famous monologue that's been clipped in

1857
01:36:54,520 --> 01:36:56,799
Speaker 2: a lot of things where he's just yelling you lose.

1858
01:36:56,920 --> 01:37:00,800
Speaker 1: Good day, sir, this is a noting that this is

1859
01:37:00,840 --> 01:37:03,639
Speaker 1: another scene where apparently like they ran through the lines

1860
01:37:03,640 --> 01:37:05,799
Speaker 1: and they got it down, but then when they actually

1861
01:37:05,840 --> 01:37:10,160
Speaker 1: filmed it, this is a scene where Wilder definitely enhanced

1862
01:37:10,160 --> 01:37:13,840
Speaker 1: the intensity and the anger level of it all. So

1863
01:37:14,640 --> 01:37:16,360
Speaker 1: that's that's interesting to think about it, because he does

1864
01:37:16,400 --> 01:37:19,920
Speaker 1: get very animated with the whole you know, he gets nothing.

1865
01:37:20,160 --> 01:37:23,599
Speaker 1: I said good days there. Yeah, classic scene and really

1866
01:37:23,640 --> 01:37:26,240
Speaker 1: a heartbreaking scene because now I mean, not only is

1867
01:37:26,280 --> 01:37:29,479
Speaker 1: there the side of it where Charlie is losing, like

1868
01:37:29,560 --> 01:37:31,760
Speaker 1: at the end, like it seems like Charlie Buckett is

1869
01:37:31,760 --> 01:37:34,840
Speaker 1: being eliminated as well, but also like this whole room

1870
01:37:35,000 --> 01:37:38,519
Speaker 1: that Wonka is in, everything is like in half. Like

1871
01:37:38,600 --> 01:37:41,320
Speaker 1: there's a half of the head that is used like

1872
01:37:41,360 --> 01:37:43,840
Speaker 1: a mannequin head used as to breast his hat on.

1873
01:37:44,160 --> 01:37:47,479
Speaker 1: There's a half a safe everything is half there, and

1874
01:37:47,520 --> 01:37:50,480
Speaker 1: it's like this is the inner synctum of an incomplete

1875
01:37:50,520 --> 01:37:53,960
Speaker 1: person or one who is halfway through a journey. Hard

1876
01:37:53,960 --> 01:37:56,280
Speaker 1: to figure exactly what they were going for, but it

1877
01:37:56,320 --> 01:37:59,920
Speaker 1: resonates with a sadness. You know, you get the sense

1878
01:38:00,080 --> 01:38:03,200
Speaker 1: that that Wonka is also disappointed with the way things

1879
01:38:03,200 --> 01:38:03,679
Speaker 1: are going.

1880
01:38:03,960 --> 01:38:06,840
Speaker 2: So having been rejected like this. They start to walk away,

1881
01:38:06,920 --> 01:38:09,599
Speaker 2: and then Grandpa Joe's like, yeah, well, you know, we'll

1882
01:38:09,640 --> 01:38:12,360
Speaker 2: give slug Worth a a gobstopper and then we're gonna

1883
01:38:12,360 --> 01:38:15,320
Speaker 2: get some money. So Grandpa Joe once again the devil

1884
01:38:15,400 --> 01:38:20,280
Speaker 2: on Charlie's shoulder, but in multiple points. But Charlie is like, no,

1885
01:38:20,720 --> 01:38:22,760
Speaker 2: I gotta give it back to him because he's a

1886
01:38:22,760 --> 01:38:25,519
Speaker 2: good boy. So he takes it back to Willy Wonka,

1887
01:38:25,600 --> 01:38:28,519
Speaker 2: puts it on his desk and leaves it there. And

1888
01:38:28,560 --> 01:38:32,120
Speaker 2: then as they try to leave, there's another twist. Wonka's like,

1889
01:38:32,240 --> 01:38:34,600
Speaker 2: you did it. You did it. That's what I was

1890
01:38:34,640 --> 01:38:37,640
Speaker 2: hoping for this whole time. Just give me back this gobstopper,

1891
01:38:37,880 --> 01:38:41,839
Speaker 2: but I'm sorry again. Logical thing like what if Charlie

1892
01:38:41,920 --> 01:38:43,760
Speaker 2: was going to take it with him but just keep

1893
01:38:43,800 --> 01:38:45,599
Speaker 2: it for himself and not give it to slug Worth.

1894
01:38:45,920 --> 01:38:48,360
Speaker 1: Yeah, at what point they would they decide? Okay, I

1895
01:38:48,360 --> 01:38:50,040
Speaker 1: guess he's not giving it to slug Worth. I guess

1896
01:38:50,160 --> 01:38:52,479
Speaker 1: Charlie wins now or would it be? It would be

1897
01:38:53,200 --> 01:38:56,040
Speaker 1: it would be like the Woman in the Snow legend

1898
01:38:56,120 --> 01:38:59,760
Speaker 1: from Japanese traditions, where years later Charlie is CEO and

1899
01:38:59,760 --> 01:39:03,719
Speaker 1: has CEO of Wonka for ages and then he finally

1900
01:39:04,560 --> 01:39:08,080
Speaker 1: lets somebody else hold the gobstopper and then loses everything magically.

1901
01:39:08,240 --> 01:39:12,599
Speaker 2: That's right. So so yeah, so what happened is that

1902
01:39:12,720 --> 01:39:15,200
Speaker 2: was not really Slugworth, who was the creepy guy talking

1903
01:39:15,200 --> 01:39:17,880
Speaker 2: to all the kids, that is an employee of Wonka's.

1904
01:39:18,240 --> 01:39:21,040
Speaker 2: And Wonka has been looking for someone to hand over

1905
01:39:21,120 --> 01:39:24,559
Speaker 2: his factory too. I don't know why exactly He's done

1906
01:39:24,560 --> 01:39:26,200
Speaker 2: with it. He wants to hand it over to someone,

1907
01:39:26,520 --> 01:39:28,519
Speaker 2: and he had to find a child who is pure

1908
01:39:28,520 --> 01:39:32,639
Speaker 2: of heart, who could be trusted to, you know, receive

1909
01:39:32,720 --> 01:39:36,200
Speaker 2: this great burden, this great responsibility, and this was his

1910
01:39:36,240 --> 01:39:37,280
Speaker 2: selection process.

1911
01:39:37,880 --> 01:39:41,080
Speaker 1: Yeah. Yeah, Like he never outright comes out and says,

1912
01:39:41,240 --> 01:39:43,360
Speaker 1: you know, I'm going to die or says that like

1913
01:39:43,400 --> 01:39:46,040
Speaker 1: death is imminent for him. He does say I don't

1914
01:39:46,360 --> 01:39:48,360
Speaker 1: I'm not going to live forever and I don't really

1915
01:39:48,400 --> 01:39:52,000
Speaker 1: want to try, which is I think such a clever line,

1916
01:39:52,040 --> 01:39:55,040
Speaker 1: because you know, it kind of implies like all of

1917
01:39:55,040 --> 01:39:59,400
Speaker 1: the unnatural things a wizard or mad scientist might do

1918
01:39:59,640 --> 01:40:02,080
Speaker 1: to like grasp and hold on to life and hold

1919
01:40:02,120 --> 01:40:04,720
Speaker 1: on to riches instead of passing it on to the

1920
01:40:04,760 --> 01:40:08,080
Speaker 1: next generation and Also he's thinking about the Oople loopas

1921
01:40:08,120 --> 01:40:11,080
Speaker 1: as he reveals like he needs somebody with a childlike

1922
01:40:11,400 --> 01:40:14,080
Speaker 1: vision to keep running the company and to care for

1923
01:40:14,120 --> 01:40:16,680
Speaker 1: the oomple lumpas who I think we skimmed over this,

1924
01:40:16,720 --> 01:40:20,400
Speaker 1: but like they have adversaries in their homeland, like monsters

1925
01:40:20,439 --> 01:40:23,040
Speaker 1: that want to eat them and so forth. Yes, show

1926
01:40:23,040 --> 01:40:23,840
Speaker 1: gots and whatnot.

1927
01:40:24,240 --> 01:40:27,839
Speaker 2: Right, all of this, by the way, explained in an

1928
01:40:27,880 --> 01:40:30,400
Speaker 2: elevator that's flying over the city. We didn't mention that.

1929
01:40:30,439 --> 01:40:32,840
Speaker 2: But they get in the big glass elevator. We're told

1930
01:40:32,880 --> 01:40:34,760
Speaker 2: that this is an elevator that not only goes up

1931
01:40:34,760 --> 01:40:36,760
Speaker 2: and down, it can go anywhere. So it goes through

1932
01:40:36,800 --> 01:40:38,880
Speaker 2: the roof and then flies around over the city.

1933
01:40:39,439 --> 01:40:42,639
Speaker 1: This is the perfect manifestation of the divine power of

1934
01:40:42,800 --> 01:40:47,439
Speaker 1: Willy Wonka. Like an elevator that is not limited by

1935
01:40:47,479 --> 01:40:51,280
Speaker 1: physical space. It can go everywhere, it can rise above everything.

1936
01:40:51,479 --> 01:40:55,439
Speaker 1: So happy ending, I guess, yeah, happy ending. Now, you

1937
01:40:55,439 --> 01:40:59,240
Speaker 1: know there's a whole second book where they have adventures

1938
01:40:59,280 --> 01:41:02,760
Speaker 1: in the amazing glass elevator. But you know that's that's

1939
01:41:02,800 --> 01:41:04,800
Speaker 1: another story and I guess we'll be told another time.

1940
01:41:04,840 --> 01:41:07,040
Speaker 1: I don't that's never been really adapted as far as

1941
01:41:07,040 --> 01:41:09,360
Speaker 1: I know, I'm not sure what kind of adventures they

1942
01:41:09,400 --> 01:41:11,280
Speaker 1: get up to in that, but for here, it's just

1943
01:41:11,360 --> 01:41:13,719
Speaker 1: it's clear that, like, yeah, happy ending has been achieved.

1944
01:41:13,800 --> 01:41:17,639
Speaker 1: Charlie is now the heir apparent for the Wonka company.

1945
01:41:18,280 --> 01:41:20,800
Speaker 1: Wonka is pleased with this. The oople loops are going

1946
01:41:20,840 --> 01:41:22,559
Speaker 1: to be okay, and Charlie's family is going to be

1947
01:41:22,560 --> 01:41:27,200
Speaker 1: provided for, and that's the end. Send you home happy, Yeah.

1948
01:41:27,439 --> 01:41:31,200
Speaker 2: Assuming Charlie wants to run a candy factory, It's funny

1949
01:41:31,200 --> 01:41:33,679
Speaker 2: he doesn't ask him beforehand, but it seems it seems

1950
01:41:33,720 --> 01:41:35,320
Speaker 2: to work out that Charlie is into it.

1951
01:41:35,520 --> 01:41:38,120
Speaker 1: What child wouldn't want to run the chocolate factory. It's

1952
01:41:38,240 --> 01:41:41,640
Speaker 1: it's that it's not even worth factoring in here. Of

1953
01:41:41,640 --> 01:41:44,880
Speaker 1: course they say yes, But if somehow Varuka sal did one,

1954
01:41:45,040 --> 01:41:46,599
Speaker 1: that would have been a different ending entirely.

1955
01:41:46,680 --> 01:41:49,680
Speaker 2: Oh yeah, a new era of darkness, the reign of

1956
01:41:49,760 --> 01:41:55,960
Speaker 2: terror in the chocolate factory. Question though, does Charlie inherit

1957
01:41:56,120 --> 01:41:57,759
Speaker 2: Willie Wonka's magic powers?

1958
01:41:58,000 --> 01:42:00,599
Speaker 1: I would think so, I would think so. Yeah, Like

1959
01:42:00,680 --> 01:42:03,160
Speaker 1: he is now in the elevator with him, It's it's

1960
01:42:03,240 --> 01:42:06,320
Speaker 1: kind of implied that he will have all the necessary

1961
01:42:06,720 --> 01:42:09,200
Speaker 1: powers needed to run this chocolate empire.

1962
01:42:09,560 --> 01:42:12,840
Speaker 2: I don't know how that transference process works. Maybe it's

1963
01:42:12,880 --> 01:42:15,439
Speaker 2: a maybe it's the thing you have to learn. It's

1964
01:42:15,479 --> 01:42:16,639
Speaker 2: like wizard magic.

1965
01:42:17,000 --> 01:42:19,920
Speaker 1: Yeah, yeah, he needs to learn the various spells and

1966
01:42:20,120 --> 01:42:22,200
Speaker 1: there are probably some magical items involved.

1967
01:42:22,600 --> 01:42:26,120
Speaker 2: Unless Willie Wonka is not a wizard and he is

1968
01:42:26,160 --> 01:42:30,040
Speaker 2: a warlock. Is there a packed patron involved? There is

1969
01:42:30,040 --> 01:42:31,800
Speaker 2: there a patron of candy.

1970
01:42:32,000 --> 01:42:33,880
Speaker 1: That could be that. That's that is the big question.

1971
01:42:34,000 --> 01:42:37,320
Speaker 1: Like as as Charlie is ushered into the responsibilities of

1972
01:42:37,360 --> 01:42:41,280
Speaker 1: actually running things, he may learn strange new threats Like

1973
01:42:41,320 --> 01:42:44,040
Speaker 1: he doesn't know, like the getting back to the Captain

1974
01:42:44,080 --> 01:42:47,000
Speaker 1: Nemo example. He doesn't know like the full range of

1975
01:42:47,120 --> 01:42:51,800
Speaker 1: the of the situation that Wonka faces, like Wonka's. Maybe

1976
01:42:51,840 --> 01:42:54,599
Speaker 1: Wonka's real world concerns are not not much to consider

1977
01:42:54,680 --> 01:42:58,120
Speaker 1: compared to like the other worldly forces he's constantly wrestling with.

1978
01:42:58,960 --> 01:43:01,400
Speaker 2: All right, well that's all I've got on Willy Wonka

1979
01:43:01,400 --> 01:43:02,439
Speaker 2: and the Chocolate Factory.

1980
01:43:02,760 --> 01:43:05,439
Speaker 1: That's right. This is a great film and that Yeah,

1981
01:43:05,479 --> 01:43:08,200
Speaker 1: not only everything that's included in the film is tremendous,

1982
01:43:08,200 --> 01:43:13,520
Speaker 1: But you can speculate endlessly. You can do various analyzes

1983
01:43:13,560 --> 01:43:18,200
Speaker 1: on what happens and sort of blend the film over

1984
01:43:18,240 --> 01:43:22,080
Speaker 1: into different genres. It's beautiful, so it's always been one

1985
01:43:22,120 --> 01:43:24,040
Speaker 1: of my favorites. So I'm glad we glad we got

1986
01:43:24,040 --> 01:43:27,080
Speaker 1: to cover it this week on Weird House Cinema. Good pick,

1987
01:43:28,160 --> 01:43:30,240
Speaker 1: all right. We know that a lot of you out

1988
01:43:30,280 --> 01:43:32,840
Speaker 1: there have thoughts and feelings about Willy Wonka and the

1989
01:43:32,920 --> 01:43:35,960
Speaker 1: Chocolate Factory other adaptations. What are your thoughts about the

1990
01:43:36,240 --> 01:43:38,960
Speaker 1: latest one? What are your thoughts about the Tim Burton one?

1991
01:43:39,200 --> 01:43:40,920
Speaker 1: Or there have been a few. I think there was

1992
01:43:41,000 --> 01:43:44,280
Speaker 1: like a Swiss animated adaptation that I don't know much about,

1993
01:43:44,640 --> 01:43:47,920
Speaker 1: so in addition to I think some stage performances. So

1994
01:43:48,200 --> 01:43:51,240
Speaker 1: if you have thoughts on other Willy Wonka media, they're

1995
01:43:51,240 --> 01:43:54,240
Speaker 1: Willy Wonka video games, maybe you can write in about those.

1996
01:43:54,640 --> 01:43:56,800
Speaker 1: We would love to hear from all of you. Just

1997
01:43:56,840 --> 01:43:59,280
Speaker 1: a reminder that Stuff to Blow Your Mind is primarily

1998
01:43:59,320 --> 01:44:02,839
Speaker 1: a science and culture podcast with core episodes on Tuesdays

1999
01:44:02,840 --> 01:44:05,240
Speaker 1: and Thursdays in the Stuff to Blow your Mind podcast feed,

2000
01:44:05,280 --> 01:44:07,519
Speaker 1: but on Fridays we set aside most serious concerns to

2001
01:44:07,600 --> 01:44:09,960
Speaker 1: just talk about a weird film here on Weird House Cinema.

2002
01:44:10,080 --> 01:44:11,360
Speaker 1: If you want to keep up with all the movies

2003
01:44:11,400 --> 01:44:13,360
Speaker 1: we've covered over the years, and sometimes a peek ahead

2004
01:44:13,360 --> 01:44:15,960
Speaker 1: at what's coming up next. Follow us on Letterboxed where

2005
01:44:16,000 --> 01:44:17,799
Speaker 1: we are weird House Huge.

2006
01:44:17,800 --> 01:44:21,440
Speaker 2: Thanks as always to our excellent audio producer JJ Posway.

2007
01:44:21,720 --> 01:44:23,320
Speaker 2: If you would like to get in touch with us

2008
01:44:23,320 --> 01:44:25,879
Speaker 2: with feedback on this episode or any other, to suggest

2009
01:44:25,880 --> 01:44:27,800
Speaker 2: a topic for the future, or just to say hello,

2010
01:44:28,000 --> 01:44:30,559
Speaker 2: you can email us at contact at stuff to Blow

2011
01:44:30,600 --> 01:44:39,600
Speaker 2: your Mind dot com. Stuff to Blow Your Mind is

2012
01:44:39,640 --> 01:44:42,840
Speaker 2: production of iHeartRadio. For more podcasts from my heart Radio,

2013
01:44:43,120 --> 01:44:46,200
Speaker 2: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

2014
01:44:46,280 --> 01:44:47,720
Speaker 2: to your favorite shows.