1
00:00:02,960 --> 00:00:05,360
Speaker 1: Welcome to Stuff to Blow your Mind production of My

2
00:00:05,480 --> 00:00:15,520
Speaker 1: Heart Radio. Hey you welcome to Weird House Cinema. My

3
00:00:15,600 --> 00:00:19,119
Speaker 1: name is Rob Lamb and I'm Joe McCormick, and today

4
00:00:19,160 --> 00:00:21,600
Speaker 1: I'm Weird House Cinema. We're going to be talking about

5
00:00:22,040 --> 00:00:27,680
Speaker 1: Carl Zaman's nineteen fifty eight science fiction adventure film Invention

6
00:00:27,880 --> 00:00:32,400
Speaker 1: for Destruction, which is a loose adaptation of the works

7
00:00:32,440 --> 00:00:36,000
Speaker 1: of Jules Fern rendered in I would say one of

8
00:00:36,360 --> 00:00:42,640
Speaker 1: the most astonishing and wonderful visual animation styles I've ever seen. Yeah,

9
00:00:42,680 --> 00:00:46,800
Speaker 1: this film is absolutely gorgeous, especially if you see it

10
00:00:47,000 --> 00:00:50,159
Speaker 1: in the restored form. And I'll say it again, but

11
00:00:50,560 --> 00:00:52,840
Speaker 1: if you are inspired to go seek out this work

12
00:00:53,040 --> 00:00:56,000
Speaker 1: after this episode, or you haven't seen it in many,

13
00:00:56,040 --> 00:00:58,720
Speaker 1: many years, do yourself a favor. Watch it in the

14
00:00:58,840 --> 00:01:01,360
Speaker 1: best quality post of all the I think it's like

15
00:01:01,400 --> 00:01:06,720
Speaker 1: about a two thousand, eighteen or seventeen restoration is absolutely amazing. Uh,

16
00:01:06,760 --> 00:01:09,120
Speaker 1: And this is the one you should watch. So I

17
00:01:09,160 --> 00:01:11,800
Speaker 1: first became aware of this filmmaker when my friend Ben

18
00:01:12,240 --> 00:01:14,880
Speaker 1: came over to show me another movie of his. A

19
00:01:15,000 --> 00:01:18,039
Speaker 1: later one, his adaptation of the Baron Munko's in Story,

20
00:01:18,600 --> 00:01:22,440
Speaker 1: which is also wonderful. But while that one is more fantasy,

21
00:01:22,560 --> 00:01:25,679
Speaker 1: this one is more firmly science fiction. And I think

22
00:01:25,680 --> 00:01:31,520
Speaker 1: it's very interesting how the style of this movie interacts

23
00:01:31,560 --> 00:01:34,720
Speaker 1: with the science fiction content, because I think you could

24
00:01:34,800 --> 00:01:38,440
Speaker 1: argue that many decades before anybody actually said this word,

25
00:01:38,520 --> 00:01:43,560
Speaker 1: or before this concept existed, this movie is steampunk. Yeah. Yeah,

26
00:01:43,640 --> 00:01:47,520
Speaker 1: it has a very strong flavor of steampunk to it.

27
00:01:47,520 --> 00:01:52,080
Speaker 1: It is this um unreal future, this sort of you

28
00:01:52,080 --> 00:01:54,480
Speaker 1: can guess, you could call it like an alternate timeline

29
00:01:54,560 --> 00:01:58,400
Speaker 1: future of where technology well I'm not gonna say it

30
00:01:58,520 --> 00:02:01,200
Speaker 1: might have gone there, but this is the future based

31
00:02:01,320 --> 00:02:06,360
Speaker 1: on some futurist optimism of the previous age. But also,

32
00:02:07,160 --> 00:02:08,720
Speaker 1: this is a thing, Rob, I don't know if you

33
00:02:08,760 --> 00:02:13,000
Speaker 1: had the same experience. I had a hard time forcing

34
00:02:13,040 --> 00:02:16,320
Speaker 1: myself to remember that this movie was actually made in

35
00:02:16,480 --> 00:02:19,680
Speaker 1: nineteen fifty eight, so this movie came out after Attack

36
00:02:19,680 --> 00:02:22,920
Speaker 1: of the Crab Monsters. This was released the same year

37
00:02:23,280 --> 00:02:27,320
Speaker 1: as Fiend Without a Face. Because to me, it's so

38
00:02:27,520 --> 00:02:33,680
Speaker 1: convincingly evoked the world of sort of techno futurist optimism

39
00:02:33,680 --> 00:02:37,760
Speaker 1: in say, eighteen seventy, that I actually kept slipping into

40
00:02:38,280 --> 00:02:41,840
Speaker 1: a mindset of like I'm watching a film from eighteen seventy,

41
00:02:41,840 --> 00:02:44,359
Speaker 1: which of course is impossible. Yeah, it has a kind

42
00:02:44,360 --> 00:02:47,000
Speaker 1: of timeless feel to it, and it's crazy to to

43
00:02:47,040 --> 00:02:48,800
Speaker 1: look at this film, which again is based on some

44
00:02:48,840 --> 00:02:52,120
Speaker 1: of the works of Jules Verne, has a giant cephalopod

45
00:02:52,160 --> 00:02:56,320
Speaker 1: in it, again from nineteen fifty eight, and then compare

46
00:02:56,320 --> 00:02:59,760
Speaker 1: it to Disney's nineteen fifty four Jules Verne adaptation of

47
00:02:59,760 --> 00:03:02,640
Speaker 1: twenty Thousand Leagues under the Sea, which, granted, these are

48
00:03:02,639 --> 00:03:06,040
Speaker 1: two very different films from very different film environments. Ones

49
00:03:06,040 --> 00:03:08,520
Speaker 1: in color, one is in black and white. But yeah,

50
00:03:08,600 --> 00:03:11,560
Speaker 1: this film seems to be coming from a time all

51
00:03:11,600 --> 00:03:14,799
Speaker 1: its own, or it just feels timeless. It doesn't feel

52
00:03:15,360 --> 00:03:19,919
Speaker 1: shackled to the late nineteen fifties by any stretch. Yeah. Yeah,

53
00:03:19,960 --> 00:03:22,960
Speaker 1: And not to put down the Disney twenty Thousand Leagues

54
00:03:23,400 --> 00:03:26,680
Speaker 1: because of course, yeah, Kirk Douglas is ned Land, Peter Laurie,

55
00:03:26,960 --> 00:03:30,200
Speaker 1: and James Mason as Captain Nemo. What a cast. But

56
00:03:30,360 --> 00:03:33,200
Speaker 1: also it has some great special effects too, so I

57
00:03:33,240 --> 00:03:35,720
Speaker 1: don't want to put it down too much, but it

58
00:03:35,800 --> 00:03:38,560
Speaker 1: does feel like a film made in the nineteen fifties,

59
00:03:38,560 --> 00:03:40,960
Speaker 1: and it feels like a product of the nineteen fifties.

60
00:03:41,320 --> 00:03:45,320
Speaker 1: Invention for Destruction is from a past and a future

61
00:03:45,440 --> 00:03:49,360
Speaker 1: that never existed. Yeah, it's unlike anything I think we've

62
00:03:49,360 --> 00:03:52,920
Speaker 1: really watched on the show before, because I mean, certainly

63
00:03:52,920 --> 00:03:55,120
Speaker 1: it is an adventure tale, it's a science fiction tale.

64
00:03:55,160 --> 00:03:58,400
Speaker 1: We've watched plenty of those, yet, like twenty Thousand Leagues

65
00:03:58,440 --> 00:04:00,920
Speaker 1: Under the Cea and and very films that we've watched

66
00:04:00,920 --> 00:04:04,080
Speaker 1: for weird house cinema, it's very much a special effects

67
00:04:04,080 --> 00:04:07,840
Speaker 1: spectacle in which pretty much every shot in the film

68
00:04:07,920 --> 00:04:11,320
Speaker 1: includes some manner a special effect. Yes, I totally agree

69
00:04:11,360 --> 00:04:14,840
Speaker 1: with that, and I think one of the real unique

70
00:04:14,880 --> 00:04:18,559
Speaker 1: pleasures of this movie, but maybe more of of Carl

71
00:04:18,640 --> 00:04:23,120
Speaker 1: Zeman's filmmaking in general, is that the special effects are

72
00:04:23,160 --> 00:04:28,160
Speaker 1: applied not only to spectacular scenes and moments. You know,

73
00:04:28,200 --> 00:04:32,240
Speaker 1: it's not just when there's like a great explosion or

74
00:04:32,279 --> 00:04:36,120
Speaker 1: when there's a fantastic machine on screen. There are beautiful

75
00:04:36,320 --> 00:04:39,599
Speaker 1: visual effects for just like a room with a staircase

76
00:04:39,680 --> 00:04:42,800
Speaker 1: and a table, or like a man sitting in a

77
00:04:42,880 --> 00:04:46,320
Speaker 1: shack that is dilapidated and a bird flying through the air.

78
00:04:46,760 --> 00:04:50,520
Speaker 1: Like the special effects are applied to, you might say,

79
00:04:50,560 --> 00:04:55,320
Speaker 1: not very special content of the narrative and in applying

80
00:04:55,400 --> 00:04:59,080
Speaker 1: them that way, they kind of bring mundane details to

81
00:04:59,160 --> 00:05:03,640
Speaker 1: a kind of weird heard in surreal life. Yeah, I

82
00:05:03,680 --> 00:05:06,120
Speaker 1: thought A really great point on all of this was

83
00:05:06,600 --> 00:05:10,520
Speaker 1: brought up by British filmmaker in Puppeteer John Stevenson, who

84
00:05:10,640 --> 00:05:13,440
Speaker 1: does a little intro on the excellent second run Blu

85
00:05:13,520 --> 00:05:16,040
Speaker 1: Ray release of the restored film that I watched that

86
00:05:16,080 --> 00:05:18,479
Speaker 1: I actually I rented from Video Drum here in Atlanta.

87
00:05:18,520 --> 00:05:22,800
Speaker 1: They have a great um, a great selection of of

88
00:05:22,880 --> 00:05:26,520
Speaker 1: Carl Zammon's films. But anyway, in this little little bit,

89
00:05:26,560 --> 00:05:29,520
Speaker 1: Stevenson points out that while plenty of other special effects

90
00:05:29,560 --> 00:05:32,440
Speaker 1: films of the era even were great and required a

91
00:05:32,440 --> 00:05:39,080
Speaker 1: willful suspension of disbelief, invention for Destruction embraced stylish artificiality.

92
00:05:39,320 --> 00:05:41,520
Speaker 1: Every shot in the film is not only a product

93
00:05:41,560 --> 00:05:45,680
Speaker 1: of special effects, but a hand crafted special effects artifacts

94
00:05:46,080 --> 00:05:48,880
Speaker 1: brought together to create this singular vision that again is

95
00:05:48,920 --> 00:05:54,720
Speaker 1: not it's not about tricking you into thinking this is real. Um,

96
00:05:54,800 --> 00:05:58,000
Speaker 1: it's uh, it's it creates its own artificial world that

97
00:05:58,080 --> 00:06:00,560
Speaker 1: you buy into. You know, this is funny, And how

98
00:06:00,600 --> 00:06:03,039
Speaker 1: it connects to a conversation we had on last week's

99
00:06:03,040 --> 00:06:06,960
Speaker 1: episode about Jason X about special effects. For me personally

100
00:06:06,960 --> 00:06:09,400
Speaker 1: and I think for a lot of other film fans,

101
00:06:09,440 --> 00:06:13,320
Speaker 1: to realism is not the only measure of of what

102
00:06:13,440 --> 00:06:16,080
Speaker 1: makes a special effect good. It's it's not just good

103
00:06:16,120 --> 00:06:19,760
Speaker 1: if it looks convincingly like the camera has captured a

104
00:06:19,839 --> 00:06:22,440
Speaker 1: real instance of what is supposed to be happening in

105
00:06:22,480 --> 00:06:25,800
Speaker 1: the narrative, be that actually a spaceship flying through the air,

106
00:06:25,920 --> 00:06:29,320
Speaker 1: or actually a submarine fighting a giant octopus or something.

107
00:06:29,640 --> 00:06:33,200
Speaker 1: There's a quality that you can seek beyond realism, which is, uh,

108
00:06:33,720 --> 00:06:37,839
Speaker 1: you know, a kind of pleasing artistic integrity. It's something

109
00:06:37,960 --> 00:06:41,680
Speaker 1: kind of close to realism in that there's that integrity element,

110
00:06:41,880 --> 00:06:45,120
Speaker 1: like the the effects have to all kind of work together,

111
00:06:45,440 --> 00:06:48,200
Speaker 1: and they have to believe in their own magic in

112
00:06:48,200 --> 00:06:51,000
Speaker 1: a way, but they don't have to necessarily look real.

113
00:06:51,240 --> 00:06:55,279
Speaker 1: They just have to look right. Yeah. Weirdly, a film

114
00:06:55,360 --> 00:06:58,480
Speaker 1: that comes to mind that really has nothing in common

115
00:06:58,520 --> 00:07:01,800
Speaker 1: with it, uh in in so many ways except for

116
00:07:01,839 --> 00:07:06,400
Speaker 1: this commitment to a stylish artificiality, would be the with

117
00:07:06,520 --> 00:07:10,280
Speaker 1: the the Rodriguez adaptation of the Sin City comic books.

118
00:07:10,280 --> 00:07:12,280
Speaker 1: Not a not a film I'm in a hurry to

119
00:07:12,280 --> 00:07:14,120
Speaker 1: watch again right now. I feel like it's kind of

120
00:07:14,120 --> 00:07:17,840
Speaker 1: a kind of a violent, nasty film in many respects,

121
00:07:17,880 --> 00:07:22,800
Speaker 1: but it does really commit to an artificial film world

122
00:07:23,040 --> 00:07:26,200
Speaker 1: that you buy into that that that doesn't feel like

123
00:07:26,200 --> 00:07:29,400
Speaker 1: a distraction but an enhancement. I know exactly what you mean,

124
00:07:29,480 --> 00:07:31,239
Speaker 1: and I see why you would compare it to Invention

125
00:07:31,280 --> 00:07:35,040
Speaker 1: for Destruction. Not again, they don't. They're not esthetically similar

126
00:07:35,080 --> 00:07:37,160
Speaker 1: in any way, but what they have in common is

127
00:07:37,840 --> 00:07:42,120
Speaker 1: a sort of total commitment to deep integration of like

128
00:07:42,240 --> 00:07:45,320
Speaker 1: animation and various types of special effects with the live

129
00:07:45,360 --> 00:07:49,720
Speaker 1: actors in a way that that you sort of stop

130
00:07:49,760 --> 00:07:52,800
Speaker 1: seeing as special effects and it just becomes this other world.

131
00:07:53,000 --> 00:07:55,200
Speaker 1: This is just a different type of world. There's our

132
00:07:55,280 --> 00:07:58,160
Speaker 1: world where it's all three D objects and live actors,

133
00:07:58,200 --> 00:08:00,480
Speaker 1: and then there's this other type of world where they're

134
00:08:00,520 --> 00:08:06,080
Speaker 1: actors who ride inside hand drawn locomotives and like animated

135
00:08:06,160 --> 00:08:09,200
Speaker 1: birds fly around between the blades of a propeller and

136
00:08:09,240 --> 00:08:12,840
Speaker 1: an airship. Yeah, it's um, I mean, this is a

137
00:08:12,840 --> 00:08:15,200
Speaker 1: film you really really just you need to watch it. Um.

138
00:08:16,080 --> 00:08:17,720
Speaker 1: We can talk about it all day, but but you

139
00:08:17,760 --> 00:08:20,160
Speaker 1: need to see it to understand what we're talking about here.

140
00:08:20,600 --> 00:08:22,680
Speaker 1: Because some of the some of the aspects of it

141
00:08:22,720 --> 00:08:24,840
Speaker 1: are are are kind of it's kind of hard to

142
00:08:25,120 --> 00:08:28,560
Speaker 1: understand how they work if we're just describing it, because yeah,

143
00:08:28,600 --> 00:08:33,480
Speaker 1: you have this wonderful combination of live action performances by

144
00:08:33,520 --> 00:08:37,920
Speaker 1: human actors, these kind of two D sets and environments UM,

145
00:08:38,040 --> 00:08:42,840
Speaker 1: stop motion animation, more traditional two D animation, UM. But

146
00:08:42,920 --> 00:08:45,800
Speaker 1: you never feel like it's cobbled together, as you might

147
00:08:45,920 --> 00:08:48,839
Speaker 1: feel with special films like say, uh, you know some

148
00:08:49,080 --> 00:08:51,959
Speaker 1: of the various films that poorly integrate practical and digital effects,

149
00:08:52,040 --> 00:08:56,120
Speaker 1: or even films that have say, stop motion monster scenes

150
00:08:56,280 --> 00:09:00,360
Speaker 1: mixed with a costume a monster effect and something feels

151
00:09:00,360 --> 00:09:03,679
Speaker 1: off about it, Yes, totally. And so it has all

152
00:09:03,720 --> 00:09:07,200
Speaker 1: these different um film styles and effects styles coming together

153
00:09:07,280 --> 00:09:11,160
Speaker 1: within each frame, but it has this deep blended integrity.

154
00:09:11,200 --> 00:09:14,080
Speaker 1: They are all parts of a machine working together, and

155
00:09:14,120 --> 00:09:18,280
Speaker 1: that machine is cranking. And there are other movies like this,

156
00:09:18,400 --> 00:09:20,560
Speaker 1: but um, a lot of the other movies that that

157
00:09:20,640 --> 00:09:23,560
Speaker 1: combine these different effects styles often I think the bar

158
00:09:23,720 --> 00:09:26,120
Speaker 1: is realism. I don't want to get ahead of you, Rob,

159
00:09:26,160 --> 00:09:27,880
Speaker 1: but I think you were going to invoke the example

160
00:09:27,920 --> 00:09:30,040
Speaker 1: of Jurassic Park, which I think is a great example

161
00:09:30,040 --> 00:09:35,199
Speaker 1: of a film that effectively combines different effects styles uh

162
00:09:35,240 --> 00:09:38,240
Speaker 1: into this integrated whole and it works very well. But

163
00:09:38,600 --> 00:09:41,400
Speaker 1: what they're going for is trying to create the impression

164
00:09:41,440 --> 00:09:44,400
Speaker 1: of a real dinosaur, and that's not what Zamon is doing.

165
00:09:44,440 --> 00:09:47,640
Speaker 1: But he's doing something at least equally beautiful, probably much

166
00:09:47,640 --> 00:09:50,840
Speaker 1: more beautiful, I think. Yeah. Like I said, this film

167
00:09:50,880 --> 00:09:54,040
Speaker 1: embraces the artificiality in a way that Jurassic Park didn't,

168
00:09:54,040 --> 00:09:56,959
Speaker 1: and Jurassic Parts effects are amazing in that they don't.

169
00:09:57,000 --> 00:09:59,920
Speaker 1: It's just a totally different approach to how you present

170
00:10:00,000 --> 00:10:02,440
Speaker 1: in saying a world on the screen. Yeah. Like, Well,

171
00:10:02,480 --> 00:10:04,200
Speaker 1: one thing I was also I also kept thinking about

172
00:10:04,200 --> 00:10:07,520
Speaker 1: watching this film is the performances and the plot are

173
00:10:08,040 --> 00:10:11,800
Speaker 1: against science fictional uh, but also pretty straightforward. There's nothing

174
00:10:11,840 --> 00:10:14,960
Speaker 1: really dream like about the plot of the film for

175
00:10:15,000 --> 00:10:18,040
Speaker 1: the most part, but the visual language of the film

176
00:10:18,240 --> 00:10:20,680
Speaker 1: really does feel like the etchings in a printed book

177
00:10:20,720 --> 00:10:23,920
Speaker 1: have been brought to life through magic, or that we've

178
00:10:23,960 --> 00:10:27,240
Speaker 1: partially entered a world through the looking glass. You know,

179
00:10:28,000 --> 00:10:31,200
Speaker 1: much about the movie makes you kind of ask what

180
00:10:31,360 --> 00:10:34,040
Speaker 1: reality is this? And there are there are elements actually

181
00:10:34,080 --> 00:10:37,080
Speaker 1: other than the visuals I'll refer to in a minute, like,

182
00:10:37,120 --> 00:10:41,079
Speaker 1: for example, the movies relationship to its literary subject matter

183
00:10:41,679 --> 00:10:45,000
Speaker 1: kept making me think, like, what is reality here? But

184
00:10:45,080 --> 00:10:47,439
Speaker 1: we'll save that question from when we talk about Jules Verne.

185
00:10:47,840 --> 00:10:49,679
Speaker 1: All right, well, what would you what would you say

186
00:10:49,720 --> 00:10:52,800
Speaker 1: the elevator pitches for this film, Joe, Oh, I didn't

187
00:10:52,800 --> 00:10:54,880
Speaker 1: write one ahead of time. But how about a brilliant

188
00:10:54,960 --> 00:10:58,360
Speaker 1: but absent minded scientist is on the verge of creating

189
00:10:58,440 --> 00:11:02,080
Speaker 1: the world's most powerful weapon, though he's not very concerned

190
00:11:02,120 --> 00:11:06,280
Speaker 1: with its practical uses. Um, he is kidnapped by a

191
00:11:06,320 --> 00:11:10,559
Speaker 1: pirate king and his work will be put to questionable ends.

192
00:11:10,679 --> 00:11:14,720
Speaker 1: How will he and his lowly assistant deal with this situation? Yeah,

193
00:11:14,880 --> 00:11:16,560
Speaker 1: I think that pretty much captures it. It's a it's

194
00:11:16,559 --> 00:11:19,680
Speaker 1: a it's a film full of flying machines, other spectacular

195
00:11:20,800 --> 00:11:24,880
Speaker 1: vessels of the ocean, um, super science, and all of

196
00:11:24,880 --> 00:11:28,040
Speaker 1: it like a nineteenth century illustrated Jules Verne novel, just

197
00:11:28,120 --> 00:11:32,439
Speaker 1: brought to stunning life. That's another thing that I've read, Robin.

198
00:11:32,640 --> 00:11:35,439
Speaker 1: I don't know how much the introduction by the puppeteer

199
00:11:35,520 --> 00:11:38,200
Speaker 1: addressed this, but one thing I saw alleged was that

200
00:11:38,320 --> 00:11:43,640
Speaker 1: the animation style of Invention for Destruction was especially geared

201
00:11:43,640 --> 00:11:49,280
Speaker 1: toward essentially making the hand drawn engravings and illustrations that

202
00:11:49,360 --> 00:11:54,680
Speaker 1: accompanied Jules Verne novels of the nineteenth century, like making

203
00:11:54,720 --> 00:11:59,800
Speaker 1: those into a film texture. Yeah, that's my understanding. They

204
00:12:00,520 --> 00:12:02,400
Speaker 1: there's a bit on this blue ray that I was

205
00:12:02,440 --> 00:12:07,480
Speaker 1: watching that had some interview segments with his daughter, Zaymon's daughter,

206
00:12:07,600 --> 00:12:11,559
Speaker 1: and she mentioned, you know, his inspiration being these, uh,

207
00:12:11,679 --> 00:12:14,720
Speaker 1: these various illustrated Jules Verne books that he would just

208
00:12:14,800 --> 00:12:18,120
Speaker 1: you know, pour over and would just be totally enraptured by.

209
00:12:19,679 --> 00:12:21,520
Speaker 1: And and a lot of that is is visible in

210
00:12:21,559 --> 00:12:25,520
Speaker 1: the use of lines, so that there'll be a lot

211
00:12:25,559 --> 00:12:29,360
Speaker 1: of say, horizontal lines in a given scene. Um. Also

212
00:12:29,760 --> 00:12:31,960
Speaker 1: in the costumes there will be a lot of horizontal

213
00:12:32,120 --> 00:12:35,040
Speaker 1: or vertical lines, all of this helping to create this

214
00:12:35,120 --> 00:12:40,400
Speaker 1: idea of wood grains in the the illustration. And z

215
00:12:40,440 --> 00:12:43,679
Speaker 1: Aymon's daughter also mentions like helping her father on the

216
00:12:44,040 --> 00:12:46,600
Speaker 1: on the production. Uh, you know, she was young at

217
00:12:46,640 --> 00:12:47,800
Speaker 1: the time, but he's like, hey, do you want to

218
00:12:47,800 --> 00:12:51,120
Speaker 1: come in and draw lines on costumes and so and

219
00:12:51,200 --> 00:12:54,319
Speaker 1: so there's apparently a great deal of that wonderful Oh

220
00:12:54,480 --> 00:12:58,160
Speaker 1: that's so sweet. One thing we should also point out, um,

221
00:12:58,640 --> 00:13:01,520
Speaker 1: before we move on, is I really we've done. Is

222
00:13:01,559 --> 00:13:05,439
Speaker 1: this our third Check or Czechoslovaka movie on on weird House?

223
00:13:06,120 --> 00:13:09,719
Speaker 1: It is? So far we've done nineteen seventies Fruit of Paradise,

224
00:13:09,920 --> 00:13:13,080
Speaker 1: that was the very Chidlova movie. Yeah, yeah, and there'll

225
00:13:13,120 --> 00:13:15,720
Speaker 1: be a connection to that in this film. And then

226
00:13:15,760 --> 00:13:18,640
Speaker 1: also while you were out on going to leave Seth

227
00:13:18,679 --> 00:13:23,240
Speaker 1: and I talked about John Stuck Buyers Alice from Awesome. Yeah.

228
00:13:23,320 --> 00:13:25,760
Speaker 1: So it's uh, and and we're probably not done that.

229
00:13:26,040 --> 00:13:28,680
Speaker 1: It's possible that we'll do another Check film next week.

230
00:13:28,720 --> 00:13:31,320
Speaker 1: I have to watch it on my own to see

231
00:13:31,360 --> 00:13:33,800
Speaker 1: how it will fit. But yeah, I mean, Check cinema

232
00:13:34,320 --> 00:13:36,480
Speaker 1: is a rich well to draw from. It's not a

233
00:13:37,120 --> 00:13:40,960
Speaker 1: cinematic world that I feel as versed in as other

234
00:13:41,040 --> 00:13:45,400
Speaker 1: things like you know, Spanish horror or an Italian Jallow

235
00:13:45,480 --> 00:13:49,280
Speaker 1: cinema and so forth. They're certainly American British film. But yeah,

236
00:13:49,280 --> 00:13:51,440
Speaker 1: there's just so much there and and so much that

237
00:13:51,640 --> 00:13:56,239
Speaker 1: is new to me. If only one of these beautiful

238
00:13:56,360 --> 00:13:59,200
Speaker 1: weirdo Check directors could have made a movie with Paul

239
00:13:59,280 --> 00:14:03,559
Speaker 1: Nashy in it, like a Paul Nashy Werewolf film directed

240
00:14:03,640 --> 00:14:08,319
Speaker 1: by Carl Zaman or Vera Chidlova m. Well, let's keep

241
00:14:08,320 --> 00:14:11,079
Speaker 1: that in mind, because I'm I'm curious what this film

242
00:14:11,120 --> 00:14:14,120
Speaker 1: I'm going to check out feels like, you know, the

243
00:14:14,400 --> 00:14:16,199
Speaker 1: one I'm gonna look at has some sort of gothic

244
00:14:16,280 --> 00:14:19,320
Speaker 1: horror elements to it. All right, well, let's go ahead

245
00:14:19,360 --> 00:14:22,480
Speaker 1: and hear the English language trailer for this film. This

246
00:14:22,560 --> 00:14:24,200
Speaker 1: is a good places. They need to mention that this

247
00:14:24,320 --> 00:14:28,360
Speaker 1: film was released in America as The Fabulous World of

248
00:14:28,440 --> 00:14:31,520
Speaker 1: Jules Verne, and so this is the This is the

249
00:14:31,560 --> 00:14:33,080
Speaker 1: trailer for it. And I think this will work better

250
00:14:33,120 --> 00:14:35,360
Speaker 1: for our English language listeners because you'll get to hear

251
00:14:35,440 --> 00:14:40,200
Speaker 1: this old timey narration talking up the worlds of Jules Verne,

252
00:14:40,240 --> 00:14:49,000
Speaker 1: brought to live on the screen. From the Fantastic Jules Verne,

253
00:14:49,200 --> 00:14:52,160
Speaker 1: creator of Around the World in eighty Days, comes now

254
00:14:52,320 --> 00:14:55,560
Speaker 1: the most fabulous adventure on over or under the Earth,

255
00:14:56,400 --> 00:15:00,800
Speaker 1: the first potion picture produced in the Magic Image Miracle estimation.

256
00:15:03,440 --> 00:15:06,880
Speaker 1: Wonders never before seen will unfold before your startled eyes.

257
00:15:07,280 --> 00:15:14,480
Speaker 1: Fantastic aircraft, fly the Skies, electronic machines, an incredible sea

258
00:15:14,520 --> 00:15:38,040
Speaker 1: battle adventure in the mouth of a blazing volcano, underwater

259
00:15:38,200 --> 00:16:07,040
Speaker 1: escape from Chara Island. The Fabulous World of Jules Burn

260
00:16:07,160 --> 00:16:10,520
Speaker 1: brings you the master storyteller of our time, with wonders

261
00:16:10,560 --> 00:16:14,760
Speaker 1: to delight and excite and stir your imagination. The fabulous

262
00:16:14,760 --> 00:16:20,320
Speaker 1: world of Jules Burn. Show them down, Show them down,

263
00:16:33,480 --> 00:16:36,360
Speaker 1: all right, before we jump in further, it just remind everyone. Yeah,

264
00:16:36,360 --> 00:16:37,680
Speaker 1: if you want to watch this film for yourself, and

265
00:16:37,720 --> 00:16:40,440
Speaker 1: we highly recommend you do, the second run blue ray

266
00:16:40,600 --> 00:16:42,840
Speaker 1: edition is amazing. That's the one I watched it on,

267
00:16:43,080 --> 00:16:45,960
Speaker 1: but you can also stream it via the Criterion Channel

268
00:16:46,040 --> 00:16:48,000
Speaker 1: if you subscribe to that service or want to do

269
00:16:48,080 --> 00:16:50,600
Speaker 1: a like you know, the free intro month deal on

270
00:16:50,680 --> 00:16:54,400
Speaker 1: that um. Again, if you do watch it, make sure

271
00:16:54,440 --> 00:16:58,840
Speaker 1: that it's I believe four K restoration because it is gorgeous.

272
00:16:59,200 --> 00:17:02,000
Speaker 1: There is also some a little extra on the disc

273
00:17:02,080 --> 00:17:04,560
Speaker 1: I watched that showed them restoring and showing like all

274
00:17:04,560 --> 00:17:07,240
Speaker 1: the various things they had to do to clean it

275
00:17:07,320 --> 00:17:10,600
Speaker 1: up and just get it get the film looking just

276
00:17:10,680 --> 00:17:15,280
Speaker 1: so splendid. The restoration does look wonderful, like the the

277
00:17:15,280 --> 00:17:18,760
Speaker 1: the lines are so crisp, you know, it is like

278
00:17:18,840 --> 00:17:22,800
Speaker 1: a Durors copper pen had just left the page or

279
00:17:22,880 --> 00:17:25,480
Speaker 1: the wood block. It's it's amazing. Yeah, and the extra

280
00:17:25,520 --> 00:17:28,160
Speaker 1: is John Stevenson, the British filmmaker in Puppeteer. I believe

281
00:17:28,200 --> 00:17:29,719
Speaker 1: he was one of the directors in the first Kung

282
00:17:29,760 --> 00:17:32,920
Speaker 1: Fu Panda film. For example, he has this whole bit

283
00:17:32,920 --> 00:17:36,040
Speaker 1: talking about how as a child he glimpse part of

284
00:17:36,080 --> 00:17:39,320
Speaker 1: this film on British television I don't know, like some

285
00:17:39,359 --> 00:17:42,520
Speaker 1: sort of kids morning show or something, and just needed

286
00:17:42,560 --> 00:17:44,560
Speaker 1: to see it. And even at one point, I believe

287
00:17:44,600 --> 00:17:47,600
Speaker 1: as a child like wrote to the um the check

288
00:17:47,640 --> 00:17:50,879
Speaker 1: embassy to see if you could get a copy, uh yeah,

289
00:17:50,920 --> 00:17:52,680
Speaker 1: And then for the longest apparently it was it was

290
00:17:52,760 --> 00:17:54,679
Speaker 1: kind of hard to get a copy of it. Like

291
00:17:54,720 --> 00:17:57,320
Speaker 1: he's talking about, I think a lot of film fans

292
00:17:57,720 --> 00:18:01,040
Speaker 1: who were seeking out films and you know, the in

293
00:18:01,080 --> 00:18:03,640
Speaker 1: the nineties and the early two thousands have this experience

294
00:18:03,680 --> 00:18:07,040
Speaker 1: where you're having to turn to things like um uh,

295
00:18:07,080 --> 00:18:10,119
Speaker 1: you know, like dubbed copies and you know, it's a

296
00:18:10,160 --> 00:18:12,640
Speaker 1: it's a it's a copy of a disk from another region.

297
00:18:13,240 --> 00:18:15,879
Speaker 1: He says. At one point, um, there was a Japanese

298
00:18:16,000 --> 00:18:18,040
Speaker 1: edition that came out with a number of Ziman's films

299
00:18:18,040 --> 00:18:20,439
Speaker 1: in it, but it was just tremendously expensive, but he

300
00:18:20,480 --> 00:18:22,239
Speaker 1: had to buy it, so he spent like all of

301
00:18:22,280 --> 00:18:25,639
Speaker 1: his available funds getting it, and so you know, finally

302
00:18:25,680 --> 00:18:28,080
Speaker 1: building up to the day when not only is the

303
00:18:28,080 --> 00:18:31,920
Speaker 1: film widely available, but it's widely available and just splendid

304
00:18:31,960 --> 00:18:36,639
Speaker 1: restored quality. That is something we don't often stop to appreciate, uh,

305
00:18:36,680 --> 00:18:39,639
Speaker 1: in the present day, Like how how fortunate we are

306
00:18:39,720 --> 00:18:41,720
Speaker 1: that a lot of these great old films are available

307
00:18:41,760 --> 00:18:44,320
Speaker 1: now and that there's so much easier to see than

308
00:18:44,359 --> 00:18:47,240
Speaker 1: they used to be in and often beautifully restored form.

309
00:18:47,240 --> 00:18:51,680
Speaker 1: And that's the painstaking work of many experts. Yeah, even

310
00:18:51,680 --> 00:18:54,000
Speaker 1: films that maybe, like I don't know if you could

311
00:18:54,000 --> 00:18:57,000
Speaker 1: make an argument that maybe Assignment Terror didn't need to

312
00:18:57,119 --> 00:19:00,080
Speaker 1: be so splendidly restored, but but they did it, and

313
00:19:00,440 --> 00:19:03,600
Speaker 1: thank goodness they did. Oh what why would you say

314
00:19:03,600 --> 00:19:06,080
Speaker 1: it didn't need? Of course it does. That's history. I

315
00:19:06,080 --> 00:19:09,680
Speaker 1: don't know. I guess some films, you know, some films

316
00:19:09,720 --> 00:19:11,320
Speaker 1: I guess you could make an argument for like the

317
00:19:11,600 --> 00:19:14,639
Speaker 1: grittiness of the original medium can sort of add to

318
00:19:14,640 --> 00:19:16,639
Speaker 1: the experience. It will be part of the nostalgia for

319
00:19:16,680 --> 00:19:21,480
Speaker 1: a given film. I've also seen effects people discuss how

320
00:19:22,359 --> 00:19:24,840
Speaker 1: older mediums allowed them to sort of cover up the

321
00:19:24,880 --> 00:19:28,080
Speaker 1: limitations of their effects at times, you know, and and

322
00:19:28,080 --> 00:19:30,080
Speaker 1: and uh, you know, the stuff that might have worked

323
00:19:30,119 --> 00:19:33,080
Speaker 1: on VHS suddenly oh they now they have it out

324
00:19:33,080 --> 00:19:34,920
Speaker 1: on DVD or Blu ray and you can really see

325
00:19:34,960 --> 00:19:37,600
Speaker 1: the scenes. You were never meant to see this wire

326
00:19:37,680 --> 00:19:40,199
Speaker 1: effect in four K. It worked great on a on

327
00:19:40,240 --> 00:19:43,600
Speaker 1: a grainy VHS. Yeah, and I mean I understand they've

328
00:19:43,600 --> 00:19:45,520
Speaker 1: had to go back and do some of that, even

329
00:19:45,520 --> 00:19:48,280
Speaker 1: on productions like Dark Crystal and Labyrinth, and they're just

330
00:19:49,040 --> 00:19:51,320
Speaker 1: some you know, the the quality that we have now

331
00:19:51,400 --> 00:20:04,399
Speaker 1: wasn't necessarily um, something they were taking into account. All right, Well,

332
00:20:04,440 --> 00:20:07,440
Speaker 1: let's get into the people here. Uh So Carl's Aiman.

333
00:20:07,720 --> 00:20:11,400
Speaker 1: Uh the director also has adaptation and scenario credits, production

334
00:20:11,400 --> 00:20:14,880
Speaker 1: design credits, and special effects credits that they had other

335
00:20:15,000 --> 00:20:17,240
Speaker 1: individuals working with him on the special effects as a

336
00:20:17,280 --> 00:20:21,120
Speaker 1: whole crew here. Uh. He lived nineteen ten through nine.

337
00:20:21,640 --> 00:20:25,959
Speaker 1: Highly influential Czech filmmaker and animator, best remembered for his

338
00:20:26,119 --> 00:20:29,840
Speaker 1: combination of animation and live action, though I believe there

339
00:20:29,880 --> 00:20:32,640
Speaker 1: there are films and short works of his that are

340
00:20:32,720 --> 00:20:36,720
Speaker 1: more purely animation, but this is a great example of

341
00:20:36,720 --> 00:20:41,080
Speaker 1: one that utilizes multiple forms of animation and live performances.

342
00:20:41,920 --> 00:20:45,560
Speaker 1: You'll find many many filmmakers that signed him as an influence,

343
00:20:45,600 --> 00:20:48,960
Speaker 1: and they include the likes of Jans Punkmya himself, uh,

344
00:20:49,080 --> 00:20:52,600
Speaker 1: Tim Burton, Terry Gilliam, which seems like a no brainer

345
00:20:52,680 --> 00:20:56,120
Speaker 1: when you think about Terry Gilliams uh use of animation,

346
00:20:56,200 --> 00:21:01,000
Speaker 1: especially during the Monty Python years. Absolutely, I see Hugh Zaman,

347
00:21:01,119 --> 00:21:03,680
Speaker 1: d n A and and Terry Gilliam work m H.

348
00:21:04,320 --> 00:21:07,920
Speaker 1: John Stevenson obviously Wes Anderson as well, And I think

349
00:21:07,960 --> 00:21:10,560
Speaker 1: that's very telling because even as I was watching the

350
00:21:10,600 --> 00:21:13,639
Speaker 1: film before I knew that that Wes Anderson, you know,

351
00:21:13,720 --> 00:21:16,040
Speaker 1: had had had had said this before. I think of

352
00:21:16,080 --> 00:21:18,520
Speaker 1: The Life Aquatic and I think of the way that

353
00:21:18,560 --> 00:21:22,440
Speaker 1: the Bellefonte, the the vessel there, the way it's presented

354
00:21:23,040 --> 00:21:27,760
Speaker 1: um at times takes on this kind of embraced artificiality. Yeah, totally,

355
00:21:28,080 --> 00:21:30,960
Speaker 1: and the c Life as well. I think, um, if

356
00:21:31,000 --> 00:21:32,879
Speaker 1: memory serves, it's been a little bit since I've seen that,

357
00:21:32,920 --> 00:21:35,240
Speaker 1: but that of course it's a wonderful film. Oh yeah,

358
00:21:35,240 --> 00:21:39,880
Speaker 1: there's some invention for destruction E Sharks, I think is Yeah,

359
00:21:39,960 --> 00:21:42,600
Speaker 1: it's been a long time, but yeah. So Zamon produced

360
00:21:42,600 --> 00:21:44,960
Speaker 1: a number of short films over the years, and multiple

361
00:21:44,960 --> 00:21:49,040
Speaker 1: full length pictures, most of which are at least loosely

362
00:21:49,119 --> 00:21:52,640
Speaker 1: sci fire, fantasy and genre. Prior to filmmaking, who worked

363
00:21:52,640 --> 00:21:56,920
Speaker 1: in advertising and poster design, his films include The Treasure

364
00:21:56,960 --> 00:22:00,440
Speaker 1: of Bird Island, Journey to Prehistory, Baron Munch co Housen,

365
00:22:00,560 --> 00:22:04,720
Speaker 1: Adjuster's Tale, The Stolen Airship, which is another Jewels Verne picture,

366
00:22:04,840 --> 00:22:08,120
Speaker 1: kind of a mashup of tales, um On the Comet,

367
00:22:08,280 --> 00:22:11,160
Speaker 1: which is a Jewels Verne adaptation, Tales of a Thousand

368
00:22:11,160 --> 00:22:14,840
Speaker 1: and one Night's Crabbitt, The Sorcerer's Apprentice that's when that one,

369
00:22:14,880 --> 00:22:17,240
Speaker 1: I believe is fully animated, and The Tale of John

370
00:22:17,280 --> 00:22:21,720
Speaker 1: and Mary. Those are, of course all English translated titles

371
00:22:21,800 --> 00:22:25,080
Speaker 1: they have. The original titles are all check titles. I

372
00:22:25,080 --> 00:22:27,080
Speaker 1: feel like I'm gonna have to eventually see all of those.

373
00:22:27,520 --> 00:22:30,639
Speaker 1: All those sound very interesting. Um and I believe his

374
00:22:30,880 --> 00:22:32,720
Speaker 1: I was reading. And when it comes to awards in

375
00:22:32,840 --> 00:22:36,520
Speaker 1: granted awards, especially you know, uh you know, Western awards

376
00:22:36,600 --> 00:22:39,439
Speaker 1: or not, uh not the be all and end all

377
00:22:39,480 --> 00:22:43,639
Speaker 1: to all this. But his short from nineteen I Believe

378
00:22:44,080 --> 00:22:50,280
Speaker 1: a Christmas Story or Venanci Sin this one best short

379
00:22:50,320 --> 00:22:53,280
Speaker 1: film at the CONNS Film festival. Oh and if you

380
00:22:53,320 --> 00:22:56,000
Speaker 1: find yourself in Prague, there is a museum dedicated to

381
00:22:56,040 --> 00:23:00,119
Speaker 1: his work, the Museum Carla Zamana. I believe, so if you,

382
00:23:00,560 --> 00:23:03,000
Speaker 1: if you, if you live in Prague or visiting Prague,

383
00:23:03,080 --> 00:23:05,160
Speaker 1: or have visited Progue and have gone to this museum,

384
00:23:05,359 --> 00:23:07,800
Speaker 1: definitely right in and tell us all about it. Now.

385
00:23:07,840 --> 00:23:11,240
Speaker 1: We've focused a lot on the on the effects and

386
00:23:11,240 --> 00:23:14,040
Speaker 1: the visual style of the movie, but there's also I

387
00:23:14,080 --> 00:23:16,520
Speaker 1: think a lot of interesting stuff to say about the

388
00:23:16,600 --> 00:23:19,960
Speaker 1: narrative content of the film. And one thing here is

389
00:23:20,000 --> 00:23:23,400
Speaker 1: that while there is one major work that I think

390
00:23:23,440 --> 00:23:26,359
Speaker 1: you could say this is most adapted from, uh, and

391
00:23:26,400 --> 00:23:29,600
Speaker 1: that's a Jules Verne novel called Facing the Flag. In

392
00:23:29,720 --> 00:23:32,280
Speaker 1: other ways, it's a very much a mash up. It's

393
00:23:32,320 --> 00:23:36,200
Speaker 1: just sort of a you know, it's a blender smoothie

394
00:23:36,280 --> 00:23:42,560
Speaker 1: full of nineteenth century science fiction ideas, primarily from Jules Verne. Yeah,

395
00:23:42,640 --> 00:23:47,560
Speaker 1: Jules Verne through nineteen o five, the legendary French novelist, poet,

396
00:23:47,600 --> 00:23:52,120
Speaker 1: and playwright. Uh. Some have even you know today will say, oh, well,

397
00:23:52,119 --> 00:23:54,720
Speaker 1: he was kind of a futuristic prophet, you know. He

398
00:23:54,720 --> 00:23:59,679
Speaker 1: he described these various technological achievements and uses that would

399
00:23:59,720 --> 00:24:02,440
Speaker 1: come to fruition. Uh. They were even saying this daring

400
00:24:02,560 --> 00:24:06,080
Speaker 1: Verne's own lifetime, and he tended to deny such praise

401
00:24:06,160 --> 00:24:08,960
Speaker 1: and saying that's just coincidence, and you know it is

402
00:24:09,000 --> 00:24:11,040
Speaker 1: probably a bit over the top. But at the same time,

403
00:24:11,080 --> 00:24:13,080
Speaker 1: you know, he he did in some ways seem to

404
00:24:13,119 --> 00:24:17,480
Speaker 1: see further than uh than many uh in trying to

405
00:24:17,520 --> 00:24:21,760
Speaker 1: imagine how humans would use technology. Um. His science fiction

406
00:24:21,880 --> 00:24:24,560
Speaker 1: has a has this wonderful charm to it though it's

407
00:24:24,359 --> 00:24:27,199
Speaker 1: it can be a bit naive and optimistic in some ways,

408
00:24:27,520 --> 00:24:32,480
Speaker 1: but also very aware of the dark potential for human technology. Yes,

409
00:24:32,600 --> 00:24:34,880
Speaker 1: both sides are there. I mean he he often has

410
00:24:35,160 --> 00:24:40,640
Speaker 1: um like villains or anti heroes, uh, sort of searching

411
00:24:40,760 --> 00:24:45,280
Speaker 1: after a powerfully destructive piece of technology. But also I

412
00:24:45,320 --> 00:24:50,439
Speaker 1: would say a very generally kind of enthusiastic, even exuberant,

413
00:24:50,520 --> 00:24:54,080
Speaker 1: positive vision of human progress. Yeah. I think that's a

414
00:24:54,080 --> 00:24:56,920
Speaker 1: good way of summing it up. Among his most famous

415
00:24:56,920 --> 00:24:59,800
Speaker 1: and frequently adapted works, or around the World in a

416
00:25:00,119 --> 00:25:02,520
Speaker 1: days journey to the center of the Earth, twenty leagues

417
00:25:02,560 --> 00:25:04,960
Speaker 1: under the sea, the mysterious Island, and from Earth to

418
00:25:05,000 --> 00:25:08,159
Speaker 1: the Moon. Uh. Yeah. Given the proximity of his work

419
00:25:08,400 --> 00:25:11,639
Speaker 1: and popularity to the birth of cinema. Adaptations of his

420
00:25:11,680 --> 00:25:14,800
Speaker 1: work are numerous and are are frequently kind of important

421
00:25:14,840 --> 00:25:17,040
Speaker 1: benchmarks in the history of cinema, especially when you look

422
00:25:17,080 --> 00:25:19,080
Speaker 1: back to nineteen o two is a Trip to the Moon.

423
00:25:20,040 --> 00:25:23,000
Speaker 1: We already mentioned fifty four two Leagues under the Sea.

424
00:25:23,040 --> 00:25:26,680
Speaker 1: There's also six around the world in eighty days. They're

425
00:25:26,680 --> 00:25:30,679
Speaker 1: still making Jules Verne adaptations, but I was hard pressed

426
00:25:30,680 --> 00:25:34,719
Speaker 1: to pinpoint one that felt important. Somehow, I fully support

427
00:25:34,800 --> 00:25:38,240
Speaker 1: the artistic choice in Voyage Don Laloon to change the

428
00:25:38,440 --> 00:25:41,840
Speaker 1: Baltimore gun Club in Jules Verne's novel into a bunch

429
00:25:41,880 --> 00:25:47,119
Speaker 1: of guys in Wizard Robes. So um. In terms of

430
00:25:47,160 --> 00:25:49,480
Speaker 1: the you know, the final script we see here a

431
00:25:49,560 --> 00:25:53,160
Speaker 1: final vision on the screen. Um. Of course, Naman himself

432
00:25:53,480 --> 00:25:56,960
Speaker 1: has some credit. Um. There's also a check poet and

433
00:25:56,960 --> 00:26:00,399
Speaker 1: writer by the name of Frantis sat Kruven who nineteen

434
00:26:00,760 --> 00:26:03,720
Speaker 1: nine seventy one that has a scenario credit at least.

435
00:26:03,920 --> 00:26:08,200
Speaker 1: This is via IMDb, and among his works are Romance

436
00:26:08,240 --> 00:26:11,879
Speaker 1: for Flugelhorn, which is the one epic poem which was

437
00:26:11,920 --> 00:26:14,640
Speaker 1: also adapted for film in nineteen sixty seven. He wrote

438
00:26:14,640 --> 00:26:17,840
Speaker 1: the screenplay for seventy eight Beauty and the Beast, a

439
00:26:18,119 --> 00:26:21,600
Speaker 1: check film based on his own play. I believe this

440
00:26:21,680 --> 00:26:25,679
Speaker 1: is a stunning looking gothic horror film directed by Urage

441
00:26:25,760 --> 00:26:29,359
Speaker 1: hers Uh, the accounting director of nineteen sixty nine The Creamator,

442
00:26:29,720 --> 00:26:32,520
Speaker 1: a dark comedy horror film that's apparently very well regarded.

443
00:26:33,080 --> 00:26:35,520
Speaker 1: This adaptation of Beauty and the Beast. You were sharing

444
00:26:35,560 --> 00:26:37,960
Speaker 1: some stuff from this with me and this this could

445
00:26:37,960 --> 00:26:40,200
Speaker 1: be on our radar for the future. Yeah, yeah, I

446
00:26:40,240 --> 00:26:41,520
Speaker 1: need it. I need to check it out. But it

447
00:26:41,560 --> 00:26:44,760
Speaker 1: looks very interesting. There are a couple of other credits,

448
00:26:44,760 --> 00:26:47,320
Speaker 1: and I couldn't find that much about them, but uh,

449
00:26:47,480 --> 00:26:51,639
Speaker 1: Milan Vacha dates unknown, at least we're not visible to me.

450
00:26:51,680 --> 00:26:54,800
Speaker 1: When I was looking around, uh credited on this, but

451
00:26:54,920 --> 00:26:58,000
Speaker 1: not much else was turning up. And also a screenwriter

452
00:26:58,040 --> 00:27:01,919
Speaker 1: about the name of Jerry Pradecca who live nineteen seventeen

453
00:27:01,960 --> 00:27:06,359
Speaker 1: through two, is also credited on some film databases, but

454
00:27:06,480 --> 00:27:08,680
Speaker 1: not IMDb, so I'm not sure, but I'm going to

455
00:27:08,760 --> 00:27:11,080
Speaker 1: listen their names anyway. All right, should we talk about

456
00:27:11,080 --> 00:27:12,879
Speaker 1: the cast? How you do you want to start with

457
00:27:12,920 --> 00:27:18,119
Speaker 1: the old Luboar Tokosh. Yeah, playing Simon Hart are our

458
00:27:18,240 --> 00:27:21,920
Speaker 1: hero of the piece. Uh. He lived nineteen twenty three

459
00:27:21,960 --> 00:27:24,440
Speaker 1: through two thousand and three. Check Actor active and TV

460
00:27:24,560 --> 00:27:27,200
Speaker 1: and film from the late forties to the early two thousands.

461
00:27:27,760 --> 00:27:31,920
Speaker 1: His more famous work, certainly taking into account global recognition

462
00:27:31,960 --> 00:27:36,240
Speaker 1: of check films are, are probably his films UH nineteen seventies,

463
00:27:36,640 --> 00:27:39,840
Speaker 1: UM Who Show That Year, which I believe is a

464
00:27:39,840 --> 00:27:43,440
Speaker 1: surveillance thriller about people who uh suddenly find their home

465
00:27:43,720 --> 00:27:48,560
Speaker 1: bugged by presumably the state UH nineteen seventies, which Hammer

466
00:27:48,920 --> 00:27:51,480
Speaker 1: in nineteen seventy two is The Girl on the Broomstick.

467
00:27:52,200 --> 00:27:54,800
Speaker 1: But I'm likely missing something major here, especially when it

468
00:27:54,800 --> 00:27:58,480
Speaker 1: comes to the intended audience. So uh, if you have

469
00:27:58,680 --> 00:28:01,399
Speaker 1: more experience than we do with cinema and check television

470
00:28:01,680 --> 00:28:04,680
Speaker 1: and so forth right in, we would love to hear

471
00:28:04,760 --> 00:28:07,119
Speaker 1: from you. But yeah, he's he's quite good in this.

472
00:28:07,200 --> 00:28:10,520
Speaker 1: He has very expressive eyes. Luebar Tokosh here has a

473
00:28:10,600 --> 00:28:15,679
Speaker 1: very dark, very like, tightly sculpted strap like beard that

474
00:28:15,720 --> 00:28:18,840
Speaker 1: follows his jawline and a and a similar kind of mustache.

475
00:28:19,400 --> 00:28:22,040
Speaker 1: And I almost wonder if that look is selected because

476
00:28:22,080 --> 00:28:26,080
Speaker 1: of the high contrast like uh beard color and shape

477
00:28:26,119 --> 00:28:28,439
Speaker 1: going well with the animation style. If you know what

478
00:28:28,480 --> 00:28:31,240
Speaker 1: I mean. Yeah, yeah, I believe that there are Yeah,

479
00:28:31,240 --> 00:28:35,520
Speaker 1: there are characters like is it Yana? Uh yeah, the

480
00:28:35,560 --> 00:28:38,240
Speaker 1: sort of the love interest of the piece. Uh. She

481
00:28:38,400 --> 00:28:42,040
Speaker 1: was specifically selected because she looked like she would fit

482
00:28:42,080 --> 00:28:44,320
Speaker 1: into one of these old illustrations. She had a kind

483
00:28:44,320 --> 00:28:47,200
Speaker 1: of naive look to her. She looks I think that

484
00:28:47,480 --> 00:28:50,080
Speaker 1: in the materials about the film I was looking at

485
00:28:50,080 --> 00:28:53,000
Speaker 1: on the disk she looked like she was quote born yesterday,

486
00:28:53,440 --> 00:28:55,960
Speaker 1: you know so, and that she looked good in period

487
00:28:56,040 --> 00:28:59,200
Speaker 1: peace uh garbs. So. Yeah. It was all about like

488
00:28:59,240 --> 00:29:01,680
Speaker 1: what will look in the in the the overall piece,

489
00:29:01,760 --> 00:29:05,600
Speaker 1: not so much like what is this individual's acting prowess? No,

490
00:29:05,760 --> 00:29:07,840
Speaker 1: not to take away from the actors. I thought all

491
00:29:07,880 --> 00:29:10,080
Speaker 1: of the actors in the movie did well. Another actor,

492
00:29:10,160 --> 00:29:12,400
Speaker 1: who I think like like these two we were just

493
00:29:12,400 --> 00:29:15,720
Speaker 1: talking about, seems clearly chosen for a sort of look

494
00:29:15,800 --> 00:29:18,880
Speaker 1: that works well with the animation. Is the Pirate captain

495
00:29:18,920 --> 00:29:23,479
Speaker 1: Captain Slade. Oh yeah, yeah. This is interesting because this

496
00:29:23,600 --> 00:29:29,600
Speaker 1: character is played by front to Seek Sligger Born, and

497
00:29:29,640 --> 00:29:31,959
Speaker 1: I was mostly just amused that he also played a

498
00:29:32,000 --> 00:29:35,440
Speaker 1: pirate captain in Zaman's nineteen sixty two film The Fabulous

499
00:29:35,440 --> 00:29:40,160
Speaker 1: Baron muchausen m M. Fun fact, the other pirate players

500
00:29:40,240 --> 00:29:43,640
Speaker 1: that pop up in the pieces, like Pirate Crew. Apparently

501
00:29:43,760 --> 00:29:46,719
Speaker 1: Zaman just went down to the local retirement home and

502
00:29:46,760 --> 00:29:50,080
Speaker 1: recruited a bunch of guys who had like rugged looking faces.

503
00:29:50,120 --> 00:29:51,960
Speaker 1: He's like, this is what I need. Then get get

504
00:29:52,000 --> 00:29:55,760
Speaker 1: these rugged mugs into the studio, the retirement home pirates.

505
00:29:55,800 --> 00:29:59,760
Speaker 1: How can you not love this? Yeah? Now we mentioned

506
00:29:59,760 --> 00:30:02,600
Speaker 1: the professor that's gonna be a central part of the plot,

507
00:30:02,680 --> 00:30:07,000
Speaker 1: Professor Roach. Uh, well, okay, we should raise here. I

508
00:30:07,040 --> 00:30:09,640
Speaker 1: don't know if we're going to consistently pronounce the character's

509
00:30:09,800 --> 00:30:13,000
Speaker 1: names the same way they are pronounced in the movie. So,

510
00:30:13,080 --> 00:30:17,200
Speaker 1: for example, Simon Hart, the the hero. I think in

511
00:30:17,280 --> 00:30:19,719
Speaker 1: the check version they call him like she Mon Hart

512
00:30:19,960 --> 00:30:22,360
Speaker 1: or something. Uh, so we're probably we're not going to

513
00:30:22,440 --> 00:30:24,360
Speaker 1: manage that. While we're talking about the movie, we will

514
00:30:24,400 --> 00:30:28,120
Speaker 1: have some Anglicized name pronunciation. So the professor is named

515
00:30:28,320 --> 00:30:30,560
Speaker 1: R R O C H. I think they call him

516
00:30:30,680 --> 00:30:34,600
Speaker 1: rogue maybe in in their pronunciation, but we can say roach. Yeah.

517
00:30:34,640 --> 00:30:37,360
Speaker 1: And and also what language did you watch? I watched

518
00:30:37,360 --> 00:30:40,680
Speaker 1: the English dub Oh, okay, so we may we have

519
00:30:40,760 --> 00:30:43,440
Speaker 1: some differences there as well. I watched in the original

520
00:30:43,480 --> 00:30:48,240
Speaker 1: with subtitles. Okay, well anyway, this particular professor character played

521
00:30:48,240 --> 00:30:54,200
Speaker 1: by Arnast Novrato, who lived nine four A check actor.

522
00:30:54,840 --> 00:30:58,000
Speaker 1: His other films include Great Solitude from nineteen sixty. But

523
00:30:58,280 --> 00:31:01,520
Speaker 1: I was also amused that he's actually younger uh than

524
00:31:01,640 --> 00:31:05,720
Speaker 1: lue Boar and the actor of Yeah, actor lue Boar. Yeah,

525
00:31:05,760 --> 00:31:09,960
Speaker 1: if the dates are correct, Um, he's actually three years younger. Wow.

526
00:31:10,160 --> 00:31:13,240
Speaker 1: I would not have expected that. Yeah, the magic of cinema.

527
00:31:14,200 --> 00:31:17,000
Speaker 1: We also have an evil count in this uh, in

528
00:31:17,040 --> 00:31:20,000
Speaker 1: this film, always going to have an evil count scheming away. Yep,

529
00:31:20,120 --> 00:31:24,000
Speaker 1: that's a count. Arctic Gas played by Miroslav Hlob Yeah,

530
00:31:24,400 --> 00:31:29,360
Speaker 1: nineteen fifteen through nine check actor. His other credits include

531
00:31:29,440 --> 00:31:34,240
Speaker 1: nine seven's Frankenstein's Aunt and Carl Zaman's nineteen seventy film

532
00:31:34,320 --> 00:31:37,480
Speaker 1: On the Comment. He was also an enemy general in

533
00:31:37,640 --> 00:31:40,480
Speaker 1: Zaman's nineteen sixty two film The Fact Lost Baron Munchausen.

534
00:31:40,600 --> 00:31:42,080
Speaker 1: So you know very much. He seemed to have a

535
00:31:42,520 --> 00:31:45,480
Speaker 1: crew that he turned to for a lot of these films. Now,

536
00:31:45,480 --> 00:31:47,960
Speaker 1: we often mentioned the music and rob even though I

537
00:31:47,960 --> 00:31:51,080
Speaker 1: think this is this is not uh an electronic score

538
00:31:51,160 --> 00:31:53,240
Speaker 1: like you typically love the most I bet you love

539
00:31:53,320 --> 00:31:56,480
Speaker 1: the music in this movie because it is incredibly appropriate

540
00:31:56,520 --> 00:31:58,800
Speaker 1: to the narrative. We get a lot of uh, kind

541
00:31:58,840 --> 00:32:04,400
Speaker 1: of like daunting horn ORNs, but then also jaunty harpsichord. Yeah, yeah,

542
00:32:04,480 --> 00:32:06,480
Speaker 1: I know. I love the music in this in part

543
00:32:06,560 --> 00:32:09,880
Speaker 1: because there are some great stretches where you have either

544
00:32:10,120 --> 00:32:14,480
Speaker 1: organ or even possibly electronic organ. I'm not sure, but

545
00:32:14,600 --> 00:32:18,600
Speaker 1: it's Oregon that sounds electronic enough for me anyway. And uh,

546
00:32:18,680 --> 00:32:21,800
Speaker 1: and then a lot of scenes where characters are uh,

547
00:32:21,840 --> 00:32:26,160
Speaker 1: they're they're like either weaving their way through some sort

548
00:32:26,160 --> 00:32:29,160
Speaker 1: of machine filled room or chamber, or they're hanging out

549
00:32:29,160 --> 00:32:31,240
Speaker 1: in the laboratory, and we get a lot of sort

550
00:32:31,280 --> 00:32:35,600
Speaker 1: of drone the electronic ambience going on. The music for

551
00:32:35,640 --> 00:32:39,440
Speaker 1: this film is from z Nick Liska, who lived nineteen

552
00:32:39,480 --> 00:32:42,560
Speaker 1: eighty three. Noted check composer uh and something of an

553
00:32:42,560 --> 00:32:45,600
Speaker 1: electronic music pioneer. I'm to understand. It was active from

554
00:32:45,640 --> 00:32:48,640
Speaker 1: the nineteen fifties through the early nineteen eighties and is

555
00:32:48,720 --> 00:32:51,719
Speaker 1: especially noted for his work in check, new wave and

556
00:32:51,800 --> 00:32:54,920
Speaker 1: the early films of stop motion. Legend John Spankmeyer. Uh,

557
00:32:54,920 --> 00:32:58,200
Speaker 1: he scored nineteen seventies Fruit of Paradise. So we have

558
00:32:58,280 --> 00:33:01,000
Speaker 1: discussed his work previously on the show. Oh Wow, The

559
00:33:01,160 --> 00:33:04,640
Speaker 1: Furtive Paradise had awesome music. You remember the scene at

560
00:33:04,680 --> 00:33:06,960
Speaker 1: the beginning that retells the Garden of Eden story sort

561
00:33:06,960 --> 00:33:09,960
Speaker 1: of in short before the longer, more surreal version, and

562
00:33:09,960 --> 00:33:14,240
Speaker 1: then it's got those choirs and the like the psychedelic vision.

563
00:33:14,760 --> 00:33:19,960
Speaker 1: You have very ethereal Bliska also scored ninety nine The Creamator,

564
00:33:20,040 --> 00:33:23,240
Speaker 1: which I have not seen, but again, uh, it factors

565
00:33:23,240 --> 00:33:27,920
Speaker 1: into a couple of different filmographies here and is highly regarded. Okay,

566
00:33:27,920 --> 00:33:32,440
Speaker 1: you want to talk about the plot. Yeah, again, you

567
00:33:32,520 --> 00:33:36,160
Speaker 1: watched the original check version with subtitles. I watched the

568
00:33:36,200 --> 00:33:40,120
Speaker 1: English dub, which was the US release version of the picture,

569
00:33:40,520 --> 00:33:43,520
Speaker 1: and the dub is a lot of fun that this

570
00:33:43,600 --> 00:33:45,480
Speaker 1: is a film where I didn't I don't feel particularly

571
00:33:45,520 --> 00:33:49,400
Speaker 1: guilty using an English language dub because it's it's ultimately

572
00:33:49,400 --> 00:33:51,640
Speaker 1: more about the visual experience, and this way I'm not

573
00:33:51,680 --> 00:33:53,880
Speaker 1: reading anything on the screen. Instead, I'm looking at these

574
00:33:53,920 --> 00:33:58,200
Speaker 1: like weird fish. Um but U. Two major differences in

575
00:33:58,200 --> 00:34:00,800
Speaker 1: the US is that it's promoted as using the new

576
00:34:00,840 --> 00:34:06,680
Speaker 1: motion picture technique mistimation, which I talked about this briefly

577
00:34:06,720 --> 00:34:10,440
Speaker 1: with Seth before that like, what is this weird? Um,

578
00:34:11,200 --> 00:34:16,520
Speaker 1: American and possibly British aversion to staying stop motion instead

579
00:34:16,600 --> 00:34:18,719
Speaker 1: if everything has to have some sort of weird name

580
00:34:18,840 --> 00:34:23,120
Speaker 1: like Claymation and so forth. Yeah, that's funny. Um. Also

581
00:34:23,280 --> 00:34:26,920
Speaker 1: the most noticeable difference, though, is the U S version

582
00:34:26,960 --> 00:34:30,840
Speaker 1: has an extended intro by American radio and television broadcaster

583
00:34:31,000 --> 00:34:37,000
Speaker 1: Hugh Downs lived nineteen one through uh. Leonard Malton described

584
00:34:37,120 --> 00:34:42,760
Speaker 1: this introduction as quote pointless. Um. Yeah, kinda like I

585
00:34:42,760 --> 00:34:45,799
Speaker 1: I went back and looked at the the original check

586
00:34:45,880 --> 00:34:48,080
Speaker 1: version to see how it started, and yeah, this is

587
00:34:48,160 --> 00:34:51,000
Speaker 1: kind of like a bloated intro from Hugh Downs, where

588
00:34:51,040 --> 00:34:53,160
Speaker 1: he's he's kind of like, you know, he's in this

589
00:34:53,200 --> 00:34:56,000
Speaker 1: like weird living room and he's like saying, Hey, we're

590
00:34:56,040 --> 00:34:58,880
Speaker 1: gonna watch this film today, and it's, uh, you know,

591
00:34:58,960 --> 00:35:02,040
Speaker 1: it's about the how brilliant Jules Verne was. And he

592
00:35:02,120 --> 00:35:03,920
Speaker 1: tells you a little bit about how Jules Verne was

593
00:35:03,960 --> 00:35:07,239
Speaker 1: brilliant essentially a profit of technology in the future, and

594
00:35:07,280 --> 00:35:10,319
Speaker 1: sort of slowly eases you into the film almost like

595
00:35:10,400 --> 00:35:13,520
Speaker 1: you needed, you know, some sort of appetizer or intro,

596
00:35:13,719 --> 00:35:16,400
Speaker 1: or you needed permission from Hugh Downs to enjoy the movie.

597
00:35:16,680 --> 00:35:20,000
Speaker 1: Are are there any like animated fish swimming around his

598
00:35:20,080 --> 00:35:23,080
Speaker 1: head or like an octopus grabbing his leg? Now he

599
00:35:23,120 --> 00:35:25,960
Speaker 1: has some like model airplanes and rockets on the table

600
00:35:26,000 --> 00:35:29,440
Speaker 1: behind him. Yeah, it's almost yeah, yeah, I see what

601
00:35:29,440 --> 00:35:31,720
Speaker 1: you're saying. It's almost like you wonder at the time

602
00:35:31,760 --> 00:35:35,279
Speaker 1: for American audiences to accept something this kind of like

603
00:35:35,480 --> 00:35:40,480
Speaker 1: visually unusual, did they have to say, Okay, now we're

604
00:35:40,480 --> 00:35:42,640
Speaker 1: gonna sit you down with a boring man in a

605
00:35:42,719 --> 00:35:45,320
Speaker 1: kind of boring environment to tell you that it's okay

606
00:35:45,360 --> 00:35:49,640
Speaker 1: to watch what follows. Yeah, yeah, I mean it's um,

607
00:35:49,680 --> 00:35:52,320
Speaker 1: you know this is this is right before or around

608
00:35:52,320 --> 00:35:54,640
Speaker 1: the same time that The Twilight Zone came out, So

609
00:35:54,800 --> 00:35:58,799
Speaker 1: you know, maybe there's certain uh, there're certain comparisons to

610
00:35:58,800 --> 00:36:02,680
Speaker 1: be made there except Q downs is there's nothing creepy

611
00:36:02,719 --> 00:36:05,600
Speaker 1: about the way presenting. Eddie's very he's very square in

612
00:36:05,680 --> 00:36:08,360
Speaker 1: his presentation of a film that is anything but square.

613
00:36:09,120 --> 00:36:11,600
Speaker 1: A retirement home pirate and a fish that turns into

614
00:36:11,640 --> 00:36:17,279
Speaker 1: a butterfly. It couldn't happen, but it could in Jules Verne. Yeah,

615
00:36:17,360 --> 00:36:18,919
Speaker 1: so I don't know, it's fun, but you can sort

616
00:36:18,920 --> 00:36:20,520
Speaker 1: of take it or leave it, depending on which version

617
00:36:20,520 --> 00:36:23,120
Speaker 1: of the film you watch and eventually you can end

618
00:36:23,200 --> 00:36:33,880
Speaker 1: up in the same place, all right. Well, so in

619
00:36:33,920 --> 00:36:37,000
Speaker 1: the opening credits we see an acknowledgement that this is

620
00:36:37,040 --> 00:36:42,399
Speaker 1: what the the the subtitles translate as freely adapted from

621
00:36:42,440 --> 00:36:44,360
Speaker 1: the writings of Jules Verne, and I think that's a

622
00:36:44,360 --> 00:36:46,880
Speaker 1: good way to put it, because there is one major

623
00:36:47,000 --> 00:36:49,440
Speaker 1: novel that this plot comes from, but it's pulling in

624
00:36:49,520 --> 00:36:52,239
Speaker 1: stuff from all over the place, and I think they

625
00:36:52,360 --> 00:36:56,080
Speaker 1: give you a taste of the buffet of imagery to come,

626
00:36:56,600 --> 00:36:59,640
Speaker 1: because the opening credits have kind of line drawings in

627
00:36:59,719 --> 00:37:02,520
Speaker 1: really behind them where you see hints of wait a minute,

628
00:37:02,520 --> 00:37:04,840
Speaker 1: what is that? Is that a bullet shaped capsule flying

629
00:37:04,880 --> 00:37:08,120
Speaker 1: through the stars towards the moon? Is this lightning striking

630
00:37:08,160 --> 00:37:10,840
Speaker 1: a castle on a mountaintop. You've got a hot air balloon,

631
00:37:11,160 --> 00:37:15,400
Speaker 1: erupting volcano, a ship shooting up, laser beams or beams

632
00:37:15,400 --> 00:37:18,600
Speaker 1: of some kind. Yeah, it pretty much. It's just established

633
00:37:18,640 --> 00:37:22,440
Speaker 1: this that we are in a strange Jules Verne version

634
00:37:22,600 --> 00:37:26,000
Speaker 1: of what the future or the past could have consisted of.

635
00:37:26,440 --> 00:37:28,719
Speaker 1: And then we opened on a shot of an antique

636
00:37:28,760 --> 00:37:31,560
Speaker 1: office that's aligned with a sort of fluor de le

637
00:37:31,800 --> 00:37:34,960
Speaker 1: esque wall paper, a small lamp and ink pot, and

638
00:37:35,000 --> 00:37:37,760
Speaker 1: a stack of books which all bear the name Jules

639
00:37:37,880 --> 00:37:40,759
Speaker 1: Verne on the spine of the books, and we get

640
00:37:40,760 --> 00:37:45,040
Speaker 1: some voice over narration. It says, good evening, friends, come closer,

641
00:37:45,400 --> 00:37:48,240
Speaker 1: I shall tell you about the greatest adventure of my life.

642
00:37:48,600 --> 00:37:51,200
Speaker 1: And we zoom in on a notebook says, this is

643
00:37:51,239 --> 00:37:55,000
Speaker 1: my journal everything I experienced I confided to its pages.

644
00:37:55,480 --> 00:37:59,240
Speaker 1: Forgive me, I haven't introduced myself. I am Mr Simon Hart,

645
00:38:00,040 --> 00:38:02,680
Speaker 1: and he says I lived at a time of such hope,

646
00:38:02,880 --> 00:38:05,520
Speaker 1: the dream of human progress. And here we see an

647
00:38:05,520 --> 00:38:09,279
Speaker 1: illustration that maybe a kind of airship. He says, we

648
00:38:09,320 --> 00:38:12,359
Speaker 1: could think of nothing else. My friends and I rob

649
00:38:12,480 --> 00:38:17,319
Speaker 1: or the conqueror, Barbican Captain Nemo. Uh. And then we

650
00:38:17,320 --> 00:38:19,640
Speaker 1: see all kinds of illustrations, including one of like ce

651
00:38:19,800 --> 00:38:24,399
Speaker 1: monsters or prehistoric marine reptiles biting each other's necks. And

652
00:38:24,600 --> 00:38:27,200
Speaker 1: there's an ambiguity here when he says we could think

653
00:38:27,239 --> 00:38:30,040
Speaker 1: of nothing else, My friends and I rob or the Conqueror,

654
00:38:30,160 --> 00:38:34,919
Speaker 1: Barbican Captain Nemo, because all these names he lists are

655
00:38:35,000 --> 00:38:40,200
Speaker 1: Jules Verne characters, and it's not clear from what he's

656
00:38:40,280 --> 00:38:44,280
Speaker 1: saying whether he's saying those were his friends who couldn't

657
00:38:44,320 --> 00:38:47,160
Speaker 1: think of anything other than human progress, or if his

658
00:38:47,239 --> 00:38:50,200
Speaker 1: friends couldn't think of anything other than human progress, And

659
00:38:50,239 --> 00:38:54,320
Speaker 1: the examples of human progress he's listing are Roeber, the Conqueror,

660
00:38:54,320 --> 00:38:57,200
Speaker 1: Barbican and Captain Nemo, both of which would make sense

661
00:38:57,400 --> 00:39:00,879
Speaker 1: as as interpretations of that sentence, and both are kind

662
00:39:00,880 --> 00:39:05,480
Speaker 1: of supported by the context. Like he's looking at books

663
00:39:05,520 --> 00:39:08,120
Speaker 1: that say Jewels Verne on them, and these are Jewels

664
00:39:08,160 --> 00:39:11,439
Speaker 1: Verned characters, so they're like characters he's referring to within

665
00:39:11,480 --> 00:39:14,520
Speaker 1: the narrative, but then he also talks about them as

666
00:39:14,560 --> 00:39:17,959
Speaker 1: if they are real people. So there's a very kind

667
00:39:17,960 --> 00:39:23,200
Speaker 1: of interesting, ambiguous superposition of the fictional world of Jules

668
00:39:23,280 --> 00:39:27,480
Speaker 1: Verne and the supposed reality of this movie's narrative. Uh,

669
00:39:27,600 --> 00:39:30,400
Speaker 1: that that are like existing at the same time there,

670
00:39:30,560 --> 00:39:32,640
Speaker 1: Do you see what I mean? Yeah? Yeah, And this

671
00:39:32,719 --> 00:39:35,480
Speaker 1: is another way that this film feels not you know,

672
00:39:35,480 --> 00:39:38,239
Speaker 1: we've discussed how it feels like something echoing from a

673
00:39:38,280 --> 00:39:42,080
Speaker 1: time before, but in this it really feels like like

674
00:39:42,120 --> 00:39:44,520
Speaker 1: something from much later, like from the the eighties or

675
00:39:44,520 --> 00:39:47,440
Speaker 1: perhaps the nineties, in the way that it's it's it's

676
00:39:47,480 --> 00:39:51,320
Speaker 1: treating this world creation. But I wanted to explain these

677
00:39:51,440 --> 00:39:54,400
Speaker 1: other jewels Verne characters he mentions just for some context.

678
00:39:54,520 --> 00:39:57,120
Speaker 1: So you've got a rubber of the Conqueror. This is

679
00:39:57,160 --> 00:39:59,719
Speaker 1: the title character of a novel by Jules vern It's

680
00:39:59,719 --> 00:40:02,960
Speaker 1: called Robert the Conqueror. Robert is an inventor, and the

681
00:40:03,040 --> 00:40:06,879
Speaker 1: thing he conquers is the skies. He creates a gigantic

682
00:40:07,000 --> 00:40:10,799
Speaker 1: airship that is held aloft, empowered by a series of

683
00:40:10,880 --> 00:40:15,560
Speaker 1: propellers and air screws. And Robert he's one of Verne's

684
00:40:15,640 --> 00:40:19,560
Speaker 1: kind of antisocial genius inventors. He flies around the world

685
00:40:19,680 --> 00:40:22,760
Speaker 1: planting black flags on top of pyramids and the Statue

686
00:40:22,760 --> 00:40:25,920
Speaker 1: of Liberty and so forth. And apparently the novel involves

687
00:40:25,960 --> 00:40:31,160
Speaker 1: a bitter factional struggle within a Philadelphia aeronautics or flight

688
00:40:31,239 --> 00:40:35,279
Speaker 1: club between Roeber and the group that prefers dirigible as

689
00:40:35,320 --> 00:40:38,760
Speaker 1: another lighter than air aircraft. And he'll he'll sure show

690
00:40:38,800 --> 00:40:41,359
Speaker 1: them that heavier than air aircraft are the way to go.

691
00:40:42,400 --> 00:40:44,200
Speaker 1: And note, of course that this was written at a

692
00:40:44,239 --> 00:40:47,440
Speaker 1: time before powered flight. So I don't know if we

693
00:40:47,520 --> 00:40:50,440
Speaker 1: if we want to say technoprofit or whatever, but Jules

694
00:40:50,520 --> 00:40:53,600
Speaker 1: Verne often was writing several decades ahead. You know, he

695
00:40:53,680 --> 00:40:56,160
Speaker 1: was writing about things that would in some rough sense

696
00:40:56,239 --> 00:41:00,800
Speaker 1: become real technologies several decades after he was writing about them,

697
00:41:00,960 --> 00:41:03,160
Speaker 1: or would become more developed, because he also like talks

698
00:41:03,160 --> 00:41:05,600
Speaker 1: about submarines, which, like at the time he published twenty

699
00:41:05,920 --> 00:41:09,239
Speaker 1: Leagues under the Sea, there were sort of primitive submarines,

700
00:41:09,320 --> 00:41:12,200
Speaker 1: but not anywhere near the kind of thing he describes

701
00:41:12,280 --> 00:41:17,040
Speaker 1: in twenty Leagues. Um, So the other characters he mentions,

702
00:41:17,080 --> 00:41:20,840
Speaker 1: one is Barbican, which is one of the main characters

703
00:41:20,880 --> 00:41:23,239
Speaker 1: of From the Earth to the Moon and then the

704
00:41:23,320 --> 00:41:25,640
Speaker 1: sequel Around the Moon's a sort of a story in

705
00:41:25,680 --> 00:41:29,840
Speaker 1: two parts. Barbican is the president of a Baltimore gun

706
00:41:29,920 --> 00:41:32,480
Speaker 1: club who builds a cannon that will shoot him and

707
00:41:32,520 --> 00:41:35,640
Speaker 1: two other passengers around the moon in a closed capsule,

708
00:41:35,880 --> 00:41:38,799
Speaker 1: again seemingly to prove the haters wrong or kind of

709
00:41:38,840 --> 00:41:42,000
Speaker 1: sensing a pattern here, there's like a like a gentleman's

710
00:41:42,000 --> 00:41:46,160
Speaker 1: club for people interested in science and technology and human progress,

711
00:41:46,400 --> 00:41:49,400
Speaker 1: and then there's like a struggle within that club, and

712
00:41:49,480 --> 00:41:52,839
Speaker 1: there's a defiant inventor or or genius in the club

713
00:41:52,840 --> 00:41:55,560
Speaker 1: who's like, I'm gonna show my my rivals wrong and

714
00:41:55,600 --> 00:41:58,880
Speaker 1: does something amazing, But I think it's notable that the

715
00:41:58,880 --> 00:42:01,319
Speaker 1: ones that follow almost that exact pattern are kind of

716
00:42:01,360 --> 00:42:04,319
Speaker 1: the less notable jewles for novels, because when you come

717
00:42:04,360 --> 00:42:09,400
Speaker 1: to twenty Leagues and Captain Nemo, uh, this is once

718
00:42:09,400 --> 00:42:13,960
Speaker 1: again a defiant, antisocial, globe trotting genius of sorts, but

719
00:42:14,160 --> 00:42:17,040
Speaker 1: with I think a much more complex and tragic motivation.

720
00:42:17,280 --> 00:42:19,520
Speaker 1: I think a lot of critics would say twenty Leagues

721
00:42:19,600 --> 00:42:22,880
Speaker 1: is better and more interesting than a lot of verns

722
00:42:22,960 --> 00:42:26,080
Speaker 1: other novels in in uh, in the quality of its

723
00:42:26,160 --> 00:42:28,880
Speaker 1: character is not just for the avocation of an interesting

724
00:42:29,320 --> 00:42:34,160
Speaker 1: PSI tech scenario, Because Captain Nemo is there's a lot

725
00:42:34,200 --> 00:42:36,279
Speaker 1: about him that's kind of hidden under the surface. You

726
00:42:36,280 --> 00:42:38,920
Speaker 1: you don't know exactly what his motivations are, but like

727
00:42:38,960 --> 00:42:41,640
Speaker 1: there's the implication that he's sort of on a plot

728
00:42:41,680 --> 00:42:46,480
Speaker 1: of anti imperialist revenge after like imperial or colonial powers

729
00:42:46,480 --> 00:42:49,359
Speaker 1: have destroyed his home and his family, which makes him

730
00:42:49,400 --> 00:42:51,799
Speaker 1: a weirdly kind of sympathetic character, even though he sort

731
00:42:51,840 --> 00:42:54,319
Speaker 1: of fills the role of a villain or antagonist in

732
00:42:54,360 --> 00:42:59,160
Speaker 1: the book. And so Nemo and twenty Leagues are very interesting. Yeah,

733
00:42:59,200 --> 00:43:01,680
Speaker 1: I think this is some thing that the Disney adaptation

734
00:43:02,600 --> 00:43:04,640
Speaker 1: from the fifties I think captured quite well. And I

735
00:43:04,719 --> 00:43:07,800
Speaker 1: remember thinking a lot about this as a child watching

736
00:43:07,800 --> 00:43:10,800
Speaker 1: this film and rewatching this film, it's like you you

737
00:43:10,840 --> 00:43:13,279
Speaker 1: spend a lot of time thinking about Captain Nemo, Like,

738
00:43:13,360 --> 00:43:16,680
Speaker 1: obviously he's the villain, but he's also really cool. But

739
00:43:16,760 --> 00:43:20,359
Speaker 1: also he clearly is a very conflicted character and and

740
00:43:20,480 --> 00:43:22,520
Speaker 1: other characters in the film are trying to figure him

741
00:43:22,520 --> 00:43:25,440
Speaker 1: out as well. That thought, it was well produced in that,

742
00:43:26,280 --> 00:43:29,560
Speaker 1: But I would say the closest to a single inspiration

743
00:43:29,640 --> 00:43:32,760
Speaker 1: for the plot of Invention for Destruction is the jewels

744
00:43:32,880 --> 00:43:36,800
Speaker 1: Urn novel Facing the Flag, which is a later novel

745
00:43:36,840 --> 00:43:39,239
Speaker 1: of his, which has a very patriotic twist to it,

746
00:43:39,680 --> 00:43:42,720
Speaker 1: which some I've argued is is kind of a much

747
00:43:42,840 --> 00:43:47,440
Speaker 1: lesser rehash of Twenty Leagues. Like it involves a rogue

748
00:43:47,600 --> 00:43:51,719
Speaker 1: captain operating a submarine with a secret island base, but

749
00:43:51,880 --> 00:43:54,600
Speaker 1: he's in the case of Facing the Flag, the character

750
00:43:54,719 --> 00:43:57,680
Speaker 1: is not as interesting and nuanced and complex as as

751
00:43:57,760 --> 00:44:00,600
Speaker 1: Captain Nemo. He's just sort of a bad guy. He's

752
00:44:00,600 --> 00:44:03,640
Speaker 1: like a mean criminal. But anyway, so to come back

753
00:44:03,680 --> 00:44:07,400
Speaker 1: to this whole thing where the narrator here seemingly is

754
00:44:07,520 --> 00:44:10,200
Speaker 1: the main character in a loose adaptation of a Jules

755
00:44:10,280 --> 00:44:13,960
Speaker 1: Verne novel, but describes himself as swept up in a

756
00:44:14,080 --> 00:44:17,480
Speaker 1: in a wave of giddy enthusiasm for progress through science

757
00:44:17,520 --> 00:44:21,560
Speaker 1: and technology. That is implied, It's not explicit, but it's

758
00:44:21,600 --> 00:44:25,760
Speaker 1: kind of implied that this is by reading Jules Verne novels.

759
00:44:26,239 --> 00:44:29,719
Speaker 1: It's kind of like if you had a Superman origin

760
00:44:29,840 --> 00:44:33,160
Speaker 1: story where he grew up excited about heroism because he

761
00:44:33,200 --> 00:44:36,279
Speaker 1: read d C comics. You know, it reminds me just

762
00:44:36,320 --> 00:44:40,000
Speaker 1: a little bit of Time after Time, where HD Wells

763
00:44:40,120 --> 00:44:42,759
Speaker 1: is both a character and the time machine has a

764
00:44:42,800 --> 00:44:46,040
Speaker 1: physical reality, though that's a little more that they that's

765
00:44:46,040 --> 00:44:48,960
Speaker 1: a little more battened down in terms of making it all. Um,

766
00:44:49,560 --> 00:44:53,759
Speaker 1: have narrative sense to it. Yeah, but I see the comparison. Yeah, yeah, yeah,

767
00:44:53,800 --> 00:44:56,400
Speaker 1: that that blending of the you know, the the higher

768
00:44:56,600 --> 00:45:00,720
Speaker 1: level of reality with the with the narrative inside the book. Mhm.

769
00:45:01,360 --> 00:45:05,040
Speaker 1: But anyway, so that's establishing the setting, and Simon hart

770
00:45:04,920 --> 00:45:06,880
Speaker 1: A narrating goes on to say, well, that was the

771
00:45:06,920 --> 00:45:09,080
Speaker 1: world of our youth, and then we begin a fabulous

772
00:45:09,120 --> 00:45:13,520
Speaker 1: animated sequence where um so again to try to picture

773
00:45:13,800 --> 00:45:16,680
Speaker 1: what's going on in in the scenes of this movie

774
00:45:16,719 --> 00:45:20,160
Speaker 1: if you haven't seen it. There are often different layers

775
00:45:20,200 --> 00:45:23,880
Speaker 1: of animation, so there will be live action and still

776
00:45:23,920 --> 00:45:28,520
Speaker 1: imagery combined into a single frame to affect a total scene,

777
00:45:28,560 --> 00:45:31,319
Speaker 1: and then often animation going on on top of and

778
00:45:31,400 --> 00:45:34,360
Speaker 1: around it. So you might have, for example, live action

779
00:45:34,400 --> 00:45:39,560
Speaker 1: footage of crashing waves superimposed overhand drawn waves, and a

780
00:45:39,600 --> 00:45:45,320
Speaker 1: shoreline with an animated boat filled with live actors. Yeah. Yeah,

781
00:45:45,360 --> 00:45:47,640
Speaker 1: so many layers to it, and then shot to shot

782
00:45:47,760 --> 00:45:50,840
Speaker 1: things will change as well, Like in one shot a

783
00:45:51,000 --> 00:45:54,360
Speaker 1: diver may be presented as a as a stop motion puppet,

784
00:45:54,719 --> 00:45:57,040
Speaker 1: and then in the next it's a live actor in

785
00:45:57,040 --> 00:46:01,360
Speaker 1: a costume. And again that it's it's not a seamless transition,

786
00:46:01,440 --> 00:46:04,359
Speaker 1: but it doesn't feel flawed. It feels in keeping with

787
00:46:04,480 --> 00:46:09,400
Speaker 1: the handcrafted artificiality of the picture. Yeah. So the narrator says,

788
00:46:09,440 --> 00:46:12,560
Speaker 1: my story proper begins on the Atlantic. What an impression

789
00:46:12,600 --> 00:46:14,640
Speaker 1: that made on me. I was a passenger on the

790
00:46:14,680 --> 00:46:18,400
Speaker 1: first steamship to cross the Ocean, which I think is

791
00:46:18,400 --> 00:46:21,920
Speaker 1: funny because all these things different differently kind of blend together,

792
00:46:22,040 --> 00:46:25,200
Speaker 1: But like somehow I just find the the steamship crossing

793
00:46:25,239 --> 00:46:28,360
Speaker 1: the ocean. While it is actually in reality an impressive

794
00:46:28,360 --> 00:46:31,480
Speaker 1: feet it's just far less inspiring to the imagination than

795
00:46:31,520 --> 00:46:36,799
Speaker 1: like a submarine or an airship. But anyway, he says,

796
00:46:36,840 --> 00:46:39,960
Speaker 1: I watched as the human spirit challenged the waves below

797
00:46:40,080 --> 00:46:42,920
Speaker 1: and the empire of the air above. And here we

798
00:46:42,960 --> 00:46:45,520
Speaker 1: have a row of well dressed passengers on the boat.

799
00:46:45,560 --> 00:46:48,080
Speaker 1: They're lining the walls of the steamship, gazing out at

800
00:46:48,080 --> 00:46:52,040
Speaker 1: things with spyglasses and opera binoculars, and we see an

801
00:46:52,040 --> 00:46:56,040
Speaker 1: airship and a submarine. To match his comments there, Now

802
00:46:56,080 --> 00:46:59,680
Speaker 1: with the airship, there's sort of a dirigible frame, and

803
00:46:59,719 --> 00:47:03,680
Speaker 1: then a pilot who is pedaling bicycle pedals to power

804
00:47:03,760 --> 00:47:06,759
Speaker 1: a propeller, and there's all kinds of things going on.

805
00:47:06,840 --> 00:47:09,200
Speaker 1: It really looks like one of the seagulls flying around

806
00:47:09,280 --> 00:47:11,680
Speaker 1: is going to get squashed or chopped up by the

807
00:47:11,719 --> 00:47:15,640
Speaker 1: bow prop like a seagull salad shooter. Yeah, yeah, and

808
00:47:15,719 --> 00:47:17,839
Speaker 1: I can only imagine a little. Touches like this were

809
00:47:17,840 --> 00:47:21,280
Speaker 1: intentional in part because they're they're they're funny, but also

810
00:47:21,800 --> 00:47:23,960
Speaker 1: it made me think of something that I heard Gamo

811
00:47:24,000 --> 00:47:27,440
Speaker 1: de Toro talk about in making a feature about Pinocchio,

812
00:47:27,760 --> 00:47:31,279
Speaker 1: his new Pinocchio film, which is beautiful, but he he

813
00:47:31,360 --> 00:47:34,319
Speaker 1: made a really nice point. He said that that, um,

814
00:47:34,760 --> 00:47:37,919
Speaker 1: if you're filming with live actors and your live performances,

815
00:47:38,560 --> 00:47:40,600
Speaker 1: you have the script, you have the performance of the script,

816
00:47:40,760 --> 00:47:44,680
Speaker 1: and you hope for little alterations, even a little mistakes,

817
00:47:45,040 --> 00:47:48,680
Speaker 1: out of which something special may arise. But when you're

818
00:47:48,719 --> 00:47:52,200
Speaker 1: doing animation and stop motion animation or or something like

819
00:47:52,200 --> 00:47:55,239
Speaker 1: like this picture, you know, everything is meticulously planned out,

820
00:47:55,480 --> 00:47:58,080
Speaker 1: and sometimes you have to plan in the mistakes. You

821
00:47:58,120 --> 00:48:01,000
Speaker 1: have to plan in things like say a character not

822
00:48:01,040 --> 00:48:03,799
Speaker 1: closing a closet door all the way, or kind of

823
00:48:03,840 --> 00:48:06,720
Speaker 1: fumbling a little bit when placing a plate on a table,

824
00:48:06,960 --> 00:48:09,880
Speaker 1: because those are the things that feel real, and you

825
00:48:09,960 --> 00:48:12,480
Speaker 1: have to plan for those. Yeah. Yeah, So with live

826
00:48:12,520 --> 00:48:16,720
Speaker 1: actors and and the three dimensional world, imperfections that prove

827
00:48:16,840 --> 00:48:20,600
Speaker 1: the reality arise naturally. But with animation, because you're going

828
00:48:20,680 --> 00:48:23,920
Speaker 1: frame by frame, you have to plan them in. Yeah.

829
00:48:23,960 --> 00:48:25,719
Speaker 1: And I think that's also when This is something that

830
00:48:25,760 --> 00:48:28,560
Speaker 1: I talked about with Seth on that that Alete episode,

831
00:48:28,840 --> 00:48:30,520
Speaker 1: is that this one of the charms of stop motion

832
00:48:30,560 --> 00:48:33,440
Speaker 1: in general is that there's this handcrafted nous and this

833
00:48:33,600 --> 00:48:38,000
Speaker 1: kind of lovable awkwardness to it where it feels real.

834
00:48:38,960 --> 00:48:40,759
Speaker 1: You know that that reminds me of another thing I

835
00:48:40,800 --> 00:48:44,719
Speaker 1: wanted to say about this movie, Uh, to contrast it

836
00:48:44,760 --> 00:48:47,920
Speaker 1: with what you would usually say about a special effects

837
00:48:47,960 --> 00:48:51,359
Speaker 1: driven film movie critics that like, I can just hear

838
00:48:51,360 --> 00:48:54,400
Speaker 1: in my head Cisco and Ebert saying this using the

839
00:48:54,440 --> 00:49:00,640
Speaker 1: phrase special effects picture almost as synonymous with a movie

840
00:49:00,800 --> 00:49:06,560
Speaker 1: that is lacking in kind of expressive human qualities, that

841
00:49:06,719 --> 00:49:11,600
Speaker 1: it's a more kind of alien uh you know, uh,

842
00:49:12,200 --> 00:49:16,000
Speaker 1: product of a kind of plastic texture, mass manufactured in

843
00:49:16,040 --> 00:49:20,360
Speaker 1: a way. And this movie is a special effects picture

844
00:49:20,360 --> 00:49:23,000
Speaker 1: in every way, like the special effects are the main character.

845
00:49:23,400 --> 00:49:27,320
Speaker 1: But it is exactly the opposite. It feels lovingly handmade.

846
00:49:27,440 --> 00:49:30,200
Speaker 1: It is the opposite of what you would mean when

847
00:49:30,239 --> 00:49:35,960
Speaker 1: you said that about like, you know, Transformer six or something. Right. So, anyway,

848
00:49:36,280 --> 00:49:38,760
Speaker 1: while we're watching this, the narrator goes on about giddy

849
00:49:38,800 --> 00:49:42,240
Speaker 1: excitement for every new development of science and technology, and then, ah,

850
00:49:42,239 --> 00:49:45,320
Speaker 1: what's this. There's another site off the side of the steamship.

851
00:49:45,400 --> 00:49:49,400
Speaker 1: There is a strange iron mass, this elongated hull, bobbing

852
00:49:49,440 --> 00:49:52,240
Speaker 1: in the water. And then we see several men scamper

853
00:49:52,320 --> 00:49:54,799
Speaker 1: into a into a hatch on the top and close it,

854
00:49:55,040 --> 00:49:57,680
Speaker 1: and then the vessel descends down into the water, and

855
00:49:57,719 --> 00:50:00,719
Speaker 1: the narrator says, little did I know what roll submersible

856
00:50:00,719 --> 00:50:03,919
Speaker 1: would soon play in my life. But suddenly we're onto

857
00:50:03,920 --> 00:50:06,600
Speaker 1: something else. We're watching a train across a giant bridge

858
00:50:06,640 --> 00:50:10,240
Speaker 1: spanning a colossal canyon, and the narrator says, my journey

859
00:50:10,239 --> 00:50:14,640
Speaker 1: continued overland. The iron horse knew no obstacles, and we

860
00:50:14,680 --> 00:50:19,000
Speaker 1: get another ingeniously composed shot. So the locomotive is fully

861
00:50:19,040 --> 00:50:22,080
Speaker 1: animated or hand drawn, but the people peering out the

862
00:50:22,120 --> 00:50:25,279
Speaker 1: windows and the conductor are live actors. I don't know

863
00:50:25,360 --> 00:50:29,480
Speaker 1: exactly how this shot was accomplished, but it's beautiful. And

864
00:50:29,520 --> 00:50:31,920
Speaker 1: then we see our narrator as a passenger on board

865
00:50:31,920 --> 00:50:33,880
Speaker 1: the train. This is that you know, this is a

866
00:50:33,960 --> 00:50:36,520
Speaker 1: lu boor Tokas. He's a young man with sad eyes,

867
00:50:36,560 --> 00:50:39,520
Speaker 1: that that trim mustache and the dark strap like beard

868
00:50:39,560 --> 00:50:43,279
Speaker 1: along his jawbone. Uh and uh. He's sitting in the

869
00:50:43,320 --> 00:50:46,720
Speaker 1: train and there's a man with a rifle who squats

870
00:50:46,760 --> 00:50:48,719
Speaker 1: down inside the train trying to I think, shoot a

871
00:50:48,760 --> 00:50:52,640
Speaker 1: bird out the train window, but then he accidentally shoots

872
00:50:52,719 --> 00:50:58,080
Speaker 1: through a h passengers newspaper that he's reading, which was

873
00:50:58,360 --> 00:51:01,239
Speaker 1: very funny. Yeah. I laughed out loud and kind of

874
00:51:01,239 --> 00:51:03,319
Speaker 1: exclaimed too, because it's like, oh my god, he just

875
00:51:03,320 --> 00:51:05,520
Speaker 1: shot somebody in the face. But then no, the man

876
00:51:05,600 --> 00:51:07,759
Speaker 1: with the newspaper lowers the newspaper and it's just a

877
00:51:07,800 --> 00:51:11,640
Speaker 1: whole blasted through the newspaper, and he's slightly annoyed, but

878
00:51:12,200 --> 00:51:14,440
Speaker 1: you think that he's freaked out by the fact that

879
00:51:14,480 --> 00:51:16,520
Speaker 1: the newspaper was shot. But then he almost seems not

880
00:51:16,560 --> 00:51:19,200
Speaker 1: to have noticed that because he was just reading a

881
00:51:19,280 --> 00:51:23,439
Speaker 1: very tragic story, something about a catastrophic accident with a submersible.

882
00:51:23,480 --> 00:51:26,160
Speaker 1: So I think that we're to understand that submarine that

883
00:51:26,640 --> 00:51:30,000
Speaker 1: that uh Simon Hart saw earlier has sunk. It was

884
00:51:30,000 --> 00:51:33,400
Speaker 1: a tragic accident, and the sadman says, such a needless

885
00:51:33,440 --> 00:51:36,080
Speaker 1: loss of life. He had another invention meets its fate.

886
00:51:36,440 --> 00:51:38,799
Speaker 1: Man was given legs to walk upon the earth, and

887
00:51:38,840 --> 00:51:42,640
Speaker 1: there he should stay. But our young protagonist he has

888
00:51:42,680 --> 00:51:44,680
Speaker 1: a look and then he folds up the newspaper and

889
00:51:45,080 --> 00:51:47,520
Speaker 1: he hands it back as if to rebuke the man.

890
00:51:47,600 --> 00:51:50,600
Speaker 1: He says, fortunately, there are always those not content to

891
00:51:50,719 --> 00:51:53,600
Speaker 1: merely walk. So he is fully devoted to the future,

892
00:51:53,920 --> 00:51:57,680
Speaker 1: even if there are catastrophic submarine accidents, and we also

893
00:51:57,680 --> 00:52:00,719
Speaker 1: get more narration and and animation about air ships. So

894
00:52:00,800 --> 00:52:03,880
Speaker 1: that's moving in the kind of Robe or the Conqueror idea.

895
00:52:04,719 --> 00:52:06,759
Speaker 1: But eventually he goes on to say an era of

896
00:52:06,840 --> 00:52:10,799
Speaker 1: steam and electricity has rendered obsolete the servants of yesteryear,

897
00:52:10,840 --> 00:52:13,480
Speaker 1: And we see a carriage driver standing over a wrecked

898
00:52:13,520 --> 00:52:16,719
Speaker 1: axle and just lamenting the fate of the carriage. But

899
00:52:16,840 --> 00:52:20,320
Speaker 1: we cut from that to a steam powered horseless carriage

900
00:52:20,400 --> 00:52:24,520
Speaker 1: being driven by a mustachio gentleman with an aviator's cap

901
00:52:24,600 --> 00:52:28,320
Speaker 1: like a goggle cap. Uh, and our narrator, while riding

902
00:52:28,360 --> 00:52:31,520
Speaker 1: the steam powered truck, Abomination looks at the sky and

903
00:52:31,560 --> 00:52:34,680
Speaker 1: he notices an airship chugging along in the clouds, and

904
00:52:34,719 --> 00:52:38,160
Speaker 1: he makes mention of his friend Robe or the Conqueror.

905
00:52:38,239 --> 00:52:40,560
Speaker 1: So once again like what level of reality are we

906
00:52:40,640 --> 00:52:44,960
Speaker 1: inhabiting here? Like are these jewels verned characters characters from books?

907
00:52:45,040 --> 00:52:47,160
Speaker 1: Or are they living people? It seems kind of both.

908
00:52:47,920 --> 00:52:50,920
Speaker 1: But eventually Heart arrives at the end of his long journey.

909
00:52:50,960 --> 00:52:54,040
Speaker 1: He arrives at his destination and it is a private

910
00:52:54,120 --> 00:52:58,080
Speaker 1: sanatorium stashed up on a rocky cliff overlooking the sea,

911
00:52:58,719 --> 00:53:01,160
Speaker 1: and as he approaches it, he passes by a man

912
00:53:01,239 --> 00:53:04,000
Speaker 1: who looks like a grizzled sea captain in a large

913
00:53:04,120 --> 00:53:07,480
Speaker 1: cloak who's wandering the rocks outside. And at first this

914
00:53:07,560 --> 00:53:10,400
Speaker 1: man pulls a revolver on on Simon Hard as they

915
00:53:10,440 --> 00:53:12,319
Speaker 1: bump into each other, but then he's just kind of

916
00:53:12,320 --> 00:53:15,200
Speaker 1: like whatever, and they go on their separate ways. Uh.

917
00:53:15,200 --> 00:53:18,279
Speaker 1: And the narrator asks, but who was that man? And

918
00:53:18,320 --> 00:53:19,920
Speaker 1: I was thinking, you know, he kind of looks a

919
00:53:19,920 --> 00:53:23,839
Speaker 1: bit like svennl A Thorson. Oh yeah, but we learned

920
00:53:23,880 --> 00:53:27,400
Speaker 1: here that Heart is at the sanatorium to visit his mentor,

921
00:53:27,520 --> 00:53:32,319
Speaker 1: the brilliant scientist Professor Roach, who recovering from nervous exhaustion

922
00:53:32,400 --> 00:53:35,439
Speaker 1: after working so long on his most recent invention, has

923
00:53:35,480 --> 00:53:39,960
Speaker 1: been has been stashed away here. Um and uh so, uh,

924
00:53:40,040 --> 00:53:42,239
Speaker 1: let's see, Simon Hart is speaking to the I guess

925
00:53:42,320 --> 00:53:45,640
Speaker 1: the warden, the man who operates the sanatorium, and Heart

926
00:53:45,719 --> 00:53:48,759
Speaker 1: says that he and Professor Roach need money so that

927
00:53:48,760 --> 00:53:51,880
Speaker 1: they can finish Professor Roach is great invention in peace,

928
00:53:52,280 --> 00:53:55,040
Speaker 1: and the other man says, sometimes I wonder if no

929
00:53:55,120 --> 00:54:00,000
Speaker 1: good will come of this great explosive device, you know. Um,

930
00:54:00,080 --> 00:54:02,560
Speaker 1: And we're not told at this point why the professor

931
00:54:02,640 --> 00:54:05,799
Speaker 1: is building a great explosive device, But you know, it's

932
00:54:05,840 --> 00:54:08,120
Speaker 1: Juels Verne stuff he just did. This is just progress.

933
00:54:08,719 --> 00:54:11,799
Speaker 1: And although it did not appear in the English subtitles

934
00:54:11,800 --> 00:54:13,640
Speaker 1: for this movie, I don't know if they ever said

935
00:54:13,640 --> 00:54:16,080
Speaker 1: it in in the w watched rob but in I

936
00:54:16,360 --> 00:54:19,520
Speaker 1: was reading about Jules Verne's facing the flag, and allegedly

937
00:54:19,560 --> 00:54:23,480
Speaker 1: in that Roaches device is called the full Garater. I

938
00:54:23,480 --> 00:54:25,839
Speaker 1: don't remember that term. I do remember there's a lot

939
00:54:25,880 --> 00:54:30,400
Speaker 1: of talk about like absolute matter and and so forth. Yeah,

940
00:54:30,440 --> 00:54:33,520
Speaker 1: this may be a kind of red coon with reality.

941
00:54:33,560 --> 00:54:36,680
Speaker 1: But they later when they're explaining his breakthrough, it makes

942
00:54:36,680 --> 00:54:40,400
Speaker 1: it sound a lot like he's discovering uh, nuclear secrets,

943
00:54:40,440 --> 00:54:45,080
Speaker 1: you know, basically nuclear power and nuclear weapons. Yeah. Oh,

944
00:54:45,160 --> 00:54:48,520
Speaker 1: but after this, a dark and beautiful scene unfolds later

945
00:54:48,600 --> 00:54:51,200
Speaker 1: that night when the grizzled sea captain man from the

946
00:54:51,239 --> 00:54:54,279
Speaker 1: cliffs earlier, he's out by the stormy sea and there

947
00:54:54,280 --> 00:54:57,239
Speaker 1: are waves crashing on the rocks and he raises a

948
00:54:57,360 --> 00:55:01,040
Speaker 1: lantern to signal at a mysterious vessel, and someone on

949
00:55:01,080 --> 00:55:04,319
Speaker 1: board the vessel flashes a light to signal back, and

950
00:55:04,440 --> 00:55:07,360
Speaker 1: here onto the shore come a crew of gnarly pirates.

951
00:55:07,400 --> 00:55:10,480
Speaker 1: I guess these are the retirement home pirates, rowing their

952
00:55:10,520 --> 00:55:13,120
Speaker 1: boats in the gloom against the heavy surf. I love

953
00:55:13,239 --> 00:55:15,400
Speaker 1: the look of the scene. Now this is not the

954
00:55:15,440 --> 00:55:17,359
Speaker 1: one where they're in the submarine that's later, I think,

955
00:55:17,480 --> 00:55:20,600
Speaker 1: right right rightning their swords. Oh no, no, no, this

956
00:55:20,640 --> 00:55:23,680
Speaker 1: is when they're rowing their boats to get to the senatorium. Yeah. Um.

957
00:55:23,760 --> 00:55:26,520
Speaker 1: And we get a little backstory meanwhile between Simon Hart

958
00:55:26,520 --> 00:55:29,400
Speaker 1: and Professor Roach that they're talking about his work, and

959
00:55:29,480 --> 00:55:33,279
Speaker 1: Roach says, I'm a scientist and my interestalize in chemical reactions,

960
00:55:33,400 --> 00:55:37,520
Speaker 1: not their practical applications. And this is a theme that

961
00:55:37,560 --> 00:55:40,760
Speaker 1: will they'll come back to several times. He's just plowing

962
00:55:40,800 --> 00:55:46,040
Speaker 1: ahead with with scientific progress, and he actively refuses thinking

963
00:55:46,080 --> 00:55:51,040
Speaker 1: about to what use the progress will be put. Yeah,

964
00:55:51,080 --> 00:55:53,239
Speaker 1: and uh and and they'll be payoff with this later on.

965
00:56:02,120 --> 00:56:05,040
Speaker 1: So the pirates are here, in fact, to kidnap Professor

966
00:56:05,120 --> 00:56:07,360
Speaker 1: Roach and young Simon Hart. They take him along to

967
00:56:07,800 --> 00:56:10,120
Speaker 1: uh and they are being led by the sea captain

968
00:56:10,120 --> 00:56:13,440
Speaker 1: and his revolver. And here's where we noticed there's a

969
00:56:13,520 --> 00:56:16,480
Speaker 1: kind of curious magic to the pirates. They are realized

970
00:56:16,520 --> 00:56:19,880
Speaker 1: with both Menace and whimsy, so they appear kind of frightening.

971
00:56:20,440 --> 00:56:23,480
Speaker 1: But over on the whimsy ledger there is, for example,

972
00:56:23,480 --> 00:56:27,640
Speaker 1: a special effect where like a strongman pirate lifts Simon

973
00:56:27,719 --> 00:56:29,560
Speaker 1: hard up in the air, like lifts him up above

974
00:56:29,600 --> 00:56:33,600
Speaker 1: his head. So and he is so obviously being hoisted

975
00:56:33,640 --> 00:56:36,560
Speaker 1: up by some other means, maybe a hidden pulley or something,

976
00:56:37,160 --> 00:56:39,480
Speaker 1: that it looks like he's just a balloon in the

977
00:56:39,520 --> 00:56:42,719
Speaker 1: muscle pirate's hands, Like there's no attempt at all to

978
00:56:42,880 --> 00:56:46,760
Speaker 1: maintain the illusion of weight. He just kind of floats up.

979
00:56:46,840 --> 00:56:49,680
Speaker 1: And it adds a kind of subtle physical comedy that

980
00:56:49,719 --> 00:56:53,640
Speaker 1: I found incredibly pleasing, Like when the Man with the newspaper,

981
00:56:53,800 --> 00:56:56,719
Speaker 1: when the newspaper is shot on the train earlier, and

982
00:56:56,760 --> 00:56:59,600
Speaker 1: there's another gag like this with like a a pirate

983
00:56:59,680 --> 00:57:02,920
Speaker 1: throwing a rope that seems to almost magically wrap itself

984
00:57:02,960 --> 00:57:07,240
Speaker 1: around the professor. Yeah, yeah, I'm also reminded of the

985
00:57:07,360 --> 00:57:10,600
Speaker 1: wind up machine gun pistol from later on in the film.

986
00:57:10,680 --> 00:57:13,600
Speaker 1: That's so good. Yeah, when the Count is trying to

987
00:57:13,600 --> 00:57:16,040
Speaker 1: shoot down a hot air balloon and he's got it

988
00:57:16,080 --> 00:57:18,440
Speaker 1: looks like a musket pistol almost, and he's trying to

989
00:57:18,480 --> 00:57:21,800
Speaker 1: fire it and it's not working, and his his scientist Henchman,

990
00:57:21,880 --> 00:57:24,480
Speaker 1: winds it up for him and then yeah, yeah, then

991
00:57:24,480 --> 00:57:28,560
Speaker 1: it's an automatic weapon, yeah with no kick. It doesn't

992
00:57:28,560 --> 00:57:31,880
Speaker 1: seem like it has any kick to it, right. Uh So,

993
00:57:32,120 --> 00:57:35,680
Speaker 1: Simon Harden Professor are whisked off into the night on

994
00:57:35,680 --> 00:57:38,120
Speaker 1: on the rowboats, where they will be taken as prisoners

995
00:57:38,160 --> 00:57:42,480
Speaker 1: to destinations unknown. Now why them? Could it be because

996
00:57:42,480 --> 00:57:45,560
Speaker 1: of the Professor's interest in chemical reactions and not their

997
00:57:45,600 --> 00:57:50,280
Speaker 1: practical applications. Uh. Anyway, the the narrator informs us that

998
00:57:50,480 --> 00:57:54,240
Speaker 1: word of their kidnapping spreads like wildfire, and there is

999
00:57:54,320 --> 00:57:58,080
Speaker 1: soon a worldwide man hunt for them. And this is

1000
00:57:58,320 --> 00:58:00,760
Speaker 1: a theme that I want to plan a seed here,

1001
00:58:00,800 --> 00:58:05,080
Speaker 1: because I think this is something that's kind of characteristic

1002
00:58:05,240 --> 00:58:09,240
Speaker 1: of Jules Vernes fiction, and there might be something interesting

1003
00:58:09,240 --> 00:58:13,560
Speaker 1: to tease out about this. In Jules Verne novels, there

1004
00:58:13,640 --> 00:58:17,120
Speaker 1: is often a sense of like there is a situation

1005
00:58:17,760 --> 00:58:21,280
Speaker 1: and word of it spreads around the whole world, and

1006
00:58:21,480 --> 00:58:26,520
Speaker 1: everyone learns of this situation or problem, and uh, problem

1007
00:58:26,640 --> 00:58:31,080
Speaker 1: solvers around the world all simultaneously turn their attention to

1008
00:58:31,320 --> 00:58:35,200
Speaker 1: solving this problem. Yeah, yeah, this this idea, I mean,

1009
00:58:35,240 --> 00:58:37,439
Speaker 1: it's it's almost kind of the same level of one

1010
00:58:37,440 --> 00:58:41,080
Speaker 1: world optimism that you see uh in in the later

1011
00:58:41,120 --> 00:58:43,600
Speaker 1: works of you know, like like Star Trek and so forth.

1012
00:58:43,640 --> 00:58:46,280
Speaker 1: You know, this idea that that the world at large,

1013
00:58:46,320 --> 00:58:51,200
Speaker 1: when unified, is this force of order and progress. Yes, yes,

1014
00:58:51,520 --> 00:58:54,120
Speaker 1: like not the kind of mundane reality that, oh, if

1015
00:58:54,200 --> 00:58:57,360
Speaker 1: if two people were like kidnapped from a sanatorium, probably

1016
00:58:57,360 --> 00:59:01,080
Speaker 1: like nothing would happen, Like they just disappear. Uh. Instead,

1017
00:59:01,160 --> 00:59:03,960
Speaker 1: this is like, okay, now the machine is activated, the

1018
00:59:04,000 --> 00:59:08,040
Speaker 1: whole world is looking for them to get them back. Yeah. Yeah,

1019
00:59:08,360 --> 00:59:11,480
Speaker 1: which again it's kind of like that naive optimistic charm

1020
00:59:11,720 --> 00:59:15,480
Speaker 1: of this uh, this vision of the Jewels Verne universe.

1021
00:59:16,040 --> 00:59:19,160
Speaker 1: And this leads to a confrontation. So we see a ship,

1022
00:59:19,200 --> 00:59:21,800
Speaker 1: presumably at first the ship on which our heroes are

1023
00:59:21,840 --> 00:59:24,680
Speaker 1: being held prisoner, and the bearded sea captain he's leaning

1024
00:59:24,680 --> 00:59:27,320
Speaker 1: over the side and they the people on this ship

1025
00:59:27,600 --> 00:59:30,880
Speaker 1: are staring down a battleship with is like a naval

1026
00:59:31,200 --> 00:59:34,840
Speaker 1: destroyer with big long guns trained on them, and they're

1027
00:59:34,880 --> 00:59:37,760
Speaker 1: sort of a bookish looking man with mutton chops, side

1028
00:59:37,760 --> 00:59:40,440
Speaker 1: burns and a pipe. And he asks the captain can

1029
00:59:40,480 --> 00:59:43,600
Speaker 1: they detain us? And the sea captain says, might makes right?

1030
00:59:44,960 --> 00:59:48,080
Speaker 1: Was this phrase in your in your English dub it was, yes,

1031
00:59:48,080 --> 00:59:51,080
Speaker 1: I do remember this part. And so the bookish man says, well,

1032
00:59:51,080 --> 00:59:53,320
Speaker 1: I'm gonna have to go inform the count. So he does,

1033
00:59:53,400 --> 00:59:56,120
Speaker 1: and we come to learn that this is Count arctic Gas,

1034
00:59:56,360 --> 00:59:58,680
Speaker 1: the boss, the boss for whom everybody here on the

1035
00:59:58,680 --> 01:00:02,280
Speaker 1: ship works. And uh so the ship is boarded by

1036
01:00:02,280 --> 01:00:06,040
Speaker 1: a bunch of marines or French naval seamen. I don't

1037
01:00:06,040 --> 01:00:07,840
Speaker 1: know what they're I think they're supposed to be French,

1038
01:00:08,360 --> 01:00:10,800
Speaker 1: but there's some kind of authorities and they perform a search.

1039
01:00:10,920 --> 01:00:14,320
Speaker 1: They look at a fancy captain's quarters, a lonely empty

1040
01:00:14,400 --> 01:00:17,840
Speaker 1: hold full of rats and a few luggage bags, but

1041
01:00:18,160 --> 01:00:20,800
Speaker 1: nothing to see here, so they leave, and then we

1042
01:00:20,840 --> 01:00:23,440
Speaker 1: cut to a scene where Count arctic Gas and the

1043
01:00:23,480 --> 01:00:26,520
Speaker 1: captain are talking and the Count is I thought this

1044
01:00:26,600 --> 01:00:28,400
Speaker 1: was so funny, and I'm not sure what it means.

1045
01:00:28,480 --> 01:00:32,080
Speaker 1: The Count is trying on top hat after top hat,

1046
01:00:32,640 --> 01:00:36,240
Speaker 1: and in a full length mirror, NonStop top hats, and

1047
01:00:36,280 --> 01:00:37,919
Speaker 1: you can see in the background he has a huge

1048
01:00:37,920 --> 01:00:42,080
Speaker 1: steamer trunk full of more top hats. Oh yeah, yeah, Well,

1049
01:00:42,280 --> 01:00:45,320
Speaker 1: I think this has some cinematic payoff in the in

1050
01:00:45,360 --> 01:00:48,800
Speaker 1: the finale of the film as well. It does, so, yeah,

1051
01:00:48,880 --> 01:00:51,000
Speaker 1: we associate him with I think this is supposed to

1052
01:00:51,080 --> 01:00:53,560
Speaker 1: have something to do with the Count being vain, But

1053
01:00:53,640 --> 01:00:57,240
Speaker 1: he's not just vain. He's arrogant and domineering because he

1054
01:00:57,280 --> 01:01:00,840
Speaker 1: also humiliates the grizzled sea captain. He forces him to

1055
01:01:00,960 --> 01:01:05,000
Speaker 1: address him as your excellency when posing a question. Yeah,

1056
01:01:05,000 --> 01:01:07,280
Speaker 1: he's a bad dude. So after this we have a

1057
01:01:07,320 --> 01:01:11,480
Speaker 1: couple of mysteries raised. So the ship continues to sail ahead.

1058
01:01:11,560 --> 01:01:14,560
Speaker 1: We see it sailing even though it's sales are furled.

1059
01:01:14,600 --> 01:01:18,160
Speaker 1: How is that possible? What is driving the ship? And uh?

1060
01:01:18,200 --> 01:01:21,000
Speaker 1: And if Simon Harden Professor are on board, if they

1061
01:01:21,040 --> 01:01:25,000
Speaker 1: have been kidnapped, how come the marines did not find them? Well,

1062
01:01:25,040 --> 01:01:27,960
Speaker 1: the answer to these two questions is the same revelation.

1063
01:01:28,520 --> 01:01:31,120
Speaker 1: The ship above the waves is only half of a

1064
01:01:31,160 --> 01:01:35,320
Speaker 1: two part system. Below there is a great submarine towing

1065
01:01:35,360 --> 01:01:38,680
Speaker 1: the ship along, and it is down on the submarine

1066
01:01:38,720 --> 01:01:41,800
Speaker 1: where our heroes are kept. So here we get a

1067
01:01:41,840 --> 01:01:44,480
Speaker 1: meeting between Professor, Roach and Count. Are two gas on

1068
01:01:44,520 --> 01:01:47,240
Speaker 1: the submarine, and this is the first scene where we

1069
01:01:47,280 --> 01:01:51,320
Speaker 1: will see a sort of tableau or display of marine

1070
01:01:51,360 --> 01:01:55,200
Speaker 1: life behind the human drama. So they are in the

1071
01:01:55,800 --> 01:01:58,320
Speaker 1: in the I don't know what you call the parlor,

1072
01:01:58,400 --> 01:02:01,919
Speaker 1: the I don't know, the drawing or something of the ship,

1073
01:02:02,000 --> 01:02:03,920
Speaker 1: and there's a big display window and we see all

1074
01:02:03,960 --> 01:02:09,320
Speaker 1: the fish and everything outside, marvelously animated fishes and octopus,

1075
01:02:09,360 --> 01:02:12,480
Speaker 1: and uh, Professor Roach wants to know, Hey, why the kidnapping.

1076
01:02:12,480 --> 01:02:16,080
Speaker 1: What's going on here? And we we learned that basically,

1077
01:02:16,120 --> 01:02:18,680
Speaker 1: the count just wanted to give the professor a research grant,

1078
01:02:18,720 --> 01:02:22,480
Speaker 1: a non consensual research and this is the best way

1079
01:02:22,520 --> 01:02:25,080
Speaker 1: he could figure out how to do it. So because

1080
01:02:25,120 --> 01:02:27,160
Speaker 1: of his submarine, he says he is the master of

1081
01:02:27,200 --> 01:02:30,080
Speaker 1: all the oceans, kind of Captain Nemo Wish once again.

1082
01:02:30,840 --> 01:02:35,440
Speaker 1: And he says he has access to untold riches because

1083
01:02:36,000 --> 01:02:41,439
Speaker 1: the sea claims all lost ships, including the treasures they carry.

1084
01:02:41,600 --> 01:02:44,120
Speaker 1: And then we look out the window and we see

1085
01:02:44,200 --> 01:02:48,000
Speaker 1: the shipwrecks spread out across the ocean floor, and the

1086
01:02:48,000 --> 01:02:51,720
Speaker 1: ocean is just littered with them like trees in a forest.

1087
01:02:52,280 --> 01:02:55,600
Speaker 1: Oh and I loved this this image. It suggests something

1088
01:02:55,640 --> 01:02:58,760
Speaker 1: about um like the world in which this takes place,

1089
01:02:58,840 --> 01:03:02,400
Speaker 1: there's almost kind of just an infinite past where ships

1090
01:03:02,440 --> 01:03:06,280
Speaker 1: have been sinking for for millions and millions of years,

1091
01:03:06,320 --> 01:03:09,480
Speaker 1: taking gold and treasures with them, and now the whole

1092
01:03:09,560 --> 01:03:13,320
Speaker 1: seafloor is nothing but shipwrecks. Yeah, I love this. I

1093
01:03:13,400 --> 01:03:15,920
Speaker 1: love the way they create this world. But also I

1094
01:03:15,960 --> 01:03:18,720
Speaker 1: love this, uh this idea. It's like, hey, you know,

1095
01:03:19,040 --> 01:03:21,520
Speaker 1: all the they're all these uh these shipwrecks out there,

1096
01:03:21,520 --> 01:03:23,600
Speaker 1: and if if there's a shipwreck, then we can take

1097
01:03:23,600 --> 01:03:26,280
Speaker 1: advantage of it. And of course the there's going to

1098
01:03:26,360 --> 01:03:30,280
Speaker 1: be an added detail to this arrangement as well. Right,

1099
01:03:30,320 --> 01:03:32,200
Speaker 1: you kind of get the sense that maybe he's already

1100
01:03:32,200 --> 01:03:36,680
Speaker 1: been to all of the pre existing shipwrecks. Um, so

1101
01:03:36,920 --> 01:03:39,800
Speaker 1: what do you do when funds start running out after that? Well,

1102
01:03:39,920 --> 01:03:44,440
Speaker 1: you make new shipwrecks. Exactly. So, the Count wants to

1103
01:03:44,560 --> 01:03:48,080
Speaker 1: help the Professor finish his research on the great explosive

1104
01:03:48,120 --> 01:03:51,640
Speaker 1: device from the novel The Full Garad or whatever. Um,

1105
01:03:51,680 --> 01:03:55,080
Speaker 1: surely because he too is only interested in chemical reactions,

1106
01:03:55,120 --> 01:03:59,479
Speaker 1: not practical applications. And uh so he oh, he also

1107
01:03:59,520 --> 01:04:04,640
Speaker 1: informs Professor he has constructed an underwater city called back Cup.

1108
01:04:04,840 --> 01:04:07,600
Speaker 1: In my translation, I didn't know if that was supposed

1109
01:04:07,640 --> 01:04:10,040
Speaker 1: to be a joke. I don't remember what they called

1110
01:04:10,040 --> 01:04:13,520
Speaker 1: it in the version I watched, anyway. So while that's

1111
01:04:13,520 --> 01:04:16,440
Speaker 1: going on with the professor, he's being sort of seduced

1112
01:04:16,480 --> 01:04:20,880
Speaker 1: by the promise of of unlimited funding to continue his research.

1113
01:04:21,560 --> 01:04:24,440
Speaker 1: Simon Hart is in a jail cell on the submarine

1114
01:04:24,520 --> 01:04:27,720
Speaker 1: and he's not he's not being tricked into thinking that

1115
01:04:27,760 --> 01:04:31,120
Speaker 1: this is a benign arrangement. He's like rattling the bars

1116
01:04:31,160 --> 01:04:32,840
Speaker 1: of his cage. He's saying, what right do you have

1117
01:04:32,920 --> 01:04:35,320
Speaker 1: to hold me here? And the count comes in and,

1118
01:04:35,520 --> 01:04:37,959
Speaker 1: echoing an earlier phrase by the sea captain, he says,

1119
01:04:38,240 --> 01:04:41,800
Speaker 1: might makes rights or so this is the point of

1120
01:04:41,880 --> 01:04:44,400
Speaker 1: view of the villains that it is the right of

1121
01:04:44,400 --> 01:04:48,000
Speaker 1: the strong to rule over the week. So we learned

1122
01:04:48,000 --> 01:04:51,200
Speaker 1: the names of some characters we've seen before, the grizzled

1123
01:04:51,200 --> 01:04:55,080
Speaker 1: sea captains, captain's uh Spade or Captain Slade. I may

1124
01:04:55,120 --> 01:04:58,360
Speaker 1: have said Slade earlier, but I think it's Spade Um

1125
01:04:58,400 --> 01:05:01,360
Speaker 1: and the the bookish man with burns as Mr Circo,

1126
01:05:01,640 --> 01:05:04,000
Speaker 1: who is going to be working alongside the professor to

1127
01:05:04,040 --> 01:05:07,360
Speaker 1: complete his invention. And coming up here we get a

1128
01:05:07,400 --> 01:05:10,480
Speaker 1: scene where's there's the payoff? We were saying about you

1129
01:05:10,520 --> 01:05:12,880
Speaker 1: know what, what about when you run out of shipwrecks

1130
01:05:12,920 --> 01:05:17,240
Speaker 1: to raid. Uh. So the submarine attacks a defenseless merchant

1131
01:05:17,280 --> 01:05:19,800
Speaker 1: ship that has been becalmed in the middle of the sea,

1132
01:05:19,880 --> 01:05:23,400
Speaker 1: so much like leagues, sort of rams it with the

1133
01:05:23,840 --> 01:05:26,480
Speaker 1: pointy bow of the submarine, jabs a hole in the

1134
01:05:26,480 --> 01:05:29,560
Speaker 1: ship's hull and then sinks it. And there's a great

1135
01:05:29,600 --> 01:05:33,480
Speaker 1: preparation scene that keeps intercutting between the pistons pumping and

1136
01:05:33,560 --> 01:05:36,880
Speaker 1: the submarines engine room and the pirates all sharpening their

1137
01:05:36,920 --> 01:05:41,040
Speaker 1: swords in unison. Yeahup there getting ready for the Yeah

1138
01:05:41,760 --> 01:05:44,920
Speaker 1: that the impact and the and the following raid. This

1139
01:05:44,960 --> 01:05:48,960
Speaker 1: whole sequence is just amazing, wonderful. So I was thinking

1140
01:05:48,960 --> 01:05:51,200
Speaker 1: at first when they're sharpening their swords, I'm like, okay,

1141
01:05:51,200 --> 01:05:53,400
Speaker 1: so are they going to like to aboard the boat?

1142
01:05:53,520 --> 01:05:58,040
Speaker 1: But no, instead they're preparing for a dive walk. The

1143
01:05:58,160 --> 01:06:00,560
Speaker 1: dive walk scene is such a treat. I just watch

1144
01:06:00,640 --> 01:06:05,320
Speaker 1: this all day. So the the pirates dawn old fashioned

1145
01:06:05,360 --> 01:06:09,360
Speaker 1: heavy metal diving helmets, gonna you know, BioShock style, and

1146
01:06:09,840 --> 01:06:12,800
Speaker 1: uh they go out and walk along the sea floor

1147
01:06:13,080 --> 01:06:16,320
Speaker 1: to explore the fresh ship wreckage, and there's just sea

1148
01:06:16,400 --> 01:06:19,919
Speaker 1: life of ridiculous dimensions. They're riding these sort of deep

1149
01:06:19,960 --> 01:06:24,480
Speaker 1: sea bicycles, like these powered craft that they peddle on.

1150
01:06:25,240 --> 01:06:28,480
Speaker 1: And there's this again a combination of hand drawn animation,

1151
01:06:28,640 --> 01:06:32,840
Speaker 1: live action stop motion. Also it's all coming together. There

1152
01:06:32,880 --> 01:06:35,800
Speaker 1: are divers versus sharks. There is a couple of the

1153
01:06:35,800 --> 01:06:38,320
Speaker 1: pirates get into a deep sea sword fight over I

1154
01:06:38,360 --> 01:06:41,120
Speaker 1: think they're trying to take the treasure for themselves. Oh,

1155
01:06:41,160 --> 01:06:43,640
Speaker 1: this is a great part where yeah, they're the two pirates.

1156
01:06:43,720 --> 01:06:46,760
Speaker 1: They get into a squabble, they start sword fighting, which

1157
01:06:46,840 --> 01:06:51,200
Speaker 1: is just a comedic vision anyway. Um, and then another

1158
01:06:51,360 --> 01:06:54,440
Speaker 1: pirate comes along on one of those little deep sea bicycles.

1159
01:06:54,720 --> 01:06:56,400
Speaker 1: He has a shotgun in his hand, but he gets

1160
01:06:56,440 --> 01:07:00,240
Speaker 1: them to stop by ringing a bicycle bell like thinking,

1161
01:07:00,280 --> 01:07:01,680
Speaker 1: and they're like, okay, all right, and they cut it

1162
01:07:01,720 --> 01:07:03,440
Speaker 1: out and they get back to work. So all the

1163
01:07:03,480 --> 01:07:06,680
Speaker 1: treasure is removed from the merchant ship. Uh. And by

1164
01:07:06,680 --> 01:07:08,600
Speaker 1: the way, they go out of their way to keep

1165
01:07:08,640 --> 01:07:11,000
Speaker 1: the Professor in the dark about this. They don't want

1166
01:07:11,080 --> 01:07:13,880
Speaker 1: him realizing that they're sinking ships on purpose. So when

1167
01:07:13,880 --> 01:07:17,720
Speaker 1: the attack is about to begin, count ourt to gases, like, professor,

1168
01:07:17,760 --> 01:07:20,000
Speaker 1: would you like to go inside for a snack? So

1169
01:07:20,280 --> 01:07:23,120
Speaker 1: they go down to the I guess the soundproof snack room.

1170
01:07:23,520 --> 01:07:26,640
Speaker 1: But whoops, they failed to keep him completely in the dark,

1171
01:07:26,680 --> 01:07:29,360
Speaker 1: because when the Professor comes back out on board, he

1172
01:07:29,440 --> 01:07:31,680
Speaker 1: hears somebody calling for help, and it turns out there

1173
01:07:31,720 --> 01:07:34,800
Speaker 1: was a survivor of the shipwreck. Uh. There is a

1174
01:07:34,880 --> 01:07:37,400
Speaker 1: passenger floating in the water and they are forced to

1175
01:07:37,440 --> 01:07:40,720
Speaker 1: rescue her. Now, this is a woman named Yanna. This

1176
01:07:40,760 --> 01:07:44,120
Speaker 1: is someone who we saw earlier during the attack, very

1177
01:07:44,160 --> 01:07:47,880
Speaker 1: efficiently releasing her cage to birds. She's like opening the

1178
01:07:48,080 --> 01:07:50,760
Speaker 1: doors on multiple cages and letting the birds fly away.

1179
01:08:00,120 --> 01:08:03,040
Speaker 1: Do do do do do? Hey, folks, if anything sounds different,

1180
01:08:03,080 --> 01:08:05,440
Speaker 1: we just had to take a break in the recording here,

1181
01:08:05,440 --> 01:08:08,920
Speaker 1: but we're back to continue talking about the movie. Yeah,

1182
01:08:08,960 --> 01:08:12,520
Speaker 1: we're the same people we were before the break. Okay, Um,

1183
01:08:12,640 --> 01:08:15,520
Speaker 1: So picking up where we left off, The next thing

1184
01:08:16,160 --> 01:08:19,200
Speaker 1: is an arrival at a mysterious island. I think this

1185
01:08:19,320 --> 01:08:22,439
Speaker 1: is back Cup uh, And actually it turns out this

1186
01:08:22,520 --> 01:08:25,639
Speaker 1: island is a volcano, and it looks like the volcano

1187
01:08:25,760 --> 01:08:28,599
Speaker 1: is active. There is black smoke pouring out of the top,

1188
01:08:28,640 --> 01:08:31,759
Speaker 1: but the Count assures the Professor the smoke is actually

1189
01:08:31,800 --> 01:08:35,559
Speaker 1: from his factories. Oh good, Uh, So there is an

1190
01:08:35,640 --> 01:08:39,360
Speaker 1: undersea tunnel, we learned, and through the undersea tunnel, the

1191
01:08:39,439 --> 01:08:44,400
Speaker 1: submarine can access the Count's pirates citadel. So you go

1192
01:08:44,479 --> 01:08:47,800
Speaker 1: through the tunnel and there's a weird fish swimming around,

1193
01:08:47,800 --> 01:08:49,719
Speaker 1: and then you come up and there is a gloomy

1194
01:08:49,800 --> 01:08:54,400
Speaker 1: lagoon and Simon Hart's narration says, are too gass satanic

1195
01:08:54,520 --> 01:08:58,679
Speaker 1: mills spewed clouds of oily black fumes that floated over

1196
01:08:58,720 --> 01:09:02,840
Speaker 1: the caldera like a threat of inevitable eruption. What is

1197
01:09:02,880 --> 01:09:08,719
Speaker 1: it with megalomaniac villains holding up in active volcanoes? Because

1198
01:09:08,960 --> 01:09:13,360
Speaker 1: Minos did it in the Hercules movie. We watched Blowfield

1199
01:09:13,400 --> 01:09:18,120
Speaker 1: does it in uh the James Bond films. Oh that's yeah, yeah, yeah,

1200
01:09:18,160 --> 01:09:21,200
Speaker 1: and uh certainly I think you only lived twice. Right,

1201
01:09:21,680 --> 01:09:25,120
Speaker 1: that's Donald pleasants as Blowfeld. Um, that's the one where

1202
01:09:25,120 --> 01:09:29,200
Speaker 1: he's got the piranha pit. But anyway, also in this lagoon, uh,

1203
01:09:29,560 --> 01:09:32,479
Speaker 1: the castle of Count art Gas looms over the lagoon,

1204
01:09:33,120 --> 01:09:36,320
Speaker 1: and uh we learned that he is the pirate king

1205
01:09:36,400 --> 01:09:39,240
Speaker 1: of the modern age. So here at the lagoon we

1206
01:09:39,320 --> 01:09:43,280
Speaker 1: have several arrangements. Simon Hart is kept in a dilapidated

1207
01:09:43,360 --> 01:09:46,840
Speaker 1: shock while the professor is sent to the laboratory to

1208
01:09:46,880 --> 01:09:49,519
Speaker 1: continue his research, and it seems like they've got Simon

1209
01:09:49,600 --> 01:09:52,879
Speaker 1: Hart sort of as backup because he was the professor's assistant.

1210
01:09:52,920 --> 01:09:55,000
Speaker 1: So it's like, hey, if the prop can't get it done,

1211
01:09:55,280 --> 01:09:57,439
Speaker 1: we'll get this young whipper snapper on the case and

1212
01:09:57,439 --> 01:09:59,960
Speaker 1: we'll see if he can, you know, create the super weapon.

1213
01:10:00,479 --> 01:10:03,120
Speaker 1: The shack still looks fabulous though, because it is rendered

1214
01:10:03,120 --> 01:10:05,559
Speaker 1: in the same style as everything in this film. I

1215
01:10:05,600 --> 01:10:08,479
Speaker 1: love the shock. Yeah. So we see the professor doing

1216
01:10:08,520 --> 01:10:10,920
Speaker 1: science while art of Gas and his cronies look on.

1217
01:10:11,680 --> 01:10:14,559
Speaker 1: There's like a glowing flask and you know, is bubbling

1218
01:10:14,640 --> 01:10:17,200
Speaker 1: with with fog coming out of it and so forth,

1219
01:10:17,240 --> 01:10:19,960
Speaker 1: and the professor says that he is going to discover

1220
01:10:20,040 --> 01:10:22,800
Speaker 1: the secretive matter and then they're like okay, and then

1221
01:10:22,840 --> 01:10:28,080
Speaker 1: what um. Meanwhile, Jana from the shipwreck she is now

1222
01:10:28,120 --> 01:10:31,320
Speaker 1: working in the professor's lab and she asks him about

1223
01:10:31,320 --> 01:10:34,759
Speaker 1: his experiments and he says there is great energy locked

1224
01:10:34,840 --> 01:10:37,640
Speaker 1: within matter and he is learning how to release it,

1225
01:10:38,120 --> 01:10:40,760
Speaker 1: and that energy could be used to power lights or

1226
01:10:40,800 --> 01:10:44,120
Speaker 1: heat homes. But ultimately he says he's only interested in

1227
01:10:44,240 --> 01:10:47,679
Speaker 1: unlocking the knowledge how it should be used is quote

1228
01:10:47,680 --> 01:10:51,720
Speaker 1: for technicians and others to decide, again playing with the

1229
01:10:51,720 --> 01:10:55,479
Speaker 1: theme that this this scientist is disavowing all responsibility to

1230
01:10:55,560 --> 01:11:00,120
Speaker 1: consider practical implications. He only wants the raw knowledge. Mean,

1231
01:11:00,120 --> 01:11:01,880
Speaker 1: while they're trying to get Simon Hart to do some

1232
01:11:01,920 --> 01:11:03,920
Speaker 1: research for him as well. They they want him to

1233
01:11:03,960 --> 01:11:08,080
Speaker 1: do heavier than air flying machines, but he refuses, and

1234
01:11:08,160 --> 01:11:10,599
Speaker 1: at first the professor he's like, you know, the Professor

1235
01:11:10,640 --> 01:11:12,559
Speaker 1: will never do your bidding. He's not going to make

1236
01:11:12,560 --> 01:11:16,560
Speaker 1: a super explosive for you. But then in the narration

1237
01:11:16,720 --> 01:11:19,400
Speaker 1: he remembers, but oh, the Professor is as trusting as

1238
01:11:19,400 --> 01:11:23,639
Speaker 1: a child. He probably will do it now. I think

1239
01:11:23,680 --> 01:11:26,160
Speaker 1: this is somewhat that this is a difference between the

1240
01:11:26,200 --> 01:11:30,200
Speaker 1: professor in the book facing the Flag versus in this movie.

1241
01:11:30,720 --> 01:11:33,639
Speaker 1: I think in the book the professor is more kind

1242
01:11:33,680 --> 01:11:38,400
Speaker 1: of like bitter and seemingly willing to um to work

1243
01:11:38,400 --> 01:11:41,400
Speaker 1: along with the criminals at least for the time being,

1244
01:11:41,760 --> 01:11:44,439
Speaker 1: and in the movie he's presented more as just like

1245
01:11:44,560 --> 01:11:48,639
Speaker 1: not understanding who these people are, what he's working on, yeah,

1246
01:11:48,760 --> 01:11:51,840
Speaker 1: just so focused on the scientific achievement and the mystery

1247
01:11:51,840 --> 01:11:54,000
Speaker 1: and the challenge of the thing, without thinking really and

1248
01:11:54,080 --> 01:11:58,600
Speaker 1: refusing to really consider the practical applications, especially by a

1249
01:11:58,760 --> 01:12:02,920
Speaker 1: pirate king. Right, So, uh, Simon Hart figures out what's

1250
01:12:02,920 --> 01:12:05,200
Speaker 1: going on that that the professor is going to build

1251
01:12:05,200 --> 01:12:08,240
Speaker 1: a super weapon obliviously for the pirate king and his

1252
01:12:08,280 --> 01:12:10,720
Speaker 1: band of criminals. It's got to be stopped. So he

1253
01:12:10,760 --> 01:12:14,680
Speaker 1: attempts to warn mankind about this with a note attached

1254
01:12:14,720 --> 01:12:17,840
Speaker 1: to a balloon. And so he like loads up this

1255
01:12:17,920 --> 01:12:22,120
Speaker 1: kind of leather lined flask with a with a handwritten note,

1256
01:12:22,360 --> 01:12:24,439
Speaker 1: attaches it to a hot air I don't know if

1257
01:12:24,439 --> 01:12:25,960
Speaker 1: it's a hot air balloon. It's a balloon of some

1258
01:12:26,040 --> 01:12:29,200
Speaker 1: kind that he manufactures in his laboratory, and then he

1259
01:12:29,280 --> 01:12:32,479
Speaker 1: launches it off the island and then there's this whole

1260
01:12:32,640 --> 01:12:36,559
Speaker 1: word going out sequence that is so beautiful, like the

1261
01:12:37,400 --> 01:12:41,400
Speaker 1: letters somehow reaches some major metropolitan center, maybe it's supposed

1262
01:12:41,400 --> 01:12:44,400
Speaker 1: to be Paris or something, and then we see it

1263
01:12:44,560 --> 01:12:49,160
Speaker 1: just being like transmitted all over the world, like a

1264
01:12:49,160 --> 01:12:51,439
Speaker 1: message in the bottle that is addressed to the United

1265
01:12:51,520 --> 01:12:55,880
Speaker 1: Nations and it's promptly delivered. Again, coming back to that

1266
01:12:55,960 --> 01:13:00,200
Speaker 1: theme of like the world responds. Uh, And I've got

1267
01:13:00,200 --> 01:13:02,120
Speaker 1: some thoughts on that in just a minute. But first, uh,

1268
01:13:02,600 --> 01:13:05,639
Speaker 1: there there is a part where uh Simon Hart also

1269
01:13:05,640 --> 01:13:07,799
Speaker 1: tries to get in touch with the professor by attaching

1270
01:13:07,840 --> 01:13:10,839
Speaker 1: a note to a toy vote and sending it across

1271
01:13:11,000 --> 01:13:13,680
Speaker 1: the lagoon to Jana so that maybe she'll deliver it

1272
01:13:13,720 --> 01:13:17,679
Speaker 1: to the professor. Meanwhile, there is a movie night scene

1273
01:13:17,800 --> 01:13:22,000
Speaker 1: that is absolutely wonderful. So count Arctic Gas and his

1274
01:13:22,120 --> 01:13:26,840
Speaker 1: cronies get some film reels delivered to the island, I think,

1275
01:13:27,479 --> 01:13:30,480
Speaker 1: and it's showing. First of all, there's like a newsreel

1276
01:13:30,520 --> 01:13:33,000
Speaker 1: report that that's letting them know, Hey, by the way,

1277
01:13:33,000 --> 01:13:35,760
Speaker 1: the whole world knows that you're doing experiments on this

1278
01:13:35,840 --> 01:13:39,120
Speaker 1: island now because somebody warned them, and now they are.

1279
01:13:39,360 --> 01:13:42,599
Speaker 1: They're putting soldiers on top of camels riding roller skates

1280
01:13:42,640 --> 01:13:47,000
Speaker 1: to come get you. But funny enough, it doesn't stop

1281
01:13:47,040 --> 01:13:51,280
Speaker 1: with the news reel. We also get a reel called

1282
01:13:51,439 --> 01:13:54,840
Speaker 1: Sport that is just showing musclemen of the world doing

1283
01:13:54,920 --> 01:13:59,400
Speaker 1: muscle things. And so they're they're just watching various projected

1284
01:13:59,560 --> 01:14:02,160
Speaker 1: reels and then the projector catches on fire. I'm not

1285
01:14:02,240 --> 01:14:05,320
Speaker 1: quite sure why it happens, but it's very funny. Yeah,

1286
01:14:05,400 --> 01:14:08,160
Speaker 1: I found this very amusing. And again this has to

1287
01:14:08,200 --> 01:14:11,599
Speaker 1: be intentional on the part of the filmmaker here, because

1288
01:14:11,960 --> 01:14:14,519
Speaker 1: in this movie and in the context of this film,

1289
01:14:14,800 --> 01:14:19,640
Speaker 1: all manner of technological dreams are possible and achievable and

1290
01:14:19,680 --> 01:14:21,960
Speaker 1: realized to a very high degree. You know that the

1291
01:14:22,000 --> 01:14:25,400
Speaker 1: air is full of flying machines, space may have flying

1292
01:14:25,400 --> 01:14:28,920
Speaker 1: machines in them, and ships are sailing beneath the waves. Um,

1293
01:14:28,960 --> 01:14:32,680
Speaker 1: all this works very well except for film, which is

1294
01:14:32,720 --> 01:14:35,679
Speaker 1: clearly messy, dangerous, and prone to failure. And I think

1295
01:14:35,680 --> 01:14:40,000
Speaker 1: it's it's interesting and perhaps insightful commentary coming from such

1296
01:14:40,040 --> 01:14:45,240
Speaker 1: an accomplished filmmaker. Um like Carol's Aiman. Yes that I

1297
01:14:45,280 --> 01:14:48,040
Speaker 1: think that subtext may in fact be there. That that's good.

1298
01:14:48,479 --> 01:14:50,879
Speaker 1: So the next big thing that happens is that Simon

1299
01:14:50,960 --> 01:14:55,080
Speaker 1: Hart gets sent underwater in a diving suit to fix

1300
01:14:55,080 --> 01:14:58,240
Speaker 1: a problem with the cable connecting the island to the

1301
01:14:58,280 --> 01:15:01,840
Speaker 1: outside world. And uh, there's a great moment in the

1302
01:15:01,840 --> 01:15:04,240
Speaker 1: scene where he gets like he gets assigned to this job.

1303
01:15:04,320 --> 01:15:06,360
Speaker 1: I guess he volunteers for it, but he gets assigned

1304
01:15:06,400 --> 01:15:09,920
Speaker 1: this job by Mr Circo, the the scientist who works

1305
01:15:09,920 --> 01:15:11,759
Speaker 1: for Ourt of Gas, the guy with the mutton chops

1306
01:15:11,760 --> 01:15:14,559
Speaker 1: and the and the glasses and uh. In that scene,

1307
01:15:14,640 --> 01:15:16,840
Speaker 1: Mr Circo is like sitting at a desk in a

1308
01:15:16,880 --> 01:15:20,120
Speaker 1: cave working on some paperwork, and there's a part with

1309
01:15:20,200 --> 01:15:23,280
Speaker 1: this giant steam powered like I don't know what you call,

1310
01:15:23,400 --> 01:15:26,559
Speaker 1: like a crane or a bulldozer type machine hands him

1311
01:15:26,600 --> 01:15:31,080
Speaker 1: a pen. So the dispatcher said, something's wrong with Dina cobble,

1312
01:15:31,200 --> 01:15:33,920
Speaker 1: and so Simon Hart is going to use this and

1313
01:15:34,080 --> 01:15:36,840
Speaker 1: as an excuse to explore the tunnel leading to the

1314
01:15:36,880 --> 01:15:39,000
Speaker 1: outside world, because of course he wants to get out

1315
01:15:39,000 --> 01:15:42,920
Speaker 1: of there. Once again, we get an absolutely fabulous underwater

1316
01:15:43,120 --> 01:15:45,920
Speaker 1: sort of dive walk sequence that that has a giant

1317
01:15:45,960 --> 01:15:49,080
Speaker 1: octopus or squid attack in it. It's not exactly clear.

1318
01:15:49,120 --> 01:15:51,760
Speaker 1: I want to see squid there. There's a big like

1319
01:15:51,840 --> 01:15:54,599
Speaker 1: ink squirting scene at the end of the fight, but

1320
01:15:55,040 --> 01:15:56,960
Speaker 1: it also kind of looks octopusy. I'm not sure what

1321
01:15:57,000 --> 01:15:58,760
Speaker 1: they're going for here, but there is a there is

1322
01:15:58,800 --> 01:16:04,120
Speaker 1: a cephalopod versus diver squabble. Now is this the scene

1323
01:16:04,200 --> 01:16:07,879
Speaker 1: where he fights it with an axe? I think so, yeah, yeah.

1324
01:16:07,960 --> 01:16:10,120
Speaker 1: And then when he defeats it, there's like this big

1325
01:16:11,080 --> 01:16:14,240
Speaker 1: ink cloud that billows up from where he chopped it.

1326
01:16:14,640 --> 01:16:17,640
Speaker 1: And this is in the background to the diver, and

1327
01:16:17,680 --> 01:16:20,120
Speaker 1: it's a very I mean, the whole sequence is amazing,

1328
01:16:20,160 --> 01:16:23,320
Speaker 1: but the scene too is just just excellent. The stills

1329
01:16:23,360 --> 01:16:26,439
Speaker 1: you can you can freeze on, Yeah, really good. And

1330
01:16:26,640 --> 01:16:30,280
Speaker 1: there's one little detail I loved here where uh, Simon

1331
01:16:30,320 --> 01:16:32,640
Speaker 1: Hart has to keep track of how much oxygen he

1332
01:16:32,720 --> 01:16:35,200
Speaker 1: has and and it's running out, so he keeps track

1333
01:16:35,240 --> 01:16:37,000
Speaker 1: of it by looking at a watch, but of course,

1334
01:16:37,040 --> 01:16:39,200
Speaker 1: you know his watch is not gonna work underwater, so

1335
01:16:39,240 --> 01:16:43,000
Speaker 1: he has a watch inside a bottle, yes, like a

1336
01:16:43,000 --> 01:16:45,880
Speaker 1: cork on top. But then he does run out of oxygen,

1337
01:16:46,000 --> 01:16:48,920
Speaker 1: so as he's trying to escape, his tank runs low,

1338
01:16:49,040 --> 01:16:52,679
Speaker 1: and then he becomes very fatigued, and he lays down

1339
01:16:52,720 --> 01:16:55,360
Speaker 1: on the ocean floor as if maybe to die, and

1340
01:16:55,400 --> 01:16:58,360
Speaker 1: we see some visions he's having or something where the

1341
01:16:58,439 --> 01:17:03,160
Speaker 1: fish are transforming into butterflies underneath the waves. Yeah, this

1342
01:17:03,240 --> 01:17:06,920
Speaker 1: is beautiful, uh and and and very probably even more

1343
01:17:07,000 --> 01:17:09,720
Speaker 1: dream like than than everything already has. But of course

1344
01:17:09,720 --> 01:17:13,040
Speaker 1: it's you know, a vision he's deprived of oxygen. But yeah,

1345
01:17:13,040 --> 01:17:15,080
Speaker 1: it's like the fish come together and they act like

1346
01:17:15,120 --> 01:17:18,040
Speaker 1: they're doing that sort of you know, fish kiss kind

1347
01:17:18,040 --> 01:17:20,360
Speaker 1: of a thing, which isn't actually a kiss. But but

1348
01:17:20,400 --> 01:17:22,880
Speaker 1: then they keep moving into each other until only their

1349
01:17:22,920 --> 01:17:26,320
Speaker 1: tales are visible, and though each tail forms a wing

1350
01:17:26,360 --> 01:17:29,080
Speaker 1: of the butterfly. I'm not sure if that's uh that

1351
01:17:29,280 --> 01:17:33,280
Speaker 1: is accurately recreating the image in your head, listener, but

1352
01:17:33,800 --> 01:17:37,600
Speaker 1: you need to see it. It's gorgeous, it's sublime. And

1353
01:17:37,640 --> 01:17:40,320
Speaker 1: then out of nowhere, he has brought on board a

1354
01:17:40,360 --> 01:17:42,840
Speaker 1: submarine and saved just when you think he's going to die.

1355
01:17:43,240 --> 01:17:45,479
Speaker 1: So what's going on here? Well, the crew of the

1356
01:17:45,520 --> 01:17:48,559
Speaker 1: submarine inform him, They say, you were among friends, sir,

1357
01:17:49,080 --> 01:17:51,519
Speaker 1: And we see a newspaper that with a headline that

1358
01:17:51,600 --> 01:17:57,479
Speaker 1: says world powers unite to combat invention for destruction. So

1359
01:17:57,840 --> 01:18:02,559
Speaker 1: the world got his note and the world responded. And

1360
01:18:02,680 --> 01:18:05,439
Speaker 1: I love something about this, and I think it's worth

1361
01:18:05,439 --> 01:18:09,439
Speaker 1: having a brief sub discussion about this being indicative of

1362
01:18:09,560 --> 01:18:14,280
Speaker 1: an unusual outlook in in a lot in film in general,

1363
01:18:14,320 --> 01:18:17,720
Speaker 1: but one that's more characteristic of Jules Verne. As we

1364
01:18:17,720 --> 01:18:21,320
Speaker 1: were saying earlier, I would contrast this with the exact

1365
01:18:21,560 --> 01:18:26,000
Speaker 1: opposite trope that we often see in horror movies, where

1366
01:18:26,200 --> 01:18:30,040
Speaker 1: the outside world is anything but helpful. So if you

1367
01:18:30,080 --> 01:18:33,400
Speaker 1: are in a horror movie and you're running from anything

1368
01:18:33,520 --> 01:18:38,560
Speaker 1: Wherewolf Jason vorhees whatever, and you run into anything representing

1369
01:18:38,800 --> 01:18:41,320
Speaker 1: structures of authority on the outside, you run into a cop.

1370
01:18:41,840 --> 01:18:44,040
Speaker 1: Is that cop going to be able to help you? No?

1371
01:18:45,240 --> 01:18:49,640
Speaker 1: Obviously not. Never happens. I mean of the time, it

1372
01:18:49,680 --> 01:18:53,960
Speaker 1: does not happen in a horror movie. No external authorities, institutions,

1373
01:18:54,040 --> 01:18:57,120
Speaker 1: or people in general are going to be of assistance.

1374
01:18:57,240 --> 01:19:00,240
Speaker 1: You are on your own in escaping or defeat being

1375
01:19:00,240 --> 01:19:03,519
Speaker 1: the monster. And in fact, if the world finds out

1376
01:19:03,560 --> 01:19:07,240
Speaker 1: about your situation, they will often make things harder for you.

1377
01:19:07,320 --> 01:19:09,439
Speaker 1: They will they'll say like, oh, you're crazy. You know,

1378
01:19:09,640 --> 01:19:11,840
Speaker 1: you're lying about what's going on. They'll try to blame

1379
01:19:11,880 --> 01:19:15,479
Speaker 1: you for what's happening. But this is a totally different

1380
01:19:15,560 --> 01:19:19,960
Speaker 1: vision the world. Here's about this ongoing tragedy. And the

1381
01:19:20,000 --> 01:19:25,360
Speaker 1: world responds they like put the scientific and technological machinery

1382
01:19:25,479 --> 01:19:30,080
Speaker 1: of the entire planet into overdrive to develop submarines to

1383
01:19:30,240 --> 01:19:33,360
Speaker 1: go confront ourt to Gas to stop him from creating

1384
01:19:33,360 --> 01:19:37,080
Speaker 1: a super weapon. Yeah, this is it is interesting to

1385
01:19:37,120 --> 01:19:39,560
Speaker 1: think about this because you can you can almost go

1386
01:19:39,720 --> 01:19:42,880
Speaker 1: like movie to movie. Um. Yeah, and of course you

1387
01:19:42,880 --> 01:19:46,719
Speaker 1: can look to to really crucial examples of this trope

1388
01:19:46,720 --> 01:19:49,799
Speaker 1: of the world outside world and outside authority being unable

1389
01:19:49,800 --> 01:19:52,799
Speaker 1: to help. I guess Psycho being a very influential example

1390
01:19:52,840 --> 01:19:57,400
Speaker 1: of that. Uh that the your your rescuer is not

1391
01:19:57,439 --> 01:20:01,479
Speaker 1: going to be able to save you, yum, and then

1392
01:20:01,520 --> 01:20:03,320
Speaker 1: you're gonna and and so. So it's often like a

1393
01:20:03,360 --> 01:20:06,320
Speaker 1: situation of Okay, this movie is to some degree saying

1394
01:20:06,360 --> 01:20:09,400
Speaker 1: like this part of society is unable to help with

1395
01:20:09,439 --> 01:20:11,880
Speaker 1: this scenario. But then who is the person who can

1396
01:20:12,400 --> 01:20:14,960
Speaker 1: or is there someone who can at all? And then

1397
01:20:15,000 --> 01:20:17,720
Speaker 1: sometimes films kind of buck that a bit, like I

1398
01:20:17,760 --> 01:20:21,000
Speaker 1: instantly think of an American Werewolf in London, where um,

1399
01:20:21,080 --> 01:20:24,040
Speaker 1: ultimately that's that's a movie that kind of maybe is

1400
01:20:24,080 --> 01:20:26,080
Speaker 1: a little retro in the way you're act you actually

1401
01:20:26,080 --> 01:20:27,599
Speaker 1: deal with the creature at the end, because I believe

1402
01:20:27,640 --> 01:20:30,439
Speaker 1: the authority shoot it in Mali, if I remember correctly,

1403
01:20:30,560 --> 01:20:32,719
Speaker 1: which kind of feels like a throwback in that regard,

1404
01:20:32,800 --> 01:20:35,800
Speaker 1: but also is kind of subverting the idea that a

1405
01:20:35,840 --> 01:20:38,439
Speaker 1: problem of this magnitude is something that we can handle

1406
01:20:38,479 --> 01:20:41,679
Speaker 1: on our own. Well, yes, But also I would say

1407
01:20:41,680 --> 01:20:45,240
Speaker 1: in the cases of horror movies where like say the

1408
01:20:45,320 --> 01:20:49,280
Speaker 1: cops shoot the monster or something. Almost all of those

1409
01:20:49,320 --> 01:20:51,120
Speaker 1: that I can think of. It's actually kind of a

1410
01:20:51,160 --> 01:20:54,280
Speaker 1: tragic story where the monster is someone that is like,

1411
01:20:54,439 --> 01:20:57,000
Speaker 1: actually is the main character, or is a character you

1412
01:20:57,160 --> 01:21:00,320
Speaker 1: feel pity for. That's right, I mean, that's the actually

1413
01:21:00,320 --> 01:21:02,720
Speaker 1: the case of American Werewolf. We'll have to keep this

1414
01:21:02,760 --> 01:21:06,040
Speaker 1: in our heads because I'm sure some some some exceptions

1415
01:21:06,040 --> 01:21:08,479
Speaker 1: and other notable examples will come to mind. I know

1416
01:21:08,560 --> 01:21:11,760
Speaker 1: there's got to be at least some awkward horror film

1417
01:21:11,760 --> 01:21:14,840
Speaker 1: out there from perhaps the nineteen fifties, in which the

1418
01:21:15,200 --> 01:21:19,240
Speaker 1: police show up and nobly shoot at a monster to

1419
01:21:19,320 --> 01:21:22,639
Speaker 1: death for which you have no feelings or a sympathy.

1420
01:21:22,920 --> 01:21:24,960
Speaker 1: Oh well, you know, I mean it certainly, haven I

1421
01:21:25,000 --> 01:21:26,880
Speaker 1: think there are a lot of fifties movies like that.

1422
01:21:27,040 --> 01:21:30,559
Speaker 1: It didn't Tarantula basically in that way. Oh yeah, Tarantula basically, yeah,

1423
01:21:30,640 --> 01:21:32,960
Speaker 1: you don't. We don't feel anything for the tarantula. And

1424
01:21:32,960 --> 01:21:35,120
Speaker 1: they were just like, yep, the military's here. Clint Easwood

1425
01:21:35,160 --> 01:21:39,080
Speaker 1: just flew in in a jet. It's taking care of yeah. Anyway,

1426
01:21:39,120 --> 01:21:41,320
Speaker 1: So to come back to the plot, so this submarine

1427
01:21:41,400 --> 01:21:44,920
Speaker 1: sent by the world is is attacked. However, there's a

1428
01:21:44,960 --> 01:21:48,920
Speaker 1: submarine battle and the Count's submarine skewers, it pokes a

1429
01:21:48,960 --> 01:21:52,280
Speaker 1: big hole in the side, and then, uh, basically I

1430
01:21:52,320 --> 01:21:55,720
Speaker 1: think everyone inside parishes except Simon Hart. He survives and

1431
01:21:55,760 --> 01:21:59,080
Speaker 1: he comes ashore, and from there he climbs a tower

1432
01:21:59,280 --> 01:22:02,800
Speaker 1: inside the goon and comes into Janna's window, and so

1433
01:22:02,920 --> 01:22:06,680
Speaker 1: here Simon Hart and Yanna become a team. They team up,

1434
01:22:06,680 --> 01:22:09,679
Speaker 1: and Simon reveals to her that the men who saved

1435
01:22:09,680 --> 01:22:12,599
Speaker 1: her life are not actually so nice. Uh. They saved

1436
01:22:12,600 --> 01:22:15,160
Speaker 1: her life when her ship sank, but they were also

1437
01:22:15,360 --> 01:22:18,040
Speaker 1: the very people who sank it. And now they are

1438
01:22:18,080 --> 01:22:22,720
Speaker 1: planning something even more diabolical and evil crime of global proportions,

1439
01:22:23,080 --> 01:22:25,720
Speaker 1: and only the Professor can stop it. So they're going

1440
01:22:25,760 --> 01:22:27,840
Speaker 1: to team up to try to get to the Professor

1441
01:22:28,120 --> 01:22:32,720
Speaker 1: to make him not create the what's the flu Fu

1442
01:22:32,920 --> 01:22:36,000
Speaker 1: flu Glorator or whatever it is. In the subtitles of

1443
01:22:36,000 --> 01:22:38,200
Speaker 1: the movie, they were calling it the super Gun. There's

1444
01:22:38,200 --> 01:22:41,720
Speaker 1: a supergun filled with the Professor's new explosive. I guess

1445
01:22:41,760 --> 01:22:45,160
Speaker 1: it might be were too loosely think of this as

1446
01:22:45,200 --> 01:22:50,120
Speaker 1: atomic weaponry, right, And they reveal the new soldiers of

1447
01:22:50,200 --> 01:22:53,519
Speaker 1: the Count's Super Gun Army, which they look quite terrifying.

1448
01:22:53,600 --> 01:22:56,840
Speaker 1: They're wearing these dark suits and gas masks, and they

1449
01:22:56,840 --> 01:23:00,880
Speaker 1: are loaded down with so much technology that they look

1450
01:23:00,960 --> 01:23:04,679
Speaker 1: like Jacob Marley, like wrapped round and round with chains

1451
01:23:04,720 --> 01:23:07,280
Speaker 1: and metal boxes. So when they walk through the rooms,

1452
01:23:07,479 --> 01:23:10,640
Speaker 1: they're kind of clanking and dragging all of this equipment

1453
01:23:10,720 --> 01:23:14,720
Speaker 1: with them. Yeah, they're kind of like verns in Stormtroopers

1454
01:23:14,800 --> 01:23:19,400
Speaker 1: or something. Yeah, and uh so what's going to happen here? Well, uh,

1455
01:23:19,439 --> 01:23:21,760
Speaker 1: Simon Hart and Yanna have an idea. They do a

1456
01:23:21,800 --> 01:23:25,000
Speaker 1: classic James Bond style uniform swipes. So they beat up

1457
01:23:25,000 --> 01:23:28,240
Speaker 1: a couple of the Supergun Army soldiers, they steal their

1458
01:23:28,240 --> 01:23:32,920
Speaker 1: outfits and they use that to sneak on board the

1459
01:23:33,640 --> 01:23:36,519
Speaker 1: the Count's air balloon, which I think the Hot air

1460
01:23:36,520 --> 01:23:39,559
Speaker 1: Balloon was supposed to be used to drop bombs on

1461
01:23:39,600 --> 01:23:42,200
Speaker 1: the ships that are coming to rescue them. I think

1462
01:23:42,240 --> 01:23:45,240
Speaker 1: that's right. Yes. Anyway, everything comes down to a big

1463
01:23:45,280 --> 01:23:48,919
Speaker 1: fight at the island. The warships are incoming, the world

1464
01:23:49,200 --> 01:23:52,040
Speaker 1: is coming to the rescue. The Count's forces are getting

1465
01:23:52,080 --> 01:23:55,799
Speaker 1: ready to attack via Supergun and via the Hot air Balloon,

1466
01:23:56,120 --> 01:23:58,360
Speaker 1: but of course our heroes steal the Hot air balloon

1467
01:23:58,840 --> 01:24:01,560
Speaker 1: um in the battle. This is the scene where the

1468
01:24:01,680 --> 01:24:03,760
Speaker 1: Count is shooting at the hot air balloon with like

1469
01:24:03,840 --> 01:24:09,080
Speaker 1: a musket pistol that is also a wind up machine gun. Yes, yes,

1470
01:24:09,120 --> 01:24:12,520
Speaker 1: that was fabulous. And at the very last the Professor

1471
01:24:13,000 --> 01:24:16,080
Speaker 1: realizes what is happening. He comes to his senses and

1472
01:24:16,120 --> 01:24:18,800
Speaker 1: he's like, oh, the people I'm working for are the

1473
01:24:18,800 --> 01:24:23,080
Speaker 1: bad guys. And so he sabotages his own invention by

1474
01:24:23,120 --> 01:24:26,840
Speaker 1: causing an explosive shell to fall off a cliff. It detonates,

1475
01:24:26,880 --> 01:24:30,519
Speaker 1: it destroys the entire island, including himself, the Count, all

1476
01:24:30,560 --> 01:24:34,719
Speaker 1: of the Count's cronies and his armies and uh and Simon,

1477
01:24:34,760 --> 01:24:37,200
Speaker 1: Hard and Yanna escape in the hot air balloon and

1478
01:24:37,240 --> 01:24:41,080
Speaker 1: they sort of float off, almost float into the sun. Oh.

1479
01:24:41,120 --> 01:24:42,880
Speaker 1: And one of the last things we get when the

1480
01:24:42,920 --> 01:24:46,640
Speaker 1: island explodes as we see a top hat going sky high.

1481
01:24:46,880 --> 01:24:51,280
Speaker 1: Nice the top hat came back. Um. This this whole

1482
01:24:51,280 --> 01:24:54,680
Speaker 1: scene with the Professor having a change of heart and realizing,

1483
01:24:54,800 --> 01:24:57,000
Speaker 1: you know, what he has wrought and to a certain

1484
01:24:57,040 --> 01:24:59,479
Speaker 1: degree kind of like being like, oops, I almost became

1485
01:24:59,479 --> 01:25:02,040
Speaker 1: death of his way of worlds. Maybe I shouldn't do that, um,

1486
01:25:02,120 --> 01:25:04,880
Speaker 1: and trying to decide to take a step backwards. Um,

1487
01:25:05,160 --> 01:25:08,320
Speaker 1: it's it's really well executed though, Like it's it's nicely

1488
01:25:08,360 --> 01:25:12,320
Speaker 1: framed and shot with him approaching the weapon, climbing up

1489
01:25:12,320 --> 01:25:14,320
Speaker 1: on the weapon and then you know, Knox this uh

1490
01:25:14,800 --> 01:25:17,800
Speaker 1: uh you know, atomic shell off and lets it roll

1491
01:25:17,880 --> 01:25:21,200
Speaker 1: down to to destroy everything. But yeah, it's it's really

1492
01:25:21,200 --> 01:25:24,519
Speaker 1: it's really well done. It's a dramatic moment um that

1493
01:25:25,240 --> 01:25:27,519
Speaker 1: it's easy. That's one of the things that it works.

1494
01:25:27,560 --> 01:25:30,360
Speaker 1: So that's so impressive about this film is that it

1495
01:25:30,400 --> 01:25:33,040
Speaker 1: can be so you know, kind of silly and dream

1496
01:25:33,040 --> 01:25:35,960
Speaker 1: like and whimsical and so many of its visuals, and

1497
01:25:36,080 --> 01:25:39,320
Speaker 1: yet it still can deliver some really great moments that

1498
01:25:39,400 --> 01:25:41,720
Speaker 1: have a sense of drama and spectacle to them, like

1499
01:25:41,760 --> 01:25:45,200
Speaker 1: this moment, the slaying of the squid, and other moments

1500
01:25:45,200 --> 01:25:49,040
Speaker 1: throughout the film. Absolutely, and I also love the professor's

1501
01:25:49,080 --> 01:25:52,080
Speaker 1: realization at the end, connecting to the theme of what

1502
01:25:52,120 --> 01:25:54,719
Speaker 1: he's been talking about the entire time, with the knowledge

1503
01:25:54,880 --> 01:25:58,000
Speaker 1: versus the practical application. I think his final moment is

1504
01:25:58,040 --> 01:26:03,400
Speaker 1: he he realizes the only good practical application of his

1505
01:26:03,479 --> 01:26:07,880
Speaker 1: invention is to destroy itself, is to erase itself from

1506
01:26:07,960 --> 01:26:11,680
Speaker 1: existence so it cannot be used. Yeah, and then like

1507
01:26:11,720 --> 01:26:14,600
Speaker 1: you said, they balloon off into the sun, like to

1508
01:26:14,640 --> 01:26:17,040
Speaker 1: the point where my son walked in for the last

1509
01:26:17,040 --> 01:26:18,880
Speaker 1: ten minutes of this film when I was watching it

1510
01:26:19,320 --> 01:26:21,639
Speaker 1: yesterday and he's like, oh, now they're going into the sun,

1511
01:26:21,880 --> 01:26:26,040
Speaker 1: and um, maybe he's been exposed too much ms tap,

1512
01:26:26,120 --> 01:26:28,840
Speaker 1: but um I thought. I was like, no, no, don't

1513
01:26:29,000 --> 01:26:31,160
Speaker 1: say that, don't ruin the nice moment. But then I'm like, yeah,

1514
01:26:31,160 --> 01:26:33,200
Speaker 1: it does kind of look like they're going into the sun.

1515
01:26:33,479 --> 01:26:35,640
Speaker 1: Well that that is what it looks like, but I

1516
01:26:35,640 --> 01:26:39,000
Speaker 1: don't know, I kind of like that. I mean it symbolically, Yeah,

1517
01:26:39,080 --> 01:26:43,400
Speaker 1: the ideas that they are going into the light. Yeah, yeah,

1518
01:26:43,600 --> 01:26:45,960
Speaker 1: into into the future, into a better tomorrow. It's a

1519
01:26:45,960 --> 01:26:51,160
Speaker 1: lot like the ending of Congo. Actually, yes, except there's

1520
01:26:51,240 --> 01:26:53,679
Speaker 1: there's uh well no, no, the guerrilla wasn't on board

1521
01:26:53,680 --> 01:26:57,080
Speaker 1: the balloon and Congo either, so yeah, the gorilla stays

1522
01:26:57,120 --> 01:27:00,720
Speaker 1: behind too. Yeah, but they don't have Ernie Hudson. That's

1523
01:27:00,760 --> 01:27:03,160
Speaker 1: really the only difference. If this film had Ernie Hudson

1524
01:27:03,160 --> 01:27:06,080
Speaker 1: in it, it would basically be identical. God, I love Ernie.

1525
01:27:06,200 --> 01:27:09,640
Speaker 1: Yeah he's so good. Okay. One difference that I was

1526
01:27:09,680 --> 01:27:13,200
Speaker 1: reading about between Invention for Destruction in the movie and

1527
01:27:13,240 --> 01:27:16,040
Speaker 1: the novel Facing the Flag. They both have a professor

1528
01:27:16,439 --> 01:27:19,360
Speaker 1: who creates a super weapon, is kidnapped by a pirate king,

1529
01:27:19,720 --> 01:27:23,240
Speaker 1: and you know, goes through all this. But apparently in

1530
01:27:23,320 --> 01:27:26,600
Speaker 1: the end of the novel Facing the Flag, the professor

1531
01:27:26,640 --> 01:27:31,920
Speaker 1: initially allows his supergun, the full Garad or whatever, to

1532
01:27:32,000 --> 01:27:36,360
Speaker 1: be used against a British warship that is coming to

1533
01:27:36,400 --> 01:27:39,519
Speaker 1: the rescue of of his associates, and so, yeah, they're

1534
01:27:39,520 --> 01:27:41,719
Speaker 1: they're turning the weapon on the British and he's like rock.

1535
01:27:41,960 --> 01:27:45,960
Speaker 1: But when he sees a French warship approaching and sees

1536
01:27:46,000 --> 01:27:49,720
Speaker 1: the French flag, his sense of patriotism because he is

1537
01:27:49,760 --> 01:27:53,400
Speaker 1: French makes him makes him question his actions. And then

1538
01:27:53,479 --> 01:27:55,599
Speaker 1: he has overcome with guilt and he says, I can't

1539
01:27:55,600 --> 01:27:58,680
Speaker 1: turn this on a French ship. And so then he,

1540
01:27:59,360 --> 01:28:02,000
Speaker 1: I guess distry roys his own creation or something like that,

1541
01:28:02,040 --> 01:28:05,880
Speaker 1: turns against he no longer cooperates in some way. Um,

1542
01:28:06,320 --> 01:28:08,639
Speaker 1: and I think that is a that is a far

1543
01:28:09,360 --> 01:28:13,400
Speaker 1: less grand and less beautiful ending that I like the

1544
01:28:13,479 --> 01:28:16,160
Speaker 1: change they made for the for the movie, Yeah, I

1545
01:28:16,200 --> 01:28:18,880
Speaker 1: think so. I think it ultimately is a lot more

1546
01:28:18,920 --> 01:28:23,200
Speaker 1: compelling and relatable because we have a have an individual

1547
01:28:23,200 --> 01:28:27,080
Speaker 1: who is kind of oblivious to the impact of what

1548
01:28:27,160 --> 01:28:30,479
Speaker 1: they're doing or how they view the world, and then

1549
01:28:30,479 --> 01:28:33,519
Speaker 1: there is a revelation that like, no, no, this what

1550
01:28:33,800 --> 01:28:36,120
Speaker 1: I'm doing does matter, what I'm not doing doesn't matter.

1551
01:28:36,520 --> 01:28:38,799
Speaker 1: And I feel like that's something that even the average

1552
01:28:38,800 --> 01:28:41,760
Speaker 1: person can relate to, you know, waking up to your

1553
01:28:41,800 --> 01:28:45,880
Speaker 1: own role in something or place in something, or or

1554
01:28:45,920 --> 01:28:48,720
Speaker 1: you know, or to realize that that not having having

1555
01:28:48,760 --> 01:28:52,599
Speaker 1: an opinion and not acting that inaction is like making

1556
01:28:52,600 --> 01:28:55,639
Speaker 1: a choice. Yeah. Yeah, So in the end, I'd say

1557
01:28:55,680 --> 01:29:00,560
Speaker 1: Invention for Destruction one of my favorite movies we've done. Uh, beautiful,

1558
01:29:01,080 --> 01:29:04,400
Speaker 1: truly a work of art and surprisingly profound for a

1559
01:29:04,400 --> 01:29:08,000
Speaker 1: little sci fi adventure story. Yeah, yeah, I agree. Um,

1560
01:29:08,400 --> 01:29:10,080
Speaker 1: it's kind of like like I was telling you before

1561
01:29:10,120 --> 01:29:12,599
Speaker 1: we recorded, sometimes you view a film and you feel

1562
01:29:12,600 --> 01:29:15,280
Speaker 1: like it's just a purely additive experience, Like that's great.

1563
01:29:15,280 --> 01:29:17,080
Speaker 1: I've seen another film that was a lot of fun

1564
01:29:17,200 --> 01:29:20,559
Speaker 1: or very enjoyable, very admirable, you know, even a great film. Uh,

1565
01:29:20,720 --> 01:29:22,600
Speaker 1: this is the kind of film where once you see it,

1566
01:29:22,640 --> 01:29:24,599
Speaker 1: you realize that you're not just it's not just additive,

1567
01:29:24,960 --> 01:29:27,800
Speaker 1: You're filling in something that was missing in your your

1568
01:29:28,280 --> 01:29:34,160
Speaker 1: appreciation of cinema. Yeah, yeah, so you know, three stars kidding,

1569
01:29:34,160 --> 01:29:37,840
Speaker 1: I don't, I don't get stars. It's almost as good

1570
01:29:37,880 --> 01:29:42,120
Speaker 1: as Laser Blast. Yeah, no, no, it's it's a lot

1571
01:29:42,160 --> 01:29:45,680
Speaker 1: of fun. Yeah again, high highly recommend this one. All Right,

1572
01:29:45,720 --> 01:29:48,479
Speaker 1: We're gonna gohea and close the books here on Invention

1573
01:29:48,520 --> 01:29:50,439
Speaker 1: for Destruction, but we'd love to hear from everyone out there.

1574
01:29:50,439 --> 01:29:52,280
Speaker 1: If you have thoughts on this film, you have, if

1575
01:29:52,320 --> 01:29:56,480
Speaker 1: you have a history with this film, etcetera. Right in

1576
01:29:56,479 --> 01:29:58,400
Speaker 1: in the meantime, if you want to keep track of

1577
01:29:58,439 --> 01:30:01,479
Speaker 1: all the other films, the the one hundred other films

1578
01:30:01,479 --> 01:30:04,400
Speaker 1: that we've covered on Weird House Cinema, you can find

1579
01:30:04,439 --> 01:30:07,360
Speaker 1: them all at our letterbox page. That's l E T

1580
01:30:07,360 --> 01:30:10,600
Speaker 1: T E R B o x d dot com. We

1581
01:30:10,680 --> 01:30:13,479
Speaker 1: have a profile there it's weird House and if you

1582
01:30:13,479 --> 01:30:15,160
Speaker 1: go there you'll find a list of all these films

1583
01:30:15,160 --> 01:30:17,120
Speaker 1: with a link story. You can listen to the episodes

1584
01:30:17,160 --> 01:30:19,760
Speaker 1: if you haven't listened to the episode already, huge thanks

1585
01:30:19,760 --> 01:30:22,840
Speaker 1: to our audio producer J. J. Pauseway. If you would

1586
01:30:22,880 --> 01:30:24,960
Speaker 1: like to get in touch with us with feedback on

1587
01:30:25,000 --> 01:30:28,080
Speaker 1: this episode or any other, to suggest a topic for

1588
01:30:28,120 --> 01:30:30,400
Speaker 1: the future, or just to say hello, you can email

1589
01:30:30,479 --> 01:30:40,719
Speaker 1: us at contact at Stuff to Blow Your Mind dot com.

1590
01:30:40,840 --> 01:30:43,320
Speaker 1: Stuff to Blow Your Mind. It's production of I heart Radio.

1591
01:30:43,680 --> 01:30:45,800
Speaker 1: For more podcasts for my heart Radio, visit the i

1592
01:30:45,880 --> 01:30:48,680
Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to

1593
01:30:48,720 --> 01:30:49,519
Speaker 1: your favorite shows.