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

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Speaker 1: lam and today we have an episode for you that

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Speaker 1: originally published seven twenty five, twenty twenty five. It is

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Speaker 1: the nineteen seventy seven Ray Harryhausen adventure film Sinbad and

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Speaker 1: the Eye of the Tiger. This one's a lot of fun,

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Speaker 1: so many great classic effects in it, which of course

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Speaker 1: we discussed at length. Just a real fun flick. So

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Speaker 1: let's jump right into the episode.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you, welcome to Weird House Cinema.

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

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Speaker 3: today on Weird House Cinema we are going to be

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Speaker 3: talking about the nineteen seventy seven fantasy adventure film Sinbad

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Speaker 3: and the Eye of the Tiger, directed by Sam Wanamaker

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Speaker 3: and starring the most deliciously crunchy stop motion monster effects

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Speaker 3: by the great Ray Harryhausen, including but not limited to,

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Speaker 3: a gang of saber wielding ghules that rise up out

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Speaker 3: of a fire, a giant hyperborean walrus, a one horned

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Speaker 3: troglodite who just wants to love really, a I was

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Speaker 3: gonna say, a demon wasp, but I think more accurately

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Speaker 3: it is a bee, even though in it's an enlarged form,

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Speaker 3: it looks kind of wasp like.

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Speaker 1: Yeah.

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Speaker 3: And then I would say, most importantly, the minoton, a

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Speaker 3: magical bronze robot or automaton in the shape of a silent, frowning,

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Speaker 3: bull headed minotaur.

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Speaker 1: Yeah. Kind of a mashup of Tallous and the minotaur.

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Speaker 3: Yeah.

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Speaker 1: Like everything in this film, everything is a mash up here.

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Speaker 1: There's nothing really, there's nothing really authentic because we'll be discussing.

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Speaker 1: But via the magic of Ray Harry Housen, special effects

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Speaker 1: and filmmaking in general, it comes its own thing. It

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Speaker 1: becomes this ridiculously fun flick.

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Speaker 3: Sindbad in the Eye of the Tiger has a special

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Speaker 3: significance for me because somehow I had a bootleg VHS

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Speaker 3: tape of this movie when I was growing up, and

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Speaker 3: I watched it a lot. I've seen this many, many times,

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Speaker 3: but less so in recent years. I was mesmerized by

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Speaker 3: the monsters when I was growing up, especially the Minotan

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Speaker 3: that when I found very scary and captivating. I think

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Speaker 3: in part because of the you know, I guess none

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Speaker 3: of the monsters in this movie talk but there's something

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Speaker 3: about the silence of the Minoton that that feels especially significant,

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Speaker 3: just that closed frowning mouth.

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Speaker 1: Absolutely, Ray harry Housen was able to pour just so much.

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Speaker 1: I mean, in general, Ray Harry house I poured a

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Speaker 1: lot of life into the things that he brought to life,

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Speaker 1: these pieces of clay and other substances through stop motion.

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Speaker 1: But in this picture in particular, I feel like there's

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Speaker 1: a lot of heart and life and you can almost

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Speaker 1: be out get into this sort of internal mindset, limited

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Speaker 1: as it might be with the Minoton, but you still

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Speaker 1: get a sense of like who this or what this creature.

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Speaker 3: Is animated by evil magic, but also somehow a little

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Speaker 3: bit sad, Like I feel a bit of pity for

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Speaker 3: the Minoton in the way he's just sort of bossed

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Speaker 3: around and then discarded towards the end of the film

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Speaker 3: when he has outlived his usefulness there. Yeah, so the

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Speaker 3: Minoton is a you know, soulless a soulless weapon, a

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Speaker 3: tool of evil magic, and I still somehow my heart

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Speaker 3: breaks for him.

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Speaker 1: Yeah, this is this I imagine. I didn't see this film

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Speaker 1: when I was a kid. I don't know how I

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Speaker 1: avoided it because, as I've mentioned before, I watched Clash

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Speaker 1: of the Titans over and over on various turner stations.

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Speaker 1: It was just always on. So I'm kind of surprised

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Speaker 1: I'd never seen this one. My wife had seen this

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Speaker 1: one as a kid, but I never did. And it's

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Speaker 1: a shame because I mean, to a limited extent, it's

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Speaker 1: a shame because this was a great film to have

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Speaker 1: seen as a kid, because it is very much monsters

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Speaker 1: and stop motion effects. First, humans a distant second.

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Speaker 3: Certainly the main humans a distant second. Yeah. So while

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Speaker 3: I love so many things about this movie, one thing

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Speaker 3: I realized on coming back to it as an adult

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Speaker 3: is that this is an example of a type of

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Speaker 3: fantasy film that I think has not aged extremely well

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Speaker 3: in its portrayal of real life human cultures for a

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Speaker 3: couple of reasons. One thing is this is a Sinbad movie,

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Speaker 3: so it's based on the character of Sinbad the Sailor,

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Speaker 3: a hero who appears in later manuscripts of the Arabic

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Speaker 3: language folk tale collection one thousand and one Nights. Sinbad

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Speaker 3: is a brave and resourceful sailor from Baghdad who achieves

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Speaker 3: great fortune through his travels across the sea to foreign lands,

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Speaker 3: and he survives all these harrowing encounters along the way

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Speaker 3: and comes back with great stories to tell. From what

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Speaker 3: I can deduce this story, the story in Sinbad in

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Speaker 3: the Eye of the Tiger is not based on any

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Speaker 3: particular story appearing in the Sinbad hero cycle, and it

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Speaker 3: should not be taken as a faithful or authentic representation

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Speaker 3: of the Sinbad folklore.

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Speaker 1: Yeah. I think it was based entirely on sort of

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Speaker 1: the vibe of the past Sindbad films. Yeah, and also

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Speaker 1: what Ray Harry Housen wanted to do special effects wise,

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Speaker 1: he said he'd always wanted to do a smile it on,

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Speaker 1: you know, a saber tooth cat, and so it's in

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Speaker 1: the picture. I guess it was left to the screenwriter.

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Speaker 1: Oh and also Ray has a story credit on this,

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Speaker 1: so you know, I guess it was like, I want

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Speaker 1: to smile it on in the picture. Let's figure out

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Speaker 1: how to.

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Speaker 3: Make it work, rippling furry muscly beast of it. I

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Speaker 3: love the smile it on in here, but yeah, I

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Speaker 3: don't think you'll find that in any of the Sindbad

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Speaker 3: folklore or in the versions appearing in one thousand and

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Speaker 3: one Nights. Another thing I will say is that although

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Speaker 3: this movie is I think not as offensive as it

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Speaker 3: could have been in this manner, it is a movie

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Speaker 3: depicting a historical Middle Eastern culture that was made mostly

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Speaker 3: by Europeans and European Americans, and to me looking at

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Speaker 3: it now, this movie comes across as bringing some level

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Speaker 3: of ethnic caricature and some implicit orientalism. Orientalism meaning like

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Speaker 3: a view held by some people from Western cultures that

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Speaker 3: people of Eastern cultures are maybe less sophisticated, less refined,

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Speaker 3: maybe more treacherous and barbaric, and there I think there

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Speaker 3: are currents of that running through the story here. It

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Speaker 3: also probably goes without saying that the movie does not

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Speaker 3: seem very concerned with historical or cultural authenticity and like

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Speaker 3: trying to depict the environment of the Abbasid Empire in

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Speaker 3: the you know, in which this story is originally set

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Speaker 3: in the folklore version.

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Speaker 1: Yeah, yeah, We're pretty far removed from any any manner

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Speaker 1: of historic or literary reality here.

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Speaker 3: And I think this is one of the difficulties of

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Speaker 3: adapting fantasy that is more grounded in the real world.

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Speaker 3: Like the more you try to root a fantasy story

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Speaker 3: in real times and places, or to base it faithfully

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Speaker 3: on real literature. The more difficult of a job you have,

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Speaker 3: though I guess that makes me respect it even more

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Speaker 3: when it's done well. And you know, and I can

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Speaker 3: think about good fantasy films that are very rooted in

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Speaker 3: history and are informed by what we know now about

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Speaker 3: the culture of the time and stuff. So there are

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Speaker 3: good examples of that. But you know, when you set

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Speaker 3: out to do something like that historical in the real world,

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Speaker 3: it's just harder to do. So I would say, of course,

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Speaker 3: don't form your opinions about the Sinbad folklore or about

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Speaker 3: the historical culture and people of the opposite empire from

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Speaker 3: this movie.

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Speaker 1: Yeah, nor should you base much concerning you know, prehistoric

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Speaker 1: organisms either. There's nothing particularly accurate about this film.

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Speaker 3: But with all those caveats, I would like to speak

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Speaker 3: for this movie's great virtues. It is a robust, swashbuck

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Speaker 3: len adventure story set in an interesting and weird world.

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Speaker 3: It's got wonderful monster and creature effects like give me

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Speaker 3: all the minoton you got I wish. In fact, on

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Speaker 3: coming back and watching this as an adult, there was

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Speaker 3: less minoton than I remembered. The minoton looms larger in

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Speaker 3: my memory than it actually does in the story, and

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Speaker 3: so I almost wish I could could have had more

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Speaker 3: of it. But I guess that's a good thing to

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Speaker 3: feel after a story. After a story, it's better to

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Speaker 3: feel that you wish there had been more of something

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Speaker 3: than that there was too much and you got tired

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Speaker 3: of it. Yeah.

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Speaker 1: Yeah, they're strong comparison to be made here to Boba

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Speaker 1: Fett and Return of the Jedi. You know, we didn't

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Speaker 1: see as much of them as we wanted, and that

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Speaker 1: led everyone to just dream about what was possible and

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Speaker 1: to obsess over this minor character, and likewise the Menoton here.

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Speaker 1: I don't know. I also kind of feel like this

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Speaker 1: movie did the Minoton dirty, but it's also so memorable,

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Speaker 1: and I end up feeling for him so much, even

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Speaker 1: though he is discarded like a used tool.

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Speaker 3: I also, in different ways, enjoy a lot of the

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Speaker 3: acting in this movie. I'm going to say I don't

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Speaker 3: want to be mean, but I think our main actor

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Speaker 3: is in this particularly Patrick Wayne in the role of Sinbad,

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Speaker 3: has got to go on some kind of leaderboard of

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Speaker 3: big budget movie wooden performances. He is not spellbinding, but

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Speaker 3: he is very funny, But I genuinely do love some

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Speaker 3: of the character actor performances, and it particularly Patrick Trauton

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Speaker 3: as Melanthius, the Alchemist and the Wizard, you know that

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Speaker 3: the Greek sage. He's a lot of fun and there's

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Speaker 3: some good color like that in there. Another thing that

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Speaker 3: I thought was funny about Sindbad in the Eye of

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Speaker 3: the Tiger is that I never knew this before researching

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Speaker 3: before this episode. But it was released in the summer

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Speaker 3: of nineteen seventy seven, same season as a little movie

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Speaker 3: called Star Wars, so I think it was facing some competition.

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Speaker 1: Yeah, yeah, So this was the third Columbia Sindad film

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Speaker 1: with effects by Ray Harry Howsen, following up on nineteen

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Speaker 1: fifty eight, The Seventh Void of Sinbad in seventy three

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Speaker 1: is The Golden Voyage of Sindbad. The previous two films

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Speaker 1: had been hits, but yeah, as lovingly crafted as this

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Speaker 1: film is and as much as we love it now,

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Speaker 1: it surely looked pretty long in the tooth compared to

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Speaker 1: just the newness of Star Wars.

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Speaker 3: Yeah, and Rob, I think you'll know what I mean

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Speaker 3: about this. There are some weird mismatches in the level

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Speaker 3: of competence with the effects in the movie, like it

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Speaker 3: has some of the best stop motion effects ever done

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Speaker 3: in a lot of the monster scenes, but there are

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Speaker 3: other parts of it where little just like matt shots

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Speaker 3: and stuff feel very clunky and amateurish to me.

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Speaker 1: Yeah, there's some yeah, some matt shots and or some

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Speaker 1: day for Night. I don't know, there are a few

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Speaker 1: shots here. I couldn't tell if I was looking at

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Speaker 1: bad or I don't want to say bad but maybe

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Speaker 1: less effective matt work, or if I was looking at

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Speaker 1: less of effective day for night. But and I also

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Speaker 1: wasn't entirely sure how to view it, because, as I'll

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Speaker 1: discussed in a minute, I saw this on the big screen,

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Speaker 1: so I wasn't sure if I was looking. I mean,

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Speaker 1: the effects looked amazing, but I wasn't sure. Well, is

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Speaker 1: this the Is this a fully restored version of it?

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Speaker 1: I'm not sure, but yes, I definitely got a sense

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Speaker 1: of that mismatch in the visuals.

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Speaker 3: I mean, on my Blu ray A lot of the

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Speaker 3: scenes look great, but particularly the scenes set at night

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Speaker 3: just did not look right to me. They are too dark.

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Speaker 3: I can't tell who anybody is.

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Speaker 1: Yeah, they're very blue.

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Speaker 3: It's yeah, something's not working right there. But another thing

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Speaker 3: I wanted to talk about with I The Tiger is

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Speaker 3: a note on genre this Rewatching this movie got me

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Speaker 3: thinking about how Sindbad and the Eye of the Tiger

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Speaker 3: is kind of a paragon of the adventure genre. This

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Speaker 3: is the kind of classic film people are thinking about

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Speaker 3: when they use the word adventure for a movie genre.

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Speaker 3: And so I was thinking, why, what exactly is adventure

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Speaker 3: and especially what distinguishes adventure from similars like action. The

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Speaker 3: first idea I had about this was about travel. Adventure

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Speaker 3: stories seem to necessarily involve travel or a journey, whereas

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Speaker 3: action stories may or may not include travel and a journey.

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Speaker 3: But I think this is not good enough as a distinction,

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Speaker 3: Like it certainly doesn't capture the whole difference, because for example,

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Speaker 3: every James Bond movie, every Mission Impossible movie, those all

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Speaker 3: involve travel to interesting new locations. So like, making a

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Speaker 3: journey to an interesting new place doesn't make a movie

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Speaker 3: an adventure, And I'm never tempted to think about these

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Speaker 3: other movie series as adventure stories.

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Speaker 1: I think maybe part of it comes down to the

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Speaker 1: presumed or implied mastery over travel, you know, like a

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Speaker 1: modern film you've just been have characters just zipping around

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Speaker 1: the world, and it doesn't seem like it takes any

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Speaker 1: effort or even expense to do so. It's just you're

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Speaker 1: one place one second or another the next. Whereas if

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Speaker 1: a film either gives you, if a film gives you

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Speaker 1: something to go on, that implies like a more historical

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Speaker 1: difficulty in travel, or even maybe goes to the links

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Speaker 1: of just showing you how far the character is traveling.

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Speaker 1: I'm thinking of like the map sequences in Indiana Jones,

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Speaker 1: you know, you get more of that sense of globe

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Speaker 1: trotting adventure.

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Speaker 3: I think that's a really good observation. Yeah, something about

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Speaker 3: the difficulty of travel, the sense of going somewhere, going

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Speaker 3: somewhere new, or going somewhere dangerous or unique. That is

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Speaker 3: different than just like going to an airport somewhere, you know,

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Speaker 3: flying in. Another thing I was thinking about is that

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Speaker 3: adventure I think way more often includes fantasy or fantastical elements.

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Speaker 3: Of course it doesn't have to. There are totally realistic

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Speaker 3: adventure stories, and action can also have fantasy elements too,

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Speaker 3: Like there's a whole subgenre people call action fantasy. Big

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Speaker 3: example Larus Highlander, and so again that doesn't fully capture

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Speaker 3: the distinction, but that's kind of a tendency. Action I

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Speaker 3: think is more likely to have what feels like a

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Speaker 3: focus on physical conflict, fight scenes, and chase scenes. But

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Speaker 3: of course you will find these elements in most adventure

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Speaker 3: stories as well. The adventure movie we're talking about today

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Speaker 3: has lots of action scenes. They both of these genres

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Speaker 3: have thrills based on a sense of danger and risk.

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Speaker 3: But ultimately, I think the most important conclusion I came

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Speaker 3: to was that, unlike action, adventure necessarily involves a feeling

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Speaker 3: of discovery or amazement, which is tied up in the

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Speaker 3: central goal of the protagonists. So like in an action movie,

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Speaker 3: in the end, the thing you have to do is

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Speaker 3: beat the bad guy, and in an adventure movie, the

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Speaker 3: thing you have to do is uncover the great secret

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Speaker 3: or reach the hidden place. So they're like fundamentally sort

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Speaker 3: of amazement entangled goals.

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Speaker 1: Yeah, you may have a few fistfights on top of

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Speaker 1: some trains and so forth on the way there, but

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Speaker 1: but yeah, it's about that destination. It's about that great discovery.

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Speaker 3: Yeah, And so I think this is why a lot

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Speaker 3: of my favorite action oriented stories are more action adventure.

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Speaker 3: You know, I like stories about a quest to unveil

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Speaker 3: something hidden more than just stories about conflict with an adversary,

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Speaker 3: though there are plenty of great examples of the latter two. Yeah,

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Speaker 3: all right, did you have an elevator pitch for this?

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Speaker 1: I would say Sindbad's Voyage to Hyperborea Like that would

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Speaker 1: be a more accurate title, because Ie of the Tiger.

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Speaker 1: There's there are some cat eyes going on in the film,

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Speaker 1: but it's it's less overt. I don't know, And it

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Speaker 1: also doesn't fit the title the title style of the

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Speaker 1: previous two films.

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Speaker 3: It feels like Harry Housen's motivation to make a stop

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Speaker 3: motion Sabertooth Tiger is infecting the themes of the title.

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Speaker 1: Yeah, he had Eye of the Tiger. Yes, that's what

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Speaker 1: dictated everything else. Also I of the Walrus.

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Speaker 3: Wait, when when was Rocky? Did? Do we have Eye

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Speaker 3: of the Tiger? Did that only come with Rocky two?

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Speaker 3: I don't remember when was When was that song.

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Speaker 1: I Have the Tiger by Survivor? Yeah that was eighty two. Okay,

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Speaker 1: but maybe maybe you know, I'm not entirely sure. I've

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Speaker 1: never researched this. Maybe it has its roots in this film.

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Speaker 1: Why not, that's something to look up. Okay, should we

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Speaker 1: get some trailer audio. Yeah, let's listen to a little

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Speaker 1: bit of trailer audio.

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Speaker 4: Here, these eyes peer out through time, through space, to

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Speaker 4: the land beyond imagination.

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Speaker 3: These are the eyes of the Tiger.

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Speaker 4: Follow their gaze back.

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Speaker 5: Back to where legends first began, where fantasy is real

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Speaker 5: and the land of the lost is rediscovered. Journey across

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Speaker 5: the oceans of antiquity to the northern edge of the

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Speaker 5: ancient world. As Sinbad battles with both human commong you

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Speaker 5: what ese and supernatural even filmed in the Miracle of Dynorama.

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Speaker 5: Come face to face with the prehistoric trogue. See the

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Speaker 5: Sorceress bring life to the all powerful Minoton. See Sinbad

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Speaker 5: battle the saber Tooth Tiger. Reguardian of the Secret Shrine.

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Speaker 5: Join Sindbad, the greatest of all adventurers, in his biggest

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Speaker 5: adventure of all, Sinbad and the Eye of the Tiger.

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Speaker 1: All right, Well, you may be wondering at this point,

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Speaker 1: how can I watch Sindbad and the Eye of the Tiger. Well,

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Speaker 1: I mean, unless you have the same bootleg VHS that

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Speaker 1: Joe had in his child that you're gonna have to

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Speaker 1: find some other way to watch it. I had the

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Speaker 1: pleasure of seeing this one on the big screen at

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Speaker 1: Atlanta's Historic Plaza Theater as part of the Silver Scream

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Speaker 1: spook Show series. Look it up. Their next show is

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Speaker 1: going to be Frankenstein Meets the wolf Man on October third.

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Speaker 1: But there's also a great looking indicator Blu Ray that

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Speaker 1: has tons of extras that seems to be a great

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Speaker 1: physical media choice. It's region free as well. You can

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Speaker 1: also get this one as part of Ray Harryhausen The

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Speaker 1: Ultimate Collection, which also looks great. And there may be

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Speaker 1: other Harry Housend box sets out there as well.

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Speaker 3: Let me look and see what mine is. I watched

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Speaker 3: it on a four disc Blu Ray set called The

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Speaker 3: Fantastic Films of Ray Harry Housen, and this set comes

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Speaker 3: with Jason and the Argonauts, Golden Voyage of Sinbad, Seventh

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Speaker 3: Voyage of Sinbad, and this one.

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Speaker 1: That's a nice collection right here.

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Speaker 3: Yeah, we could come back and do Golden Voyage sometime

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Speaker 3: as well, because that one, I think is also a hit,

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Speaker 3: also has amazing monsters and has Tom Baker in it

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Speaker 3: as the villain.

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Speaker 1: Yes, Tom Baker, And that's what That's one that I

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Speaker 1: saw many years ago at a drive in movie theater

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Speaker 1: here in the Atlanta area. So it's been a long

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Speaker 1: time since I've seen it at this point, but I

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Speaker 1: remember it's a nice, sweaty movie. I think of it

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Speaker 1: as an outdoor viewing experience in the summer, totally. All right,

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Speaker 1: let's talk about the folks behind this picture. We'll start

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Speaker 1: with the director, Sam Wanamaker, who we mentioned earlier, lived

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Speaker 1: nineteen nineteen through nineteen ninety three, a veteran American actor

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Speaker 1: and director who spent most of his career in the

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Speaker 1: UK to avoid the blacklist in America during the nineteen fifties.

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Speaker 1: He had Broadway roots in the US and then played

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Speaker 1: an important role revitalizing the Globe Theater in London during

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Speaker 1: his time there. His TV and screen credits go back

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Speaker 1: to nineteen forty eight and include nineteen sixty five, The

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Speaker 1: Spy Who Came In from the Cold, nineteen seventy Eight's

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Speaker 1: Death on the Nile, nineteen eighty six is Raw Deal?

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Speaker 1: Oh Oh? Nineteen eighty seven Superman for the Quest for Peace.

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Speaker 3: Raw Deal. That's a Schwarzenegger film, isn't it.

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Speaker 6: Yeah?

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Speaker 1: I don't know if that's one I've seen, but that

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Speaker 1: I'm very familiar with the cover art for that one,

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Speaker 1: where it's like Schwarzenegger holding a shotgun.

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Speaker 3: Yeah, and the tagline is I think it is they

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Speaker 3: gave him a raw deal. No one gives him a

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Speaker 3: raw deal.

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Speaker 1: Wanta Maker's TV credits include a role on the original

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Speaker 1: Outer Limits, A feasibility study is the episode, and he

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Speaker 1: was also nominated for an Emmy Award for his performance

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Speaker 1: in the nineteen seventy eight Holocaust mini series. As a director,

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Speaker 1: he worked on various TV shows and directed such films

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Speaker 1: as nineteen seventies The Executioner, seventy one's cat Low, and Owen.

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Speaker 1: He is also father of British actress Zoey wanta Maker,

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Speaker 1: some of you might remember from the Harry Potter movies.

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Speaker 1: So I was reading a little bit about this. Apparently,

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Speaker 1: given his skills as both an actor and a director,

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Speaker 1: the studio brought him on expressly to perhaps pull a

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Speaker 1: good performance out of some of the maybe stiffer members

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Speaker 1: of the cast. Was he successful? Maybe not. But I

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Speaker 1: think also, as we'll discuss, maybe this just isn't the

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Speaker 1: sort of movie where you're gonna be able to do that,

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Speaker 1: Like you're kind of setting anybody up for a challenge

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Speaker 1: given some of the constraints involved here.

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Speaker 3: Yeah, and as I think I said earlier, I mean

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Speaker 3: Patrick Wayne's would in this achieves a kind of excellence

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Speaker 3: of its own.

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Speaker 1: Yeah. Yeah, Like at the end of the day, do

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Speaker 1: I want someone more convincing in the role? Well yes

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Speaker 1: in some ways, but in other ways absolutely not. Like

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Speaker 1: it was. He's given it is all and we'll talk

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Speaker 1: about him in a minute. But yeah, I enjoy his performance.

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Speaker 3: Yeah, me too.

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Speaker 1: Also worth noting, apparently, you know, you look at his

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Speaker 1: other films, he did not direct films like this. He

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Speaker 1: didn't direct big fantasy adventure films. He apparently took this

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Speaker 1: project on in a life in large part to help

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Speaker 1: finance his work with the Globe Theater. So you know,

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Speaker 1: even if the acting in this film is not always

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Speaker 1: top notch, well you know, maybe the end result is

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Speaker 1: the money involved here helped support some great theater in London.

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Speaker 1: All right, now, story credit, producer credit, and of course

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Speaker 1: creator of visual effects. We have the great Ray Harry Housen,

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Speaker 1: who we've talked about on the show before, because of

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Speaker 1: course we talked about Clash of the Titans, which was

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Speaker 1: the film that he did right after this one. Harry

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Speaker 1: Housen lived nineteen twenty through twenty thirteen. He was an

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Speaker 1: American British Oscar winning animator and special effects creator. Who

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Speaker 1: I mean, it's really hard to overstress his importance. He

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Speaker 1: just a major pioneer in the industry. So thinking for instance,

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Speaker 1: about Star Wars coming along and sort of pushing films

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Speaker 1: like this into the past and making films like this

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Speaker 1: seem increasingly old fashioned, like everyone involved in the special

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Speaker 1: effect and Star Wars was inevitably inspired by Ray Harry Housen,

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Speaker 1: like he is just he is a legend, and everything

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Speaker 1: that came after him, everything that kind of to varying degrees,

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Speaker 1: replaced the style of old fashioned stop motion that he

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Speaker 1: was bringing to the screen, Like they wouldn't exist without

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Speaker 1: his work.

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Speaker 3: And genuinely, Ray Harry Housen's stop motion work does not

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Speaker 3: look old and dated to me. I mean, it always

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Speaker 3: looks fresh and exciting in a way that a lot

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Speaker 3: of more cutting edge techniques don't hold up as well.

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Speaker 1: Right, Yeah, particularly like early CGI or even like really

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Speaker 1: cutting edge CGI. Because I think we've talked about before

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Speaker 1: a lot of it, as you can say this about

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Speaker 1: a lot of practical effects. But I think especially about

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Speaker 1: really well done stop motion is that you feel like

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Speaker 1: you can touch it. It has this tangible quality to it.

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Speaker 1: It really does come alive in the way that I mean.

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Speaker 1: It gets down down to the medium and art of

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Speaker 1: puppetry throughout human history, like the basic twin powers of

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Speaker 1: human artistry and imagination to make that which is lifeless

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Speaker 1: take on.

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Speaker 3: Life, beautifully said, and I agree, and again, when I'm

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Speaker 3: looking at stop motion effects, I'm also enjoying them for

434
00:24:11,440 --> 00:24:14,520
Speaker 3: more than just a desire that they look realistic. You know,

435
00:24:14,560 --> 00:24:16,800
Speaker 3: it's not just I want to believe this is a

436
00:24:16,840 --> 00:24:19,320
Speaker 3: real monster on the scene. I mean, stop motion to

437
00:24:19,359 --> 00:24:21,639
Speaker 3: me feels like an art form and I can appreciate

438
00:24:22,119 --> 00:24:26,320
Speaker 3: its own dimensions of aesthetic virtue. It is an art

439
00:24:26,400 --> 00:24:28,240
Speaker 3: unto itself, and it's beautiful in.

440
00:24:28,200 --> 00:24:32,040
Speaker 1: That way, absolutely, like you want to see the slight

441
00:24:32,119 --> 00:24:35,720
Speaker 1: flaws in it in the same way that you want

442
00:24:35,720 --> 00:24:37,440
Speaker 1: to see the puppeteer. You know, you don't have to

443
00:24:37,520 --> 00:24:40,120
Speaker 1: hide the puppeteer. With puppetry. A lot of the time

444
00:24:40,280 --> 00:24:43,600
Speaker 1: the puppeteer is visible, and it's just it's part of

445
00:24:43,640 --> 00:24:46,280
Speaker 1: the performance, and you know, you're going to suspend disbelief

446
00:24:46,560 --> 00:24:49,000
Speaker 1: and we're going to also see life and what has

447
00:24:49,040 --> 00:24:50,680
Speaker 1: been created theatrically for us.

448
00:24:50,760 --> 00:24:52,360
Speaker 3: Right in the same way that like, if I'm looking

449
00:24:52,400 --> 00:24:54,680
Speaker 3: at a great sculpture, I'm not bothered by the fact

450
00:24:54,720 --> 00:24:58,119
Speaker 3: that it's not indistinguishable from a living human being. Like

451
00:24:58,200 --> 00:25:00,280
Speaker 3: I'm enjoying it for what it looks like, as a

452
00:25:00,280 --> 00:25:03,040
Speaker 3: piece of marble or rock that has been made into

453
00:25:03,080 --> 00:25:05,040
Speaker 3: an image that is its own thing.

454
00:25:05,480 --> 00:25:09,440
Speaker 1: Absolutely So. I'm not gonna list all the different films

455
00:25:09,440 --> 00:25:11,359
Speaker 1: that Ray Harry Housen was involved in, but just to

456
00:25:11,640 --> 00:25:14,600
Speaker 1: mention a few, You've got films like Mighty Joe Young

457
00:25:14,680 --> 00:25:18,680
Speaker 1: from forty nine. You have twenty Million Miles to Earth

458
00:25:18,680 --> 00:25:22,440
Speaker 1: from fifty seven against seven, Voyage of Sindbad from fifty eight,

459
00:25:23,040 --> 00:25:26,199
Speaker 1: Mysterious Island from sixty one one million Years BC from

460
00:25:26,280 --> 00:25:28,159
Speaker 1: nineteen sixty six. I want to say that was a

461
00:25:28,200 --> 00:25:32,159
Speaker 1: hammer picture. It may be misremembering the Golden Voyage of

462
00:25:32,160 --> 00:25:35,159
Speaker 1: Sindbad from seventy three. The predecessor did this film, and

463
00:25:35,200 --> 00:25:37,520
Speaker 1: then Sinbad in the Eye of the Tiger from seventy seven,

464
00:25:37,600 --> 00:25:39,840
Speaker 1: and then eighty one's Clash of the Titans, which we

465
00:25:40,040 --> 00:25:43,440
Speaker 1: previously talked about in the show. That was his swan

466
00:25:43,560 --> 00:25:46,840
Speaker 1: song essentially, and that one features I think eight different

467
00:25:46,880 --> 00:25:50,800
Speaker 1: stop motion creatures. Tied with one million Years BC for

468
00:25:50,880 --> 00:25:53,320
Speaker 1: the most creatures in a Harry Housen film. I believe

469
00:25:53,760 --> 00:25:56,000
Speaker 1: today's selection is pretty close. There are a lot of

470
00:25:56,400 --> 00:25:57,520
Speaker 1: a lot of creatures in here.

471
00:25:57,800 --> 00:25:59,800
Speaker 3: Yeah, it didn't count them. Do you count the ghouls

472
00:25:59,800 --> 00:26:02,800
Speaker 3: as three creatures or is one? Because it's one sequence?

473
00:26:02,920 --> 00:26:06,840
Speaker 1: I think they're an act right, Okay, Yeah.

474
00:26:05,840 --> 00:26:09,640
Speaker 3: But I agree. I think just as for raw virtues.

475
00:26:09,680 --> 00:26:13,080
Speaker 3: As a film, this is not the best Ray Harryhausen

476
00:26:13,240 --> 00:26:15,359
Speaker 3: movie I've seen. I think I like Golden Voyage of

477
00:26:15,400 --> 00:26:18,600
Speaker 3: Sindbad better, and I might like I might ultimately like

478
00:26:18,640 --> 00:26:21,439
Speaker 3: Clash of the Titans better, but this is some of

479
00:26:21,480 --> 00:26:24,280
Speaker 3: the best stop motion work. Like the monsters in here

480
00:26:24,320 --> 00:26:26,960
Speaker 3: are on the top shelf with the other ones.

481
00:26:27,280 --> 00:26:29,280
Speaker 1: Yeah, and it's what you come to this film to see.

482
00:26:29,320 --> 00:26:31,920
Speaker 1: These creations are the stars of the film without a doubt.

483
00:26:32,560 --> 00:26:35,280
Speaker 1: All Right. The screenwriter on this picture was Beverly Cross.

484
00:26:35,600 --> 00:26:43,160
Speaker 1: That's the British Beverly, the masculine Beverly name Beverly Cross,

485
00:26:43,440 --> 00:26:46,160
Speaker 1: who lived nineteen thirty one through nineteen ninety eight, English

486
00:26:46,160 --> 00:26:52,240
Speaker 1: playwright and screenwriter, longtime husband of the actress Maggie Smith

487
00:26:52,760 --> 00:26:56,959
Speaker 1: till Beverly's death. His screenplays include nineteen sixty three's Jason

488
00:26:57,000 --> 00:27:00,280
Speaker 1: and the Argonauts, nineteen sixty five's Genghis Khan that we

489
00:27:00,440 --> 00:27:01,280
Speaker 1: started with Marshaif.

490
00:27:01,640 --> 00:27:03,280
Speaker 3: When I first saw that credit, by the way, I

491
00:27:03,359 --> 00:27:06,720
Speaker 3: was briefly terrified that this was the screenplay for the

492
00:27:06,720 --> 00:27:08,720
Speaker 3: movie where John Wayne plays Jingis Khan.

493
00:27:09,359 --> 00:27:13,920
Speaker 1: Thankfully not this one released ted O Marsharif and then

494
00:27:14,000 --> 00:27:16,760
Speaker 1: of course today's film, as well as Clash of the Titans.

495
00:27:16,920 --> 00:27:19,879
Speaker 1: So you know, we briefly mentioned Beverly Cross before in

496
00:27:19,880 --> 00:27:21,480
Speaker 1: our Clash of the Titans episode.

497
00:27:21,600 --> 00:27:25,159
Speaker 3: Okay, but no, the I think the John Wayne Jingis

498
00:27:25,240 --> 00:27:28,119
Speaker 3: Khan movie was The Conqueror, which I've never seen but

499
00:27:28,280 --> 00:27:31,359
Speaker 3: have heard it is one of the most ludicrous films

500
00:27:31,400 --> 00:27:31,840
Speaker 3: ever made.

501
00:27:32,040 --> 00:27:36,600
Speaker 1: Yeah, some notorious miscasting there, all right, Well, since we're

502
00:27:36,640 --> 00:27:39,360
Speaker 1: talking about the Duke, Yeah, let's talk about the son

503
00:27:39,400 --> 00:27:42,639
Speaker 1: of the Duke, Patrick Wayne, who plays sind Dad in

504
00:27:42,640 --> 00:27:47,280
Speaker 1: this picture. Born nineteen thirty nine. It is indeed the

505
00:27:47,320 --> 00:27:54,320
Speaker 1: son of John Wayne, the legendary American Western actor here

506
00:27:54,359 --> 00:27:57,480
Speaker 1: playing the Middle Eastern Mariner from Arabic literature.

507
00:27:57,960 --> 00:28:00,800
Speaker 3: This casting choice one of the elements I too earlier

508
00:28:00,840 --> 00:28:02,440
Speaker 3: that has not aged well.

509
00:28:02,520 --> 00:28:04,880
Speaker 1: Right. This would not be the last time, by far

510
00:28:05,280 --> 00:28:09,719
Speaker 1: that a white actor would play a Middle Eastern character,

511
00:28:10,119 --> 00:28:12,320
Speaker 1: but I think you'd be hard pressed to find a

512
00:28:12,359 --> 00:28:17,760
Speaker 1: wider actor portraying such a character in a film. It's

513
00:28:17,800 --> 00:28:21,800
Speaker 1: just such a mismatch. Wayne's screen credits here go back

514
00:28:21,840 --> 00:28:24,320
Speaker 1: to I believe nineteen fifty when he started doing kid

515
00:28:24,320 --> 00:28:28,240
Speaker 1: cameos in his father's pictures, which eventually led to larger

516
00:28:28,320 --> 00:28:31,320
Speaker 1: roles in these productions, including nineteen fifty eights The Searchers,

517
00:28:31,920 --> 00:28:35,200
Speaker 1: for which he won a Golden Globe for Most Promising Newcomer.

518
00:28:35,640 --> 00:28:38,600
Speaker 1: His first starring role came with nineteen fifty nine's The

519
00:28:38,640 --> 00:28:41,880
Speaker 1: Young Land That One co starred Dennis Hopper and Dan O'Hurley,

520
00:28:42,960 --> 00:28:45,560
Speaker 1: and yet, needless to say, I should come as a

521
00:28:45,560 --> 00:28:50,320
Speaker 1: shock to nobody Patrick Wayne mostly worked in westerns. His

522
00:28:50,400 --> 00:28:53,720
Speaker 1: filmography is mostly Westerns, following the footsteps of his dad,

523
00:28:54,160 --> 00:28:56,440
Speaker 1: but in the nineteen seventies he did branch out more

524
00:28:56,720 --> 00:29:00,440
Speaker 1: and appeared in a trio of sci fi films. There's

525
00:29:00,560 --> 00:29:05,520
Speaker 1: nineteen seventy threes Beyond Atlantis, which is just stupendous. It is,

526
00:29:05,720 --> 00:29:10,600
Speaker 1: It's an outrageous movie. Co stars Sid Hague. Definitely check

527
00:29:10,640 --> 00:29:13,560
Speaker 1: that one out if you haven't. There's this film, and

528
00:29:13,600 --> 00:29:15,840
Speaker 1: there's also nineteen seventy seven's The People at the Time

529
00:29:15,920 --> 00:29:18,080
Speaker 1: Forgot co starring Doug McClure.

530
00:29:18,200 --> 00:29:19,959
Speaker 3: I haven't seen either of those other ones. I kind

531
00:29:20,000 --> 00:29:23,320
Speaker 3: of feel a calling to I wonder, is I think

532
00:29:23,360 --> 00:29:26,360
Speaker 3: this is the only Patrick Wayne movie I've seen? Is

533
00:29:26,880 --> 00:29:28,520
Speaker 3: he always like he is here?

534
00:29:30,240 --> 00:29:35,040
Speaker 1: You know? Well, I guess so, so I barely remember

535
00:29:35,080 --> 00:29:37,240
Speaker 1: him at all from Beyond Atlantis. I was a little

536
00:29:37,240 --> 00:29:38,960
Speaker 1: shocked that he was in it. But he's like the star,

537
00:29:39,280 --> 00:29:42,880
Speaker 1: so he's ok. I mainly remembered said, hey, getting munched

538
00:29:42,920 --> 00:29:47,680
Speaker 1: on by crabs, Oh okay. But it seems like he

539
00:29:47,720 --> 00:29:49,960
Speaker 1: probably has a good co star and Doug McClure from

540
00:29:50,120 --> 00:29:51,719
Speaker 1: the People at the Time, for God, haven't seen that

541
00:29:51,760 --> 00:29:54,440
Speaker 1: one yet. That things that I've never seen any of

542
00:29:54,440 --> 00:29:57,440
Speaker 1: his westerns. I'm I'm gonna give him the benefit of

543
00:29:57,480 --> 00:29:59,280
Speaker 1: the doubt and say that maybe he's more at home

544
00:29:59,320 --> 00:30:01,520
Speaker 1: in a Western, you know, maybe he fits there better.

545
00:30:02,040 --> 00:30:04,240
Speaker 3: I mean, if this makes any sense, even though he's

546
00:30:04,360 --> 00:30:08,640
Speaker 3: very wooden in the role of Sindbad, he does feel comfortable.

547
00:30:08,720 --> 00:30:11,280
Speaker 3: It doesn't feel like there's anything like really like catching

548
00:30:11,400 --> 00:30:15,040
Speaker 3: or twanging or sticking out at you. Instead, it's just

549
00:30:15,120 --> 00:30:21,160
Speaker 3: these very stiff, kind of uninflected line deliveries and just

550
00:30:21,280 --> 00:30:25,840
Speaker 3: general beef slab energy. It's he's it doesn't feel like

551
00:30:25,840 --> 00:30:28,840
Speaker 3: he's doing a lot of acting, if that makes any sense.

552
00:30:28,840 --> 00:30:30,320
Speaker 3: He's just sort of a presence.

553
00:30:30,800 --> 00:30:33,960
Speaker 1: Yeah, yeah, I mean it's I don't know, there's there's

554
00:30:33,960 --> 00:30:36,480
Speaker 1: a hamminess to it. Yeah, and there's a there are

555
00:30:36,480 --> 00:30:39,440
Speaker 1: plenty of moments where I kind of giggled or laughed,

556
00:30:39,480 --> 00:30:42,680
Speaker 1: you know. It's just as it's it's fun if you

557
00:30:42,840 --> 00:30:46,280
Speaker 1: like these kind of performances. But yeah, but yeah, I mean,

558
00:30:46,320 --> 00:30:47,720
Speaker 1: on the other hand, there are a lot of other

559
00:30:47,840 --> 00:30:50,920
Speaker 1: great actors that I would not even begin to cast

560
00:30:50,920 --> 00:30:54,200
Speaker 1: as Sindbad the Sailor. Like, I mean, Harry ding Stanton

561
00:30:54,360 --> 00:30:56,960
Speaker 1: is great, but can you imagine harryding Stanton playing Sinbad.

562
00:30:57,160 --> 00:30:58,320
Speaker 1: I can't really.

563
00:30:58,400 --> 00:30:59,360
Speaker 3: Wouldn't do that either.

564
00:30:59,440 --> 00:30:59,640
Speaker 5: Yeah.

565
00:30:59,680 --> 00:31:02,440
Speaker 1: Yeah, And it's also worth noting that Wayne he had

566
00:31:02,440 --> 00:31:05,560
Speaker 1: pretty big boots to fill here because John Philip Law

567
00:31:05,640 --> 00:31:08,640
Speaker 1: played Sinbad in the previous film, you know, seventy three

568
00:31:08,680 --> 00:31:11,520
Speaker 1: is the Golden Voyage of Sinbad and John Philip Law,

569
00:31:11,560 --> 00:31:15,360
Speaker 1: of course, was also an American non Arabic actor, but

570
00:31:16,000 --> 00:31:19,880
Speaker 1: much more established, I think, in many ways, more experienced

571
00:31:19,880 --> 00:31:23,160
Speaker 1: at least with like different sorts of genre films anyway,

572
00:31:23,600 --> 00:31:26,480
Speaker 1: and arguably a more charismatic performer.

573
00:31:27,560 --> 00:31:31,040
Speaker 3: Not trying to beat up on Patrick Wayne, but yeah, yeah,

574
00:31:31,080 --> 00:31:32,240
Speaker 3: I agree.

575
00:31:32,080 --> 00:31:34,960
Speaker 1: All right. Moving on to Sinbad's love interest, we have

576
00:31:35,000 --> 00:31:36,000
Speaker 1: this character.

577
00:31:36,000 --> 00:31:39,680
Speaker 3: Farah, princess they call they pronounce her name different ways

578
00:31:39,720 --> 00:31:42,680
Speaker 3: throughout the movie. Some characters call her Farah, some call

579
00:31:42,720 --> 00:31:47,800
Speaker 3: her Farrah, but she's Princess Farah or Farrah far Ah.

580
00:31:47,880 --> 00:31:50,240
Speaker 3: This is the character played by Jane Seymour.

581
00:31:50,280 --> 00:31:53,800
Speaker 1: Yes born nineteen fifty one, British actress, probably best known

582
00:31:53,800 --> 00:31:56,480
Speaker 1: for her roles first of all, in the James Bond

583
00:31:56,480 --> 00:31:59,920
Speaker 1: film Live and Let Die from seventy three. For the

584
00:32:00,160 --> 00:32:01,920
Speaker 1: of you don't remember it, This is the sort of

585
00:32:01,960 --> 00:32:09,080
Speaker 1: blaxploitation inspired Bond film which featured Yafit Coto Harrding Stanton's

586
00:32:09,880 --> 00:32:15,520
Speaker 1: co star from Alien as the villain doctor Kanaga Kananga.

587
00:32:15,600 --> 00:32:18,880
Speaker 1: I'm sorry, Kananga, been a while since I've seen this one. Also,

588
00:32:18,960 --> 00:32:22,080
Speaker 1: of course it had an amazing theme song as well,

589
00:32:22,320 --> 00:32:25,120
Speaker 1: Livin Let Dyings. Yeah, yeah, that's gotta be one of

590
00:32:25,120 --> 00:32:26,000
Speaker 1: my tops right there.

591
00:32:27,560 --> 00:32:29,240
Speaker 3: You mean, as far as Bond songs go, as.

592
00:32:29,200 --> 00:32:31,160
Speaker 1: Long as yeah, as far as Bond songs go, I

593
00:32:31,160 --> 00:32:33,480
Speaker 1: would put that up with you know, Duran, Duran's of

594
00:32:33,520 --> 00:32:34,200
Speaker 1: view to a Kill.

595
00:32:34,560 --> 00:32:37,400
Speaker 3: Yeah yeah. Livin Let Die was the first Roger Moore

596
00:32:37,520 --> 00:32:38,560
Speaker 3: James Bond movie.

597
00:32:38,640 --> 00:32:40,920
Speaker 1: I need to receive it. I feel like it's a

598
00:32:40,920 --> 00:32:45,000
Speaker 1: weird one. It is. But Jane Seymour is also known

599
00:32:45,040 --> 00:32:47,240
Speaker 1: to many of you for her role on her title

600
00:32:47,320 --> 00:32:50,000
Speaker 1: role on the TV series Doctor Quinn Medicine Woman from

601
00:32:50,080 --> 00:32:53,000
Speaker 1: nineteen ninety three through nineteen ninety eight. Other genre credits

602
00:32:53,040 --> 00:32:56,760
Speaker 1: include nineteen seventy three's Frankenstein The True Story and nineteen

603
00:32:56,800 --> 00:32:59,520
Speaker 1: eighty three is The Phantom of the Opera, among many others.

604
00:32:59,800 --> 00:33:03,600
Speaker 1: She was also a Broadway actress, having performed in Amadeus

605
00:33:03,680 --> 00:33:06,880
Speaker 1: during its original Broadway run from nineteen eighty through nineteen

606
00:33:06,920 --> 00:33:07,360
Speaker 1: eighty three.

607
00:33:07,920 --> 00:33:10,680
Speaker 3: I'm gonna say, as with Patrick Quayne, I'm not trying

608
00:33:10,680 --> 00:33:13,560
Speaker 3: to beat up on anybody here, but Jane Seymour is

609
00:33:13,600 --> 00:33:16,960
Speaker 3: not spellbinding in this role. She's kind of she feels

610
00:33:16,960 --> 00:33:18,640
Speaker 3: like she's kind of just wandering through it.

611
00:33:19,320 --> 00:33:22,920
Speaker 1: Yeah, and you know, I granted they brought a director

612
00:33:22,960 --> 00:33:26,239
Speaker 1: on to, you know, to help the human actors, but

613
00:33:26,720 --> 00:33:29,080
Speaker 1: it's hard to deny that a film like this was

614
00:33:29,120 --> 00:33:33,160
Speaker 1: not created with the human actors in mind. So, unless

615
00:33:33,200 --> 00:33:36,640
Speaker 1: you're a stop motion effect or a villain or an

616
00:33:36,640 --> 00:33:40,160
Speaker 1: interesting side character, I don't know, you're kind of facing

617
00:33:40,160 --> 00:33:42,240
Speaker 1: an uphill battle, I think in a picture like this.

618
00:33:42,680 --> 00:33:47,240
Speaker 3: Yes, and sometimes sometimes Jane Seymour's most awkward moments are

619
00:33:47,240 --> 00:33:49,720
Speaker 3: not even her fault. There's one part I want to

620
00:33:49,720 --> 00:33:53,480
Speaker 3: talk about later where she something scary happens and she screams,

621
00:33:53,960 --> 00:33:56,960
Speaker 3: and they sample her scream twice in a row, like,

622
00:33:57,000 --> 00:33:59,720
Speaker 3: they play her scream and then they cut to silence,

623
00:33:59,760 --> 00:34:02,040
Speaker 3: and then they play the exact same scream again. So

624
00:34:02,080 --> 00:34:05,000
Speaker 3: that was not her choice to scream twice the same way.

625
00:34:05,880 --> 00:34:08,120
Speaker 3: The reason it's funny is an editing choice. I don't

626
00:34:08,160 --> 00:34:11,239
Speaker 3: know why they did that, but I'm kind of glad

627
00:34:11,239 --> 00:34:11,920
Speaker 3: it's left in.

628
00:34:12,000 --> 00:34:22,080
Speaker 6: I mean, it's good, all right.

629
00:34:22,160 --> 00:34:26,000
Speaker 1: Up next, we have another character by the name of Diany.

630
00:34:26,560 --> 00:34:30,279
Speaker 1: She is the daughter of the wizard inventor. We'll get

631
00:34:30,280 --> 00:34:34,080
Speaker 1: to him in a second Melanthius and She is played

632
00:34:34,080 --> 00:34:37,680
Speaker 1: by Tarran Power, who lived nineteen fifty three through twenty twenty.

633
00:34:38,120 --> 00:34:42,360
Speaker 1: Actress and daughter of American actor Tyrone Power and Mexican

634
00:34:42,440 --> 00:34:46,960
Speaker 1: actress Linda Christian. Her acting career was not extensive. It

635
00:34:47,200 --> 00:34:50,240
Speaker 1: encompassed a string of credits, mostly from the nineteen seventies,

636
00:34:50,520 --> 00:34:53,560
Speaker 1: but they included a major role in nineteen seventy six

637
00:34:53,719 --> 00:34:57,440
Speaker 1: tracks This starred Dennis Hopper, and a supporting role in

638
00:34:57,480 --> 00:35:00,480
Speaker 1: the nineteen seventy five TV adaptation of The Countermine Christo.

639
00:35:01,239 --> 00:35:03,920
Speaker 3: This is kind of a strange character. I think Tarin

640
00:35:03,960 --> 00:35:06,319
Speaker 3: Power does pretty well with this role, but it's a

641
00:35:06,320 --> 00:35:09,640
Speaker 3: weird character because they kind of introduce things about her

642
00:35:09,840 --> 00:35:13,840
Speaker 3: that then these plot threads are not paid off on later, Like, Yeah,

643
00:35:13,880 --> 00:35:17,799
Speaker 3: the fact that she's telepathic that doesn't go anywhere, or

644
00:35:17,960 --> 00:35:20,280
Speaker 3: the fact that she's falling in love with the baboon

645
00:35:20,320 --> 00:35:24,040
Speaker 3: prince is only briefly. You only get the briefest little

646
00:35:24,120 --> 00:35:28,160
Speaker 3: like glimpse that that might be going somewhere at the end. Yeah.

647
00:35:28,239 --> 00:35:31,080
Speaker 1: Yeah, When they first introduced the telepathy, I'm like, oh wow,

648
00:35:31,160 --> 00:35:34,360
Speaker 1: this is nice and weird. We're getting into some strange

649
00:35:34,440 --> 00:35:37,200
Speaker 1: territory here, but they're not really as much, not really

650
00:35:37,280 --> 00:35:38,080
Speaker 1: much as made of it.

651
00:35:38,120 --> 00:35:40,200
Speaker 3: Does it ever come up again? After that scene?

652
00:35:40,680 --> 00:35:44,600
Speaker 1: There may be one other scene of telepathy, but yeah,

653
00:35:44,640 --> 00:35:47,520
Speaker 1: for the most part, it's not a major plot point.

654
00:35:48,280 --> 00:35:50,840
Speaker 1: All right, Well, let's get to our central villain in

655
00:35:50,880 --> 00:35:56,520
Speaker 1: this picture. It is Zenobia, the Sorceress, the Witch, played

656
00:35:56,520 --> 00:36:00,280
Speaker 1: by Margaret whitting who lived nineteen thirty three through twenty

657
00:36:00,360 --> 00:36:04,399
Speaker 1: twenty three, the British actress of stage, screen and TV, who, yeah,

658
00:36:04,440 --> 00:36:07,239
Speaker 1: really gets to witch it up big time here. It's

659
00:36:07,280 --> 00:36:10,840
Speaker 1: a I think it gets a completely over the top performance,

660
00:36:10,880 --> 00:36:13,520
Speaker 1: which is not a bad thing in a movie like this.

661
00:36:14,560 --> 00:36:18,360
Speaker 1: You are, you know, competing with and acting alongside stop

662
00:36:18,400 --> 00:36:21,120
Speaker 1: motion effects, and you need to be an effect, a

663
00:36:21,120 --> 00:36:23,919
Speaker 1: special effect in your own right. And I believe that's

664
00:36:23,960 --> 00:36:26,360
Speaker 1: what she brings to the performance of Zenobia.

665
00:36:26,520 --> 00:36:28,720
Speaker 3: You're correct, she does not hold back at all.

666
00:36:30,600 --> 00:36:33,600
Speaker 1: She worked mostly in British television, and her credits include

667
00:36:33,840 --> 00:36:37,360
Speaker 1: Artemis eighty one, which caught my eye. I have not

668
00:36:37,480 --> 00:36:40,080
Speaker 1: seen this, but as apparently a weird British television play

669
00:36:40,120 --> 00:36:46,399
Speaker 1: which also features Danil Harley Sting and Daniel day Lewis. Well,

670
00:36:46,480 --> 00:36:48,560
Speaker 1: we'll have more to say about this performance when we

671
00:36:48,600 --> 00:36:51,239
Speaker 1: get into the character and the plot, because this is

672
00:36:51,239 --> 00:36:55,120
Speaker 1: a pretty this is a pretty wild villain character and

673
00:36:55,160 --> 00:36:57,239
Speaker 1: also one that I don't know. There's a lot of

674
00:36:57,280 --> 00:37:00,520
Speaker 1: bumbling here from our magic users, yes, which will be

675
00:37:00,520 --> 00:37:01,400
Speaker 1: fun to talk about.

676
00:37:01,560 --> 00:37:05,160
Speaker 3: From her and Malanthias. It's like our two smartest characters,

677
00:37:05,200 --> 00:37:07,359
Speaker 3: the ones who were supposed to be outsmarting everybody else,

678
00:37:07,440 --> 00:37:09,200
Speaker 3: make these really dumb mistakes.

679
00:37:09,440 --> 00:37:12,279
Speaker 1: Yes, sometimes right on top of each other, like one

680
00:37:12,360 --> 00:37:15,120
Speaker 1: is like, ah, you messed up, Now allow me to

681
00:37:15,239 --> 00:37:17,520
Speaker 1: roll the natural one and they just do it back

682
00:37:17,560 --> 00:37:18,040
Speaker 1: and forth.

683
00:37:18,520 --> 00:37:20,440
Speaker 3: That's a good metaphor. Yeah, well, wait, so let's talk

684
00:37:20,440 --> 00:37:23,120
Speaker 3: about Malanthias also rolling ones right back at her.

685
00:37:23,640 --> 00:37:27,200
Speaker 1: That's right. Played by Patrick Throutin who lived nineteen twenty

686
00:37:27,200 --> 00:37:32,360
Speaker 1: through nineteen eighty seven, British actor, best remembered by a

687
00:37:32,440 --> 00:37:35,360
Speaker 1: lot of you as the second incarnation of the Doctor

688
00:37:35,480 --> 00:37:38,560
Speaker 1: on Doctor Who. So they you know, they followed up

689
00:37:38,600 --> 00:37:42,080
Speaker 1: on the previous picture by casting a previous Doctor Who

690
00:37:42,440 --> 00:37:45,239
Speaker 1: in the movie. He was the second incarnation of the

691
00:37:45,239 --> 00:37:48,319
Speaker 1: Doctor from nineteen sixty six through sixty nine, but then

692
00:37:48,520 --> 00:37:52,719
Speaker 1: he would reprise this a few times later in subsequent decades.

693
00:37:53,239 --> 00:37:56,480
Speaker 1: He was a fairly highly regarded actor whose mini credits

694
00:37:57,120 --> 00:38:00,560
Speaker 1: include a delightful mix of Shakespearean drama and horror films,

695
00:38:00,960 --> 00:38:05,760
Speaker 1: particularly Hammer horror. So his credits generally supporting roles include

696
00:38:06,320 --> 00:38:09,600
Speaker 1: nineteen fifty five's Richard the Third That One starred Lawrence Olivier,

697
00:38:09,960 --> 00:38:13,120
Speaker 1: nineteen sixty two's The Phantom of the Opera starring Herbert Lohm,

698
00:38:13,600 --> 00:38:17,840
Speaker 1: sixty four is The Gorgon, nineteen seventies, The Scars of Dracula,

699
00:38:18,120 --> 00:38:20,920
Speaker 1: nineteen seventy fours Frankenstein and The Monster from Hell, and

700
00:38:21,080 --> 00:38:23,960
Speaker 1: nineteen seventy six is The Omen, in which he played

701
00:38:24,040 --> 00:38:26,720
Speaker 1: Father Brennan, who has a very memorable death.

702
00:38:26,960 --> 00:38:29,880
Speaker 3: Oh is he the guy who gets the stake during

703
00:38:29,880 --> 00:38:30,400
Speaker 3: the storm?

704
00:38:30,560 --> 00:38:32,880
Speaker 1: Yeah? It's like, what, like a lightning rod or something

705
00:38:33,000 --> 00:38:35,640
Speaker 1: falls off the top of a cathedral and like skewers

706
00:38:35,719 --> 00:38:36,759
Speaker 1: him standing up in the.

707
00:38:36,760 --> 00:38:40,279
Speaker 3: Okay, I didn't realize that was the same guy. I

708
00:38:40,680 --> 00:38:43,719
Speaker 3: really love Patrick Troughton as Melanthias. This is one of

709
00:38:43,760 --> 00:38:47,000
Speaker 3: the most fun performances in the film. He's a nice

710
00:38:47,120 --> 00:38:51,120
Speaker 3: combination of krusty and jovial.

711
00:38:51,200 --> 00:38:55,680
Speaker 1: Yes and certainly bumbling. The character's a great bumbling vibe.

712
00:38:56,280 --> 00:39:00,560
Speaker 1: Tremendous fun chewing it up there on the screen. He

713
00:39:00,800 --> 00:39:05,400
Speaker 1: is a previous doctor on Doctor Who. I checked in

714
00:39:05,440 --> 00:39:07,560
Speaker 1: with my uncle in law, who is a longtime Doctor

715
00:39:07,600 --> 00:39:09,880
Speaker 1: Who fan, for his thoughts, and he said this was

716
00:39:09,920 --> 00:39:13,160
Speaker 1: his favorite Patrick throat the movie and that his favorite

717
00:39:13,200 --> 00:39:18,400
Speaker 1: Doctor Who episode involved this plot where where he's playing

718
00:39:18,600 --> 00:39:23,360
Speaker 1: both the Doctor and a character known as Salamander. The

719
00:39:23,520 --> 00:39:26,279
Speaker 1: episode is apparently titled The Enemy of the World, in

720
00:39:26,320 --> 00:39:29,799
Speaker 1: which quote the Doctor impersonates Salamander to spy on him,

721
00:39:30,000 --> 00:39:33,799
Speaker 1: and Salamander impersonates the Doctor to steal the tartists. This

722
00:39:33,880 --> 00:39:38,000
Speaker 1: is apparently like a dual role situation. I haven't seen it,

723
00:39:38,000 --> 00:39:40,200
Speaker 1: so I can't comment too much on it, but I

724
00:39:40,239 --> 00:39:43,200
Speaker 1: think the idea is that Salamander just happens to look

725
00:39:43,360 --> 00:39:47,120
Speaker 1: like the Doctor and then that enables them to swap

726
00:39:47,120 --> 00:39:49,440
Speaker 1: places with each other. But I can imagine how that

727
00:39:49,480 --> 00:39:50,799
Speaker 1: would be a lot of fun, you know, from an

728
00:39:50,840 --> 00:39:52,480
Speaker 1: acting standpoint, and then as.

729
00:39:52,320 --> 00:39:54,920
Speaker 3: A viewer that I'm sure doing it that way saves

730
00:39:54,920 --> 00:39:55,800
Speaker 3: on the makeup budget.

731
00:39:56,080 --> 00:40:00,360
Speaker 1: Yeah, all right. Up, Next, we have Nudem Sowala playing

732
00:40:00,400 --> 00:40:05,319
Speaker 1: Hassan born nineteen thirty three, Jordanian British actor who also

733
00:40:05,360 --> 00:40:07,920
Speaker 1: appeared in such films as nineteen seventy four as Vampira,

734
00:40:08,160 --> 00:40:10,879
Speaker 1: seventy five is The Wind and the Lion, and also

735
00:40:10,960 --> 00:40:13,240
Speaker 1: Return of the Pink Panther from the same year seventy

736
00:40:13,239 --> 00:40:15,920
Speaker 1: sevens The Spy Who Loved Me nineteen eighty five's Young

737
00:40:15,960 --> 00:40:18,520
Speaker 1: Sherlock Holmes nineteen eighty seven is The Living Daylight. So

738
00:40:18,600 --> 00:40:20,920
Speaker 1: that's two Bond films, and then later on he was

739
00:40:20,960 --> 00:40:23,320
Speaker 1: in such pictures as two thousand and five Syriana.

740
00:40:23,760 --> 00:40:27,120
Speaker 3: So this guy is I would say Sinbad's main like

741
00:40:27,280 --> 00:40:29,600
Speaker 3: lieutenant sort of on his boat. Maybe. I don't know

742
00:40:29,640 --> 00:40:31,960
Speaker 3: if they actually ever announced their offices, so I don't

743
00:40:32,000 --> 00:40:34,000
Speaker 3: think they say he's first made or anything. But he's

744
00:40:34,080 --> 00:40:36,440
Speaker 3: like one of the crew members we see most often

745
00:40:36,480 --> 00:40:39,759
Speaker 3: doing things along with Maroof, and all of the crew

746
00:40:39,800 --> 00:40:42,680
Speaker 3: members are sort of buffoonish in this movie. They're sort

747
00:40:42,719 --> 00:40:46,200
Speaker 3: of like Bottoms Gang in Midsommer Night's stream. You know,

748
00:40:46,840 --> 00:40:49,800
Speaker 3: they are often there for comedy. But I like Nadim

749
00:40:49,880 --> 00:40:53,560
Speaker 3: Siwala in his scenes and he, you know, he leans

750
00:40:53,560 --> 00:40:55,360
Speaker 3: into the buffoonery in a pleasant way.

751
00:40:55,760 --> 00:40:58,400
Speaker 1: Yeah. Yeah, It's a fun supporting role that, along with

752
00:40:58,440 --> 00:41:01,600
Speaker 1: the character of Marouf, brings some much needed but not

753
00:41:01,840 --> 00:41:05,080
Speaker 1: nearly enough diversity to a very whitewashed film, And clearly

754
00:41:05,120 --> 00:41:08,239
Speaker 1: he's a charismatic actor. You want to see more from him.

755
00:41:08,239 --> 00:41:11,480
Speaker 1: But you know, given what little he's allowed to do

756
00:41:11,560 --> 00:41:13,560
Speaker 1: in the picture, he still does a great job. Now

757
00:41:13,600 --> 00:41:17,439
Speaker 1: turning to Maroof. Maroof was played by Salami Cocher, who

758
00:41:17,480 --> 00:41:22,080
Speaker 1: lived nineteen forty five through nineteen ninety two. Again small

759
00:41:22,120 --> 00:41:26,480
Speaker 1: supporting role, but memorable screen presence a lot of the time. Yeah,

760
00:41:26,680 --> 00:41:30,200
Speaker 1: where like Patrick Wayne is in the forefront, but we're

761
00:41:30,239 --> 00:41:32,279
Speaker 1: really more interested in, well, what are a Hassan and

762
00:41:32,360 --> 00:41:36,920
Speaker 1: Maroof doing? Would love to see more of their antics.

763
00:41:37,280 --> 00:41:40,319
Speaker 1: Coker was a Sierra Leone born actor who trained in

764
00:41:40,360 --> 00:41:42,719
Speaker 1: the UK and was part of the cast for a

765
00:41:42,800 --> 00:41:46,960
Speaker 1: nineteen seventy two production of Macbeth titled The Black Macbeth

766
00:41:47,239 --> 00:41:50,600
Speaker 1: at the Roundhouse Theater. I looked up some information on this.

767
00:41:50,680 --> 00:41:53,239
Speaker 1: He played that production's version of McDuff.

768
00:41:53,560 --> 00:41:54,320
Speaker 3: Oh okay.

769
00:41:54,760 --> 00:41:57,440
Speaker 1: He also wrote and directed plays and appeared in the

770
00:41:57,440 --> 00:42:01,600
Speaker 1: TV series Born Free in nineteen seventy four. He died

771
00:42:01,680 --> 00:42:06,000
Speaker 1: during the Sierra Leonian Civil War. All Right, this movie

772
00:42:06,600 --> 00:42:09,280
Speaker 1: is a lot of the plot centers around the character

773
00:42:09,400 --> 00:42:13,480
Speaker 1: of Castine, who, in his human form is played by

774
00:42:13,560 --> 00:42:17,200
Speaker 1: Damian Thomas, who lived nineteen forty two through twenty twenty five.

775
00:42:17,480 --> 00:42:21,960
Speaker 3: Oh my god, it's Count Carnstein. We've talked about I'm

776
00:42:21,960 --> 00:42:24,200
Speaker 3: sure he's come up on Weird House before, but I know, Rob,

777
00:42:24,200 --> 00:42:26,360
Speaker 3: you and I have talked about him off Mike because

778
00:42:26,920 --> 00:42:30,640
Speaker 3: he's in these hammer horror movies like Twins of Evil

779
00:42:31,080 --> 00:42:34,839
Speaker 3: where he's playing this recurring character of the vampire Count Carnstein.

780
00:42:35,239 --> 00:42:37,919
Speaker 3: And there's a great scene in Twins of Evil where

781
00:42:37,920 --> 00:42:41,000
Speaker 3: he's having this dinner with all these evil guests who

782
00:42:41,000 --> 00:42:43,400
Speaker 3: were gathered around his table, and he raises a glass

783
00:42:43,440 --> 00:42:45,920
Speaker 3: and he says to Satan.

784
00:42:48,480 --> 00:42:50,759
Speaker 1: Yeah, he's a lot of fun. We don't really. He

785
00:42:50,760 --> 00:42:53,279
Speaker 1: doesn't really do much in this picture though. His main

786
00:42:53,360 --> 00:42:55,880
Speaker 1: job is to look handsome whenever. His character is not

787
00:42:55,960 --> 00:43:00,720
Speaker 1: a stop motion baboon, but he's more impressive other works.

788
00:43:01,440 --> 00:43:04,680
Speaker 3: Does he have lines as the non baboon version.

789
00:43:05,640 --> 00:43:08,520
Speaker 1: You know, I honestly can't remember if he does. If

790
00:43:08,560 --> 00:43:10,759
Speaker 1: he does, he doesn't say much. I think he maybe

791
00:43:10,840 --> 00:43:12,759
Speaker 1: has a line or two at the beginning, and then

792
00:43:12,800 --> 00:43:16,040
Speaker 1: it's mostly baboon form. But yeah. Best known for his

793
00:43:16,200 --> 00:43:18,960
Speaker 1: roles in seventy one's Twins of Evil. He was in

794
00:43:19,040 --> 00:43:22,240
Speaker 1: nineteen seventy six Is the Message, and also the nineteen

795
00:43:22,280 --> 00:43:26,840
Speaker 1: eighty TV adaptation of Showgun. His later credits included twenty

796
00:43:26,880 --> 00:43:29,920
Speaker 1: Tens Never Let Me Go. On the small screen, he

797
00:43:29,960 --> 00:43:32,920
Speaker 1: also appeared in one of my absolute favorite episodes of

798
00:43:32,920 --> 00:43:36,920
Speaker 1: the Granada Sherlock Holme series starring Jeremy Brett, the Devil's

799
00:43:36,960 --> 00:43:40,040
Speaker 1: Foot episode. He plays more to more Treganois in that.

800
00:43:41,640 --> 00:43:44,120
Speaker 1: This is the if anyone doesn't remember this, this is

801
00:43:44,160 --> 00:43:47,560
Speaker 1: the one where Sherlock is investigating a case where it

802
00:43:47,680 --> 00:43:52,480
Speaker 1: seems like some people dining in a home were frightened

803
00:43:52,640 --> 00:43:55,560
Speaker 1: to death or madness by something appearing at the window,

804
00:43:56,560 --> 00:43:58,239
Speaker 1: and so it seems like there might be some sort

805
00:43:58,239 --> 00:44:01,680
Speaker 1: of supernatural el lament in play. But it turns out

806
00:44:02,960 --> 00:44:05,759
Speaker 1: it's not. It's something more in a way, more mysterious

807
00:44:05,880 --> 00:44:08,120
Speaker 1: and interesting. Anyway, that's great.

808
00:44:08,200 --> 00:44:09,480
Speaker 3: Is it an orangutan?

809
00:44:09,680 --> 00:44:12,480
Speaker 1: It is not an a rangute? Okay, we've actually talked

810
00:44:12,480 --> 00:44:14,480
Speaker 1: about this one on the show before. I think we've

811
00:44:14,480 --> 00:44:17,279
Speaker 1: talked about poisons. Basically, it turns out to be some

812
00:44:17,320 --> 00:44:22,359
Speaker 1: sort of a hallucinogenic poison that is used against them. Okay, Now,

813
00:44:22,520 --> 00:44:24,880
Speaker 1: note Thomas was born in Egypt, but he was of

814
00:44:24,920 --> 00:44:28,279
Speaker 1: British and French heritage, but was often called on to

815
00:44:28,320 --> 00:44:32,439
Speaker 1: play a host of foreigner roles in British productions. Now

816
00:44:32,920 --> 00:44:36,440
Speaker 1: of note, the Menton, of course, is everyone's favorite. The

817
00:44:36,520 --> 00:44:40,040
Speaker 1: minaton is depicted in two ways. We see a stop

818
00:44:40,080 --> 00:44:42,680
Speaker 1: motion menaton primarily, but there's also a version of the

819
00:44:42,680 --> 00:44:46,200
Speaker 1: menton that involves a human in a suit. That human.

820
00:44:46,480 --> 00:44:50,759
Speaker 1: Peter Mayhew nineteen forty four through twenty nineteen, the seven

821
00:44:50,800 --> 00:44:53,440
Speaker 1: foot three actor best known for his portrayal of Chewbacca.

822
00:44:53,680 --> 00:44:58,520
Speaker 3: So wait, he had two big movies in seventy seven. Yeah.

823
00:44:58,640 --> 00:45:01,080
Speaker 1: Yeah, one way or another it was going to be

824
00:45:01,120 --> 00:45:03,440
Speaker 1: Peter Mayhew's year. It just turned out to be the

825
00:45:03,520 --> 00:45:05,879
Speaker 1: year of Star Wars and not Simbad in the Eye

826
00:45:05,920 --> 00:45:06,360
Speaker 1: of the Tiger.

827
00:45:06,520 --> 00:45:08,160
Speaker 3: I would love to hear his thoughts on that, Like

828
00:45:08,200 --> 00:45:09,920
Speaker 3: did he think maybe Sindbad was going to be a

829
00:45:09,920 --> 00:45:10,440
Speaker 3: bigger hit?

830
00:45:12,280 --> 00:45:15,759
Speaker 1: Who knows? Yeah, I mean Simbad, Simbada and the Eye

831
00:45:15,800 --> 00:45:18,560
Speaker 1: of the Tiger. As we've discussed and we'll continue to discuss,

832
00:45:18,800 --> 00:45:22,120
Speaker 1: it is a very old fashioned picture, Like you can

833
00:45:22,160 --> 00:45:25,360
Speaker 1: tell that, like it feels like a picture of the

834
00:45:25,440 --> 00:45:30,400
Speaker 1: nineteen sixties, as opposed to the nineteen seventies, almost the

835
00:45:30,480 --> 00:45:35,760
Speaker 1: nineteen eighties, but in that you can imagine some people

836
00:45:35,760 --> 00:45:37,960
Speaker 1: thinking like, this is what a movie's about, Like this

837
00:45:38,040 --> 00:45:40,560
Speaker 1: is this is a return to the basics, This is

838
00:45:40,600 --> 00:45:41,279
Speaker 1: what people want.

839
00:45:41,480 --> 00:45:45,279
Speaker 3: Yeah, my swashes are buckled with this one. I don't

840
00:45:45,280 --> 00:45:46,600
Speaker 3: know what a death star is.

841
00:45:48,640 --> 00:45:51,560
Speaker 1: All right? And finally the score here. The musical score

842
00:45:51,600 --> 00:45:53,960
Speaker 1: is by Roy Budd, who of nineteen forty seven through

843
00:45:54,040 --> 00:45:58,560
Speaker 1: nineteen ninety three highly talented composer and musician who died

844
00:45:58,600 --> 00:46:03,839
Speaker 1: tragically young. Was nominated for a Golden Globe for Best

845
00:46:03,840 --> 00:46:07,600
Speaker 1: Original Song for nineteen seventy six is Paper Tiger. He

846
00:46:07,680 --> 00:46:11,400
Speaker 1: also composed the Get Carter theme song, which, if you

847
00:46:11,400 --> 00:46:14,120
Speaker 1: haven't listened to it it's pretty stellar, you've probably heard

848
00:46:14,120 --> 00:46:17,200
Speaker 1: it somewhere. In addition to nineteen seventy ones Get Carter,

849
00:46:17,280 --> 00:46:20,520
Speaker 1: his other scores include seventy ones Cat Low and seventy

850
00:46:20,520 --> 00:46:23,200
Speaker 1: three's The Stone Killer, which has some nice synths in it.

851
00:46:24,920 --> 00:46:27,080
Speaker 1: The score for Symbat in the Eye of the Tiger

852
00:46:27,320 --> 00:46:31,480
Speaker 1: is like a sweeping adventure score. It does its job perfectly.

853
00:46:32,480 --> 00:46:35,120
Speaker 1: But listening to some of these other scores that Bud did,

854
00:46:35,440 --> 00:46:37,840
Speaker 1: I get the impression that maybe he was at his

855
00:46:37,920 --> 00:46:41,520
Speaker 1: best on films that enabled him to explore more modern

856
00:46:41,600 --> 00:46:45,840
Speaker 1: nineteen seventy sounds like something a little synthy but also jazzy.

857
00:46:46,480 --> 00:46:48,520
Speaker 1: That seems to be a sweet spot because that Get

858
00:46:48,560 --> 00:46:50,560
Speaker 1: Carter theme song is tremendous.

859
00:46:50,920 --> 00:46:52,360
Speaker 3: I don't know if I know it. I'll have to

860
00:46:52,360 --> 00:46:54,480
Speaker 3: go listen to it after this. But yeah, I would

861
00:46:54,480 --> 00:46:57,520
Speaker 3: say the Sindbad score does not really stand out to

862
00:46:57,560 --> 00:46:59,400
Speaker 3: me much in either direction.

863
00:47:00,120 --> 00:47:01,719
Speaker 1: Yeah, but it does its job.

864
00:47:01,960 --> 00:47:04,320
Speaker 3: Yeah, well it actually, you know, there's some good music

865
00:47:04,360 --> 00:47:06,120
Speaker 3: cues in it now that I think about it, especially

866
00:47:06,120 --> 00:47:08,560
Speaker 3: in the scary scenes. It's like the creepy scenes with

867
00:47:08,640 --> 00:47:11,960
Speaker 3: the minoton have some really nicely complimentary music.

868
00:47:12,000 --> 00:47:14,080
Speaker 1: Oh yeah, like when they've just finished baking his.

869
00:47:14,120 --> 00:47:17,239
Speaker 3: Heart, yes, and the heartbeat is playing and you get

870
00:47:17,239 --> 00:47:19,720
Speaker 3: those creepy kind of woo things.

871
00:47:19,800 --> 00:47:20,600
Speaker 1: That's good stuff.

872
00:47:20,800 --> 00:47:25,480
Speaker 6: That is good.

873
00:47:29,640 --> 00:47:30,000
Speaker 1: All right?

874
00:47:30,040 --> 00:47:31,560
Speaker 3: Are you ready to talk about the plot?

875
00:47:31,680 --> 00:47:32,440
Speaker 1: Let's get into it.

876
00:47:33,040 --> 00:47:37,439
Speaker 3: So we open with a shot of fireworks showing there's

877
00:47:37,440 --> 00:47:40,839
Speaker 3: a great celebration going on, and we get an establishing

878
00:47:40,880 --> 00:47:44,800
Speaker 3: shot of a city on a coast with beautiful Islamic

879
00:47:44,920 --> 00:47:48,360
Speaker 3: architecture and a full moon rising behind the city. So

880
00:47:48,400 --> 00:47:50,720
Speaker 3: along the skyline in the moonlight, we can see white

881
00:47:50,760 --> 00:47:55,960
Speaker 3: city walls, minarets, pyramid shaped roofs, domes, and then we

882
00:47:56,040 --> 00:47:58,920
Speaker 3: cut to inside the palace in this city. This is

883
00:47:58,960 --> 00:48:02,560
Speaker 3: the kingdom we will later learn is called Sharraq. So

884
00:48:02,680 --> 00:48:05,520
Speaker 3: inside the palace in the capital of Shirak, there is

885
00:48:05,680 --> 00:48:09,400
Speaker 3: a procession going on where the Sharrak is about to

886
00:48:09,520 --> 00:48:13,400
Speaker 3: crown a new Khlifh. And in this part of the

887
00:48:13,400 --> 00:48:16,080
Speaker 3: movie we see several main characters all in their formal

888
00:48:16,160 --> 00:48:20,520
Speaker 3: court attire. They've got veils, turbans, lots of jewelry. And

889
00:48:20,600 --> 00:48:23,920
Speaker 3: in this scene you've got Prince Cassim played by Damian Thomaskin.

890
00:48:23,960 --> 00:48:28,239
Speaker 3: That's Count Carnstein for you Hammer fans. This is the

891
00:48:28,280 --> 00:48:30,719
Speaker 3: noble young prince who's about to ascend to the throne.

892
00:48:30,719 --> 00:48:34,480
Speaker 3: He's about to be crowned Caliph Cassim's beautiful and kind

893
00:48:34,520 --> 00:48:38,879
Speaker 3: hearted sister for Rah played by Jane Seymour. Cassim's stepmother

894
00:48:39,000 --> 00:48:42,920
Speaker 3: is Zenobia played by Margaret Whitting and again she's the

895
00:48:43,200 --> 00:48:46,400
Speaker 3: very first moment you see her. It's a case of like, okay,

896
00:48:46,400 --> 00:48:48,920
Speaker 3: which one of you is the evil witch? Like she's

897
00:48:48,960 --> 00:48:52,759
Speaker 3: just always She's got her nose upturned at everyone. Permanent

898
00:48:52,800 --> 00:48:56,160
Speaker 3: witch sneer. In fact, I think I could make a

899
00:48:56,200 --> 00:48:59,360
Speaker 3: distinction here. Maybe there are more categories than this, but broadly,

900
00:48:59,400 --> 00:49:03,319
Speaker 3: if you're going to movie witches, I think there are

901
00:49:03,520 --> 00:49:06,600
Speaker 3: like two big streams that you can split them into,

902
00:49:06,960 --> 00:49:11,320
Speaker 3: and it's going to be like woods witch versus Castle witch.

903
00:49:11,800 --> 00:49:14,640
Speaker 3: And so you've got your more kind of earthy, ground

904
00:49:14,800 --> 00:49:19,839
Speaker 3: level nature associated or independently operating, which is that's kind

905
00:49:19,840 --> 00:49:23,000
Speaker 3: of your woods which and then you've got your aristocratic

906
00:49:23,080 --> 00:49:27,319
Speaker 3: witches who are doing depraved evil magic. And these tend

907
00:49:27,320 --> 00:49:30,000
Speaker 3: to be you know, rich schemers who are trying to,

908
00:49:30,120 --> 00:49:33,240
Speaker 3: you know, protect their power. And Zenobia in this movie

909
00:49:33,280 --> 00:49:35,719
Speaker 3: is very much in the latter camp. She is a

910
00:49:35,960 --> 00:49:39,200
Speaker 3: she is an evil queen witch and aristocratic witch.

911
00:49:39,760 --> 00:49:44,520
Speaker 1: Yeah, absolutely, get you your goop witch, I guess yeah.

912
00:49:44,560 --> 00:49:47,919
Speaker 3: And then also you have Zenobia's son, Raffi, played by

913
00:49:48,560 --> 00:49:51,680
Speaker 3: Kurt Christian, who is doing his best to look like

914
00:49:51,760 --> 00:49:53,240
Speaker 3: he is scheming at all times.

915
00:49:53,239 --> 00:49:53,439
Speaker 1: Here.

916
00:49:53,520 --> 00:49:57,800
Speaker 3: Yes, So the procession leads into the throne room, Prince

917
00:49:57,840 --> 00:50:00,680
Speaker 3: Cassim assumes the position at the head the hall, and

918
00:50:00,719 --> 00:50:03,759
Speaker 3: there's a big ceremonial brazure of charcoal smoking in front

919
00:50:03,760 --> 00:50:07,000
Speaker 3: of him, and then a cleric steps up behind Cassim

920
00:50:07,080 --> 00:50:10,440
Speaker 3: to place the crown on his head. But as the

921
00:50:10,480 --> 00:50:13,759
Speaker 3: crown is descending, we cut to Zenobia and then we

922
00:50:13,800 --> 00:50:16,560
Speaker 3: see her eyes and she's looking very intense, as if

923
00:50:16,560 --> 00:50:20,600
Speaker 3: she's casting a spell on Cassim, And the moment the

924
00:50:20,680 --> 00:50:23,680
Speaker 3: crown touches his head, the brazier flares up and these

925
00:50:23,719 --> 00:50:26,600
Speaker 3: flames leap to the ceiling and you hear a clamor

926
00:50:26,719 --> 00:50:30,520
Speaker 3: break out in the room and Princess Farras screams, and

927
00:50:30,960 --> 00:50:32,759
Speaker 3: this is the moment I was talking about earlier. In

928
00:50:32,800 --> 00:50:36,520
Speaker 3: a quite funny editing choice, we get the exact same

929
00:50:36,600 --> 00:50:40,520
Speaker 3: scream played twice, so it goes scream awkward, cut to

930
00:50:40,560 --> 00:50:43,759
Speaker 3: silence for a second, then the clamor resumes and the

931
00:50:43,800 --> 00:50:49,320
Speaker 3: same scream plays, scream and scream again. Okay, yeah, exactly. However,

932
00:50:49,440 --> 00:50:51,799
Speaker 3: we don't see yet what was so horrifying. We can't

933
00:50:51,800 --> 00:50:54,719
Speaker 3: see what she sees. We cut away too sometime later.

934
00:50:54,719 --> 00:50:57,320
Speaker 1: Which I thought was kind of a confusing cut because

935
00:50:57,640 --> 00:51:00,319
Speaker 1: I knew I knew about some of the starf motion

936
00:51:00,400 --> 00:51:02,640
Speaker 1: creatures that I was in store for, and I thought

937
00:51:02,640 --> 00:51:04,600
Speaker 1: maybe they were about to jump out, or we would

938
00:51:04,600 --> 00:51:07,680
Speaker 1: find out later that they jumped out, but that's not

939
00:51:07,719 --> 00:51:08,640
Speaker 1: really what happened either.

940
00:51:09,440 --> 00:51:12,120
Speaker 3: Will reveal if I had gone to the theater, Like

941
00:51:12,120 --> 00:51:14,800
Speaker 3: if I'd seen a preview for this and had gone

942
00:51:14,800 --> 00:51:17,200
Speaker 3: to the theater, I would be expecting. Okay, Jane Seymour

943
00:51:17,239 --> 00:51:20,120
Speaker 3: just screamed, We're about to see the minoton but yeah no.

944
00:51:20,960 --> 00:51:23,800
Speaker 3: So next we meet our other main characters, the brave

945
00:51:23,840 --> 00:51:26,880
Speaker 3: Captain Sindbad played by Patrick Wayne, and his crew of

946
00:51:27,000 --> 00:51:31,520
Speaker 3: lovable scoundrels. They anchor their ship in the harbor off

947
00:51:31,560 --> 00:51:34,719
Speaker 3: the coast of the capital city of Shirak Heir, and

948
00:51:34,760 --> 00:51:37,560
Speaker 3: they row ashore talking about how excited they are to

949
00:51:38,000 --> 00:51:42,000
Speaker 3: eat roasted sheep's eyeballs, to meet some local women, and

950
00:51:42,040 --> 00:51:44,040
Speaker 3: to have some wine to chill out at the inn.

951
00:51:44,480 --> 00:51:47,600
Speaker 3: But that's what the sailors are into. Sindbad himself is

952
00:51:47,600 --> 00:51:50,640
Speaker 3: here for a specific purpose. He is in love with

953
00:51:50,680 --> 00:51:53,720
Speaker 3: the Princess Farrah and he wants to ask her father's

954
00:51:53,760 --> 00:51:55,720
Speaker 3: blessing for the two of them to get married.

955
00:51:55,920 --> 00:52:00,520
Speaker 1: Yeah, he is of higher goals, like not sheep eyebows eyeballs,

956
00:52:00,560 --> 00:52:04,239
Speaker 1: but maybe sheep ears and not just any women, but

957
00:52:04,360 --> 00:52:05,480
Speaker 1: the princess.

958
00:52:04,960 --> 00:52:07,160
Speaker 3: Herself, that's right, or actually, I don't know if he

959
00:52:07,160 --> 00:52:10,160
Speaker 3: wants to ask her father, he might know that. I

960
00:52:10,160 --> 00:52:12,560
Speaker 3: think it's that he wants to ask Cassim, her brother

961
00:52:12,719 --> 00:52:16,680
Speaker 3: for her hand in marriage. Yeah. So anyway, when Sinbad

962
00:52:16,719 --> 00:52:18,759
Speaker 3: comes to the entrance to the city, he finds the

963
00:52:18,800 --> 00:52:21,560
Speaker 3: gates closed and the walls of the city are dark

964
00:52:21,600 --> 00:52:23,680
Speaker 3: and silent. He tries to call out to the captain

965
00:52:23,719 --> 00:52:27,719
Speaker 3: of the guard. Nobody comes. What's wrong? Well behind him,

966
00:52:27,760 --> 00:52:30,319
Speaker 3: a man appears claiming to be a merchant, and he

967
00:52:30,480 --> 00:52:33,160
Speaker 3: warns Sindbad that the city is under curfew due to

968
00:52:33,200 --> 00:52:37,319
Speaker 3: an outbreak of the plague. Now we the audience can

969
00:52:37,320 --> 00:52:40,520
Speaker 3: see the so called merchant is actually Raffi, the Queen's

970
00:52:40,520 --> 00:52:44,000
Speaker 3: and Obia's son, and he tells Sindbad that he will

971
00:52:44,000 --> 00:52:46,560
Speaker 3: not be able to pass the city gates until daybreak,

972
00:52:46,800 --> 00:52:49,640
Speaker 3: and until then he offers Sindbad and his men the

973
00:52:49,680 --> 00:52:52,719
Speaker 3: comfort of his tent to share wine and food and

974
00:52:52,760 --> 00:52:57,480
Speaker 3: a fire, so Sindbad accepts. Next thing, they are all

975
00:52:57,520 --> 00:53:01,240
Speaker 3: hanging out around this fire, eating meat and watching belly dancers.

976
00:53:01,480 --> 00:53:03,759
Speaker 3: There's one crew member here. I don't remember who this is,

977
00:53:03,800 --> 00:53:06,319
Speaker 3: but he gets a great close up that is very

978
00:53:06,360 --> 00:53:08,560
Speaker 3: much like a D and D dwarf with chicken and

979
00:53:08,560 --> 00:53:13,799
Speaker 3: his beard thing. He's simultaneously like cartoon wolf, ogling the

980
00:53:13,800 --> 00:53:16,920
Speaker 3: belly dancer in front of him and cramming some disintegrating

981
00:53:17,000 --> 00:53:22,239
Speaker 3: white food into his mouth. So Raffi offers the other

982
00:53:22,680 --> 00:53:25,080
Speaker 3: all the sailor's wine, and you know, they take their

983
00:53:25,080 --> 00:53:27,560
Speaker 3: glasses and Sindbad is about to drink, but then another

984
00:53:27,600 --> 00:53:30,359
Speaker 3: sailor who has already drank the wine starts screaming and

985
00:53:30,400 --> 00:53:32,960
Speaker 3: they figure out the wine is poisoned, so a sword

986
00:53:32,960 --> 00:53:36,799
Speaker 3: fight breaks out between Sindbad and Raffi. Sinbad quickly gets

987
00:53:36,840 --> 00:53:38,960
Speaker 3: the upper hand and he demands to know who Raffi

988
00:53:39,040 --> 00:53:41,400
Speaker 3: really is and why he tried to kill them. But

989
00:53:41,600 --> 00:53:44,760
Speaker 3: before he can get an answer, a strange feeling comes

990
00:53:44,760 --> 00:53:47,520
Speaker 3: over everyone in the tent, and there's a cold wind

991
00:53:47,640 --> 00:53:50,960
Speaker 3: howling from outside, and then a woman covered all in

992
00:53:51,080 --> 00:53:53,680
Speaker 3: black except for just a strip where you can see

993
00:53:53,680 --> 00:53:56,480
Speaker 3: her eyes, parts the flaps of the tent and steps

994
00:53:56,520 --> 00:54:00,040
Speaker 3: into their midst and eerie music starts to play a

995
00:54:00,280 --> 00:54:03,000
Speaker 3: sort of unstable witch theme that we hear throughout the

996
00:54:03,040 --> 00:54:08,080
Speaker 3: film associated with Zenobia here and despite her disguise, obviously

997
00:54:08,160 --> 00:54:10,200
Speaker 3: we the audience know this must be who this is.

998
00:54:10,880 --> 00:54:13,279
Speaker 3: But the camera zooms in on her face where only

999
00:54:13,320 --> 00:54:16,560
Speaker 3: her eyes are exposed, and then her eyes fade and

1000
00:54:16,680 --> 00:54:20,840
Speaker 3: are superimposed with non human eyes with vertical slits like

1001
00:54:20,880 --> 00:54:23,239
Speaker 3: a cat's eize. So I think they're trying to give

1002
00:54:23,280 --> 00:54:25,120
Speaker 3: you a little payoff in the title. There yea the

1003
00:54:25,200 --> 00:54:27,520
Speaker 3: eye of the Tiger. This like shet her eyes turn

1004
00:54:27,560 --> 00:54:28,360
Speaker 3: into cat eyes.

1005
00:54:28,719 --> 00:54:30,719
Speaker 1: Yeah, there's not much to it that. It's like it

1006
00:54:30,800 --> 00:54:33,480
Speaker 1: happens because she's doing magic, and maybe it's sort of

1007
00:54:33,520 --> 00:54:36,480
Speaker 1: foreshadowing something to come, but also not really.

1008
00:54:37,000 --> 00:54:40,160
Speaker 3: So in a booming, echoing voice, she says, from the

1009
00:54:40,160 --> 00:54:44,040
Speaker 3: depths of the earth, I command you arise, kill them,

1010
00:54:44,480 --> 00:54:48,400
Speaker 3: kill Sinbad, and she points down to the campfire, and

1011
00:54:48,560 --> 00:54:52,800
Speaker 3: out of the fire emerge three creatures, our first stop

1012
00:54:52,840 --> 00:54:55,040
Speaker 3: motion monsters of the film, so it didn't take too

1013
00:54:55,120 --> 00:54:59,200
Speaker 3: long to get to them. These monsters are sort of

1014
00:54:59,320 --> 00:55:04,960
Speaker 3: clay flashed insectoid ghules. There are three of them, bipedal,

1015
00:55:05,200 --> 00:55:10,000
Speaker 3: basically human in form. They are very skinny. They're like skeletons,

1016
00:55:10,080 --> 00:55:12,760
Speaker 3: but with a little bit of skin and sinew stretched

1017
00:55:12,800 --> 00:55:16,040
Speaker 3: over the bones, with a texture that looks somewhere between

1018
00:55:16,120 --> 00:55:19,360
Speaker 3: clay but also sort of rubber and sort of wood,

1019
00:55:19,840 --> 00:55:21,840
Speaker 3: and they are armed. One of them has a sword,

1020
00:55:21,920 --> 00:55:24,200
Speaker 3: another has an axe, and I think one has a club.

1021
00:55:24,600 --> 00:55:27,319
Speaker 3: And then on their heads they have mouths that are

1022
00:55:27,400 --> 00:55:31,280
Speaker 3: fixed in permanent gaping frowns, like they don't move their mouths,

1023
00:55:31,360 --> 00:55:36,720
Speaker 3: They're just gaping frown shaped with wrinkled cheek skin drooping

1024
00:55:36,760 --> 00:55:38,879
Speaker 3: on either side of the mouth. And then they've got

1025
00:55:38,880 --> 00:55:41,920
Speaker 3: these pairs of nubby horns or buds on top of

1026
00:55:41,920 --> 00:55:46,800
Speaker 3: their heads and huge saucer sized, bulbous eyes with no pupils,

1027
00:55:46,840 --> 00:55:49,800
Speaker 3: no color differentiation in the eyes, just each a solid

1028
00:55:49,800 --> 00:55:52,600
Speaker 3: color all the way across. One of them has black eyes,

1029
00:55:52,680 --> 00:55:56,480
Speaker 3: one red and one green. I loved these ghules when

1030
00:55:56,520 --> 00:55:58,560
Speaker 3: I was a kid, and I love them now. I

1031
00:55:58,600 --> 00:56:01,360
Speaker 3: think this is a really fun design and once the

1032
00:56:01,400 --> 00:56:03,320
Speaker 3: fight breaks out, this one is a hoot.

1033
00:56:03,880 --> 00:56:06,600
Speaker 1: Yeah, these creatures look great. They you know, there's a

1034
00:56:06,600 --> 00:56:09,040
Speaker 1: bit of the devil to them. They're kind of like

1035
00:56:09,080 --> 00:56:15,000
Speaker 1: skeletons and then and also like bugs too. They remind

1036
00:56:15,040 --> 00:56:16,840
Speaker 1: they have a little bit of an Edgar Riis Burrows

1037
00:56:16,960 --> 00:56:19,920
Speaker 1: vibe to them. I could easily imagine them on the

1038
00:56:19,960 --> 00:56:22,680
Speaker 1: side of a van in the nineteen seventies. You know,

1039
00:56:22,680 --> 00:56:25,879
Speaker 1: they remind me a lot of things I remember from

1040
00:56:26,400 --> 00:56:29,440
Speaker 1: I remember seeing in nineteen seventies fantasy art. So they

1041
00:56:29,760 --> 00:56:32,680
Speaker 1: have a great visual flair for sure. And then the

1042
00:56:32,680 --> 00:56:35,480
Speaker 1: fight sequence is full of that, you know, Ray Harry

1043
00:56:35,480 --> 00:56:39,720
Speaker 1: hows and human versus stop motion sword fight effects. It's wonderful.

1044
00:56:39,880 --> 00:56:42,560
Speaker 3: Yeah, And I love that stuff. Even when the edges

1045
00:56:42,600 --> 00:56:44,520
Speaker 3: are a little bit patchy, I still I love it.

1046
00:56:44,800 --> 00:56:47,960
Speaker 3: So Sindbad and his men fight bravely, but the Ghules

1047
00:56:47,960 --> 00:56:50,480
Speaker 3: are magical. So one of the men, it might be

1048
00:56:50,680 --> 00:56:53,680
Speaker 3: San stabs a Ghul through the chest with a sword

1049
00:56:54,200 --> 00:56:56,200
Speaker 3: and the Ghul just kind of looks down like what

1050
00:56:56,239 --> 00:56:59,200
Speaker 3: was that? Well, never mind, and then just keeps on fighting.

1051
00:56:59,560 --> 00:57:01,799
Speaker 3: So we get the idea, you're not going to beat

1052
00:57:01,840 --> 00:57:04,440
Speaker 3: these guys with a few jabs of a sword, that

1053
00:57:04,600 --> 00:57:08,200
Speaker 3: you can't beat them that way. And the fight proceeds

1054
00:57:08,239 --> 00:57:11,239
Speaker 3: outside of the tent into the open port in the moonlight,

1055
00:57:11,400 --> 00:57:15,080
Speaker 3: and eventually it's just Sindbad versus these three monsters. So

1056
00:57:15,120 --> 00:57:16,920
Speaker 3: how is he going to beat them if his sword

1057
00:57:17,000 --> 00:57:20,120
Speaker 3: is basically useless? He uses a cool trick. This is

1058
00:57:20,160 --> 00:57:21,920
Speaker 3: the kind of thing I like in a fight scene.

1059
00:57:21,960 --> 00:57:24,000
Speaker 3: I like when a fight scene is not just like

1060
00:57:24,480 --> 00:57:27,720
Speaker 3: application of weapon back and forth until somebody wins. I

1061
00:57:27,760 --> 00:57:30,560
Speaker 3: like it when there's somebody figures out an environmental trick

1062
00:57:30,720 --> 00:57:33,680
Speaker 3: or something. And that's what maybe I like that because

1063
00:57:33,720 --> 00:57:37,360
Speaker 3: I grew up watching movies like this. So Sinbad realizes

1064
00:57:37,760 --> 00:57:40,720
Speaker 3: there is a giant pile of timber logs stacked up

1065
00:57:40,760 --> 00:57:42,400
Speaker 3: on the shore. I guess they've just been loaded off

1066
00:57:42,440 --> 00:57:45,920
Speaker 3: of a ship here, and Sinbad cuts the rope holding

1067
00:57:45,960 --> 00:57:48,920
Speaker 3: the logs in place, and then they tumble out of

1068
00:57:48,960 --> 00:57:53,080
Speaker 3: their pile, falling on crushing and burying the ghules underneath.

1069
00:57:53,120 --> 00:57:54,880
Speaker 3: And that's a flawless victory.

1070
00:57:54,920 --> 00:57:57,840
Speaker 1: I think it's probably worth noting here that the ghules

1071
00:57:58,120 --> 00:58:04,040
Speaker 1: are at least vaguely connected to Middle Eastern lore here,

1072
00:58:04,240 --> 00:58:05,920
Speaker 1: as opposed to I think pretty much any of the

1073
00:58:05,960 --> 00:58:10,160
Speaker 1: other monsters in the picture. We've talked about ghoules on

1074
00:58:10,200 --> 00:58:13,600
Speaker 1: the show before, though these are I guess essentially gules

1075
00:58:13,640 --> 00:58:14,760
Speaker 1: and name only I don't know.

1076
00:58:15,520 --> 00:58:18,840
Speaker 3: I don't think we see them eating grave flesh or anything. Right,

1077
00:58:19,240 --> 00:58:21,320
Speaker 3: So Sindbad is about to run back to his ship,

1078
00:58:21,360 --> 00:58:24,480
Speaker 3: but suddenly a woman in a pink veil calls out

1079
00:58:24,520 --> 00:58:27,520
Speaker 3: to him. He turns and it is his beloved. It's

1080
00:58:27,600 --> 00:58:32,040
Speaker 3: Princess Farah played by Jane Seymour, and so they have

1081
00:58:32,080 --> 00:58:34,320
Speaker 3: a brief reunion, but the witch is still about. So

1082
00:58:34,480 --> 00:58:37,200
Speaker 3: Sinbad sees a figure clad in black watching them, and

1083
00:58:37,240 --> 00:58:39,520
Speaker 3: there's no time to talk. They run and jump into

1084
00:58:39,560 --> 00:58:42,640
Speaker 3: the bay and all begin swimming out to Sindbad's ship. Also,

1085
00:58:42,680 --> 00:58:45,479
Speaker 3: his sailor friends are in the dinghy and they're rowing

1086
00:58:45,520 --> 00:58:47,600
Speaker 3: back to the ship as well. They're going out there

1087
00:58:47,640 --> 00:58:50,120
Speaker 3: to you know, until the morning comes, when things will

1088
00:58:50,120 --> 00:58:54,160
Speaker 3: be safer. But back on the ship, Faraf fills Sindbad

1089
00:58:54,320 --> 00:58:56,600
Speaker 3: in as she says it's not true that the city

1090
00:58:56,640 --> 00:58:59,320
Speaker 3: is under plague. Her brother Cassim has come under a

1091
00:58:59,400 --> 00:59:03,440
Speaker 3: terrible curve quote worse than a thousand plagues, and she

1092
00:59:03,560 --> 00:59:06,880
Speaker 3: needs Sinbad's help to break it. And Sinbad says, oh,

1093
00:59:06,920 --> 00:59:10,040
Speaker 3: he owes Cassim his life from previous adventures, I guess,

1094
00:59:10,040 --> 00:59:12,520
Speaker 3: so he promises to do anything he can to help.

1095
00:59:13,480 --> 00:59:15,919
Speaker 3: In this scene, we also learn a bit about their relationship.

1096
00:59:16,360 --> 00:59:19,160
Speaker 3: Sinbad and Pharrah have been in love, but they couldn't

1097
00:59:19,200 --> 00:59:21,640
Speaker 3: marry because they couldn't get on the same page. Sindbad

1098
00:59:21,720 --> 00:59:24,640
Speaker 3: refused to give up his life at sea. Farah refused

1099
00:59:24,640 --> 00:59:27,360
Speaker 3: to give up her life at court, and upon their meeting,

1100
00:59:27,520 --> 00:59:30,520
Speaker 3: Sinbad says, hey, okay, I'm ready to live on land,

1101
00:59:30,680 --> 00:59:33,040
Speaker 3: and she said, well, I'm ready to live at sea.

1102
00:59:33,200 --> 00:59:36,400
Speaker 3: So I don't know which way they're going to compromise now,

1103
00:59:36,480 --> 00:59:39,080
Speaker 3: or maybe maybe they're at an impass again. They'd gift

1104
00:59:39,120 --> 00:59:43,760
Speaker 3: to the magi, so it would have been would have

1105
00:59:43,800 --> 00:59:45,920
Speaker 3: been a happy reunion one way or another, I guess,

1106
00:59:46,280 --> 00:59:48,720
Speaker 3: if not for the curse worse than a thousand plagues.

1107
00:59:50,000 --> 00:59:53,880
Speaker 3: So the next day, Fara's uncle Balsora, who seems to

1108
00:59:53,880 --> 00:59:56,360
Speaker 3: be kind of regent for the time being, he comes

1109
00:59:56,360 --> 00:59:59,800
Speaker 3: to meet them at Sindbad's ship, and he says that

1110
01:00:00,040 --> 01:00:03,640
Speaker 3: they have consulted all of the wisest doctors and astrologers

1111
01:00:03,680 --> 01:00:06,560
Speaker 3: from here to Alexandria, and no one knows how to

1112
01:00:06,560 --> 01:00:09,160
Speaker 3: help Cassim.

1113
01:00:10,040 --> 01:00:13,360
Speaker 1: Balsora here is played by Bruno Barnaby, who lived nineteen

1114
01:00:13,400 --> 01:00:16,280
Speaker 1: oh five through nineteen ninety eight, a British actor of

1115
01:00:16,360 --> 01:00:19,640
Speaker 1: stage and screen. He was also in nineteen seventy six

1116
01:00:19,760 --> 01:00:23,720
Speaker 1: Is The Message, which starred Anthony Quinn.

1117
01:00:24,960 --> 01:00:29,520
Speaker 3: So Balsora explains that unless Prince Cassim is able to

1118
01:00:29,560 --> 01:00:32,920
Speaker 3: be crowned caliph within the next seven full moons, he

1119
01:00:32,960 --> 01:00:36,120
Speaker 3: will forever lose his right to ascend to the throne.

1120
01:00:36,600 --> 01:00:38,680
Speaker 3: And I think that it's implied that the crown will

1121
01:00:38,680 --> 01:00:42,000
Speaker 3: then pass to Raffi's and Obia's son, And it's like,

1122
01:00:42,120 --> 01:00:44,640
Speaker 3: is there anybody here who can break the spell? Before then?

1123
01:00:45,280 --> 01:00:48,360
Speaker 3: They talk about it, and Sindbad has an idea. He says,

1124
01:00:48,360 --> 01:00:50,800
Speaker 3: if there's anyone who knows how to cure Cassim, it

1125
01:00:50,840 --> 01:00:54,960
Speaker 3: could only be a Greek wise man named Melanthius, who

1126
01:00:55,000 --> 01:00:59,160
Speaker 3: is a hermit, natural philosopher, and alchemist who lives on

1127
01:00:59,200 --> 01:01:03,360
Speaker 3: an island culled Cascar off the coast of Phrygia. Sinbad

1128
01:01:03,400 --> 01:01:06,440
Speaker 3: says his deeds are legendary and he may not even exist.

1129
01:01:08,080 --> 01:01:11,240
Speaker 1: It seems like a very far fetched plan. It's the

1130
01:01:11,320 --> 01:01:14,800
Speaker 1: kind of thing you'd instantly go for in dungeons and dragons, obviously,

1131
01:01:14,880 --> 01:01:18,000
Speaker 1: you know, but practically it's like, our only hope is

1132
01:01:18,000 --> 01:01:19,720
Speaker 1: someone who might not exist at all.

1133
01:01:20,000 --> 01:01:22,320
Speaker 3: But it was your idea, but he might not exist,

1134
01:01:24,320 --> 01:01:26,440
Speaker 3: And so he says the journey will not be easy.

1135
01:01:26,800 --> 01:01:28,760
Speaker 3: That the crew talk about it. They say his island

1136
01:01:28,800 --> 01:01:31,560
Speaker 3: is ringed with deadly reefs and it's full of savages

1137
01:01:31,560 --> 01:01:34,480
Speaker 3: who eat human flesh and worship Malanthius as a god.

1138
01:01:35,080 --> 01:01:37,560
Speaker 3: And then also they say that some people some say

1139
01:01:37,560 --> 01:01:43,120
Speaker 3: that Melanthius himself, if he exists, is mad. But Balsora promises,

1140
01:01:43,240 --> 01:01:46,880
Speaker 3: He's like, okay, let's do that. Yeah, he promises to

1141
01:01:46,920 --> 01:01:51,240
Speaker 3: sind treasure for Sinbad's crew and for Melanthius. But before

1142
01:01:51,320 --> 01:01:54,000
Speaker 3: they can get underway, we have to have a meeting

1143
01:01:54,320 --> 01:01:57,440
Speaker 3: between the hero and the villain. So Zenobia arrives in

1144
01:01:57,560 --> 01:02:01,240
Speaker 3: like she's being carried and like a little compartment and

1145
01:02:01,320 --> 01:02:03,520
Speaker 3: when she shows up, all the horses whinny with fear,

1146
01:02:04,040 --> 01:02:07,480
Speaker 3: and she starts off kind of playing koy with She's like, oh, Sinbad,

1147
01:02:07,640 --> 01:02:09,560
Speaker 3: why you know, what are you doing here? There is

1148
01:02:09,640 --> 01:02:12,200
Speaker 3: nothing that can be done about Cassim. But by the

1149
01:02:12,320 --> 01:02:14,360
Speaker 3: end of the scene she's just full on yelling at them.

1150
01:02:14,440 --> 01:02:18,760
Speaker 3: She tells them abandon hope. Cassim is doomed forever. And

1151
01:02:18,840 --> 01:02:22,600
Speaker 3: then Jane Seymour gets very upset at Zenobia because they

1152
01:02:22,600 --> 01:02:26,040
Speaker 3: do not have a friendly relationship, and she grabs a

1153
01:02:26,080 --> 01:02:28,560
Speaker 3: knife and she says, let me cut that smile from

1154
01:02:28,600 --> 01:02:32,160
Speaker 3: her face, but Balsora reminds her, you are not allowed

1155
01:02:32,160 --> 01:02:34,680
Speaker 3: to draw one drop of blood from a member of

1156
01:02:34,680 --> 01:02:38,400
Speaker 3: the royal family, or it has been prophesied. I guess

1157
01:02:38,400 --> 01:02:41,360
Speaker 3: you will bring down an eternal curse on your head.

1158
01:02:42,000 --> 01:02:44,400
Speaker 3: And then Fara says, well, that's the only reason she

1159
01:02:44,440 --> 01:02:48,120
Speaker 3: has an outright murdered cassim. She says, as cunning as

1160
01:02:48,120 --> 01:02:51,080
Speaker 3: a snake, as malicious as a shark, RAFFI will never

1161
01:02:51,120 --> 01:02:54,040
Speaker 3: be caliph. Zenobia says there is no one who can

1162
01:02:54,080 --> 01:02:58,240
Speaker 3: prevent it, and Fara says Melanthius will prevent it, and

1163
01:02:58,360 --> 01:03:01,840
Speaker 3: this hits Zenobia is shaken. She stops for a moment

1164
01:03:01,880 --> 01:03:04,800
Speaker 3: to think, and she tries to dismiss it. She says,

1165
01:03:04,840 --> 01:03:07,080
Speaker 3: Malanthius is a myth and his powers are a legend.

1166
01:03:07,120 --> 01:03:10,080
Speaker 3: He does not exist, but I guess we'll find out,

1167
01:03:10,360 --> 01:03:13,120
Speaker 3: and Zenobia retreats, oh do we want to mention? In

1168
01:03:13,120 --> 01:03:15,840
Speaker 3: the scene, we also meet a Hinchman kind of character

1169
01:03:15,960 --> 01:03:19,120
Speaker 3: I think named Zabide who is Balsaura's guard captain with

1170
01:03:19,160 --> 01:03:20,280
Speaker 3: an eyepatch very.

1171
01:03:20,120 --> 01:03:23,360
Speaker 1: Oh yeah, played by Bernard Kay who lived nineteen twenty

1172
01:03:23,400 --> 01:03:26,520
Speaker 1: eight through twenty fourteen, a British character actor who also

1173
01:03:26,560 --> 01:03:27,640
Speaker 1: appeared on Doctor Who.

1174
01:03:27,880 --> 01:03:28,080
Speaker 6: Yeah.

1175
01:03:28,840 --> 01:03:31,919
Speaker 3: So Sindbad Farrah and the crew get ready to set

1176
01:03:31,960 --> 01:03:34,960
Speaker 3: sail for the island of Kasgar. Meanwhile, we get a

1177
01:03:35,000 --> 01:03:38,280
Speaker 3: scene of the witch Zenobia and her son Raffi together

1178
01:03:38,440 --> 01:03:44,040
Speaker 3: in private discussing their schemes. Zenobia is disturbed by Sindbad's plan.

1179
01:03:44,320 --> 01:03:47,480
Speaker 3: She says, if Malanthius exists, he is the only person

1180
01:03:47,560 --> 01:03:50,960
Speaker 3: who she fears could undo her magic, and Raffi is

1181
01:03:51,040 --> 01:03:53,400
Speaker 3: kind of whiny. He's like, but you promised me it

1182
01:03:53,440 --> 01:03:57,640
Speaker 3: was my turn to be Khalif. But mom, yeah exactly,

1183
01:03:58,960 --> 01:04:01,720
Speaker 3: but yeah, so they just goes. She's like, I will

1184
01:04:01,720 --> 01:04:04,880
Speaker 3: make sure that it is your turn to Bekahlief. So

1185
01:04:04,920 --> 01:04:07,960
Speaker 3: they go to check on a project. Zenobia's got a

1186
01:04:08,040 --> 01:04:11,840
Speaker 3: sort of medieval blast door on her laboratory here where

1187
01:04:11,840 --> 01:04:14,200
Speaker 3: you can look through the glass window into a furnace

1188
01:04:14,280 --> 01:04:17,200
Speaker 3: that's firing something. And in fact, it reminds me of

1189
01:04:17,280 --> 01:04:20,360
Speaker 3: the radiation room in The Devil Bat where Belgosi is

1190
01:04:20,400 --> 01:04:23,080
Speaker 3: looking through the square window while he microwaves bats.

1191
01:04:24,080 --> 01:04:27,800
Speaker 1: Yeah, yeah, there's definitely a mad science vibe to a

1192
01:04:27,840 --> 01:04:30,600
Speaker 1: lot of what she has going on here. Well, Malathius

1193
01:04:30,600 --> 01:04:32,840
Speaker 1: as well Malanthius as well as we'll see.

1194
01:04:33,120 --> 01:04:36,040
Speaker 3: Yeah. So she says Sindbad may have a ship and

1195
01:04:36,080 --> 01:04:38,880
Speaker 3: a crew, and Balsora may have his palace guards. But

1196
01:04:39,080 --> 01:04:41,800
Speaker 3: then she stares through the window into the furnace and says,

1197
01:04:42,120 --> 01:04:46,840
Speaker 3: that will be our army. What is it we see inside?

1198
01:04:47,040 --> 01:04:50,600
Speaker 3: And it appears to be a white, hot metal form

1199
01:04:51,240 --> 01:04:56,920
Speaker 3: of a minotaur, a man's body, muscular, big shoulders, with

1200
01:04:57,040 --> 01:05:00,640
Speaker 3: the head of a bull, all made of bronze, glowing

1201
01:05:00,680 --> 01:05:01,560
Speaker 3: with heat.

1202
01:05:01,920 --> 01:05:03,080
Speaker 1: Ah the menoton.

1203
01:05:04,160 --> 01:05:07,000
Speaker 3: Meanwhile, Raffi has been working on something too. He's been

1204
01:05:07,080 --> 01:05:12,040
Speaker 3: crafting a golden heart covered with clockwork gears and jewels.

1205
01:05:12,680 --> 01:05:15,280
Speaker 3: And so we get this awakening scene. And I love

1206
01:05:15,440 --> 01:05:17,760
Speaker 3: this scene. I remember how scary it was when I

1207
01:05:17,800 --> 01:05:22,520
Speaker 3: was a little kid. I was mesmerized. So the bronze minotaur.

1208
01:05:22,920 --> 01:05:24,640
Speaker 3: This is a little bit later, and the minotaur is

1209
01:05:24,680 --> 01:05:27,520
Speaker 3: removed from the furnace and laid out on a stone

1210
01:05:27,560 --> 01:05:30,880
Speaker 3: slab in Zenobia's chambers. On the soundtrack, there is this

1211
01:05:31,000 --> 01:05:35,120
Speaker 3: steady rhythmic heart beat and some creepy atmospheric music, and

1212
01:05:35,280 --> 01:05:39,080
Speaker 3: Zenobia holds up the clockwork heart with its little gears

1213
01:05:39,120 --> 01:05:42,560
Speaker 3: pumping and milling around, and she says, Oh, brave and

1214
01:05:42,680 --> 01:05:46,920
Speaker 3: proud bull, whose heart my son has fashioned of purest gold,

1215
01:05:47,120 --> 01:05:50,520
Speaker 3: beat with the power as only I command you, oh

1216
01:05:50,600 --> 01:05:54,360
Speaker 3: mighty Abu Selem, you who rule over a thousand devils

1217
01:05:54,640 --> 01:05:57,760
Speaker 3: by all the fires of hell and darkness, give strength

1218
01:05:57,800 --> 01:06:02,640
Speaker 3: in life to this your creature, men Oton min Oton.

1219
01:06:03,320 --> 01:06:06,080
Speaker 3: And as she says this, she pours little streams of

1220
01:06:06,120 --> 01:06:09,560
Speaker 3: a blood red potion out of a bottle onto the

1221
01:06:09,560 --> 01:06:13,600
Speaker 3: bronze statue's head, and the blood runs down like tears

1222
01:06:13,640 --> 01:06:16,560
Speaker 3: from the corner of the bull's eye, and then slowly

1223
01:06:16,800 --> 01:06:21,040
Speaker 3: the creature's eyelids creak open. And I don't know why

1224
01:06:21,080 --> 01:06:24,120
Speaker 3: this is so creepy, but this really hit me when

1225
01:06:24,120 --> 01:06:28,000
Speaker 3: I was young. The eyelids open, and then underneath them,

1226
01:06:28,160 --> 01:06:32,280
Speaker 3: the eyes are the same bronze material as the lids,

1227
01:06:32,320 --> 01:06:35,400
Speaker 3: and they're just blank. So it's like something opening and

1228
01:06:35,480 --> 01:06:36,120
Speaker 3: there's nothing.

1229
01:06:36,960 --> 01:06:40,200
Speaker 1: Yeah. Yeah, this is just such a great sequence. I

1230
01:06:40,240 --> 01:06:43,560
Speaker 1: really enjoyed seeing this on the big screen. And I'm

1231
01:06:43,720 --> 01:06:46,200
Speaker 1: I'm glad that this is a family project, like so

1232
01:06:46,280 --> 01:06:48,440
Speaker 1: many things seem to be. Just as Anobia is doing,

1233
01:06:48,560 --> 01:06:50,360
Speaker 1: like she's doing all the leg work to try and

1234
01:06:50,720 --> 01:06:55,800
Speaker 1: get Rafy the throne. But here we learn, you know

1235
01:06:55,840 --> 01:06:59,160
Speaker 1: that he has also done his part. He has created

1236
01:06:59,160 --> 01:07:02,080
Speaker 1: the heart, he has cracked did the heart, and therefore

1237
01:07:02,240 --> 01:07:04,120
Speaker 1: you know, it's a it's a family effort to bring

1238
01:07:04,120 --> 01:07:05,440
Speaker 1: the Menoton into existence.

1239
01:07:05,520 --> 01:07:08,920
Speaker 3: That's right. He is a crafter of clockwork, which you

1240
01:07:08,920 --> 01:07:11,360
Speaker 3: wouldn't you wouldn't guess based on the other things he

1241
01:07:11,440 --> 01:07:13,880
Speaker 3: does in the movie. Because generally, as Zenobia is the

1242
01:07:13,880 --> 01:07:15,440
Speaker 3: brains of the operation.

1243
01:07:16,200 --> 01:07:18,880
Speaker 1: And I to it in a larger extent, I think

1244
01:07:18,920 --> 01:07:22,440
Speaker 1: it's it's worth noting that I think Zenobia has taken

1245
01:07:22,480 --> 01:07:25,439
Speaker 1: on too much in this quest. I feel like she's

1246
01:07:25,480 --> 01:07:29,080
Speaker 1: a very confident woman. She's a very capable witch, but

1247
01:07:29,200 --> 01:07:32,160
Speaker 1: she is trying to do a lot, mostly all by

1248
01:07:32,200 --> 01:07:36,200
Speaker 1: herself or via the efforts of things that she has

1249
01:07:36,320 --> 01:07:40,120
Speaker 1: directly created. And you're just gonna you're gonna have mistakes

1250
01:07:40,320 --> 01:07:42,040
Speaker 1: if you try and take on too many things. You

1251
01:07:42,120 --> 01:07:45,560
Speaker 1: just can't do everything effectively. And so she is going

1252
01:07:45,600 --> 01:07:47,080
Speaker 1: to begin to stumble here and there.

1253
01:07:47,440 --> 01:07:49,120
Speaker 3: We'll get to a really good stumble in a bit.

1254
01:07:49,160 --> 01:07:52,120
Speaker 3: But I'd say right now, she's still cooking like she's

1255
01:07:52,200 --> 01:07:53,280
Speaker 3: ten for ten at this point.

1256
01:07:53,360 --> 01:07:55,880
Speaker 1: Yeah, at this point, she's very confident and with good reason.

1257
01:07:56,040 --> 01:07:59,000
Speaker 1: Everything seems to be going her way, with the possible

1258
01:07:59,600 --> 01:08:03,080
Speaker 1: exception of this quest that she's about to squash. But hey,

1259
01:08:03,120 --> 01:08:05,320
Speaker 1: she has the Minton, the one man army of the

1260
01:08:05,320 --> 01:08:06,040
Speaker 1: menton here.

1261
01:08:06,600 --> 01:08:10,280
Speaker 3: So back on Sindbad's ship, there's one scene where they're like, uh,

1262
01:08:10,920 --> 01:08:13,400
Speaker 3: they're bringing a crate on board for the journey. This

1263
01:08:13,480 --> 01:08:16,000
Speaker 3: is before they leave, and it topples over and reveals

1264
01:08:16,040 --> 01:08:18,600
Speaker 3: that it's actually a cage with a living thing inside,

1265
01:08:18,880 --> 01:08:22,840
Speaker 3: a large baboon creature, and the baboon grunts and gets

1266
01:08:22,880 --> 01:08:26,479
Speaker 3: agitated until Princess Farra goes to calm it. She is

1267
01:08:26,520 --> 01:08:29,760
Speaker 3: bringing this baboon with her on the journey. Later, a

1268
01:08:29,800 --> 01:08:33,519
Speaker 3: member of the crew, Hassan, is working on ropes on

1269
01:08:33,600 --> 01:08:35,920
Speaker 3: the outside of the ship and he spies through the

1270
01:08:35,960 --> 01:08:39,759
Speaker 3: window into the captain's quarters to see Princess Farah playing

1271
01:08:39,880 --> 01:08:41,280
Speaker 3: chess with the baboon.

1272
01:08:41,520 --> 01:08:43,760
Speaker 1: Ah, this is such a great reveal.

1273
01:08:43,600 --> 01:08:46,839
Speaker 3: Yes, And Hassan comes into the cabin and the baboon

1274
01:08:46,920 --> 01:08:51,120
Speaker 3: reacts violently before retreating to his cage. Then Sinbad also

1275
01:08:51,200 --> 01:08:54,439
Speaker 3: comes in and Hassan's like trying to tattle tale. He's like, Captain,

1276
01:08:54,479 --> 01:08:57,960
Speaker 3: the baboon was playing, and Sinbad says, chess, I know

1277
01:08:58,240 --> 01:08:59,440
Speaker 3: he's beaten me twice.

1278
01:09:00,360 --> 01:09:03,040
Speaker 1: The bat boon, to be clear, is is a ray

1279
01:09:03,040 --> 01:09:06,559
Speaker 1: Harry Housen effect. Yes, and there's no live baboon used here,

1280
01:09:06,760 --> 01:09:09,679
Speaker 1: and it's clear that it's not a live batboon. But again,

1281
01:09:09,880 --> 01:09:13,240
Speaker 1: through the magic of Ray Harry Housen's craft, it feels

1282
01:09:13,320 --> 01:09:17,839
Speaker 1: completely alive. It feels like an authentic character with a complete,

1283
01:09:18,160 --> 01:09:22,000
Speaker 1: uh you know, internal state going on. It's wonderful, totally.

1284
01:09:22,160 --> 01:09:25,800
Speaker 3: Yes, it is there in the room, and I don't

1285
01:09:25,800 --> 01:09:27,559
Speaker 3: see how this is possible. I mean, I think it

1286
01:09:27,600 --> 01:09:29,840
Speaker 3: looks wonderful. I don't see how this is possible. But

1287
01:09:29,920 --> 01:09:33,000
Speaker 3: I have read that some audience members mistook it for

1288
01:09:33,120 --> 01:09:36,679
Speaker 3: being like a real live creature in the in this set.

1289
01:09:36,720 --> 01:09:38,840
Speaker 3: I mean, I don't think I could possibly think that

1290
01:09:38,920 --> 01:09:41,519
Speaker 3: about it. But it looks great and it really does.

1291
01:09:41,920 --> 01:09:43,240
Speaker 3: It has drama within it.

1292
01:09:43,520 --> 01:09:45,800
Speaker 1: Yeah, I will. I'll just take it. I think we'll

1293
01:09:45,800 --> 01:09:50,040
Speaker 1: take that as the compliment that it that it probably was.

1294
01:09:50,640 --> 01:09:52,559
Speaker 1: I mean, I can't imagine being upset about that, where

1295
01:09:52,560 --> 01:09:55,960
Speaker 1: they're like, I thought it was a real bad damn you,

1296
01:09:56,080 --> 01:09:56,799
Speaker 1: Harry Housen.

1297
01:09:58,400 --> 01:10:01,240
Speaker 3: So anyway, the part of the scene is the baboon

1298
01:10:01,360 --> 01:10:04,080
Speaker 3: is not just a baboon. It is actually Prince Cassim.

1299
01:10:04,240 --> 01:10:07,479
Speaker 3: This is the curse the witch transformed him from man

1300
01:10:07,520 --> 01:10:10,840
Speaker 3: into baboon and to prove it, the baboon writes on

1301
01:10:10,880 --> 01:10:14,400
Speaker 3: the wall with a pencil. He writes, I am Cassim.

1302
01:10:14,800 --> 01:10:17,400
Speaker 3: After this we get our first scene of the Minoton

1303
01:10:17,600 --> 01:10:21,120
Speaker 3: in action. This is good, so some guards left behind

1304
01:10:21,160 --> 01:10:24,320
Speaker 3: to watch Zenobia's castle. I think this includes Zabid, the

1305
01:10:24,400 --> 01:10:27,519
Speaker 3: character with the ipatch we mentioned earlier. They see a

1306
01:10:27,680 --> 01:10:31,720
Speaker 3: boat emerging from under the fortifications of Zenobia's castle, and

1307
01:10:31,800 --> 01:10:35,519
Speaker 3: it is a boat traveling without sails. Instead. It has

1308
01:10:35,600 --> 01:10:39,400
Speaker 3: many rows of oars pumping in the water, but only

1309
01:10:39,520 --> 01:10:44,000
Speaker 3: one oarsman. A single giant figure on the deck working

1310
01:10:44,040 --> 01:10:47,840
Speaker 3: a single mechanism that powers all of the oars at once.

1311
01:10:48,600 --> 01:10:53,160
Speaker 3: This is the Minoton, rowing the galley by himself. The

1312
01:10:53,200 --> 01:10:54,880
Speaker 3: guards say they're going to go out and try to

1313
01:10:54,920 --> 01:10:56,920
Speaker 3: get aboard the boat, so they head out in a

1314
01:10:56,920 --> 01:11:00,439
Speaker 3: little dinghy. It does not go well. Zenobiac them and

1315
01:11:00,600 --> 01:11:03,719
Speaker 3: orders the Minoton to steer the galley straight into the dinghy.

1316
01:11:04,080 --> 01:11:07,000
Speaker 3: It rams and crushes their boat. One of the men

1317
01:11:07,120 --> 01:11:09,559
Speaker 3: is left alive in the water, calling for help, and

1318
01:11:09,600 --> 01:11:12,120
Speaker 3: then she commands the Minoton to finish him. So the

1319
01:11:12,120 --> 01:11:14,919
Speaker 3: Minoton goes. He gets its long spear and he stabs

1320
01:11:14,960 --> 01:11:17,160
Speaker 3: the guy and like heaves him up over the top

1321
01:11:17,160 --> 01:11:20,000
Speaker 3: of the boat onto the other side. Chilling scene. Another

1322
01:11:20,040 --> 01:11:21,599
Speaker 3: one that scared me when I was a kid.

1323
01:11:21,760 --> 01:11:26,639
Speaker 1: Yeah, quality kill. Minoton looks very strong here and watching

1324
01:11:26,640 --> 01:11:28,840
Speaker 1: it for the first time, I'm like, we're building up

1325
01:11:28,840 --> 01:11:31,120
Speaker 1: to that battle between Meneton and Sindbat. I don't know

1326
01:11:31,160 --> 01:11:32,360
Speaker 1: how he's going to pull it off.

1327
01:11:40,360 --> 01:11:43,559
Speaker 3: Okay, So next thing, our heroes arrive at the Isle

1328
01:11:43,640 --> 01:11:46,720
Speaker 3: of Casgar Sinbad and his companions. They get there, they

1329
01:11:46,720 --> 01:11:49,280
Speaker 3: go on shore and explore, and I really like the

1330
01:11:49,280 --> 01:11:52,639
Speaker 3: location shots here. There are some beautiful desert canyons and

1331
01:11:53,200 --> 01:11:56,680
Speaker 3: use of real rock cut ruins. I'm almost certain this

1332
01:11:56,760 --> 01:12:00,320
Speaker 3: is Petra in Jordan. It really looks like it is.

1333
01:12:00,400 --> 01:12:04,519
Speaker 1: Yes, The what al Casne Mazwet Mausoleum is a popular

1334
01:12:04,560 --> 01:12:08,000
Speaker 1: tourist site and a frequent filming location. I think most

1335
01:12:08,040 --> 01:12:11,400
Speaker 1: people may remember this from this location from Indiana Jones

1336
01:12:11,400 --> 01:12:13,760
Speaker 1: in the Last Crusade, but it also shows up in

1337
01:12:13,760 --> 01:12:15,360
Speaker 1: films like Mortal Kombat Annihilation.

1338
01:12:17,240 --> 01:12:19,920
Speaker 3: That is a mate, I do not remember that from Annihilation.

1339
01:12:20,040 --> 01:12:23,280
Speaker 3: I'm going to have to watch that one again. So

1340
01:12:23,400 --> 01:12:26,240
Speaker 3: as they approach the Temple of Melanthius. Suddenly, all of

1341
01:12:26,280 --> 01:12:29,640
Speaker 3: our heroes are pelted with rocks by people on the

1342
01:12:29,680 --> 01:12:32,320
Speaker 3: cliffs above, but then they are saved by the intervention

1343
01:12:32,400 --> 01:12:35,240
Speaker 3: of a young woman. This young woman with blonde hair

1344
01:12:35,280 --> 01:12:37,880
Speaker 3: comes out of the temple and orders the people to

1345
01:12:37,880 --> 01:12:42,040
Speaker 3: stop throwing rocks, and she interrogates the travelers. This is Diane,

1346
01:12:42,479 --> 01:12:47,760
Speaker 3: we will later learn Malanthius's daughter. And after sindbad he

1347
01:12:48,120 --> 01:12:50,080
Speaker 3: gets through to her. He's like, we have to meet

1348
01:12:50,080 --> 01:12:53,479
Speaker 3: Malanthius and she's like why, and he says it's a

1349
01:12:53,479 --> 01:12:58,479
Speaker 3: matter of great urgency and importance. She's like, oh, well,

1350
01:12:58,520 --> 01:13:01,920
Speaker 3: in that case, good enough. We'll go see Milanthius then.

1351
01:13:02,960 --> 01:13:06,080
Speaker 3: And here's where we learned that Melanthius and Diane can

1352
01:13:06,240 --> 01:13:10,280
Speaker 3: communicate telepathically. I did not remember this detail from when

1353
01:13:10,280 --> 01:13:13,160
Speaker 3: I watched the movie as a kid. You know, they like,

1354
01:13:13,320 --> 01:13:16,320
Speaker 3: we see them have a conversation while they're on like,

1355
01:13:16,400 --> 01:13:19,040
Speaker 3: you know, not within speaking distance. They're on opposite sides

1356
01:13:19,080 --> 01:13:21,720
Speaker 3: of this great distance. And they're like, what is that

1357
01:13:21,960 --> 01:13:25,200
Speaker 3: And she says, my father taught me. He calls it telepathia,

1358
01:13:26,240 --> 01:13:29,080
Speaker 3: and again does not really seem to come up again

1359
01:13:29,120 --> 01:13:33,080
Speaker 3: in the film, but Malanthius explains that when they meet.

1360
01:13:33,160 --> 01:13:37,120
Speaker 3: He explains he already knows who Sinbad is because thought

1361
01:13:37,280 --> 01:13:42,120
Speaker 3: is transferable and it can travel through time and space. Okay,

1362
01:13:42,240 --> 01:13:46,880
Speaker 3: maybe that's more telepath telepathic stuff, but so we have

1363
01:13:47,000 --> 01:13:50,439
Speaker 3: introductions all around for Ah and Sinbad introduce the baboon

1364
01:13:50,960 --> 01:13:54,960
Speaker 3: Cassim to Malanthius here, and Malanthius reacts well, he like

1365
01:13:55,120 --> 01:13:57,519
Speaker 3: says the scientific name of the baboon, and he's very

1366
01:13:57,560 --> 01:14:00,599
Speaker 3: happy to see the baboon. The baboon all so takes

1367
01:14:00,640 --> 01:14:05,080
Speaker 3: a liking to Diany. It licks her hand, and so

1368
01:14:05,120 --> 01:14:08,720
Speaker 3: Malanthius takes Cassim back to his laboratory to examine him.

1369
01:14:09,120 --> 01:14:12,320
Speaker 3: He explains that as an alchemist, he knows that metals

1370
01:14:12,320 --> 01:14:15,600
Speaker 3: can be changed, one transforming into another, and by the

1371
01:14:15,640 --> 01:14:18,880
Speaker 3: same principle, he believes it's possible that one creature can

1372
01:14:18,920 --> 01:14:22,519
Speaker 3: be transformed into another. He gets a mirror and he

1373
01:14:22,560 --> 01:14:26,040
Speaker 3: gives it to Cassim, and this is basically the ancient

1374
01:14:26,080 --> 01:14:29,599
Speaker 3: Greek version of the mirror self recognition test. Yeah, Cassim

1375
01:14:29,760 --> 01:14:32,559
Speaker 3: looks in the mirror in his baboon form and is

1376
01:14:32,680 --> 01:14:36,960
Speaker 3: distressed and then saddened, and the baboon cries, and Malanthius says,

1377
01:14:37,000 --> 01:14:39,639
Speaker 3: by all the gods. A true baboon would have attacked

1378
01:14:39,680 --> 01:14:42,080
Speaker 3: the mirror, thinking it an enemy, and would not have

1379
01:14:42,120 --> 01:14:46,320
Speaker 3: recognized itself or have been moved to grief. So Melanthius

1380
01:14:46,400 --> 01:14:49,120
Speaker 3: here is shaken. He says this black magic is more

1381
01:14:49,160 --> 01:14:53,080
Speaker 3: powerful than he's ever seen before. He does accept Prince

1382
01:14:53,080 --> 01:14:56,800
Speaker 3: Cassim's identity and he shakes the baboon hand. So they

1383
01:14:56,840 --> 01:14:59,320
Speaker 3: start kind of brainstorming about what can be done to

1384
01:14:59,520 --> 01:15:03,679
Speaker 3: save they. It just mentioned that they're having mint tea.

1385
01:15:03,880 --> 01:15:05,400
Speaker 3: I thought that was interesting. I was like, Oh, I

1386
01:15:05,439 --> 01:15:08,839
Speaker 3: wonder how far back mint tea actually goes in practice.

1387
01:15:09,200 --> 01:15:10,960
Speaker 3: Is that an ancient world thing? I don't know.

1388
01:15:11,240 --> 01:15:13,880
Speaker 1: It's depicted here, so we have to just believe it

1389
01:15:13,880 --> 01:15:14,559
Speaker 1: at face value.

1390
01:15:14,720 --> 01:15:20,000
Speaker 3: Yes, it's canon. Diany brings Cassim bananas, and I was thinking, like, wait,

1391
01:15:20,400 --> 01:15:22,439
Speaker 3: is this a joke about how he's a baboon? Do

1392
01:15:22,520 --> 01:15:25,600
Speaker 3: they associate bananas with primates?

1393
01:15:25,640 --> 01:15:27,240
Speaker 1: I don't know. I guess it's a joke. But on

1394
01:15:27,240 --> 01:15:28,839
Speaker 1: the other hand, it's like everyone loves bananas.

1395
01:15:28,920 --> 01:15:33,280
Speaker 3: Yeah, I love bananas. But Melanthius explains that the longer

1396
01:15:33,360 --> 01:15:36,559
Speaker 3: Cassim stays in this form, the less of his mind

1397
01:15:36,600 --> 01:15:40,280
Speaker 3: will remain, and the more his animal nature will take over.

1398
01:15:41,560 --> 01:15:44,599
Speaker 3: And also he finally recalls, He's like, wait a minute,

1399
01:15:44,600 --> 01:15:46,360
Speaker 3: I think there may be one way to cure him.

1400
01:15:46,760 --> 01:15:52,000
Speaker 3: He says, an ancient advanced civilization now lost, known as

1401
01:15:52,040 --> 01:15:56,120
Speaker 3: the rmas Pie, once knew the secrets of transforming matter

1402
01:15:56,240 --> 01:16:00,679
Speaker 3: one into another for alchemy purposes their machines. Those same

1403
01:16:00,720 --> 01:16:04,040
Speaker 3: principles may be able to transform Cassim back into his

1404
01:16:04,160 --> 01:16:09,880
Speaker 3: true form. He says that the Aramasspi lived in Hyperborea,

1405
01:16:10,040 --> 01:16:14,440
Speaker 3: the great Northern Continent, a warm and green valley surrounded

1406
01:16:14,479 --> 01:16:17,240
Speaker 3: by glaciers on all sides. And he says if they

1407
01:16:17,240 --> 01:16:19,680
Speaker 3: could find the great shrine in the temple of the

1408
01:16:19,680 --> 01:16:21,960
Speaker 3: aramass Pi, cassium might be saved.

1409
01:16:23,040 --> 01:16:26,360
Speaker 1: So mentions of Hyperborea date back apparently to the writings

1410
01:16:26,400 --> 01:16:30,280
Speaker 1: of Herododus, but its use here probably stems from more

1411
01:16:30,360 --> 01:16:34,720
Speaker 1: modern usage and esoteric the esoteric thought and more to

1412
01:16:34,760 --> 01:16:38,559
Speaker 1: the point, weird fiction. So Hyperborea may be more familiar

1413
01:16:38,640 --> 01:16:40,080
Speaker 1: with a number of you out there, because it shows

1414
01:16:40,120 --> 01:16:42,760
Speaker 1: up and say the writings of Roberty Howard as well

1415
01:16:42,800 --> 01:16:44,880
Speaker 1: as Clark Ashton Smith and others.

1416
01:16:45,520 --> 01:16:48,200
Speaker 3: And I think the Aramaspi are also mentioned in ancient

1417
01:16:48,240 --> 01:16:51,240
Speaker 3: Greek writings like, doesn't Herodotus mention them as like the

1418
01:16:51,240 --> 01:16:54,000
Speaker 3: people who get gems from Griffin's or something like that.

1419
01:16:54,600 --> 01:16:56,760
Speaker 1: Yes, yes, yes, I think we've talked about that on

1420
01:16:56,800 --> 01:16:59,680
Speaker 1: the show before, having we like a valley of the

1421
01:16:59,720 --> 01:17:02,360
Speaker 1: Gym and Griffins or the others. There are a few

1422
01:17:02,360 --> 01:17:04,479
Speaker 1: different stories and with different creatures involved.

1423
01:17:04,560 --> 01:17:06,920
Speaker 3: Yes, yeah, I may be misremembering, but that's what I

1424
01:17:06,920 --> 01:17:11,600
Speaker 3: associated with. Also, the the the Ara mass Pie scrolls

1425
01:17:11,640 --> 01:17:13,639
Speaker 3: which they're going to use to guide them to this place.

1426
01:17:13,640 --> 01:17:16,160
Speaker 3: They're being kept in a basket with a bunch of gerbils.

1427
01:17:16,280 --> 01:17:19,080
Speaker 1: Yes, I love this. This This got a great chuckle

1428
01:17:19,360 --> 01:17:22,559
Speaker 1: by the love from the live audience. So at my viewing, yeah,

1429
01:17:22,560 --> 01:17:24,639
Speaker 1: you just keep those in there with the with the rodents.

1430
01:17:24,760 --> 01:17:28,960
Speaker 3: It's fine little rodent toilet paper containing the ancient lost secrets.

1431
01:17:30,240 --> 01:17:32,880
Speaker 3: But anyway, so there's a moment here where I didn't

1432
01:17:32,880 --> 01:17:36,519
Speaker 3: fully get the the causality, like why one thing leads

1433
01:17:36,520 --> 01:17:40,559
Speaker 3: to another. But quickly Melanthius like builds a laser and

1434
01:17:40,600 --> 01:17:44,400
Speaker 3: then he tests it. Then he considers the principle proven

1435
01:17:44,600 --> 01:17:46,840
Speaker 3: and he agrees he will go with Sindbad and Farrah

1436
01:17:46,920 --> 01:17:47,720
Speaker 3: to Hyperborea.

1437
01:17:48,160 --> 01:17:51,280
Speaker 1: Yeah, he builds this death ray laser thing, and you, yeah,

1438
01:17:51,320 --> 01:17:53,080
Speaker 1: you kind of assume this will be more important, like,

1439
01:17:53,080 --> 01:17:55,840
Speaker 1: all right, we're laying it out. This is this canon

1440
01:17:55,920 --> 01:17:58,920
Speaker 1: is going to be important later on, but not really.

1441
01:17:59,520 --> 01:18:02,000
Speaker 3: I think it just to make sure that he accepted

1442
01:18:02,040 --> 01:18:07,120
Speaker 3: the principle that transformation of a creature could happen, right, Yeah.

1443
01:18:07,120 --> 01:18:09,240
Speaker 3: So the next sequence we get is a fun one.

1444
01:18:09,280 --> 01:18:12,320
Speaker 3: This is Zenobia the Spy. Here's where we get both

1445
01:18:12,400 --> 01:18:17,280
Speaker 3: Zenobia and Malanthius kind of bumbling. So Zenobia, Raffi, and

1446
01:18:17,320 --> 01:18:20,599
Speaker 3: the Minoton remain in hot pursuit of Sinbad's ship, and

1447
01:18:20,680 --> 01:18:23,160
Speaker 3: Zenobia decides that she has to know their plan. She

1448
01:18:23,200 --> 01:18:26,800
Speaker 3: has to know what advice Malanthius has given them, So

1449
01:18:27,240 --> 01:18:31,200
Speaker 3: she drinks from her vial of blood potion, recites a spell,

1450
01:18:31,360 --> 01:18:35,200
Speaker 3: and then she transforms into a seagull, and in her

1451
01:18:35,240 --> 01:18:38,559
Speaker 3: gull form, she flies to Sinbad's ship, where she then

1452
01:18:38,680 --> 01:18:42,840
Speaker 3: retransforms into herself, but in tiny form, so it's attack

1453
01:18:42,880 --> 01:18:45,639
Speaker 3: of the puppet people's stuff. She's doll sized, running around

1454
01:18:45,680 --> 01:18:49,080
Speaker 3: on the floor and spying. Now while she's doing this,

1455
01:18:49,240 --> 01:18:53,400
Speaker 3: I think it's actually Cassim in baboon form, who notices

1456
01:18:53,479 --> 01:18:57,360
Speaker 3: her and then with the Baboon's help, Malanthius captures puppet

1457
01:18:57,400 --> 01:19:00,280
Speaker 3: sized Zenobia and puts her in a jar. So it's

1458
01:19:00,360 --> 01:19:03,560
Speaker 3: kind of Doctor Pretorius Bride of Frankenstein.

1459
01:19:03,640 --> 01:19:06,439
Speaker 1: Now, yeah, so she's already screwed up royally in an

1460
01:19:06,439 --> 01:19:11,879
Speaker 1: attempt to spy on her enemies. She is miniaturized, deep powered,

1461
01:19:11,920 --> 01:19:14,439
Speaker 1: and captured by her enemies, and now she's in a

1462
01:19:14,560 --> 01:19:15,559
Speaker 1: jar on their table.

1463
01:19:15,960 --> 01:19:19,000
Speaker 3: Yeah. So Melantheus is left alone in the room with

1464
01:19:19,080 --> 01:19:22,920
Speaker 3: the homunculus Zenobia to interrogate her. He threatens to put

1465
01:19:22,960 --> 01:19:25,240
Speaker 3: a bee in the jar with her if she does

1466
01:19:25,320 --> 01:19:27,839
Speaker 3: not answer him. I was like, whoa, that is brutal.

1467
01:19:28,040 --> 01:19:30,760
Speaker 1: Yeah, so, yeah, like this there's a these two don't

1468
01:19:30,800 --> 01:19:33,280
Speaker 1: know each other. Yeah, I mean, I've never met, but

1469
01:19:33,360 --> 01:19:36,400
Speaker 1: it's this this already seems like they are like long

1470
01:19:37,080 --> 01:19:39,400
Speaker 1: time enemies. Here. If he's already like all right, I'm

1471
01:19:39,439 --> 01:19:42,320
Speaker 1: just gonna put a wild to you giant bee in there,

1472
01:19:42,360 --> 01:19:44,040
Speaker 1: and we'll just see what happens when it stings you.

1473
01:19:44,920 --> 01:19:48,400
Speaker 3: She knows of him by reputation. I wonder if he

1474
01:19:48,560 --> 01:19:52,599
Speaker 3: also knows of her by reputation. I don't think that's clear, right.

1475
01:19:52,920 --> 01:19:55,840
Speaker 1: Or you know, he's the guy who lives mostly alone

1476
01:19:55,920 --> 01:19:59,040
Speaker 1: in the middle of an island far from humanity. Maybe

1477
01:19:59,040 --> 01:20:01,519
Speaker 1: he just distrusts every he treats everyone like this and

1478
01:20:01,560 --> 01:20:02,519
Speaker 1: that's why he's alone.

1479
01:20:02,960 --> 01:20:05,519
Speaker 3: Yeah yeah. But anyway, so he's trying to figure out

1480
01:20:05,520 --> 01:20:07,200
Speaker 3: what she wants. He goes, why did you come here

1481
01:20:07,240 --> 01:20:09,519
Speaker 3: to get a look at these? And then he holds

1482
01:20:09,600 --> 01:20:13,240
Speaker 3: up the scrolls and show where they're going. Yeah, long

1483
01:20:13,320 --> 01:20:15,360
Speaker 3: enough for her to get a good solid look at them.

1484
01:20:15,960 --> 01:20:18,800
Speaker 3: And then he's also like, do you know that we're

1485
01:20:18,800 --> 01:20:20,600
Speaker 3: going to the shrine of the RMSPI.

1486
01:20:21,080 --> 01:20:24,200
Speaker 1: Well, now she does, yeah, where you'll need this key

1487
01:20:24,280 --> 01:20:26,920
Speaker 1: and he holds that up as well, and she hit

1488
01:20:27,240 --> 01:20:29,080
Speaker 1: The movie is wise to what's going on, because she's

1489
01:20:29,120 --> 01:20:31,479
Speaker 1: like she's wide eyed over this, and she's like, oh,

1490
01:20:32,280 --> 01:20:34,960
Speaker 1: you know, I'm gonna memorize this really quickly. Oh that key, okay,

1491
01:20:34,960 --> 01:20:38,559
Speaker 1: I need to steal that later. So massive bumbling from

1492
01:20:39,520 --> 01:20:40,679
Speaker 1: Melanthius here as well.

1493
01:20:40,760 --> 01:20:42,800
Speaker 3: He kind of catches himself like after he does it,

1494
01:20:42,800 --> 01:20:47,439
Speaker 3: he covers his mouth like ooops. And then she starts

1495
01:20:47,439 --> 01:20:50,479
Speaker 3: trying to hypnotize Melanthius and send him to sleep, but

1496
01:20:50,880 --> 01:20:52,479
Speaker 3: it works for a minute, but he kind of snaps

1497
01:20:52,520 --> 01:20:56,439
Speaker 3: out of it. But then Melanthius recovers the vial of

1498
01:20:56,560 --> 01:20:59,720
Speaker 3: magic blood potion that Zenobia dropped in the room. He

1499
01:20:59,760 --> 01:21:03,000
Speaker 3: thinks it may be possible to use it to transform

1500
01:21:03,120 --> 01:21:07,080
Speaker 3: Cassim back to himself, and he decides to test it

1501
01:21:07,200 --> 01:21:10,360
Speaker 3: on the bee that he was messing with earlier, and

1502
01:21:10,760 --> 01:21:13,839
Speaker 3: Zenobia is screaming the whole time. She's like, no, that's mine,

1503
01:21:13,880 --> 01:21:17,240
Speaker 3: I need it. But then the bee experiment goes very bad.

1504
01:21:17,320 --> 01:21:19,880
Speaker 3: The bee laps up the potion and then it starts

1505
01:21:19,920 --> 01:21:23,599
Speaker 3: growing and growing and growing, and now you've just got

1506
01:21:23,600 --> 01:21:26,680
Speaker 3: a monster killer bee in the room. Yes, and Zenobia

1507
01:21:26,720 --> 01:21:29,080
Speaker 3: is yelling at it. She's like, yes, kill the Greek,

1508
01:21:29,320 --> 01:21:33,639
Speaker 3: kill Melantheus. So while he is busy being attacked by

1509
01:21:33,640 --> 01:21:38,200
Speaker 3: the bee, Zenobia escapes her jar, drinks more potion, shifts

1510
01:21:38,240 --> 01:21:41,160
Speaker 3: back into gull form, and then flies back to her ship.

1511
01:21:42,080 --> 01:21:45,280
Speaker 3: But then when she arrives back at her ship, she

1512
01:21:45,840 --> 01:21:48,400
Speaker 3: has to transform back into human shape with more of

1513
01:21:48,400 --> 01:21:53,160
Speaker 3: the potion, and unfortunately there was not enough left. She

1514
01:21:53,720 --> 01:21:57,679
Speaker 3: is like ninety five percent transformed back into human shape,

1515
01:21:57,960 --> 01:21:59,960
Speaker 3: but she still has a seagull foot.

1516
01:22:00,920 --> 01:22:04,519
Speaker 1: Shades of the fly here. Yeah, my wife mentioned that

1517
01:22:04,560 --> 01:22:07,360
Speaker 1: when she she remembered this scene from she remembered two

1518
01:22:07,360 --> 01:22:11,080
Speaker 1: scenes from seeing this as a kid, the baboon playing chess,

1519
01:22:11,479 --> 01:22:13,759
Speaker 1: and then the witch being stuck with a goal's foot

1520
01:22:14,320 --> 01:22:14,760
Speaker 1: this one.

1521
01:22:15,040 --> 01:22:17,240
Speaker 3: This scene also made a major impression on me as

1522
01:22:17,280 --> 01:22:20,679
Speaker 3: a kid. I found this Now, this scene's kind of funny,

1523
01:22:20,680 --> 01:22:21,800
Speaker 3: but it was scary when I.

1524
01:22:21,720 --> 01:22:22,160
Speaker 1: Was a kid.

1525
01:22:22,439 --> 01:22:24,639
Speaker 3: I mean, the idea of being stuck with a gal's

1526
01:22:24,680 --> 01:22:25,960
Speaker 3: foot is actually scary.

1527
01:22:26,160 --> 01:22:28,720
Speaker 1: Yeah, it's it's horrifying, and it really makes you kind

1528
01:22:28,760 --> 01:22:30,960
Speaker 1: of feel for zenobia here. This is where I begin

1529
01:22:31,000 --> 01:22:33,760
Speaker 1: to think, like, oh, this poor woman has taken too

1530
01:22:33,840 --> 01:22:37,479
Speaker 1: much on and she's she's not going to be able

1531
01:22:37,479 --> 01:22:40,320
Speaker 1: to pull this off. She's already having some massive setbacks here.

1532
01:22:40,920 --> 01:22:44,920
Speaker 1: And in general, this whole sequence is fascinating because it

1533
01:22:45,000 --> 01:22:47,640
Speaker 1: was clearly they clearly set out to have both of

1534
01:22:47,680 --> 01:22:51,760
Speaker 1: these characters fumbling all over the place. Everybody thinks they're

1535
01:22:51,800 --> 01:22:54,280
Speaker 1: out each each side thinks they're out smarting the other,

1536
01:22:54,760 --> 01:22:57,960
Speaker 1: but end up losing in the process. Like both sides

1537
01:22:58,160 --> 01:22:59,960
Speaker 1: have experienced massive setbacks.

1538
01:23:00,200 --> 01:23:06,320
Speaker 3: Yes, yes, So eventually they reach Hyperborea, Sindbad's ship reaches

1539
01:23:06,360 --> 01:23:08,880
Speaker 3: the ice. There are these huge ice bergs in the water,

1540
01:23:09,520 --> 01:23:12,479
Speaker 3: and Sindbad discovers that they have to take the long

1541
01:23:12,560 --> 01:23:14,800
Speaker 3: route over the top of the ice, because there was

1542
01:23:14,880 --> 01:23:17,280
Speaker 3: going to be a hidden tunnel passage to the valley

1543
01:23:17,280 --> 01:23:19,400
Speaker 3: of the armas By, but it's too small for their

1544
01:23:19,400 --> 01:23:23,520
Speaker 3: ship to sail through. So eventually the ice brings Sindbad's

1545
01:23:23,520 --> 01:23:26,200
Speaker 3: ship to a stop and they load up sledges that

1546
01:23:26,240 --> 01:23:30,200
Speaker 3: they have fashioned according to Melanthius's designs, and they travel

1547
01:23:30,240 --> 01:23:33,719
Speaker 3: overland or over ice. Along the way, we get another

1548
01:23:33,720 --> 01:23:37,560
Speaker 3: stop motion creature battle where they battle a killer walrus.

1549
01:23:38,200 --> 01:23:40,800
Speaker 3: This is yet another actually kind of sympathy for the

1550
01:23:40,880 --> 01:23:43,559
Speaker 3: villain here, this monster walrus comes up out of the

1551
01:23:43,560 --> 01:23:47,040
Speaker 3: ice and it attacks their camp, so they have to

1552
01:23:47,120 --> 01:23:49,320
Speaker 3: fight it. But I remember thinking when I was a

1553
01:23:49,360 --> 01:23:52,600
Speaker 3: kid and I saw this the way there, like it

1554
01:23:52,720 --> 01:23:54,840
Speaker 3: just seems like a big animal here, and they're like

1555
01:23:54,880 --> 01:23:57,200
Speaker 3: poking it with these sticks and stuff, and I was like, ooh,

1556
01:23:57,280 --> 01:24:00,200
Speaker 3: I bet that hurts the walrus. I remember having that thought.

1557
01:24:00,320 --> 01:24:02,880
Speaker 1: Yeah, it just wants to eat like mollusks and stuff.

1558
01:24:02,960 --> 01:24:05,040
Speaker 1: But here these humans are messing with it.

1559
01:24:05,960 --> 01:24:08,120
Speaker 3: But there is there is a good moment of peril here.

1560
01:24:08,160 --> 01:24:10,640
Speaker 3: I think it is Maroof, who gets like tangled in

1561
01:24:10,680 --> 01:24:13,800
Speaker 3: the rope, says they like they sort of drive it

1562
01:24:13,840 --> 01:24:15,840
Speaker 3: away by poking at it, and it starts trying to

1563
01:24:15,880 --> 01:24:18,880
Speaker 3: retreat and go back into the water. But Maroof is

1564
01:24:18,920 --> 01:24:21,040
Speaker 3: tangled in these ropes that are hanging off the back

1565
01:24:21,040 --> 01:24:22,639
Speaker 3: of the walrus, and it's like it's going to drag

1566
01:24:22,720 --> 01:24:24,439
Speaker 3: him under the water, and they've just managed to cut

1567
01:24:24,520 --> 01:24:26,200
Speaker 3: him loose in time before it dives.

1568
01:24:26,760 --> 01:24:29,120
Speaker 1: Yeah. I'm glad they were able to say Maruf so

1569
01:24:29,200 --> 01:24:32,160
Speaker 1: that he can unceremoniously die later in the picture.

1570
01:24:32,560 --> 01:24:34,679
Speaker 3: Yeah, in the final conflict.

1571
01:24:34,760 --> 01:24:36,719
Speaker 1: Yeah, true, at least it's the final conflict.

1572
01:24:36,960 --> 01:24:39,280
Speaker 3: This by the way, we as we mentioned earlier, this

1573
01:24:39,320 --> 01:24:41,400
Speaker 3: is one of those scenes where I think the cinematography

1574
01:24:41,520 --> 01:24:43,760
Speaker 3: like it's too dark. There needs to be more light here.

1575
01:24:43,800 --> 01:24:45,400
Speaker 3: I know it's supposed to take place at night, but

1576
01:24:45,439 --> 01:24:48,280
Speaker 3: it's just like blue blue Blue, you can barely see

1577
01:24:48,320 --> 01:24:51,479
Speaker 3: who anybody is. So next they go to the valley

1578
01:24:51,520 --> 01:24:55,439
Speaker 3: of the armas Pi and Sindbad and his companions. They

1579
01:24:55,439 --> 01:24:58,400
Speaker 3: make the journey on foot while Zenobia, Rafi and the

1580
01:24:58,479 --> 01:25:01,680
Speaker 3: Minoton are able to use a hidden ice tunnel to

1581
01:25:01,760 --> 01:25:05,400
Speaker 3: access the valley. The Sindbad's crew crosses over a snowy

1582
01:25:05,439 --> 01:25:09,320
Speaker 3: mountain and they see the Aurora borealis Malanthius explains what

1583
01:25:09,360 --> 01:25:12,840
Speaker 3: it is. He says that in Greek mythology it's known

1584
01:25:12,880 --> 01:25:15,599
Speaker 3: as something that maybe the crown of Apollo or something

1585
01:25:15,680 --> 01:25:19,439
Speaker 3: like that. And once in the warm valley, everybody has

1586
01:25:19,479 --> 01:25:22,080
Speaker 3: a bath and a nice river. Everybody starts, of course,

1587
01:25:22,160 --> 01:25:28,360
Speaker 3: you know, skinny dipping. Malanthius observes that Cassim is turning carnivorous,

1588
01:25:28,400 --> 01:25:30,519
Speaker 3: and he says it will soon be too late to

1589
01:25:30,640 --> 01:25:34,640
Speaker 3: change him back. Meanwhile, Diany and Farra are bathing in

1590
01:25:34,640 --> 01:25:38,320
Speaker 3: a pool when they meet a new character, Trog, the

1591
01:25:38,360 --> 01:25:39,280
Speaker 3: lovable trog.

1592
01:25:40,000 --> 01:25:44,040
Speaker 1: Trog is great because trog is I guess supposed to

1593
01:25:44,080 --> 01:25:46,600
Speaker 1: be some sort of is a troglodite. That's what the

1594
01:25:47,200 --> 01:25:49,880
Speaker 1: word is referring to. The name is referrad dweller, Yeah,

1595
01:25:50,000 --> 01:25:54,920
Speaker 1: cave dweller. But is again, don't don't draw. Don't assume

1596
01:25:54,920 --> 01:25:59,960
Speaker 1: that anything here matches up with with with actual real

1597
01:26:00,120 --> 01:26:04,720
Speaker 1: world organisms past or present. Because it is a horned humanoid.

1598
01:26:05,560 --> 01:26:08,439
Speaker 1: It is. He's kind of like he's reminiscent of the

1599
01:26:08,720 --> 01:26:12,120
Speaker 1: Cyclops from an earlier Harry Howsen picture.

1600
01:26:12,280 --> 01:26:14,839
Speaker 3: It's like a ten foot tall humanoid and a pelt

1601
01:26:14,840 --> 01:26:15,920
Speaker 3: with a horn on his head.

1602
01:26:16,160 --> 01:26:20,200
Speaker 1: Yeah, he's got this he's kind of like, he's got

1603
01:26:20,240 --> 01:26:23,519
Speaker 1: this nice head of hair and very thoughtful eyes. I

1604
01:26:23,560 --> 01:26:25,559
Speaker 1: guess at first you don't pick it up on this

1605
01:26:25,600 --> 01:26:27,280
Speaker 1: as much because it seems like he is a threat,

1606
01:26:27,320 --> 01:26:31,479
Speaker 1: he's gonna probably try and abduct these women or something.

1607
01:26:31,920 --> 01:26:36,320
Speaker 1: But instead you quickly learn like, no, Trog is afraid

1608
01:26:36,880 --> 01:26:40,760
Speaker 1: and has has a heart and really is one of

1609
01:26:40,800 --> 01:26:43,320
Speaker 1: the most beloved characters in the film totally.

1610
01:26:43,400 --> 01:26:46,000
Speaker 3: So when they first meet him, of course, the two

1611
01:26:46,000 --> 01:26:48,559
Speaker 3: women run away and Trog sort of walks after them,

1612
01:26:49,200 --> 01:26:52,559
Speaker 3: and then Sinbad comes up, you know, with his sword

1613
01:26:52,640 --> 01:26:55,839
Speaker 3: drawn and faces off against him, but Melanthius convinces Sindbad

1614
01:26:55,840 --> 01:26:59,280
Speaker 3: to lower his weapon, explaining that this guy is one

1615
01:26:59,320 --> 01:27:04,400
Speaker 3: of man's ancestors. They're called troglodytes, and so Diane once

1616
01:27:04,400 --> 01:27:07,519
Speaker 3: again is able to make friends. They immediately name him Trog.

1617
01:27:07,600 --> 01:27:10,599
Speaker 3: They're calling him Trog within a couple of sentences, and

1618
01:27:11,400 --> 01:27:17,240
Speaker 3: we learn that Cassium and Trog can communicate. Melanthius like

1619
01:27:17,400 --> 01:27:20,000
Speaker 3: draws a picture of the shrine they're looking for in

1620
01:27:20,040 --> 01:27:23,800
Speaker 3: the sand, and then Cassim asks Trog where it is,

1621
01:27:23,960 --> 01:27:26,200
Speaker 3: and Trog knows and offers to lead them to it.

1622
01:27:26,280 --> 01:27:27,799
Speaker 3: So he t he's he's friend.

1623
01:27:28,280 --> 01:27:31,400
Speaker 1: Yeah, Trog doesn't speak with language, but he makes these

1624
01:27:31,680 --> 01:27:35,080
Speaker 1: adorable sounds. I'm not there's kind of like kind of

1625
01:27:35,080 --> 01:27:38,280
Speaker 1: sounds you know that they're they're they're reminiscent of like

1626
01:27:38,320 --> 01:27:41,280
Speaker 1: some of like the soft sounds that a pet might make,

1627
01:27:42,000 --> 01:27:44,559
Speaker 1: like not full on barking or meowing, but some of

1628
01:27:44,600 --> 01:27:48,360
Speaker 1: those those more subtle sounds that our animals make around us.

1629
01:27:48,880 --> 01:27:51,559
Speaker 3: They really went out of their way to make Trog sweet,

1630
01:27:51,640 --> 01:27:54,760
Speaker 3: and it's tragic what's going to happen to him as well. Yes,

1631
01:28:04,160 --> 01:28:06,599
Speaker 3: so we're leaning up to the final showdown. So both

1632
01:28:06,640 --> 01:28:09,240
Speaker 3: groups are headed for the shrine of the arimas Pie,

1633
01:28:09,600 --> 01:28:12,280
Speaker 3: which turns out to be in a giant pyramid that

1634
01:28:12,360 --> 01:28:16,080
Speaker 3: makes crackling electricity sounds because it's got the Aurora borealis

1635
01:28:16,240 --> 01:28:20,080
Speaker 3: right over the top of it. And Trog helps Sinbad's

1636
01:28:20,120 --> 01:28:24,000
Speaker 3: group get through the gate, but Zenobia's team goes faster

1637
01:28:24,160 --> 01:28:26,400
Speaker 3: because they have access to the tunnel. And I like

1638
01:28:26,439 --> 01:28:28,559
Speaker 3: the creepy scene as they're passing through the tunnel in

1639
01:28:28,600 --> 01:28:31,120
Speaker 3: their boat and they're looking at these graves in the

1640
01:28:31,120 --> 01:28:34,439
Speaker 3: walls of all these kind of mummified figures, and I

1641
01:28:34,479 --> 01:28:37,400
Speaker 3: think rafi asques are these the last of the aramas

1642
01:28:37,479 --> 01:28:41,639
Speaker 3: Pi And Zenobia is like, who knows. It's a nice

1643
01:28:41,640 --> 01:28:44,760
Speaker 3: little mystery there. But Zenobia's team makes it to the

1644
01:28:44,760 --> 01:28:51,160
Speaker 3: pyramid first and oh no, no, Minotan no. So because

1645
01:28:51,240 --> 01:28:55,559
Speaker 3: they don't have the key to get inside, Zenobia uses

1646
01:28:55,600 --> 01:28:58,960
Speaker 3: some magic explosives and then now that one of the

1647
01:28:59,120 --> 01:29:02,960
Speaker 3: giant pyramid blocks is loosened, the Minoton has to manually

1648
01:29:03,040 --> 01:29:06,120
Speaker 3: remove it. So he's like scooting this huge stone cube

1649
01:29:07,000 --> 01:29:08,920
Speaker 3: out of the side of the pyramid in order to

1650
01:29:08,920 --> 01:29:12,240
Speaker 3: get through. But the block falls on top of the

1651
01:29:12,240 --> 01:29:16,479
Speaker 3: Minoton and crushes it. And it's a horrible moment.

1652
01:29:16,800 --> 01:29:19,719
Speaker 1: It is. I I was crushed watching this in the theater.

1653
01:29:20,640 --> 01:29:23,080
Speaker 1: Just the Minoton is just doing what he is told

1654
01:29:23,120 --> 01:29:25,920
Speaker 1: over and over again, rode all the way here, has

1655
01:29:26,000 --> 01:29:28,200
Speaker 1: pulled this block out, and then it just falls on

1656
01:29:28,280 --> 01:29:31,160
Speaker 1: him and he's crushed. And then Zenobia is just like

1657
01:29:31,280 --> 01:29:33,720
Speaker 1: he's served his purpose or something to that effect, and

1658
01:29:33,720 --> 01:29:35,720
Speaker 1: they just leave him. They just leave him there, and

1659
01:29:35,800 --> 01:29:38,840
Speaker 1: I kept hoping, well, he'll come back, like you know,

1660
01:29:38,920 --> 01:29:40,599
Speaker 1: either he'll come back and turn the tide, or at

1661
01:29:40,680 --> 01:29:43,839
Speaker 1: least he'll come back and continue his programming to protect,

1662
01:29:44,120 --> 01:29:47,000
Speaker 1: protect Zenobia and Rafy, but he does not. He's just

1663
01:29:47,040 --> 01:29:48,400
Speaker 1: stuck under that block forever.

1664
01:29:48,640 --> 01:29:50,759
Speaker 3: I think what she says is his work is done

1665
01:29:51,000 --> 01:29:51,320
Speaker 3: or something.

1666
01:29:51,439 --> 01:29:54,360
Speaker 1: Yeah, yeah, man, and I have some again. I think

1667
01:29:54,400 --> 01:29:57,240
Speaker 1: Zenobia is absolutely wrong here, and we're just see why

1668
01:29:57,280 --> 01:30:00,600
Speaker 1: in a minute, because she's like, we don't need the

1669
01:30:00,600 --> 01:30:06,200
Speaker 1: the military support of our unbeatable automaton anymore. You and me,

1670
01:30:06,280 --> 01:30:09,280
Speaker 1: we've got this Rafi. It's not really going to work

1671
01:30:09,280 --> 01:30:09,800
Speaker 1: out that way.

1672
01:30:10,320 --> 01:30:12,759
Speaker 3: So Zenovia and Rafi make their way into the temple,

1673
01:30:13,800 --> 01:30:17,360
Speaker 3: shortly followed by our heroes. Upon arriving, Melanthius explains that

1674
01:30:17,439 --> 01:30:21,400
Speaker 3: because the block was removed by the Menoton, the integrity

1675
01:30:21,400 --> 01:30:23,960
Speaker 3: of the shrine has been compromised and now its power

1676
01:30:24,040 --> 01:30:26,760
Speaker 3: is out of balance and it's about to collapse. Like

1677
01:30:26,800 --> 01:30:28,200
Speaker 3: they have to hurry if they want to be able

1678
01:30:28,240 --> 01:30:28,640
Speaker 3: to use it.

1679
01:30:29,360 --> 01:30:31,120
Speaker 1: This was a moment in viewing the film where I

1680
01:30:32,160 --> 01:30:34,479
Speaker 1: was thinking about the fact that here they have traveled

1681
01:30:35,080 --> 01:30:40,519
Speaker 1: vast distances to a place that houses an ancient power

1682
01:30:40,680 --> 01:30:45,799
Speaker 1: of perhaps like world breaking intensity, in order to solve

1683
01:30:45,840 --> 01:30:47,880
Speaker 1: a very regional conflict.

1684
01:30:48,240 --> 01:30:51,280
Speaker 3: In order to get this baboon eligible for royal for

1685
01:30:51,360 --> 01:30:55,759
Speaker 3: the Royal throne. Yes, so inside the shrine, the decor

1686
01:30:55,920 --> 01:30:59,920
Speaker 3: is kind of ice Egyptian in theme, like their hieroglyphic

1687
01:31:00,160 --> 01:31:05,479
Speaker 3: and stalactites like ice salacta icicles. There is a giant

1688
01:31:05,600 --> 01:31:10,160
Speaker 3: machine that is sucking the aurora from the sky into

1689
01:31:10,240 --> 01:31:13,240
Speaker 3: a beam that flows into this big pool of water,

1690
01:31:13,920 --> 01:31:16,519
Speaker 3: and then there is a cage on a chain that

1691
01:31:16,560 --> 01:31:19,400
Speaker 3: can be cranked into the flow of the beam. So

1692
01:31:19,760 --> 01:31:21,920
Speaker 3: the idea is they've got to put Cassim into the

1693
01:31:21,920 --> 01:31:25,120
Speaker 3: cage and put him in the beam. But first Zenobia

1694
01:31:25,160 --> 01:31:28,759
Speaker 3: comes out. She's like, the gods have abandoned you. Now Raffi,

1695
01:31:28,960 --> 01:31:32,920
Speaker 3: kill Malanthius. They are helpless without him. So Raffi, who

1696
01:31:33,000 --> 01:31:34,720
Speaker 3: this is all about? Raffi, by the way, the whole

1697
01:31:34,760 --> 01:31:37,679
Speaker 3: point is like get him on the throne. He runs

1698
01:31:37,680 --> 01:31:40,400
Speaker 3: at Melanthius with a knife and tries to kill him,

1699
01:31:40,560 --> 01:31:44,600
Speaker 3: but the baboon Cassim attacks Raffi. They tumble down the

1700
01:31:44,600 --> 01:31:47,800
Speaker 3: stairs and then Raffi lies dead at the bottom, his

1701
01:31:47,920 --> 01:31:48,559
Speaker 3: neck broken.

1702
01:31:49,080 --> 01:31:51,600
Speaker 1: Yeah, and this is a case where yes, okay, as

1703
01:31:51,680 --> 01:31:55,160
Speaker 1: Zenobia points out, he Raffi only has to kill Malanthius

1704
01:31:55,800 --> 01:31:59,080
Speaker 1: because he's the brains of this whole scheme. They're trying

1705
01:31:59,120 --> 01:32:02,120
Speaker 1: to pull off, but it still kind of breaks down to, Okay,

1706
01:32:02,240 --> 01:32:06,519
Speaker 1: Raffi defeat like five people at once, like that, this

1707
01:32:06,600 --> 01:32:09,320
Speaker 1: is where the minotague would have been essential, and you

1708
01:32:09,439 --> 01:32:12,679
Speaker 1: discarded him, And this is a ridiculous ask of Raffi.

1709
01:32:12,760 --> 01:32:15,120
Speaker 1: You know, he's clearly, you know, a capable fighter and

1710
01:32:15,160 --> 01:32:18,120
Speaker 1: schemer in his own right, and you know, certainly a

1711
01:32:18,240 --> 01:32:22,840
Speaker 1: quite a capable alchemist or whatever as well. But like

1712
01:32:23,240 --> 01:32:26,400
Speaker 1: he's just doomed to failure here because the task is

1713
01:32:26,520 --> 01:32:27,040
Speaker 1: too much.

1714
01:32:28,160 --> 01:32:31,320
Speaker 3: Something has has gone wrong, like see the wise the

1715
01:32:31,360 --> 01:32:35,360
Speaker 3: wise witch here has become foolish. Yeah, she's giving impossible orders,

1716
01:32:35,560 --> 01:32:38,920
Speaker 3: so uh now, and now he's dead and so she

1717
01:32:39,040 --> 01:32:41,280
Speaker 3: sort of goes down to his side and she's distraught.

1718
01:32:41,360 --> 01:32:45,200
Speaker 3: And meanwhile, Cassim goes into the pulley cage, Sindbad cranks

1719
01:32:45,240 --> 01:32:50,160
Speaker 3: him into the beam and magic happens. Melanthius praise to

1720
01:32:50,280 --> 01:32:54,840
Speaker 3: both Apollo and to the Great Mystery, and Cassim comes

1721
01:32:54,880 --> 01:32:59,720
Speaker 3: back down smoking and he's Captain Karnstein again. Farah is

1722
01:32:59,760 --> 01:33:02,920
Speaker 3: over joyed. Fully clothed too, Yeah, he's fully clothed.

1723
01:33:02,960 --> 01:33:03,840
Speaker 1: Good point.

1724
01:33:04,240 --> 01:33:07,639
Speaker 3: And I think Dione is Diany is like hubba hubba

1725
01:33:08,160 --> 01:33:10,000
Speaker 3: she likes Count Karnstein.

1726
01:33:10,080 --> 01:33:12,479
Speaker 1: Here She's like, I was just going to marry the baboon,

1727
01:33:12,600 --> 01:33:13,559
Speaker 1: but now look at him.

1728
01:33:13,840 --> 01:33:19,439
Speaker 3: So he's transformed back. But now Zenobia wants revenge. Nearby,

1729
01:33:19,800 --> 01:33:21,840
Speaker 3: the whole time they've been there, there has been this

1730
01:33:22,080 --> 01:33:27,320
Speaker 3: massive frozen figure in cased in ice. It is a

1731
01:33:27,400 --> 01:33:32,479
Speaker 3: saber toothed cat, a Smilodon. Zenobia turns herself into green

1732
01:33:32,640 --> 01:33:36,599
Speaker 3: smoke and then possesses the Smilodon, causing it to hatch

1733
01:33:36,680 --> 01:33:39,320
Speaker 3: out of the ice and attack. And this is our

1734
01:33:39,360 --> 01:33:42,720
Speaker 3: final fight scene. So this is a stop motion smilod

1735
01:33:42,720 --> 01:33:47,839
Speaker 3: On that first starts attacking Sindbad and the crew. Meanwhile

1736
01:33:47,880 --> 01:33:50,599
Speaker 3: the temple is collapsing all around them, and it really

1737
01:33:50,640 --> 01:33:52,960
Speaker 3: looks like there's no chance they're going to win this fight.

1738
01:33:53,320 --> 01:33:58,599
Speaker 3: But then to the rescue comes Trog wielding the Minoton's spear.

1739
01:33:59,000 --> 01:33:59,439
Speaker 1: Nice.

1740
01:34:00,000 --> 01:34:03,760
Speaker 3: This is an excellent fight. It feels really visceral, like

1741
01:34:03,800 --> 01:34:06,599
Speaker 3: you can see that Trog is wrestling and the cat

1742
01:34:06,640 --> 01:34:09,840
Speaker 3: is attacking and it's like viciously like scratching at his

1743
01:34:09,920 --> 01:34:12,439
Speaker 3: back and cutting up his muscles while he's trying to

1744
01:34:12,439 --> 01:34:15,519
Speaker 3: wrestle it to the ground and choke it. And I

1745
01:34:15,520 --> 01:34:17,559
Speaker 3: don't know. I think this is like an all time

1746
01:34:17,560 --> 01:34:18,639
Speaker 3: great stop motion foight.

1747
01:34:18,800 --> 01:34:21,760
Speaker 1: Yeah, this is an all time great monster battle and

1748
01:34:22,640 --> 01:34:25,000
Speaker 1: it's just a work of art, like this is a masterpiece.

1749
01:34:25,080 --> 01:34:27,280
Speaker 1: This is a Harry House and masterpiece. Yeah. No matter

1750
01:34:27,360 --> 01:34:29,280
Speaker 1: what you think about the rest of the film, the

1751
01:34:29,360 --> 01:34:31,759
Speaker 1: rest of the film is worth it for this sequence alone.

1752
01:34:32,120 --> 01:34:34,920
Speaker 3: But it ends very sadly because we're all on Trog's

1753
01:34:34,920 --> 01:34:37,640
Speaker 3: side at this point. Everybody loves Trog. It's impossible not

1754
01:34:37,720 --> 01:34:38,240
Speaker 3: to love Trog.

1755
01:34:38,479 --> 01:34:40,680
Speaker 1: Yeah, even if you're on team Menoton, like Trog and

1756
01:34:40,760 --> 01:34:45,160
Speaker 1: Menton never interact in anything. Trog has literally picked up

1757
01:34:45,200 --> 01:34:47,839
Speaker 1: the weapon of the Minoton and is continuing his legacy.

1758
01:34:48,080 --> 01:34:52,880
Speaker 3: Yes, but Trog unfortunately is killed by the smilodn it

1759
01:34:53,040 --> 01:34:55,720
Speaker 3: goes for the Jugular and he lies dead. But he's

1760
01:34:55,720 --> 01:34:57,840
Speaker 3: bought them a lot of time, a lot of I

1761
01:34:57,920 --> 01:35:01,000
Speaker 3: think several of the people escape, but then Sindbad and

1762
01:35:01,280 --> 01:35:03,519
Speaker 3: a couple of the crew are still left there in

1763
01:35:03,640 --> 01:35:07,639
Speaker 3: the room, and so then the Smilodon attacks the remaining humans,

1764
01:35:07,760 --> 01:35:12,080
Speaker 3: including Sinbad. I think, is it Maroof is killed and

1765
01:35:12,200 --> 01:35:13,240
Speaker 3: Hassan survives.

1766
01:35:13,600 --> 01:35:17,639
Speaker 1: Yes, Yes, sadly we lose Maroof, but Hassan lives.

1767
01:35:17,479 --> 01:35:20,360
Speaker 3: On but Sinbad is able to defeat the smilod On

1768
01:35:20,439 --> 01:35:23,040
Speaker 3: in the end via a spear maneuver. He kind of

1769
01:35:23,080 --> 01:35:25,000
Speaker 3: gets under it on the stairs and then when it

1770
01:35:25,120 --> 01:35:27,880
Speaker 3: lunges at him, he holds the spear up and kind

1771
01:35:27,880 --> 01:35:30,439
Speaker 3: of like vaults it over him with a stab and

1772
01:35:30,560 --> 01:35:33,080
Speaker 3: then does a dagger to the heart and the evil

1773
01:35:33,280 --> 01:35:35,719
Speaker 3: witch possessed Smilodon is defeated.

1774
01:35:36,200 --> 01:35:38,200
Speaker 1: Yeah, it's a symbat movie, so he should get the

1775
01:35:38,360 --> 01:35:39,479
Speaker 1: he should get the final kill.

1776
01:35:39,880 --> 01:35:43,240
Speaker 3: And then they high tail it back to Shirak. It's

1777
01:35:43,360 --> 01:35:47,000
Speaker 3: just very quick wrap up after this, actually almost comically quick.

1778
01:35:47,080 --> 01:35:49,760
Speaker 3: After the fight is over, how fast they wrap up.

1779
01:35:49,800 --> 01:35:51,600
Speaker 3: We're like, oh, we're back in Hirak. Now here's the

1780
01:35:51,680 --> 01:35:56,519
Speaker 3: city and here's the ceremony where where we're seeing Cassim

1781
01:35:56,640 --> 01:35:59,479
Speaker 3: being crowned. And it's just a happy ending all around

1782
01:35:59,560 --> 01:36:03,320
Speaker 3: Sinbad and for a kiss. The way they're dressed up

1783
01:36:03,360 --> 01:36:05,800
Speaker 3: in this final scene looks very funny. I've got a

1784
01:36:05,800 --> 01:36:09,479
Speaker 3: screenshot for you to look out. Yeah, they're just wearing

1785
01:36:09,600 --> 01:36:11,200
Speaker 3: like teol clothes.

1786
01:36:11,600 --> 01:36:12,679
Speaker 1: It's like bath matt teel.

1787
01:36:13,000 --> 01:36:17,960
Speaker 3: Yes. And then I think it's implied maybe Diany is

1788
01:36:18,040 --> 01:36:21,200
Speaker 3: going to be Cassim's queen. But they don't make anything

1789
01:36:21,320 --> 01:36:23,040
Speaker 3: very clear there but just the end.

1790
01:36:24,240 --> 01:36:26,080
Speaker 1: But we do get a stinger at the very end,

1791
01:36:26,760 --> 01:36:30,160
Speaker 1: right brief, very brief credits, and then the eyes of

1792
01:36:30,240 --> 01:36:33,920
Speaker 1: the Tiger, the eyes of Zenobia. Will there be a sequel, No,

1793
01:36:34,080 --> 01:36:36,679
Speaker 1: there won't be, but but it gives you that idea.

1794
01:36:36,760 --> 01:36:40,960
Speaker 1: Maybe you know the creature she inhabited survived. But what

1795
01:36:41,080 --> 01:36:44,400
Speaker 1: else is possible? Oh? Is it possible that that the

1796
01:36:44,479 --> 01:36:48,040
Speaker 1: green spirit essence of Zenobia. If it can't return to

1797
01:36:48,160 --> 01:36:51,320
Speaker 1: her own form, maybe it goes to the Menoton. Maybe

1798
01:36:51,360 --> 01:36:54,600
Speaker 1: we have Minoton Zenobia emerging from the rock or just

1799
01:36:54,600 --> 01:36:57,120
Speaker 1: stuck under the rock for alternity. I guess that would

1800
01:36:57,160 --> 01:36:57,960
Speaker 1: be fitting in its.

1801
01:36:57,800 --> 01:37:01,080
Speaker 3: Own I would love to see some other filmmaker pick

1802
01:37:01,160 --> 01:37:03,880
Speaker 3: up the mantle of the Minoton and have us get

1803
01:37:03,920 --> 01:37:07,080
Speaker 3: another Minoton, give us another crack at the Minoton in

1804
01:37:07,160 --> 01:37:07,880
Speaker 3: a story like this.

1805
01:37:08,640 --> 01:37:10,920
Speaker 1: Absolutely yeah, I love the Menoton.

1806
01:37:10,600 --> 01:37:13,880
Speaker 3: Here Okay, one last reflection on At the beginning, I

1807
01:37:14,000 --> 01:37:17,559
Speaker 3: was talking about what defines adventure as opposed to other

1808
01:37:17,680 --> 01:37:21,800
Speaker 3: genres like action. This movie is very much adventure, and

1809
01:37:21,960 --> 01:37:24,439
Speaker 3: adventure I think has to do with a sense of

1810
01:37:24,600 --> 01:37:29,840
Speaker 3: discovery and amazement. And yet the discovery and amazement. It's

1811
01:37:30,160 --> 01:37:33,160
Speaker 3: permissible for that to be only really present in the

1812
01:37:33,520 --> 01:37:37,760
Speaker 3: audience rather than the main character. Does Sinbad in the

1813
01:37:37,880 --> 01:37:43,040
Speaker 3: movie ever act amazed. He doesn't ever, to me seem

1814
01:37:43,080 --> 01:37:44,439
Speaker 3: all that impressed by anything.

1815
01:37:45,000 --> 01:37:48,400
Speaker 1: Well, he's very he's very confident, he's very capable, and

1816
01:37:48,800 --> 01:37:52,360
Speaker 1: he's goal oriented. He has a mission. So I guess

1817
01:37:52,400 --> 01:37:56,400
Speaker 1: on one level, yeah, he doesn't stop to he doesn't

1818
01:37:56,439 --> 01:37:59,519
Speaker 1: need to stop to acknowledge the wonders that he's traveling through.

1819
01:37:59,560 --> 01:38:01,839
Speaker 1: And he's seen a lot like this is Sindbad the Sailor.

1820
01:38:02,479 --> 01:38:06,040
Speaker 1: He's not his first rodeo, even if it is his

1821
01:38:06,240 --> 01:38:11,800
Speaker 1: first trip to the strange, forgotten temples of Hyperborea. But yeah,

1822
01:38:11,840 --> 01:38:14,120
Speaker 1: I guess it is a good point that the wonder

1823
01:38:14,479 --> 01:38:18,120
Speaker 1: is mostly for us, the audience. We don't have scenes

1824
01:38:18,160 --> 01:38:21,200
Speaker 1: of him going whoa and looking up to the temple walls.

1825
01:38:21,640 --> 01:38:26,280
Speaker 3: I guess Melanthius and Diony both show amazement. Yeah, Yeah,

1826
01:38:26,720 --> 01:38:29,680
Speaker 3: they've got that scientific temperament, you know, appreciation for the

1827
01:38:29,720 --> 01:38:30,599
Speaker 3: wonders of the world.

1828
01:38:31,040 --> 01:38:34,520
Speaker 1: Yeah, probably a good thing that the technologies of Hyperborea

1829
01:38:34,560 --> 01:38:37,960
Speaker 1: didn't fall into either of their hands. Though, Yeah, maybe

1830
01:38:38,000 --> 01:38:41,519
Speaker 1: there's nothing left for Melanthius to bring back and inevitably bumble.

1831
01:38:42,000 --> 01:38:44,479
Speaker 3: Oh wait, you know who does show amazement a little

1832
01:38:44,520 --> 01:38:47,080
Speaker 3: bit is Rafi. When he's like when they're in the

1833
01:38:47,120 --> 01:38:50,320
Speaker 3: tunnels and they're looking at the mummies and stuff, he

1834
01:38:50,400 --> 01:38:51,479
Speaker 3: seems a little amazed.

1835
01:38:52,240 --> 01:38:55,920
Speaker 1: Are we prepared to admit that maybe Rafi would have

1836
01:38:56,000 --> 01:38:58,439
Speaker 1: made a good calif we don't really know. He's never

1837
01:38:58,520 --> 01:39:02,200
Speaker 1: given a chance to rule. His method of achieving the

1838
01:39:02,320 --> 01:39:05,960
Speaker 1: throne is less than honest. I don't know. Maybe he

1839
01:39:06,000 --> 01:39:07,880
Speaker 1: would have ushered in a new golden age.

1840
01:39:08,000 --> 01:39:11,200
Speaker 3: We get no comparison whatsoever between the like sort of

1841
01:39:11,320 --> 01:39:16,479
Speaker 3: policy outlook of Raffi versus Cassim.

1842
01:39:16,640 --> 01:39:18,640
Speaker 1: So yeah, maybe Cassine idea is going to be a

1843
01:39:18,720 --> 01:39:22,400
Speaker 1: terrible ruler. Like right after the picture ends, he lifts

1844
01:39:22,439 --> 01:39:24,280
Speaker 1: the chalice and says to Satan.

1845
01:39:24,200 --> 01:39:25,519
Speaker 3: Iron fist, yeah.

1846
01:39:27,520 --> 01:39:33,080
Speaker 1: To Satan. All right. Well, that is Sinbad and the

1847
01:39:33,240 --> 01:39:36,400
Speaker 1: Eye of the Tiger. It's a lot of fun if

1848
01:39:36,439 --> 01:39:40,080
Speaker 1: you haven't seen it. Highly recommended, great monster mash, great effects,

1849
01:39:40,600 --> 01:39:43,200
Speaker 1: with some plenty of cheese spread in there as well.

1850
01:39:43,960 --> 01:39:45,680
Speaker 1: So we'd love to hear from everyone out there. Do

1851
01:39:45,800 --> 01:39:49,360
Speaker 1: you have thoughts or reflections on Sinbad in the Eye

1852
01:39:49,439 --> 01:39:51,800
Speaker 1: of the Tiger right in because we would love to

1853
01:39:51,880 --> 01:39:53,880
Speaker 1: hear from you. Do you have a favorite Ray Harry

1854
01:39:53,920 --> 01:39:57,759
Speaker 1: Housen film or favorite Ray Harry Housen creature or effect.

1855
01:39:58,240 --> 01:40:00,720
Speaker 1: We'd also love to hear your thoughts on that. Just

1856
01:40:00,800 --> 01:40:02,839
Speaker 1: a reminder that Stuff to Blow Your Mind is primarily

1857
01:40:02,880 --> 01:40:05,240
Speaker 1: a science and culture podcast, with core episodes on Tuesdays

1858
01:40:05,280 --> 01:40:07,559
Speaker 1: and Thursdays, but on Fridays we set aside most serious

1859
01:40:07,600 --> 01:40:09,720
Speaker 1: concerns of just talk about a weird film here on

1860
01:40:09,840 --> 01:40:13,920
Speaker 1: Weird House Cinema. You can follow Weird House Cinema specifically

1861
01:40:14,560 --> 01:40:18,320
Speaker 1: on letterboxed dot com. Our username there is weird House,

1862
01:40:18,560 --> 01:40:21,040
Speaker 1: and wherever you get your podcasts, you can get Weird

1863
01:40:21,080 --> 01:40:25,439
Speaker 1: House Cinema in its regularly occurring spot in the Stuff

1864
01:40:25,479 --> 01:40:28,920
Speaker 1: to Blow Your Mind podcast feed. The Weird House Cinema

1865
01:40:29,000 --> 01:40:33,040
Speaker 1: can also be found on any of these podcast services

1866
01:40:33,800 --> 01:40:37,600
Speaker 1: under its own listing, So either way, we appreciate you

1867
01:40:38,120 --> 01:40:40,840
Speaker 1: subscribing and downloading and listening to the show.

1868
01:40:41,479 --> 01:40:45,480
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1869
01:40:45,880 --> 01:40:47,479
Speaker 3: If you would like to get in touch with us

1870
01:40:47,560 --> 01:40:50,000
Speaker 3: with feedback on this episode or any other, to suggest

1871
01:40:50,040 --> 01:40:52,080
Speaker 3: a topic for the future, or just to say Hello.

1872
01:40:52,240 --> 01:40:54,880
Speaker 3: You can email us at contact at stuff to Blow

1873
01:40:54,960 --> 01:40:55,960
Speaker 3: Your Mind dot com.

1874
01:41:02,520 --> 01:41:05,439
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1875
01:41:05,600 --> 01:41:09,400
Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1876
01:41:09,479 --> 01:41:11,240
Speaker 2: or wherever you listen to your favorite shows.