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

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Speaker 2: Hey, 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 finally going to

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Speaker 3: be devoting a full episode to a movie that we

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Speaker 3: have referenced in passing quite a bit over the years.

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Speaker 3: I don't know if it's come up as often as

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Speaker 3: Highlander two, but it's got to be close. This is

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Speaker 3: the subject of a fan favorite episode of Mystery Science

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Speaker 3: Theater three thousand from season three with Joel and another

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Speaker 3: example of one of our favorite niche subgenres, low budget

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Speaker 3: atomic age sci fi horror thrillers, directed by Roger Corman,

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Speaker 3: which played as part of a double bill at your

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Speaker 3: local drive in in the fifties. This one. Most of

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Speaker 3: these movies are great because they're usually less than seventy

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Speaker 3: minutes long. This one's at the the longer end of

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Speaker 3: that scale. It's like sixty nine seventy minutes, you know,

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Speaker 3: they get even shorter. Attack of the Crab Monsters is like,

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Speaker 3: what sixty two minutes or something, But it's still right

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Speaker 3: in the zone. And as I've said before, I want

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Speaker 3: to be on record that I think it's okay for

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Speaker 3: feature films to be that short. You don't need to

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Speaker 3: try to stretch it out, as even this short movie

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Speaker 3: does with all these scenes of driving and parking.

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Speaker 2: Yes, indeed, modern filmmakers, you can make them this short

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Speaker 2: we approve.

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Speaker 3: Oh wait, but I didn't say the name yet. Sorry,

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Speaker 3: Today we're talking about it Conquered the World from nineteen

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Speaker 3: fifty six, starring Peter Graves, Beverly Garland, and a devious

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Speaker 3: Earth betraying Lee Van Cleef, who is redeemed in the end.

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Speaker 3: You know. So this is a movie I've seen primarily

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Speaker 3: in the Mystery Science Theater episode, and I guess because

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Speaker 3: of the MST framing, i'd never really give it a

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Speaker 3: serious chance on its own terms. I actually had seen

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Speaker 3: it on its own before, but still just kind of

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Speaker 3: with the mind of looking for the cheesy bits, and

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Speaker 3: there are plenty of those, we can talk about them.

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Speaker 3: But this movie is not bad. This is a pretty

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Speaker 3: solid scrappy drive in film.

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Speaker 2: Absolutely. Yeah. This is a film I too, had seen

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Speaker 2: numerous times in its MST three K format over the decades,

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Speaker 2: but this was actually my first time watching it straight up.

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Speaker 2: So yeah, I feel like, as is often the case

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Speaker 2: with the best MST three K episodes, the underlying movie

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Speaker 2: is very watchable on its own. You know, it has

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Speaker 2: some wonky pacing at times, nothing really zings visually, at

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Speaker 2: least as it's intended to zing.

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Speaker 3: I mean, I would say the monster zing's but mostly

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Speaker 3: because of how funny it looks.

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Speaker 2: Yes, yeah, yeah, it does not inspire terror, but it

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Speaker 2: is amazing and in a different way. Yeah. It has

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Speaker 2: a couple of spirited performances that we'll discuss, and it

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Speaker 2: at least bats around some deeper sci fi concepts as

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Speaker 2: well as some rather obvious anxieties about communist brainwashing. Now,

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Speaker 2: this is not a film about communists, but as is

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Speaker 2: often the case with some of these sci fi films

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Speaker 2: about alien minutes from this time period, you know, it's

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Speaker 2: very clear that they're getting into some of the popular

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Speaker 2: anxieties about communism in the way that they're describing and

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Speaker 2: dealing with this extraterrestrial threat.

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Speaker 3: In most of these movies with alien brainwashing, and it's

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Speaker 3: the same case in this one. The alien ideology is

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Speaker 3: less controversial and specific, and this one it's about ridding

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Speaker 3: human beings of emotion, which At first that sounds like

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Speaker 3: kind of a placeholder themes, like oh yeah, okay, but

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Speaker 3: it actually leads to a couple of interesting dialogue scenes,

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Speaker 3: Like they go deeper with that theme than you would

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Speaker 3: expect for a movie of this sort.

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Speaker 2: Yeah. Yeah, And I feel like I've always enjoyed those scenes,

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Speaker 2: Like this is a film that is sixty percent living

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Speaker 2: room dialogue scenes in which luckily they do get into

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Speaker 2: some of these topics. It's like thirty five percent driveways

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Speaker 2: and then some lab scenes and caves scene sprinkled to

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Speaker 2: fill out the rest of it. But it moves right along.

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Speaker 2: I feel like I always end up loving it when

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Speaker 2: I watch it. Yeah, and it at least bats around

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Speaker 2: some deeper concepts, even even if the same. At the

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Speaker 2: same time, you have to acknowledge that this is a

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Speaker 2: fast film. This is a cheap film. I think they

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Speaker 2: filmed it in five days. Like all of that taken

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Speaker 2: into account, it holds up really well.

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Speaker 3: I agree, and I think the movie literally I think

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Speaker 3: actually the weakest element of it is the padding. I

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Speaker 3: think if you were to edit out about ten to

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Speaker 3: fifteen minutes of this movie, cut it down to like

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Speaker 3: a fifty to fifty five minute film, it would be

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Speaker 3: really solid. Like you just cut out a lot of

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Speaker 3: the driving and the three point turns, the dramatic three

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Speaker 3: point turn. I'm sorry, Roger, they're not I'm not buying it.

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Speaker 3: That's not as great as you think it is.

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Speaker 2: Yeah, yeah, yeah, A lots of parking scenes. And then

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Speaker 2: you know, anytime we're outdoors, I feel like it feels

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Speaker 2: like it's a thousand degrees like direct sunlight a high noon.

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Speaker 2: It is not a technical masterpiece.

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Speaker 3: Another one of the weak points. I would say, no

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Speaker 3: offense to him personally, nothing against Peter Graves, but Peter

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Speaker 3: graves performance in this movie I think is quite wooden.

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Speaker 3: He's like pressure treated Pine in this But it's funny

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Speaker 3: because they put him opposite actors who I think for

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Speaker 3: a movie like this, are doing a fantastic job. We've

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Speaker 3: got Beverly Garland and Lea van Cleef and they are

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Speaker 3: wonderful in this movie.

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Speaker 2: Yeah, with Peter Graves, it's interesting because Peter Graves certainly

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Speaker 2: has has a style, you know, and this is very

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Speaker 2: much a sort of teeth gritted square kind of performance.

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Speaker 2: You know, this is Peter Graves and he's here to

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Speaker 2: it by the books, but at the same time there,

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Speaker 2: I think there are some very weird choices in his

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Speaker 2: character that I mean, I don't know what you would

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Speaker 2: ask God him to do, you know. So we'll get

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Speaker 2: into that when we get into the plot a bit more.

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Speaker 2: Because he ultimately his character is ultimately like the champion

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Speaker 2: of human emotion, and yet his character seems to have

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Speaker 2: only like maybe two emotions and makes some and engages

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Speaker 2: in some very cold blooded murder as the plot progresses.

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Speaker 3: Yeah, he is the advocate for the benefits of emotion

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Speaker 3: as a motivating force for humans, and yet he doesn't

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Speaker 3: really display any Levan Cleef is arguing against us having

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Speaker 3: emotions and is giving a quite passionate performance.

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Speaker 2: Yeah, and is often in the throes of emotion, and

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Speaker 2: I guess it kind of works with that regard, Like

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Speaker 2: he he understands the throes of emotion and sees how

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Speaker 2: this affects other people and has glimpse a path out

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Speaker 2: of that trap. Peter Grive's character is more like get emotions, good, must,

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Speaker 2: We've got to keep them. That's what makes it special.

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Speaker 3: Now I want to talk briefly about this movie's meta

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Speaker 3: because there's an interesting contradiction here. I think despite the

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Speaker 3: fact that this movie has a famously goofy looking monster.

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Speaker 3: When you actually get to it in the film, it

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Speaker 3: mostly shows up in the last three minutes or so, well, no,

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Speaker 3: a little bit before that, mostly in the last ten

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Speaker 3: minutes or so. When you see the monster, it is

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Speaker 3: not very convincing, It is not very scary, and in

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Speaker 3: fact is quite hilarious. But the exact same monster design

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Speaker 3: when rendered as an illustration gazing into your Soul from

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Speaker 3: the movie poster rendering is awesome. I think that this

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Speaker 3: monster looks great on every poster I've seen for It

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Speaker 3: Conquered the World. In fact, I've got a poster for

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Speaker 3: this movie framed in my office because it's one of

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Speaker 3: my favorite fifties movie posters.

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Speaker 2: It is indeed a terrific poster, and it's just a

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Speaker 2: test to the craft that they can make it look

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Speaker 2: this good when nothing else in the movie really looks

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Speaker 2: this good.

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Speaker 3: But further regarding the meta, oh man, this has some

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Speaker 3: great taglines. So one of the posters, of course, it

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Speaker 3: has the title. It's got a screaming Beverly Garland. It's

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Speaker 3: got people being attacked by these sort of you know,

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Speaker 3: mind control bats. It's got the creature from Venus, staring

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Speaker 3: into our souls with red eyes. But then it's got

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Speaker 3: some some text on it, so it says it conquered

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Speaker 3: the world. Every man it's prisoner, every woman its slave.

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Speaker 3: See world conquered by the horrible beast from beyond the stars.

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Speaker 3: See the hideous flying fingers of the monster. And then

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Speaker 3: below that, I think we see Leavan Kleef with like

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Speaker 3: his little blow torch kind of oh yeah, monster like

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Speaker 3: it's looking in the window of a house. But that

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Speaker 3: doesn't ever happen in the movie.

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Speaker 2: Yeah, but certainly the monster the Benefactor looks amazing here.

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Speaker 2: And yeah, I mean, I guess they couldn't really even

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Speaker 2: attempt to depict the monster carrying a woman though, because it,

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Speaker 2: as we see, it's so low to the ground.

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Speaker 3: Yes, how would that even work. It's arms are not

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Speaker 3: long enough to carry a human body. Yeah, well t

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Speaker 3: rex arms, but they're mounted on the sides.

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Speaker 2: Yes.

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Speaker 3: No, wait, hold on, I said that, but I take

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Speaker 3: it back, because actually the weight it's drawn in the

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Speaker 3: poster here it has short little arms, but in the

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Speaker 3: movie it does sort of reach out with its arms

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Speaker 3: and really grab around people. That's how Lee van Cleef

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Speaker 3: bites it. In the end, the monster just reaches up

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Speaker 3: and grabs him with the with the claw.

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Speaker 2: Yeah, they kind of reach up, but not so much out.

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Speaker 2: It would still be hard to imagine this creature carrying

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Speaker 2: a woman. All Right, we're not going to feature trailer

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Speaker 2: audio on this one. But instead, Joe, why don't you

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Speaker 2: just go ahead and recite the film's most famous monologue

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Speaker 2: for us here.

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Speaker 3: Oh, you're putting me on the spot, but I guess

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Speaker 3: we should. We should do that. Do that near the beginning,

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Speaker 3: because this is another one of the most famous things

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Speaker 3: about the movie. I've already praised the scripts, so put

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Speaker 3: that aside. It is I think, a pretty tight, kind

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Speaker 3: of scrappy script. It's got some interesting ideas. This ending

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Speaker 3: monologue is atrocious. Here's how it goes. He learned almost

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Speaker 3: too late, that man is a feeling creature, and because

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Speaker 3: of it, the greatest in the universe. He learned too

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Speaker 3: late for himself that men have to find their own

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Speaker 3: way to make their own mistakes. There can't be any

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Speaker 3: gift of perfection from outside ourselves, and when men seek

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Speaker 3: such perfection they find only death, fire, loss, disillusionment. The

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Speaker 3: end of everything that's gone forward men have always sought

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Speaker 3: an end to the toil and misery, but it can't

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Speaker 3: be given. It has to be achieved. There is hope,

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Speaker 3: but it has to come from inside, from man himself.

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Speaker 3: And I like to sometimes. Of course, it is Peter

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Speaker 3: Graves who says this at the end of the movie,

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Speaker 3: and it's also a very bloated, wooden kind of delivery.

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Speaker 3: But I like to imagine this monologue being given by

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Speaker 3: David Huddleston as the Big Lebowski in The Big Lebowski,

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Speaker 3: and it has to be achieved.

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Speaker 2: Yeah, yeah, it would have taken. It would have had

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Speaker 2: a different energy certainly, But yeah, this is the ending monologue.

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Speaker 2: This is ultimately like the the thesis statement for the picture,

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Speaker 2: I guess.

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Speaker 3: I guess so to defend what comes before this monologue,

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Speaker 3: I think the film makes these points without this hilarious

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Speaker 3: speech at the end.

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Speaker 2: Yeah, just sort of like patting it out a little bit, maybe, yeah,

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Speaker 2: and trying to punctuate it.

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Speaker 3: It's the verbal equivalent of another parking scene.

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Speaker 2: All right, Well, if you want to watch it conquered

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Speaker 2: the world, you can certainly go out and do so.

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Speaker 2: As of this recording, this one isn't available as a

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Speaker 2: legit stream anywhere you can find it if you look around,

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Speaker 2: but couldn't find it on any of the legit streaming platforms.

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Speaker 2: You're also hard pressed to get a DVD of it,

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Speaker 2: though there are some for sale and reasonable prices and

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Speaker 2: some of the familiar websites, but I don't know who

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Speaker 2: is putting them out, so I don't know what kind

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Speaker 2: of releases these are. But there is not a Blu

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Speaker 2: ray release. And while famously featured in that nineteen ninety

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Speaker 2: one episode of MST three K, I don't think this

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Speaker 2: episode has ever been made available on disc. So the

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Speaker 2: rights for this film and a handful of other AIP films,

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Speaker 2: including the amazing Colossal Man and I Was a Teenage

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Speaker 2: Werewolf sadly seemed to be held up. And it's a

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Speaker 2: shame because it conquered the world certainly deserves placement in

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Speaker 2: a proper physical release of Roger Corman's films.

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Speaker 3: Yeah, I got confused because I have a couple of

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Speaker 3: different Corman box sets and this wasn't in either of them,

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Speaker 3: so I had to go elsewhere. But yeah, so this

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Speaker 3: has come up on the show before. There's a number

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Speaker 3: of films on this list that are apparently being held

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Speaker 3: up by the same rights holder. And this came up

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Speaker 3: because we were wondering, why isn't the amazing Colossal Man

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Speaker 3: viewable at all? Really?

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Speaker 2: Yeah, yeah, and this would to be the answer. So

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Speaker 2: you know, these things tend not to last forever. So

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Speaker 2: you know, at some point in the future these films

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Speaker 2: will be released, they'll get some nice physical additions and

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Speaker 2: become available on streaming. But until that time, we're left

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Speaker 2: with what we can get.

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Speaker 3: But I agree with your statement that it conquered the

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Speaker 3: world belongs in any proper you know, fifties Corman box set.

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Speaker 3: It's I would say it is up there with movies

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Speaker 3: like Not of This Earth, except it's a little bit flabbier.

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Speaker 3: There's a little more, you know, there's a little more

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Speaker 3: stuff you could cut out, not if this Earth has

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Speaker 3: similar strengths, but I think is a little tighter.

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Speaker 2: Yeah. All right, let's talk about the folks involved in

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Speaker 2: this production, starting at the top with someone we've talked

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Speaker 2: about in the show before, and that's Roger Corman, the

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Speaker 2: director and producer here who lived nineteen twenty six through

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Speaker 2: twenty twenty four. Corman was, of course the Wizard of

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Speaker 2: b Movies, and a prolific creator of late fifties drive

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Speaker 2: in flicks. We've covered numerous Corman produced and or Corman

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Speaker 2: directed films on Weird House Cinema already, including sixty four's

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Speaker 2: Mask of the Red Death, which is probably among his

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Speaker 2: best work, as well as some of his many entertaining

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Speaker 2: low budget films like nineteen fifty seven's Not of This Earth.

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Speaker 2: Seth joined me on Weird House for an episode on

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Speaker 2: the nineteen fifty nine beat Nick horror comedy A Bucket

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Speaker 2: of Blood, and this is our first episode about a

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Speaker 2: Corman directed film since his death earlier this year at

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Speaker 2: the age of ninety eight.

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Speaker 3: Though we may come back to Corman's Vincent Price Poe

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Speaker 3: movies this October.

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Speaker 2: Yes, so this was one of four Corman directed films

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Speaker 2: released in fifty six, but the only sci fi or

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Speaker 2: horror title. Swamp Woman, which also had Beverly Garland, was

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Speaker 2: a crime picture, and both Gunslinger with Beverly Garland and

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Speaker 2: The Oklahoma Woman with Peggy Castle were westerns. This was

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Speaker 2: the year before Attack of the Crab Monsters, and as

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Speaker 2: Michael Weldon points out in the Psychotronic Film Guide, this

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Speaker 2: was only Corman's second sci fi film, which is it's

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Speaker 2: always interesting to realize this sort of thing when we

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Speaker 2: think about Roger Corman, who's best remembered for so many

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Speaker 2: of these sci fi and or horror pictures, but he

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Speaker 2: also did a lot of westerns and other sorts of

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Speaker 2: flicks as well.

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Speaker 3: It's hard to believe he only did four movies in

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Speaker 3: this year though. I mean, yeah, pick up the pace, Roger.

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Speaker 2: Well, those are just the director's credits. I didn't check production,

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Speaker 2: but yeah, he was, you know, ratchet it up. I

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Speaker 2: think the late fifties were really his key years of output. Yeah.

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Speaker 3: Was it fifty seven that he I want to say,

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Speaker 3: made either eight or eleven movies that year.

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Speaker 2: Yeah, I mean he would pump them out. I mean

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Speaker 2: even this film again shot in apparently five days, shot

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Speaker 2: in California, with key scenes taking place at Bronson Cave

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Speaker 2: in Griffith Park, which has come up time and time

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Speaker 2: again on the show a popular place in California to

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Speaker 2: shoot your otherworldly or just desolate scenes.

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Speaker 3: In this movie, they say that the creature from Venus

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Speaker 3: is living there because the conditions inside mimic those on Venus.

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Speaker 3: I don't know about that.

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Speaker 2: All right, Let's get into the writing Here. Lou Rusoff

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Speaker 2: is credited with the screenplay. He Lived nineteen eleven through

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Speaker 2: nineteen sixty three, screenwriter and producer whose other credits include

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Speaker 2: fifty Five's Day The World Ended, fifty six is The

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Speaker 2: She Creature, sixty threes Beach Party, and sixty seven Zontar

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Speaker 2: The Thing from Venus. I think that's kind of a

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Speaker 2: reworking of some of the same ideas here. And his

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Speaker 2: production credits include the US version and or US release

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Speaker 2: of nineteen sixties Black Sunday.

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Speaker 3: You know, I was surprised when watching the credits this time,

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Speaker 3: and I noticed that the screenplay credit went to Rusof

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Speaker 3: and not to who I assumed was the writer of

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Speaker 3: this movie, which is Charles B. Griffith. Charles B. Griffith

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Speaker 3: wrote Not of This Earth, wrote Attack of the Crab Monster.

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Speaker 3: Was a common writer in the Corman scene of this time,

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Speaker 3: and was famous for being able to crank out a

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Speaker 3: script that was pretty witty and tight and quickly made.

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Speaker 3: He could make he could write him fast.

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Speaker 2: Well, you know, he apparently did some work on the

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Speaker 2: script anyway. He's listed on IMDb as an uncredited screenwriter

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Speaker 2: post film, so you know he got in there and

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Speaker 2: worked on it to some degree anyway. But indeed, you

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Speaker 2: think of Corman pictures from this area, You think of

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Speaker 2: Charles B. Griffith, who lived nineteen thirty through two thousand

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Speaker 2: and seven. You know films like Not of This Earth Attack,

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Speaker 2: of the Crab Monster. It's a little shop of hors

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Speaker 2: and bucket of blood. All right, let's get into the

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Speaker 2: cast here, and I'm going to not go in billing order.

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Speaker 2: We'll reference the billing order, but we're going to take

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Speaker 2: it by couple because this film centers mostly around two

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Speaker 2: married couples, the Nelson's and the Andersons, though I'd argue

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Speaker 2: that it's chiefly the story of the Andersons.

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Speaker 3: That's where the real emotional meat is.

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Speaker 2: Yes, all right, so let's start with the Nelson's here,

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Speaker 2: starting with Doctor Paul Nelson, played by the top Build

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Speaker 2: Peter Graves. Graves live nineteen twenty six through twenty ten,

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Speaker 2: best known to many for his long running hosting gig

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Speaker 2: on A and E's Biography, or at least for some

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Speaker 2: of us. I don't know if they're still rerunning episodes

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Speaker 2: that Graves hosted, but he was a longtime host on Biography,

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Speaker 2: and of course he had a long run on the

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Speaker 2: original TV series Mission Impossible from sixty seven through seventy three.

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Speaker 2: I don't think I ever watched any of that, but

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Speaker 2: I do remember watching some of the late nineteen eighties reboot,

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Speaker 2: a reboot that I only recently learned resulted from a

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Speaker 2: Hollywood writers strike. The studio was like, well, we got

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Speaker 2: to make episodes of something, but we can't use writers.

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Speaker 2: And they realized, well, let's just go back and get

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Speaker 2: old Mission Impossible scripts that weren't filmed and just film

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Speaker 2: them in Australia, and that's what they did. That's where

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Speaker 2: this show came from. But I remember watching it and

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Speaker 2: digging it and getting very excited about a Nintendo game

351
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Speaker 2: titled Mission Impossible that was some sort of tie in.

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Speaker 2: I think it was an official tie in, but also

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Speaker 2: just a legendarily difficult games. It's one of those Nintendo

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Speaker 2: games that I don't know if anyone ever beat this thing.

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Speaker 2: It was just so difficult, but also had some interesting

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Speaker 2: like stealth mechanics that seemed ahead of their time.

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Speaker 3: I'm looking it up now. I never played this one.

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Speaker 2: Yeah, and nothing in the game really matches up with

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Speaker 2: what you see in a Mission Impossible TV show, But

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Speaker 2: I don't know. I was excited for it at the time.

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Speaker 3: That was common for video game tie ins to movies

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Speaker 3: and TV shows at the time. There's almost no resemblance

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Speaker 3: to the plot of the original thing.

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Speaker 2: Yeah, so Graves was a US Air Force vet. He

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Speaker 2: was also, of course the brother of James Arness. Graves

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Speaker 2: is his stage name. Arness We talked about in the

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Speaker 2: past because he was the Thing from Another World and

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Speaker 2: graves acting credits go back to the early fifth these

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Speaker 2: including an early starring sci fi role in fifty two's

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Speaker 2: Red Planet Mars, but he scored much more success when

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Speaker 2: he appeared in a supporting role in Billy Wilder Stalog

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Speaker 2: seventeen in nineteen fifty three. He was not nominated, but

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Speaker 2: the film earned AUSTAR nominations for two of its stars

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Speaker 2: and its director. Graves went on from here to have

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Speaker 2: a long career on TV and screen, appearing in the

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Speaker 2: likes of fifty four's Killers from Space, fifty five's The

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Speaker 2: Night of the Hunter seventy nine. Yeah, yeah, The Night

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Speaker 2: of the Hunter not I think there was later a

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Speaker 2: TV version it's different, but yeah, he was in the picture.

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Speaker 2: He was in nineteen seventy nine The Clonis horror. Another

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Speaker 2: MST three K favorite of many.

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Speaker 3: Oh, is that the one about Going to America.

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Speaker 2: Yes, yeah, it's a you know, it's a dull person

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Speaker 2: movie about clones. But it's one that is I think,

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Speaker 2: kind of stupid, but also kind of great and has

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Speaker 2: been sort of re explored, we should say, I guess

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Speaker 2: with subsequent clone movies. Yes, he was, of course in

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Speaker 2: a nineteen eighties Airplane. He was in ninety three's Adams

389
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Speaker 2: Family Values and nineteen ninety nine's House on Haunted Hill.

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Speaker 2: I think he kind of played himself in both of those,

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Speaker 2: like a TV presenter role, and he also pops up

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Speaker 2: in two thousand and two's Men in Black two.

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Speaker 3: Now we've already talked a bit about the irony of

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Speaker 3: the casting here, where they have Peter Graves playing the

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Speaker 3: sort of the earthling hero who stands up for human

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Speaker 3: emotions and yet is quite stiff and clenched in his performance.

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Speaker 3: But so he is, in a I think, traditional interpretation,

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Speaker 3: the hero of the movie.

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Speaker 2: Yes, yeah, yeah, he is, you know, and I guess

400
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Speaker 2: he has the look for it right. He plays a

401
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Speaker 2: he's a space flight scientist. He runs this satellite command

402
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Speaker 2: center that I think is a government operation, or at

403
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Speaker 2: least it's protected by government forces.

404
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Speaker 3: Yeah. So, I mean this is from the fifty so,

405
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Speaker 3: which remember, like you know, we didn't really have our

406
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Speaker 3: full space program yet at the time, you know, the

407
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Speaker 3: Apollo program wouldn't until like nineteen sixty one. So they're

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Speaker 3: imagining a space program that is being run by the military.

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Speaker 3: And so, yes, Paul Nelson is he's I think the

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Speaker 3: creator of a satellite that is sort of a first

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Speaker 3: satellite in orbit sort of thing. And he is also

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Speaker 3: depicted as great friends with Lee van Cleef's character, who

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Speaker 3: will get to in a minute.

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Speaker 2: All right, So that's doctor Paul Nelson. And doctor Paul

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Speaker 2: Nelson's wife is Joan Nelson, played by Sally Frasier, who

416
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Speaker 2: lived nineteen thirty two through twenty nineteen. I mean, glamorous

417
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Speaker 2: b movie star of the nineteen fifties, whose credits include

418
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Speaker 2: another couple of notable genre pictures in the late fifties,

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Speaker 2: nineteen fifty eight's War of the Colossal Beast. Oh, actually

420
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Speaker 2: two more, Giant from the Unknown and The Spider Hmmm.

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Speaker 3: Trying to think if I've seen any of those.

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Speaker 2: I'm not sure I've seen War of I think I've

423
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Speaker 2: seen War of Colossal Beasts, but I can never remember

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Speaker 2: if that is the film that comes before The Amazing

425
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Speaker 2: Colossal Man or after, because the films before and after

426
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Speaker 2: The Amazing Colossal Man featured the same makeup, this kind

427
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Speaker 2: of like scarred faced Cyclops makeup, So I don't remember

428
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Speaker 2: off the top of my head.

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Speaker 3: Here, I think the Amazing Colossal Man is the first one.

430
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Speaker 3: So War of the Colossal Beast has got to be

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Speaker 3: a sequel or a subsequent film.

432
00:23:26,160 --> 00:23:28,719
Speaker 2: Yeah, but there is. I think there is another Giant

433
00:23:28,720 --> 00:23:31,640
Speaker 2: Man picture in the mix.

434
00:23:31,480 --> 00:23:34,639
Speaker 3: There, just looks it up. Yeah, Colossal Man is fifty seven,

435
00:23:34,720 --> 00:23:36,640
Speaker 3: War of the Colossal Beast is fifty.

436
00:23:36,359 --> 00:23:38,439
Speaker 2: Eight, and then what year is the Cyclops?

437
00:23:39,000 --> 00:23:42,040
Speaker 3: Oh with Lon Chaney Junior. I think that that's fifty seven.

438
00:23:42,240 --> 00:23:45,080
Speaker 2: Okay, yeah, that is the same makeup as War of

439
00:23:45,119 --> 00:23:46,560
Speaker 2: the Colossal Beast, I see.

440
00:23:46,640 --> 00:23:47,000
Speaker 3: Okay.

441
00:23:47,400 --> 00:23:49,879
Speaker 2: So Joan is Paul's loving wife. This is a very

442
00:23:49,920 --> 00:23:52,720
Speaker 2: much supporting role, but she gets to have some fun

443
00:23:52,760 --> 00:23:53,840
Speaker 2: moments late in the picture.

444
00:23:54,119 --> 00:23:56,879
Speaker 3: Yeah, she has a wonderful Paul. I have a present

445
00:23:56,920 --> 00:24:00,000
Speaker 3: for you've seen? Yes, yeah, thats out. It's an alien

446
00:24:00,040 --> 00:24:01,119
Speaker 3: in mind control device.

447
00:24:03,320 --> 00:24:05,919
Speaker 2: All right, let's move on to the Andersons here starting

448
00:24:05,920 --> 00:24:10,720
Speaker 2: with doctor Tom Anderson played by the legendary Lee van Kleef,

449
00:24:10,720 --> 00:24:13,560
Speaker 2: who lived nineteen twenty five through nineteen eighty nine. It's

450
00:24:13,600 --> 00:24:18,520
Speaker 2: old Angelized himself. Now, Van Cleef's career would ultimately really

451
00:24:18,560 --> 00:24:22,040
Speaker 2: take off in the mid nineteen sixties. That's when Sergio

452
00:24:22,119 --> 00:24:24,800
Speaker 2: Leoni cast him in the Clint Eastwood Western for a

453
00:24:24,840 --> 00:24:28,040
Speaker 2: few dollars more, followed by a role as the villain

454
00:24:28,160 --> 00:24:31,119
Speaker 2: Angelize and sixty six is The Good, the Bad, and

455
00:24:31,160 --> 00:24:34,440
Speaker 2: the Ugly, And this just cemented him as a spaghetti

456
00:24:34,520 --> 00:24:37,920
Speaker 2: western superstar. And you know, before and after that too,

457
00:24:37,960 --> 00:24:40,560
Speaker 2: he appeared in tons of westerns. Like you look at

458
00:24:40,600 --> 00:24:45,040
Speaker 2: his filmography, it's really like mostly westerns and some crime

459
00:24:45,119 --> 00:24:50,080
Speaker 2: pictures and that sort of thing. Director John Carpenter, of course,

460
00:24:50,119 --> 00:24:52,879
Speaker 2: grew up as a fan of all these westerns and

461
00:24:53,280 --> 00:24:56,919
Speaker 2: cast him as police Commissioner Bob Hawk in the nineteen

462
00:24:56,960 --> 00:25:00,800
Speaker 2: eighty one classic Escape from New York picture, where I

463
00:25:00,800 --> 00:25:03,600
Speaker 2: think Van Cleeve really shines. This is one of my

464
00:25:03,680 --> 00:25:06,359
Speaker 2: favorite supporting characters, I think probably of all time, one

465
00:25:06,400 --> 00:25:09,480
Speaker 2: of those supporting characters that leaves you wanting more and

466
00:25:09,600 --> 00:25:13,000
Speaker 2: has some interesting hooks about where this character has been

467
00:25:13,080 --> 00:25:15,359
Speaker 2: and where they might be going, and you want to

468
00:25:15,400 --> 00:25:17,560
Speaker 2: know those stories. But of course the film doesn't take

469
00:25:17,640 --> 00:25:19,920
Speaker 2: us there. It just teases us with these possibilities.

470
00:25:20,240 --> 00:25:22,440
Speaker 3: Yeah, and of course I love Him. And The Good,

471
00:25:22,480 --> 00:25:23,840
Speaker 3: the Bad and the Ugly. The Good, the Bad and

472
00:25:23,880 --> 00:25:26,960
Speaker 3: the Ugly is a movie of many villains. Two main

473
00:25:27,080 --> 00:25:29,680
Speaker 3: villains sort of alluded to in the title there. One

474
00:25:29,760 --> 00:25:34,119
Speaker 3: is played by Eli Wallach, who is the more humorous

475
00:25:34,160 --> 00:25:37,920
Speaker 3: and talkative of the sort of villainish characters with kind

476
00:25:37,920 --> 00:25:41,600
Speaker 3: of shifting loyalties. But Lee van Kleef's character is the

477
00:25:41,840 --> 00:25:47,480
Speaker 3: very straight, hard, bad, mysterious, serious villain. Nice.

478
00:25:47,800 --> 00:25:51,040
Speaker 2: Now, at this point in Lee van Cleef's career fifty six,

479
00:25:51,359 --> 00:25:54,000
Speaker 2: he'd already had a few years experience in TV and film,

480
00:25:54,560 --> 00:25:56,800
Speaker 2: but with loads of credits as you often see, like

481
00:25:57,400 --> 00:26:00,359
Speaker 2: he was working a lot. Let's see, he made his

482
00:26:00,400 --> 00:26:03,160
Speaker 2: film debut in the Oscar winning western high Noon from

483
00:26:03,200 --> 00:26:05,800
Speaker 2: fifty two, and in fifty three he was in the

484
00:26:05,800 --> 00:26:09,240
Speaker 2: Beast from twenty thousand fathoms. He acted in again a

485
00:26:09,320 --> 00:26:13,800
Speaker 2: lot of westerns and crime projects throughout his filmography, But

486
00:26:14,680 --> 00:26:18,199
Speaker 2: one of the interesting things is that this film The

487
00:26:18,200 --> 00:26:20,720
Speaker 2: Beast from twenty thousand Fathoms and Escape from New York.

488
00:26:20,800 --> 00:26:23,560
Speaker 2: Those are apparently the only three sci fi or horror

489
00:26:23,600 --> 00:26:26,680
Speaker 2: pictures that he ever did, though I believe he did

490
00:26:26,720 --> 00:26:29,159
Speaker 2: act in at least one sci fi TV series in

491
00:26:29,160 --> 00:26:32,760
Speaker 2: the early fifties, and he played a ninja on TV's

492
00:26:32,800 --> 00:26:35,080
Speaker 2: The Master in the mid eighties, but you know that

493
00:26:35,200 --> 00:26:38,640
Speaker 2: wasn't sci fi or horror, and so in this picture, yeah,

494
00:26:38,680 --> 00:26:43,280
Speaker 2: he is Anderson, a disgruntled physicist whose big ideas about

495
00:26:43,320 --> 00:26:47,000
Speaker 2: aliens have pushed him outside of the mainstream. But then,

496
00:26:47,040 --> 00:26:49,679
Speaker 2: of course the picture of centers around the fact that

497
00:26:49,720 --> 00:26:53,000
Speaker 2: he ends up making actual contact with an alien intelligence

498
00:26:53,240 --> 00:26:55,879
Speaker 2: from the planet Venus, and it places him in the

499
00:26:56,000 --> 00:26:59,240
Speaker 2: role of well, it could be Earth's savior or perhaps

500
00:26:59,240 --> 00:27:02,760
Speaker 2: it's destroyed. For a lot of the picture, it depends

501
00:27:03,600 --> 00:27:05,679
Speaker 2: which side of the philosophical debate you're on.

502
00:27:06,160 --> 00:27:09,080
Speaker 3: There are a lot of interesting things about the way

503
00:27:09,119 --> 00:27:12,880
Speaker 3: this character is written and the way Van Cleef plays him.

504
00:27:13,600 --> 00:27:17,760
Speaker 3: So the character is in some ways portrayed as a crank,

505
00:27:18,080 --> 00:27:21,600
Speaker 3: like he has these ideas that are not accepted by

506
00:27:21,640 --> 00:27:24,199
Speaker 3: other scientists or by the the you know, the the

507
00:27:24,200 --> 00:27:28,439
Speaker 3: civil leadership, and they have to do with aliens of course,

508
00:27:28,520 --> 00:27:31,040
Speaker 3: and nobody pays attention to him. They're just like, ah,

509
00:27:31,080 --> 00:27:33,760
Speaker 3: he's going off on his favorite subject again, and this

510
00:27:33,880 --> 00:27:36,600
Speaker 3: makes him embittered to the fact that nobody's paying attention

511
00:27:36,680 --> 00:27:39,840
Speaker 3: to him, which I think is pretty interesting because that is,

512
00:27:40,400 --> 00:27:42,360
Speaker 3: you know, it almost makes me think of when when

513
00:27:42,440 --> 00:27:46,560
Speaker 3: sun Zoo came up recently in our episodes about the Ninja,

514
00:27:46,920 --> 00:27:50,160
Speaker 3: where you know, he's talking about who to find within

515
00:27:50,240 --> 00:27:53,560
Speaker 3: the enemy's ranks to recruit to your side, to be it,

516
00:27:53,600 --> 00:27:56,480
Speaker 3: to be a secret agent and betray the enemy, and

517
00:27:56,880 --> 00:27:58,760
Speaker 3: one of the things he says is look for someone

518
00:27:58,840 --> 00:28:03,240
Speaker 3: who has who feels they have been mistreated or unappreciated

519
00:28:03,280 --> 00:28:06,840
Speaker 3: by enemy leadership, someone who feels their genius is not

520
00:28:07,040 --> 00:28:09,040
Speaker 3: being made use of by the enemy.

521
00:28:09,520 --> 00:28:10,760
Speaker 2: Yeah. Yeah, that matches up.

522
00:28:11,119 --> 00:28:14,600
Speaker 3: So he's portrayed as simultaneously like in some ways an

523
00:28:14,600 --> 00:28:18,199
Speaker 3: appreciated scientific genius but also at the same time a

524
00:28:18,240 --> 00:28:21,240
Speaker 3: crying who people are dismissive of, at least with his

525
00:28:21,320 --> 00:28:27,240
Speaker 3: ideas about aliens. But then he also interestingly, I would say,

526
00:28:27,280 --> 00:28:31,480
Speaker 3: he plays this scientist character in a way that's very

527
00:28:31,840 --> 00:28:36,560
Speaker 3: textually different than most scientist characters in horror and sci

528
00:28:36,560 --> 00:28:39,239
Speaker 3: fi movies of the fifties, who are usually portrayed as

529
00:28:39,400 --> 00:28:45,120
Speaker 3: very straight laced and with high social class signifiers in

530
00:28:45,160 --> 00:28:47,920
Speaker 3: the way they speak. Van Cleef's character does not come

531
00:28:48,000 --> 00:28:51,280
Speaker 3: off that way. He is playing a physicist who has

532
00:28:51,400 --> 00:28:57,520
Speaker 3: a more rough, aggressive and kind of sounds like he

533
00:28:57,560 --> 00:29:02,280
Speaker 3: has probably working class origins and speaks with a speaks

534
00:29:02,280 --> 00:29:05,600
Speaker 3: with a distinctive voice rather than the kind of formal

535
00:29:06,480 --> 00:29:10,120
Speaker 3: or or character free way that a lot of scientist

536
00:29:10,200 --> 00:29:11,600
Speaker 3: characters in these movies talk.

537
00:29:11,920 --> 00:29:14,440
Speaker 2: Yeah, yeah, you're right. He does stand out in that regard.

538
00:29:15,120 --> 00:29:17,720
Speaker 2: And and it's interesting too, like his some of his

539
00:29:17,800 --> 00:29:20,160
Speaker 2: ideas that especially the ones we hear about early on,

540
00:29:20,320 --> 00:29:22,480
Speaker 2: like you know that they are actual ideas that are

541
00:29:22,520 --> 00:29:26,520
Speaker 2: sometimes batted around concerning the possibility of extraterrestrials, like the

542
00:29:26,560 --> 00:29:31,120
Speaker 2: idea that they're watching and that they might interfere if

543
00:29:31,640 --> 00:29:34,600
Speaker 2: they didn't like some development that was happening here, you know,

544
00:29:34,680 --> 00:29:36,560
Speaker 2: Like some of these ideas, you know, they're they're not

545
00:29:36,680 --> 00:29:39,840
Speaker 2: they're not out of line with with some of the

546
00:29:39,880 --> 00:29:44,800
Speaker 2: speculative notions that are discussed regarding alien intelligence. Uh. And

547
00:29:44,840 --> 00:29:48,120
Speaker 2: then of course it ends up taking on this this

548
00:29:48,560 --> 00:29:52,120
Speaker 2: higher purpose that he sees the idea that through contact

549
00:29:52,120 --> 00:29:55,040
Speaker 2: with aliens we can save ourselves. And of course this

550
00:29:55,120 --> 00:29:59,280
Speaker 2: is a common theme in u apology. And and then

551
00:29:59,480 --> 00:30:03,000
Speaker 2: I guess in in some like serious contemplations on what

552
00:30:03,160 --> 00:30:07,320
Speaker 2: first contact would mean for humans, you know, the possibility

553
00:30:07,360 --> 00:30:11,200
Speaker 2: that it could greatly improve life on Earth if we

554
00:30:11,240 --> 00:30:14,640
Speaker 2: had outside contacts something some other force that could help

555
00:30:14,720 --> 00:30:15,720
Speaker 2: us fix our problems.

556
00:30:16,120 --> 00:30:18,920
Speaker 3: I don't know if we've talked about this recently, maybe

557
00:30:18,920 --> 00:30:22,080
Speaker 3: it's come up on the show before, but I noticed

558
00:30:22,200 --> 00:30:27,160
Speaker 3: a pretty strong tendency these days for beliefs about UFOs

559
00:30:27,200 --> 00:30:31,880
Speaker 3: and alien life to essentially merge with religious thinking, for

560
00:30:32,000 --> 00:30:35,960
Speaker 3: it to be actually not really separate propositions at all. Though,

561
00:30:36,040 --> 00:30:40,160
Speaker 3: like a lot of people who believe strongly in UFOs

562
00:30:40,240 --> 00:30:44,520
Speaker 3: and alien presence on Earth these days, that belief sort

563
00:30:44,560 --> 00:30:48,440
Speaker 3: of edges into ideas about them being spiritual or heavenly

564
00:30:48,560 --> 00:30:51,200
Speaker 3: beings that are in some way going to save us.

565
00:30:51,920 --> 00:30:55,360
Speaker 2: Yeah, yeah, it is. It is a common theme. I've

566
00:30:55,360 --> 00:30:58,840
Speaker 2: seen it in crystal shops too, and actual and actual

567
00:30:59,440 --> 00:31:02,240
Speaker 2: crystals for your christ consciousness. And then on the next

568
00:31:02,240 --> 00:31:07,880
Speaker 2: table you got crystals for aliens, for extraterrestrial So I

569
00:31:07,920 --> 00:31:09,520
Speaker 2: guess you can grab one of each, you know, put

570
00:31:09,520 --> 00:31:12,040
Speaker 2: one in each palm, mix them up, mix and match.

571
00:31:20,840 --> 00:31:24,400
Speaker 3: Oh but Lee Van Cleeve's character Tom Anderson, Doctor Tom

572
00:31:24,440 --> 00:31:28,600
Speaker 3: Anderson here is the husband of Claire Anderson, who is

573
00:31:28,720 --> 00:31:31,920
Speaker 3: also a very interesting character in this movie, played by

574
00:31:31,920 --> 00:31:32,800
Speaker 3: Beverly Garland.

575
00:31:33,120 --> 00:31:36,600
Speaker 2: Oh yes, Beverly Garland, who, to be clear, has second

576
00:31:36,640 --> 00:31:39,560
Speaker 2: billing in the picture, even though we're discussing her fourth,

577
00:31:39,800 --> 00:31:41,560
Speaker 2: I want to stress that she did have second billing.

578
00:31:41,840 --> 00:31:46,640
Speaker 2: Her performance here is great. It's spirited, and she plays

579
00:31:46,640 --> 00:31:49,560
Speaker 2: she doesn't just play like a damsel or some character

580
00:31:49,640 --> 00:31:51,480
Speaker 2: who's just kind of like, oh, honey, I wish you

581
00:31:51,480 --> 00:31:56,120
Speaker 2: wouldn't betray humanity to the aliens. Like she is supportive,

582
00:31:56,240 --> 00:32:00,240
Speaker 2: like fiercely supportive, but she is also very skeptical, and

583
00:32:00,280 --> 00:32:02,600
Speaker 2: she voices her skepticism and in the end she's also

584
00:32:02,680 --> 00:32:05,440
Speaker 2: she's more than willing to fight for the man she

585
00:32:05,480 --> 00:32:08,920
Speaker 2: loves and the planet she loves in a really inspiring

586
00:32:08,960 --> 00:32:11,680
Speaker 2: fashion like this is ultimately, especially for this Ara, this

587
00:32:11,720 --> 00:32:14,480
Speaker 2: is pretty strong role and she does a great job

588
00:32:14,520 --> 00:32:17,800
Speaker 2: with it, like any she now, to be clear, occasionally

589
00:32:17,840 --> 00:32:20,680
Speaker 2: she has some some some maybe not all that thought

590
00:32:20,680 --> 00:32:24,000
Speaker 2: out lines she has to work with. But even then,

591
00:32:24,160 --> 00:32:27,080
Speaker 2: like Beverly Garland, gives it her all, and she makes

592
00:32:27,120 --> 00:32:30,000
Speaker 2: those those lines live on the screen when they should

593
00:32:30,040 --> 00:32:32,080
Speaker 2: have been that they shouldn't have have had as much

594
00:32:32,120 --> 00:32:32,840
Speaker 2: life to them.

595
00:32:33,080 --> 00:32:35,480
Speaker 3: That's the part where she's talking to leaving Cleef. They're

596
00:32:35,480 --> 00:32:37,320
Speaker 3: in the middle of talking about aliens, by the way,

597
00:32:37,560 --> 00:32:40,000
Speaker 3: and she says something like, I'll stay with you not

598
00:32:40,120 --> 00:32:42,680
Speaker 3: just because you're my husband, but because I love you.

599
00:32:43,520 --> 00:32:46,640
Speaker 2: Yeah, lines like that. She's she'sually fighting for her life

600
00:32:46,680 --> 00:32:49,480
Speaker 2: with lines like that. But she does a great job you.

601
00:32:49,640 --> 00:32:52,200
Speaker 3: But yeah, she she has to manage. I think a

602
00:32:52,440 --> 00:32:57,960
Speaker 3: difficult character here who's like her motivations shift over the

603
00:32:57,960 --> 00:33:00,880
Speaker 3: course of the movies. She's always conflicted. But at the

604
00:33:00,920 --> 00:33:04,440
Speaker 3: beginning of the movie, she's conflicted because she loves her husband,

605
00:33:04,520 --> 00:33:07,400
Speaker 3: but she thinks he's losing his mind. She thinks that

606
00:33:07,560 --> 00:33:13,240
Speaker 3: he is having delusions of contact with alien life. But

607
00:33:13,400 --> 00:33:16,440
Speaker 3: then when it becomes clear he is actually talking to

608
00:33:16,480 --> 00:33:18,840
Speaker 3: an alien and he was right all along and she

609
00:33:19,000 --> 00:33:21,840
Speaker 3: was wrong for doubting him. Then it shifts to her

610
00:33:22,120 --> 00:33:26,400
Speaker 3: realizing that his vindication is not a good thing because

611
00:33:26,440 --> 00:33:29,680
Speaker 3: it means that he is actually partnering with this alien

612
00:33:29,840 --> 00:33:33,000
Speaker 3: to take over the planet and destroy everything that she

613
00:33:33,160 --> 00:33:35,920
Speaker 3: holds sacred and so she like makes a case to him.

614
00:33:36,040 --> 00:33:39,120
Speaker 3: This movie involves a lot of scenes of people just

615
00:33:39,240 --> 00:33:42,600
Speaker 3: like laying out an argument for why Earth should not

616
00:33:42,720 --> 00:33:45,920
Speaker 3: be conquered, and she does great in those scenes, Like

617
00:33:46,000 --> 00:33:50,520
Speaker 3: she sort of brings things up to Lea Vancleef about

618
00:33:50,520 --> 00:33:53,400
Speaker 3: what this alien conquest would mean for their family and

619
00:33:53,440 --> 00:33:55,959
Speaker 3: their marriage, and it's like things that he hadn't occurred

620
00:33:55,960 --> 00:33:56,600
Speaker 3: to him before.

621
00:33:57,120 --> 00:34:01,880
Speaker 2: Yeah, yeah, so again I love this performents. Beverly Garland

622
00:34:01,920 --> 00:34:04,480
Speaker 2: lived nineteen twenty six through two thousand and eight. She'd

623
00:34:04,520 --> 00:34:07,640
Speaker 2: been enacting in TV and films since I think nineteen

624
00:34:07,680 --> 00:34:11,759
Speaker 2: forty nine at this point, and It Conquered the World

625
00:34:11,800 --> 00:34:13,839
Speaker 2: seems to have led to a number of additional low

626
00:34:13,840 --> 00:34:17,160
Speaker 2: budget sci fi films, though she'd also act in supporting

627
00:34:17,200 --> 00:34:20,840
Speaker 2: roles on bigger pictures and of course on TV. For instance,

628
00:34:20,840 --> 00:34:23,239
Speaker 2: I think at least at one point, most people would

629
00:34:23,239 --> 00:34:25,840
Speaker 2: be familiar with her from her role on TV's My

630
00:34:25,960 --> 00:34:29,839
Speaker 2: Three Sons, but she also appeared in such films as

631
00:34:29,880 --> 00:34:34,200
Speaker 2: fifty six's Caruku Beast of the Amazon Not at This

632
00:34:34,280 --> 00:34:36,320
Speaker 2: Earth in fifty seven, so we have discussed her on

633
00:34:36,360 --> 00:34:40,360
Speaker 2: the show before The Alligator People in fifty nine, Twice,

634
00:34:40,400 --> 00:34:43,200
Speaker 2: Told Tales in fifty three, Pretty Poison in sixty eight,

635
00:34:43,280 --> 00:34:46,360
Speaker 2: in Airports seventy five, In seventy four.

636
00:34:46,680 --> 00:34:51,400
Speaker 3: Is Alligator People a sci fi horror movie where like

637
00:34:51,440 --> 00:34:54,560
Speaker 3: a mad scientist is turning people into alligators and the swamp?

638
00:34:54,840 --> 00:34:56,360
Speaker 2: Yep, that's the one, okay.

639
00:34:56,840 --> 00:35:00,000
Speaker 3: I wonder if is that the movie that is being

640
00:35:00,200 --> 00:35:03,120
Speaker 3: referenced in the Rocky Ericsson song It's a Cold Night

641
00:35:03,160 --> 00:35:04,000
Speaker 3: for Alligators.

642
00:35:04,160 --> 00:35:07,600
Speaker 2: I believe this is widely accepted, yes, okay, with as

643
00:35:07,680 --> 00:35:12,000
Speaker 2: much clarity as we can have regarding what Rocky's singing

644
00:35:12,000 --> 00:35:14,239
Speaker 2: about exactly in a number of these songs, but I

645
00:35:14,280 --> 00:35:16,959
Speaker 2: think that is often pointed too, is the reference point

646
00:35:17,000 --> 00:35:18,919
Speaker 2: for that awesome song.

647
00:35:19,480 --> 00:35:21,319
Speaker 3: If you don't know what we're talking about and you're

648
00:35:21,320 --> 00:35:23,960
Speaker 3: in the mood for some B movie themed rock and roll,

649
00:35:24,000 --> 00:35:26,719
Speaker 3: go listen to the Rocky ericson album The Evil One,

650
00:35:26,800 --> 00:35:30,040
Speaker 3: produced by Stu Cook. Yeah, it has this song on it.

651
00:35:30,040 --> 00:35:32,400
Speaker 3: It's a Cold Night for Alligators has the great line

652
00:35:32,480 --> 00:35:35,320
Speaker 3: the dogs choke on their barking when they see alligator

653
00:35:35,360 --> 00:35:37,080
Speaker 3: persons in the bog and fog.

654
00:35:37,719 --> 00:35:41,360
Speaker 2: Oh yeah, great album, especially for October. I highly recommend

655
00:35:41,640 --> 00:35:42,360
Speaker 2: putting that one on.

656
00:35:42,840 --> 00:35:45,680
Speaker 3: I've listened to this one so many times. It's a

657
00:35:45,719 --> 00:35:46,640
Speaker 3: personal favorite.

658
00:35:47,239 --> 00:35:49,319
Speaker 2: All right. Getting into some of the bit performers here,

659
00:35:49,440 --> 00:35:51,800
Speaker 2: we have to mention Dick Miller is in this, of course,

660
00:35:52,960 --> 00:35:56,319
Speaker 2: legendary character actor and Corman mainstay who in nineteen twenty

661
00:35:56,320 --> 00:35:59,279
Speaker 2: eight through twenty nineteen. He plays Sergeant Neil here, who

662
00:35:59,280 --> 00:36:01,120
Speaker 2: I guess kind of he heads up the X comm

663
00:36:01,160 --> 00:36:03,400
Speaker 2: squad of soldiers who are going to help us do

664
00:36:03,480 --> 00:36:06,360
Speaker 2: battle with the aliens eventually, but mostly they just wander

665
00:36:06,400 --> 00:36:06,960
Speaker 2: through the woods.

666
00:36:07,320 --> 00:36:10,360
Speaker 3: They're primarily comic relief. They wander around in the woods

667
00:36:10,400 --> 00:36:13,120
Speaker 3: that they stand guard at gates. They make wise cracks.

668
00:36:13,160 --> 00:36:17,200
Speaker 3: Dick Miller makes some very nineteen fifties like my wife jokes.

669
00:36:17,080 --> 00:36:20,680
Speaker 2: Yeah, yeah, there's a He has a lot of interaction

670
00:36:20,840 --> 00:36:24,280
Speaker 2: with the private Manuel Ortiz, who is in this picture

671
00:36:24,320 --> 00:36:28,320
Speaker 2: played by Jonathan Hayes Bor nineteen twenty nine American actor,

672
00:36:28,360 --> 00:36:31,319
Speaker 2: best known for his work in Corman films, especially Little

673
00:36:31,360 --> 00:36:34,520
Speaker 2: Shop of Hers, in which he played the main character Seymour.

674
00:36:35,320 --> 00:36:37,439
Speaker 2: He was also in fifty seven's Not of This Earth

675
00:36:37,480 --> 00:36:40,240
Speaker 2: and pops up in the nineteen eighty two Wings Houser

676
00:36:40,280 --> 00:36:44,920
Speaker 2: film Vice Squad. This is a bit comedic role, and

677
00:36:44,960 --> 00:36:47,799
Speaker 2: I have to say, not a shining moment in his filmography.

678
00:36:48,400 --> 00:36:50,560
Speaker 2: Don't love it. And let's see who else we have. Oh,

679
00:36:50,640 --> 00:36:53,920
Speaker 2: we have Russ Bender here playing Brigadier General James Patrick.

680
00:36:54,320 --> 00:36:58,800
Speaker 2: He lived nineteen ten through nineteen sixty nine. General American

681
00:36:58,840 --> 00:37:02,120
Speaker 2: B movie actor often played these kind of like authority figures.

682
00:37:02,600 --> 00:37:05,080
Speaker 2: He was also in fifty seven's The Amazing Colossal Man

683
00:37:05,120 --> 00:37:07,560
Speaker 2: and fifty eighth War of the Colossal Beast that plays

684
00:37:07,560 --> 00:37:08,799
Speaker 2: a different character in each.

685
00:37:09,200 --> 00:37:11,279
Speaker 3: Now, Rob, I think we've got to talk about the

686
00:37:11,320 --> 00:37:15,600
Speaker 3: special effects here, especially the creation of the monster suit,

687
00:37:15,800 --> 00:37:19,680
Speaker 3: because I have read some behind the scenes accounts of

688
00:37:19,880 --> 00:37:24,560
Speaker 3: even the crew and cast at the time reacting with

689
00:37:24,760 --> 00:37:28,400
Speaker 3: disbelief at this monster. I think there's a famous story

690
00:37:28,400 --> 00:37:32,120
Speaker 3: of Beverly Garland being like that conquered the world.

691
00:37:33,880 --> 00:37:39,000
Speaker 2: Yeah. Yeah, the benefactor the monster here was designed and

692
00:37:39,280 --> 00:37:42,440
Speaker 2: monster suited by Paul Blasdell, who I've talked about on

693
00:37:42,480 --> 00:37:46,520
Speaker 2: the show before, because he is responsible for some very

694
00:37:46,760 --> 00:37:50,759
Speaker 2: iconic monster designs from this time period, including it the

695
00:37:50,880 --> 00:37:53,040
Speaker 2: Terror from Beyond Space that we recently talked about on

696
00:37:53,080 --> 00:37:53,440
Speaker 2: the show.

697
00:37:54,280 --> 00:37:54,759
Speaker 3: That was great.

698
00:37:55,080 --> 00:37:57,600
Speaker 2: Yeah. Yeah. He lived nineteen twenty seven through nineteen eighty three,

699
00:37:58,920 --> 00:38:02,240
Speaker 2: responsible for Let's see what are some of the other creatures,

700
00:38:02,280 --> 00:38:04,480
Speaker 2: The Beast with a Million Eyes and the Day the

701
00:38:04,520 --> 00:38:08,319
Speaker 2: World Ended from fifty five not of this Earth, which

702
00:38:08,480 --> 00:38:11,239
Speaker 2: I thought those were pretty cool little saucer creatures in there,

703
00:38:11,880 --> 00:38:15,520
Speaker 2: Invasion of the Saucer Men Teenagers from Outer Space, which

704
00:38:15,760 --> 00:38:18,120
Speaker 2: has a great dog zafting scene in it where the

705
00:38:18,560 --> 00:38:20,360
Speaker 2: one of the alien zaps a dog and turns it

706
00:38:20,400 --> 00:38:23,719
Speaker 2: to bones. So you know, he's involved in a lot

707
00:38:23,760 --> 00:38:26,840
Speaker 2: of stuff in his designs. Have they have a signature

708
00:38:26,880 --> 00:38:31,160
Speaker 2: look to them which is great and has and is

709
00:38:31,200 --> 00:38:34,160
Speaker 2: you know, kind of worshiped by people who love nineteen

710
00:38:34,160 --> 00:38:37,280
Speaker 2: fifties B movies, like they're model kits of the monster

711
00:38:37,400 --> 00:38:40,200
Speaker 2: from this picture. But at the end of the day,

712
00:38:40,520 --> 00:38:46,160
Speaker 2: it is also ineffective. Is it is a goofy looking

713
00:38:46,200 --> 00:38:50,320
Speaker 2: monster that does not inspire terror, That is a great

714
00:38:50,400 --> 00:38:55,960
Speaker 2: pains to convincingly interact with human actors. It just ultimately

715
00:38:56,000 --> 00:38:58,520
Speaker 2: falls flat. But you can't help but love it at

716
00:38:58,560 --> 00:38:59,120
Speaker 2: the same time.

717
00:38:59,600 --> 00:39:04,520
Speaker 3: It's I how did I actually think it is a

718
00:39:04,640 --> 00:39:07,480
Speaker 3: kind of great design If you were just going to

719
00:39:07,560 --> 00:39:11,399
Speaker 3: say focus on the face and the shape of it

720
00:39:11,640 --> 00:39:14,239
Speaker 3: and render it as an illustration or something. And that's

721
00:39:14,280 --> 00:39:16,960
Speaker 3: why I think it works quite well on the movie poster.

722
00:39:17,640 --> 00:39:21,560
Speaker 3: It just doesn't work as a physically embodied prop moving

723
00:39:21,600 --> 00:39:23,360
Speaker 3: and interacting with actors.

724
00:39:23,960 --> 00:39:26,799
Speaker 2: Yeah, it looks and I'm not the first to make

725
00:39:27,160 --> 00:39:30,160
Speaker 2: some of these comparisons to it, but it looks like

726
00:39:30,239 --> 00:39:34,000
Speaker 2: the mascot, the demonic mascot for an arti Choke Heart company, Like,

727
00:39:34,080 --> 00:39:38,600
Speaker 2: it looks like a big artichoke heart with tentacles, tentacle arm,

728
00:39:38,760 --> 00:39:43,560
Speaker 2: clawed arm things. And it apparently at one point it

729
00:39:43,600 --> 00:39:46,000
Speaker 2: didn't have that conical head. It was like flat because

730
00:39:46,000 --> 00:39:48,880
Speaker 2: they were like, well, it's Venus and their head in

731
00:39:48,960 --> 00:39:51,560
Speaker 2: their minds, Well, it would be crushed flat by the gravity.

732
00:39:52,640 --> 00:39:54,839
Speaker 2: I don't know, we know that's that wouldn't exactly be

733
00:39:54,840 --> 00:39:57,320
Speaker 2: the case. It was crushed, It would be by the atmosphere.

734
00:39:57,320 --> 00:40:00,399
Speaker 2: But at any rate, they put it on on set

735
00:40:00,440 --> 00:40:02,120
Speaker 2: and he realized, no, this thing's way too short. We've

736
00:40:02,160 --> 00:40:04,640
Speaker 2: got to make it taller. So let's just make its

737
00:40:04,719 --> 00:40:07,600
Speaker 2: head like an inverted ice cream cone. And that's what

738
00:40:07,640 --> 00:40:08,000
Speaker 2: they did.

739
00:40:08,239 --> 00:40:11,040
Speaker 3: I think that I've read that the cast were comparing

740
00:40:11,080 --> 00:40:13,080
Speaker 3: it to an ice cream cone on the set because

741
00:40:13,080 --> 00:40:16,680
Speaker 3: it's got a conical head, no body, and arms coming

742
00:40:16,719 --> 00:40:18,920
Speaker 3: out of the side of its head. Uh. There's a

743
00:40:18,920 --> 00:40:21,080
Speaker 3: great part in the movie where it's it's got sort

744
00:40:21,120 --> 00:40:23,759
Speaker 3: of a little like, you know, a round skirt around

745
00:40:23,800 --> 00:40:25,839
Speaker 3: the bottom of it, and it starts just sort of

746
00:40:25,880 --> 00:40:29,120
Speaker 3: pooping out these little bats that fly away, the mind

747
00:40:29,160 --> 00:40:33,879
Speaker 3: control bats. But as you said, artichoke, I've always thought

748
00:40:33,920 --> 00:40:35,560
Speaker 3: of it as an artichoke. It is an art to

749
00:40:35,680 --> 00:40:36,439
Speaker 3: choke from hell.

750
00:40:38,800 --> 00:40:42,279
Speaker 2: If you look up images of the original costume, it

751
00:40:43,320 --> 00:40:47,200
Speaker 2: was apparently read. Its name on set was Beulah. I

752
00:40:47,239 --> 00:40:53,480
Speaker 2: believe Paul Blasdell called it as such himself. Oftentimes these

753
00:40:53,560 --> 00:40:56,760
Speaker 2: monster effects have like little pet names behind the scenes,

754
00:40:56,760 --> 00:41:00,359
Speaker 2: and this was Beulah. And yeah, I mean it. It's

755
00:41:00,400 --> 00:41:03,239
Speaker 2: it's a it's a terrible and amazing design at the

756
00:41:03,280 --> 00:41:05,600
Speaker 2: same time, it like it. It has stood the test

757
00:41:05,640 --> 00:41:09,359
Speaker 2: of time. People love it. And it looks evil, it

758
00:41:09,360 --> 00:41:12,399
Speaker 2: looks like it's up to no good. Yes, yeah, And

759
00:41:12,800 --> 00:41:14,279
Speaker 2: I don't want to be too hard on it. There

760
00:41:14,320 --> 00:41:16,960
Speaker 2: are maybe a couple of scenes with it that that

761
00:41:17,120 --> 00:41:21,280
Speaker 2: do resonate, and it's it's interactions with the human actors

762
00:41:21,320 --> 00:41:24,839
Speaker 2: are not entirely unconvincing, but clearly it needed a lot

763
00:41:24,880 --> 00:41:25,239
Speaker 2: of help.

764
00:41:26,880 --> 00:41:28,480
Speaker 3: Well, it's one of those things where you know that

765
00:41:28,560 --> 00:41:32,280
Speaker 3: scene in ed Wood where Bella Legosi is being attacked

766
00:41:32,280 --> 00:41:34,520
Speaker 3: by the octopus, but they don't have the motor to

767
00:41:34,520 --> 00:41:36,400
Speaker 3: make its arms move, so he's got to kind of

768
00:41:36,440 --> 00:41:41,120
Speaker 3: throw the arms around himself. Yeah, there's a similar thing

769
00:41:41,239 --> 00:41:45,839
Speaker 3: happening in this movie where it can't really be made

770
00:41:45,960 --> 00:41:51,400
Speaker 3: to in a perspective shot, be made to attack people,

771
00:41:51,560 --> 00:41:54,960
Speaker 3: so instead we see people leaping into its claws.

772
00:41:55,520 --> 00:41:59,200
Speaker 2: Yeah, like you run at it, sort of skid into

773
00:41:59,239 --> 00:42:02,200
Speaker 2: its claws and then go flat. Yeah. And like there's

774
00:42:02,200 --> 00:42:05,280
Speaker 2: one scene in particular where the stunt person or actor

775
00:42:05,360 --> 00:42:07,560
Speaker 2: doing this like really goes for it, really eats it

776
00:42:07,960 --> 00:42:10,080
Speaker 2: and makes it look good, and I was like, yeah,

777
00:42:10,160 --> 00:42:13,840
Speaker 2: all right, it's looking alive now. But like, again, it

778
00:42:13,920 --> 00:42:16,080
Speaker 2: takes a lot of help for this thing to look

779
00:42:16,440 --> 00:42:18,400
Speaker 2: even halfway believable on the screen.

780
00:42:18,520 --> 00:42:20,600
Speaker 3: Like for the people who get mulled by it are

781
00:42:20,680 --> 00:42:23,480
Speaker 3: essentially like a puppy running up to somebody for a hug.

782
00:42:23,760 --> 00:42:28,040
Speaker 2: Yeah. At the same time, I will acknowledge that part

783
00:42:28,080 --> 00:42:31,480
Speaker 2: of the plot is that the thing can't move around

784
00:42:31,520 --> 00:42:33,759
Speaker 2: all that well, and it's kind of like isolated, so

785
00:42:34,120 --> 00:42:34,560
Speaker 2: I don't know.

786
00:42:34,920 --> 00:42:38,120
Speaker 3: Yeah, that's sort of a revelation, right, Like Leavan Kleef

787
00:42:38,160 --> 00:42:41,000
Speaker 3: is all about, Oh, it's super powerful, it's perfect, it

788
00:42:41,040 --> 00:42:44,200
Speaker 3: can do anything. But Beverly Garland is like, wait a minute,

789
00:42:44,239 --> 00:42:46,960
Speaker 3: but it can't leave this cave and it's like stuck

790
00:42:47,040 --> 00:42:49,680
Speaker 3: theirs and it needs people to do its dirty work.

791
00:42:49,719 --> 00:42:51,560
Speaker 3: That makes it sound like it's not as powerful as

792
00:42:51,600 --> 00:42:55,279
Speaker 3: you think. And she's got a point. Yeah, maybe it's

793
00:42:55,320 --> 00:43:01,440
Speaker 3: supposed to look somewhat awkward and unable to act very

794
00:43:01,480 --> 00:43:04,880
Speaker 3: effectively within Earth's atmosphere because it's not from here and

795
00:43:04,920 --> 00:43:06,839
Speaker 3: it needs people to do its job for it.

796
00:43:07,239 --> 00:43:10,239
Speaker 2: Yeah, but it is highly intelligent and highly manipulative, as

797
00:43:10,239 --> 00:43:13,000
Speaker 2: we'll get into all right. One final note on the

798
00:43:13,080 --> 00:43:16,680
Speaker 2: music for this picture, though the music is nothing really remarkable,

799
00:43:16,719 --> 00:43:19,040
Speaker 2: but the music is credited to Ronald Stein, who lived

800
00:43:19,080 --> 00:43:21,800
Speaker 2: nineteen thirty through nineteen eighty eight. Composer who worked on

801
00:43:21,840 --> 00:43:25,240
Speaker 2: a lot of low budget films, particularly for American international pictures,

802
00:43:26,080 --> 00:43:28,200
Speaker 2: the likes of Not of This Earth, Attack of the Crab,

803
00:43:28,239 --> 00:43:32,560
Speaker 2: Monster's Queen of Blood, Dementia thirteen, and more, including The

804
00:43:32,640 --> 00:43:36,360
Speaker 2: Rain People, Francis Ford Coppola's picture prior to the Godfather.

805
00:43:36,880 --> 00:43:40,480
Speaker 3: I didn't really notice much about the music itself one

806
00:43:40,480 --> 00:43:43,240
Speaker 3: of the so the music wasn't bad, it wasn't great.

807
00:43:43,600 --> 00:43:46,760
Speaker 3: But one thing I did notice that was quite funny

808
00:43:46,960 --> 00:43:50,719
Speaker 3: was the pairing of certain pieces of music with what

809
00:43:50,960 --> 00:43:53,279
Speaker 3: was happening on the screen. Rob, did you notice that

810
00:43:53,680 --> 00:43:56,799
Speaker 3: some of the most dramatic music in the movie was like,

811
00:43:57,040 --> 00:43:59,600
Speaker 3: while we were watching Peter Graves do a three point

812
00:43:59,600 --> 00:44:00,840
Speaker 3: turn in the truck.

813
00:44:01,680 --> 00:44:03,879
Speaker 2: I did. I don't think I really made note of that,

814
00:44:03,960 --> 00:44:06,200
Speaker 2: but I always think when I think music in this

815
00:44:06,320 --> 00:44:09,680
Speaker 2: I think about the musical stinger to the monologue where

816
00:44:10,280 --> 00:44:13,480
Speaker 2: he finishes the monologue and then you hear bomb bomb

817
00:44:13,520 --> 00:44:16,239
Speaker 2: bomb bomb or something to that effect. You know, just

818
00:44:16,400 --> 00:44:19,400
Speaker 2: really just punctuating the whole message.

819
00:44:19,800 --> 00:44:21,960
Speaker 3: Yeah, I agree with that, Uh, but it is it

820
00:44:22,040 --> 00:44:24,400
Speaker 3: is funny getting the like the real like the strings

821
00:44:24,440 --> 00:44:28,600
Speaker 3: are ascending as they're literally somebody coming out of a driveway.

822
00:44:29,520 --> 00:44:31,560
Speaker 2: Yeah. There are whole scenes in this film where it's like, well,

823
00:44:31,600 --> 00:44:34,000
Speaker 2: I drove up all the way, now I've got to

824
00:44:34,040 --> 00:44:35,879
Speaker 2: go back, so I'll go back.

825
00:44:36,320 --> 00:44:39,120
Speaker 3: Yeah, let me turn around, go back down this winding

826
00:44:39,200 --> 00:44:41,600
Speaker 3: road we sell people go up these s curves. I

827
00:44:41,600 --> 00:44:43,360
Speaker 3: don't know, like five or six times.

828
00:44:43,680 --> 00:44:54,960
Speaker 2: Yeah, all right, well let's get into the plot of

829
00:44:55,120 --> 00:44:56,720
Speaker 2: it Conquered the World.

830
00:44:57,120 --> 00:45:01,120
Speaker 3: Okay. Well, the action begins with a bunch of scientists

831
00:45:01,239 --> 00:45:03,640
Speaker 3: in a lab at what I think is an Air

832
00:45:03,680 --> 00:45:06,759
Speaker 3: Force bace. It's a military installation of some kind. You

833
00:45:06,840 --> 00:45:10,480
Speaker 3: got technicians in white coats, electronic equipment beeping all over

834
00:45:10,480 --> 00:45:13,120
Speaker 3: the place, these big view screens on the walls, and

835
00:45:13,400 --> 00:45:16,879
Speaker 3: radar pinging with contacts from the sky. And here in

836
00:45:16,960 --> 00:45:20,040
Speaker 3: command of all this is doctor Paul Nelson. That's again

837
00:45:20,160 --> 00:45:23,600
Speaker 3: Peter Graves. The people in this lab are preparing for

838
00:45:23,680 --> 00:45:27,400
Speaker 3: a satellite launch. And note that this movie was released

839
00:45:27,520 --> 00:45:31,200
Speaker 3: in nineteen fifty six, which was a year before the

840
00:45:31,239 --> 00:45:34,920
Speaker 3: Soviet Union launched Sputnik, the first ever artificial satellite to

841
00:45:34,960 --> 00:45:38,279
Speaker 3: achieve orbit. So what is being depicted here was at

842
00:45:38,280 --> 00:45:41,440
Speaker 3: the time pure science fiction. Humans had not yet at

843
00:45:41,440 --> 00:45:44,480
Speaker 3: the time of this movie put a satellite into orbit.

844
00:45:44,960 --> 00:45:46,600
Speaker 2: Yeah, it's always fun to sort of put these in

845
00:45:46,640 --> 00:45:50,480
Speaker 2: the perspective of where we actually were with the space

846
00:45:50,520 --> 00:45:51,680
Speaker 2: exploration at the time.

847
00:45:51,880 --> 00:45:55,839
Speaker 3: Yeah. Yeah, So some of the chatter between the scientists

848
00:45:55,840 --> 00:45:59,080
Speaker 3: in the room reveals that the satellite program costs nine

849
00:45:59,239 --> 00:46:03,239
Speaker 3: million dollars as wow, and it is at moderate risk

850
00:46:03,320 --> 00:46:07,640
Speaker 3: of crashing into an unrelated airplane during liftoff. They're like, oh,

851
00:46:07,719 --> 00:46:11,520
Speaker 3: I better get that plane out of the way. Peter Graves,

852
00:46:12,080 --> 00:46:17,000
Speaker 3: he's got sort of corny, overwrought moments pretty much immediately,

853
00:46:17,080 --> 00:46:20,200
Speaker 3: Like in this very first scene, one of one of

854
00:46:20,239 --> 00:46:22,960
Speaker 3: the technicians says, you know, all systems are ago, and

855
00:46:23,080 --> 00:46:27,359
Speaker 3: Graves looks almost directly into the camera and says, then

856
00:46:27,480 --> 00:46:30,200
Speaker 3: man is finally ready to move into space.

857
00:46:31,160 --> 00:46:34,719
Speaker 2: But these lines are perfect for Graves. Yeah, they're over

858
00:46:34,760 --> 00:46:38,040
Speaker 2: the top, but like Man, he delivers them like few others.

859
00:46:38,320 --> 00:46:41,759
Speaker 3: Well, I can just imagine, like, you know, Joan, his

860
00:46:41,840 --> 00:46:45,239
Speaker 3: wife bakes him a macaroni and cheese TV dinner and

861
00:46:45,280 --> 00:46:47,000
Speaker 3: sets it down in front of him, and he looks

862
00:46:47,080 --> 00:46:50,719
Speaker 3: up and says, Men is finally ready to achieve sustenance.

863
00:46:52,360 --> 00:46:55,319
Speaker 3: So from here we go into a general's office to

864
00:46:55,480 --> 00:46:59,120
Speaker 3: meet our next main character, Tom Anderson. That's leave Enkleef.

865
00:46:59,800 --> 00:47:03,160
Speaker 3: And in this scene we learned that Tom Anderson is

866
00:47:03,200 --> 00:47:08,399
Speaker 3: a highly accomplished and respected physicist with quote every degree imaginable.

867
00:47:08,440 --> 00:47:10,360
Speaker 3: So I guess that means he also has an MBA.

868
00:47:10,600 --> 00:47:13,720
Speaker 3: He's got a you know, an accounting degree, all that stuff.

869
00:47:14,480 --> 00:47:19,120
Speaker 3: He once worked on something called the perpetual missile project.

870
00:47:19,280 --> 00:47:21,319
Speaker 3: I was trying to imagine what could that mean. A

871
00:47:21,360 --> 00:47:23,760
Speaker 3: missile that is, a missile that lasts forever.

872
00:47:23,960 --> 00:47:26,080
Speaker 2: What I don't know. My best guess is that it

873
00:47:26,160 --> 00:47:29,480
Speaker 2: is maybe something like the supersonic low altitude missile or

874
00:47:29,520 --> 00:47:33,400
Speaker 2: slam concept in the mid fifties, or just pure technobabble

875
00:47:33,480 --> 00:47:37,320
Speaker 2: like it could be. It could be either perpetual missile.

876
00:47:38,200 --> 00:47:41,480
Speaker 3: But anyway, we discover that Tom has lately developed some

877
00:47:41,880 --> 00:47:45,759
Speaker 3: fringe ideas that are a cause for concern to the

878
00:47:45,760 --> 00:47:48,799
Speaker 3: military leadership and to his colleagues. This has led to

879
00:47:48,840 --> 00:47:52,000
Speaker 3: a sort of career exile. The way he explains that,

880
00:47:53,160 --> 00:47:56,000
Speaker 3: Van Cleef says, there are a lot of fat heads

881
00:47:56,040 --> 00:47:59,040
Speaker 3: who are not ready to hear the truth. And you know,

882
00:47:59,120 --> 00:48:03,000
Speaker 3: it's classic rank behavior. People don't accept my ideas because

883
00:48:03,040 --> 00:48:07,200
Speaker 3: they are stupid and wicked and want to hide the truth, which,

884
00:48:07,400 --> 00:48:09,640
Speaker 3: you know, it's funny. I understand exactly why this is,

885
00:48:09,680 --> 00:48:12,880
Speaker 3: because it makes for a better storytelling dynamic. But it

886
00:48:12,960 --> 00:48:15,279
Speaker 3: is kind of unfortunate that most of the time in

887
00:48:15,320 --> 00:48:20,839
Speaker 3: the movies the people who act like this are proven right. Yeah, yeah,

888
00:48:20,880 --> 00:48:23,840
Speaker 3: But anyway, so van Kleef. He's imploring the general to

889
00:48:24,000 --> 00:48:28,040
Speaker 3: call off the satellite project before it launches. Why well,

890
00:48:28,520 --> 00:48:31,560
Speaker 3: it seems that a smaller satellite that the Space program

891
00:48:31,640 --> 00:48:35,160
Speaker 3: tried to launch some time ago exploded before it reached orbit,

892
00:48:35,600 --> 00:48:38,839
Speaker 3: and Anderson says that this was no mere accident. It

893
00:48:39,000 --> 00:48:43,480
Speaker 3: was a warning from someone out there. Other planets in

894
00:48:43,520 --> 00:48:46,719
Speaker 3: our Solar system are watching us closely every minute of

895
00:48:46,760 --> 00:48:49,680
Speaker 3: every day to make sure that we don't put anything

896
00:48:49,680 --> 00:48:53,000
Speaker 3: into space, because if we do, that means we're a

897
00:48:53,040 --> 00:48:55,080
Speaker 3: threat to them, and if we're a threat to them,

898
00:48:55,320 --> 00:48:58,439
Speaker 3: they may choose to destroy us. So for the sake

899
00:48:58,480 --> 00:49:01,080
Speaker 3: of all humankind, we've got to stock this whole project.

900
00:49:01,680 --> 00:49:03,560
Speaker 2: Yeah, and as I alluded to earlier, this is not

901
00:49:03,640 --> 00:49:06,920
Speaker 2: a crazy concept in and of itself. In the nineteen eighties,

902
00:49:06,960 --> 00:49:10,520
Speaker 2: for example, cosmologist Edward Harrison argued that the first life

903
00:49:10,560 --> 00:49:14,719
Speaker 2: form to achieve a certain level of interstellar technology at

904
00:49:14,800 --> 00:49:19,040
Speaker 2: least within you know, certain distances, because of course the

905
00:49:19,120 --> 00:49:23,400
Speaker 2: universe is so vast, but the first civilization to achieve

906
00:49:23,440 --> 00:49:26,680
Speaker 2: a certain level of interstellar technology would essentially become a

907
00:49:26,719 --> 00:49:31,680
Speaker 2: super predator intent on preventing other civilizations from advancing sufficiently.

908
00:49:31,719 --> 00:49:34,719
Speaker 2: In their technology, you know, because it's like, well we

909
00:49:35,160 --> 00:49:39,160
Speaker 2: have achieved it, anybody else achieving it, they could be

910
00:49:39,239 --> 00:49:41,600
Speaker 2: as bad as us or worse. So we've got to

911
00:49:41,600 --> 00:49:43,600
Speaker 2: prevent them. We've got to blow out their satellites, we've

912
00:49:43,600 --> 00:49:46,640
Speaker 2: got to interfere with their launches. This is also a

913
00:49:46,680 --> 00:49:49,960
Speaker 2: concept that is explored in the Three Body Problem.

914
00:49:50,280 --> 00:49:52,120
Speaker 3: Yeah. Yeah, do you want to make a sound in

915
00:49:52,160 --> 00:49:54,160
Speaker 3: a dark forest if you don't know what else is

916
00:49:54,200 --> 00:49:57,040
Speaker 3: out there? And the idea that there's sort of a

917
00:49:57,080 --> 00:50:00,000
Speaker 3: game theory logic at work within the dark forest, where

918
00:50:00,160 --> 00:50:03,480
Speaker 3: it's in anybody's interests there to destroy anything else that

919
00:50:03,520 --> 00:50:06,840
Speaker 3: makes a sound. Yeah, But in this case, the general

920
00:50:06,920 --> 00:50:10,560
Speaker 3: is not dissuaded. He ignores Anderson's warnings, and the satellite

921
00:50:10,640 --> 00:50:13,680
Speaker 3: launches into space. Now, the movie, as we've said, does

922
00:50:13,719 --> 00:50:16,200
Speaker 3: not have a lot of visual excitement, but here there

923
00:50:16,239 --> 00:50:19,600
Speaker 3: is some good use of downward facing blast off footage

924
00:50:20,239 --> 00:50:22,279
Speaker 3: stock footage, I assume, but I don't really know what

925
00:50:22,400 --> 00:50:24,280
Speaker 3: it would be from. I think that's kind of interesting.

926
00:50:24,600 --> 00:50:26,799
Speaker 2: Yeah, this is not one like there are certain bits

927
00:50:26,800 --> 00:50:29,920
Speaker 2: of stock footage you see a lot in movies from

928
00:50:29,920 --> 00:50:33,000
Speaker 2: this period, or you feel like you've seen some repetition

929
00:50:33,080 --> 00:50:35,640
Speaker 2: and that might just be similarity between different bits of footage,

930
00:50:35,640 --> 00:50:38,360
Speaker 2: but yeah, this one felt new to me anyway.

931
00:50:38,360 --> 00:50:41,640
Speaker 3: We cut from here to a dinner party three months later,

932
00:50:41,680 --> 00:50:45,440
Speaker 3: so we're told some time has passed and here there

933
00:50:45,520 --> 00:50:48,200
Speaker 3: are four characters, so we have Tom Anderson this leave

934
00:50:48,280 --> 00:50:51,799
Speaker 3: Enkleef and his wife Claire played by Beverly Garland, and

935
00:50:51,840 --> 00:50:54,239
Speaker 3: they are hosting at their house Paul Nelson as Peter

936
00:50:54,320 --> 00:50:58,399
Speaker 3: Graves and his wife Joan played by Sally Fraser. And

937
00:50:58,560 --> 00:51:01,080
Speaker 3: so this is where we learned that and Tom are

938
00:51:01,120 --> 00:51:03,680
Speaker 3: actually good buddies. I don't know exactly how far back

939
00:51:03,719 --> 00:51:06,280
Speaker 3: they go, but they've been friends for a while. Apparently

940
00:51:06,320 --> 00:51:09,480
Speaker 3: they have a tendency to geek out about rocket science

941
00:51:09,520 --> 00:51:11,799
Speaker 3: at the dinner table, and Joan has to beg them

942
00:51:11,800 --> 00:51:16,719
Speaker 3: to stop talking about conical graduations, and there is in

943
00:51:16,760 --> 00:51:19,719
Speaker 3: the scene something there's kind of a tension because there

944
00:51:19,800 --> 00:51:23,360
Speaker 3: is clearly something Tom wants to bring up with Paul,

945
00:51:23,920 --> 00:51:27,600
Speaker 3: but Claire is distressed. She is like, please do not

946
00:51:27,680 --> 00:51:30,080
Speaker 3: start talking about this in front of company. They're gonna

947
00:51:30,080 --> 00:51:33,279
Speaker 3: think you're insane. So whatever it is, it's something he's

948
00:51:33,280 --> 00:51:35,360
Speaker 3: been champing at the bit to talk about, and she

949
00:51:35,480 --> 00:51:36,840
Speaker 3: does not want him to bring.

950
00:51:36,719 --> 00:51:39,399
Speaker 2: Up did we see what they were eating? I can't.

951
00:51:39,440 --> 00:51:41,880
Speaker 2: I don't recall how they finished eating or hadn't started

952
00:51:41,920 --> 00:51:43,320
Speaker 2: eating yet. And we're just doing drinks. There are a

953
00:51:43,360 --> 00:51:44,520
Speaker 2: lot of drinks in this movie.

954
00:51:44,560 --> 00:51:48,160
Speaker 3: They're talking about a pie, I think because Beverly Garland

955
00:51:48,160 --> 00:51:50,959
Speaker 3: makes that quip. Somebody's like, ooh, this pie is so good.

956
00:51:51,040 --> 00:51:54,520
Speaker 3: Did you make it? And Beverly Garland says, oh, yeah,

957
00:51:54,560 --> 00:51:57,319
Speaker 3: it's an old family recipe that my grandmother sold to

958
00:51:57,360 --> 00:52:01,279
Speaker 3: the bakery. So Anywaym's not going to be able to

959
00:52:01,400 --> 00:52:04,839
Speaker 3: resist sharing whatever it is he's not supposed to be

960
00:52:04,880 --> 00:52:07,680
Speaker 3: talking about. So Tom takes Paul from the dining room

961
00:52:07,760 --> 00:52:10,960
Speaker 3: into the living room and he pulls back a curtain

962
00:52:11,080 --> 00:52:14,160
Speaker 3: to reveal this huge recess in the wall which is

963
00:52:14,280 --> 00:52:18,400
Speaker 3: full of radio and stereo equipment, and then Tom tunes

964
00:52:18,440 --> 00:52:21,400
Speaker 3: into some kind of signal on the dial which plays

965
00:52:21,440 --> 00:52:25,600
Speaker 3: through the speakers. It is an eerie, hollow, humming sound,

966
00:52:26,280 --> 00:52:28,719
Speaker 3: and Tom asks Paul, do you have any idea what

967
00:52:28,760 --> 00:52:31,880
Speaker 3: you're listening to? Paul is flippant. He's like, is it

968
00:52:31,920 --> 00:52:37,319
Speaker 3: the London Philharmonic? But Tom says no, it's Venus, And

969
00:52:37,400 --> 00:52:40,359
Speaker 3: so at first Paul is like, oh, okay, so you're

970
00:52:40,400 --> 00:52:43,640
Speaker 3: saying we're bouncing signals off of venus or something, or

971
00:52:43,680 --> 00:52:50,120
Speaker 3: maybe it's radiating impulses geomagnetically or something. And Tom says, no, no, no,

972
00:52:50,280 --> 00:52:53,120
Speaker 3: I don't mean the static. Can't you hear it the

973
00:52:53,200 --> 00:52:57,120
Speaker 3: other thing. Listen to the voice. Listen to the voice, Paul.

974
00:52:57,440 --> 00:53:01,200
Speaker 3: But Paul does not initially hear anything, and we don't

975
00:53:01,200 --> 00:53:03,919
Speaker 3: hear to be clear, we don't hear an explicit voice either.

976
00:53:04,000 --> 00:53:04,920
Speaker 3: We just hear the humming.

977
00:53:05,440 --> 00:53:08,120
Speaker 2: Yeah, it's I guess it's to leave a little room

978
00:53:08,160 --> 00:53:10,520
Speaker 2: open for the possibility early in the picture that he

979
00:53:10,760 --> 00:53:14,400
Speaker 2: isn't hearing anybody that this is, you know, some unhinged

980
00:53:14,400 --> 00:53:18,240
Speaker 2: behavior here or hallucination or something. Yes, but it also

981
00:53:18,360 --> 00:53:21,120
Speaker 2: I have to It's also kind of similar to say,

982
00:53:21,360 --> 00:53:25,200
Speaker 2: anytime a character has a conversation with a Wookie or

983
00:53:25,239 --> 00:53:27,439
Speaker 2: a droid in the Star Wars universe, you know, where

984
00:53:27,440 --> 00:53:30,759
Speaker 2: it's like, we don't understand what's being said, that there's

985
00:53:30,800 --> 00:53:32,600
Speaker 2: some sort of conversation going on here.

986
00:53:32,680 --> 00:53:35,720
Speaker 3: Yeah where. When these conversations happen later in the movie,

987
00:53:35,880 --> 00:53:38,360
Speaker 3: Tom will often have to like repeat back what he

988
00:53:38,400 --> 00:53:40,520
Speaker 3: has just heard from the other side. So it's those

989
00:53:40,560 --> 00:53:45,600
Speaker 3: classic Wookie conversations. Yeah, what do you mean the hyperdrives broken? Yeah. Anyway,

990
00:53:45,640 --> 00:53:48,240
Speaker 3: while they're listening to the humming trying to hear the voice,

991
00:53:48,520 --> 00:53:51,640
Speaker 3: the phone rings. It's for Paul. It's the Rocket Lab.

992
00:53:51,960 --> 00:53:55,400
Speaker 3: They inform him that just this very moment, the satellite

993
00:53:55,440 --> 00:53:58,400
Speaker 3: that they put into orbit three months ago has disappeared.

994
00:53:58,800 --> 00:54:01,600
Speaker 3: It darted out of its bit and off into space.

995
00:54:02,160 --> 00:54:04,560
Speaker 3: So Paul and Joan have to leave Claire in Tom's

996
00:54:04,560 --> 00:54:07,160
Speaker 3: house in a hurry so Paul can deal with the satellite.

997
00:54:07,400 --> 00:54:09,640
Speaker 3: And as they're going out and getting into the car

998
00:54:09,719 --> 00:54:12,120
Speaker 3: to drive away, Joan says, I've always thought Tom was

999
00:54:12,160 --> 00:54:16,320
Speaker 3: a little off tonight. He went too far. So anyway,

1000
00:54:16,360 --> 00:54:19,120
Speaker 3: they drive to the installation, but by the time they

1001
00:54:19,120 --> 00:54:22,439
Speaker 3: get there, the satellite is already back wherever it went.

1002
00:54:22,520 --> 00:54:25,320
Speaker 3: That was pretty quick, and Paul decides they're going to

1003
00:54:25,400 --> 00:54:28,560
Speaker 3: have to bring the satellite down for inspection. Is that

1004
00:54:28,640 --> 00:54:31,440
Speaker 3: a thing in reality with satellites? I don't know about that.

1005
00:54:32,120 --> 00:54:34,080
Speaker 2: Yeah. Yeah, this is again it's a moment where you

1006
00:54:34,120 --> 00:54:36,239
Speaker 2: have to remind ourselves that the thing that they are

1007
00:54:36,239 --> 00:54:41,560
Speaker 2: depicting is near future science fiction and reality went a

1008
00:54:41,600 --> 00:54:42,840
Speaker 2: slightly different way with all of this.

1009
00:54:43,200 --> 00:54:47,120
Speaker 3: Yeah. So, meanwhile, back at Tom and Claire's house, Claire

1010
00:54:47,239 --> 00:54:50,440
Speaker 3: is walking around fiddling with things nervously. She's in a

1011
00:54:50,440 --> 00:54:55,040
Speaker 3: state of anxiety. She is obviously unhappy that Tom started

1012
00:54:55,080 --> 00:54:58,000
Speaker 3: talking about the messages from Venus, even though he promised

1013
00:54:58,000 --> 00:55:01,520
Speaker 3: her that he wouldn't. So Tom goes to his covert

1014
00:55:01,640 --> 00:55:05,680
Speaker 3: Venus radio and he tunes in, but then, to our shock,

1015
00:55:05,760 --> 00:55:09,120
Speaker 3: he begins speaking to someone. Now, once again, we don't

1016
00:55:09,120 --> 00:55:10,719
Speaker 3: hear a voice on the other side. We just hear

1017
00:55:10,719 --> 00:55:13,680
Speaker 3: the spooky humming. It kind of oscillates at different frequencies.

1018
00:55:13,960 --> 00:55:16,680
Speaker 3: But Tom hears something because he responds to what the

1019
00:55:16,719 --> 00:55:22,680
Speaker 3: present says. He says, this is Anderson Acknowledge. Where are you? Yes, yes,

1020
00:55:23,080 --> 00:55:26,080
Speaker 3: it's true. I am your only friend. Nobody else even

1021
00:55:26,160 --> 00:55:29,080
Speaker 3: knows you exist, but they will and it will be

1022
00:55:29,160 --> 00:55:32,759
Speaker 3: the greatest day in the history of mankind. Now, at

1023
00:55:32,760 --> 00:55:35,279
Speaker 3: some point in this conversation, Beverly Garland comes out of

1024
00:55:35,320 --> 00:55:38,280
Speaker 3: the bedroom and like a big puffy nightgown with a caller.

1025
00:55:38,320 --> 00:55:41,719
Speaker 3: I love these old movie nightgowns. So she asks Tom

1026
00:55:41,760 --> 00:55:44,080
Speaker 3: to come to bed, but he is not ready. He says,

1027
00:55:44,160 --> 00:55:47,320
Speaker 3: he's here, darling. He drew the satellite to his world,

1028
00:55:47,360 --> 00:55:50,719
Speaker 3: to Venus, and now he's back. Within an hour, he's

1029
00:55:51,640 --> 00:55:54,480
Speaker 3: in the circling laboratory, just waiting to come down to

1030
00:55:54,600 --> 00:55:59,160
Speaker 3: us to save us. And Claire is obviously disturbed. She

1031
00:55:59,320 --> 00:56:02,200
Speaker 3: thinks he's going mad. But Tom is just a big

1032
00:56:02,239 --> 00:56:05,480
Speaker 3: ball of excitement. He says he's finally proven right. All

1033
00:56:05,520 --> 00:56:08,200
Speaker 3: of his theories about alien observers from other planets in

1034
00:56:08,200 --> 00:56:10,399
Speaker 3: the Solar System, they were all correct. He was right

1035
00:56:10,440 --> 00:56:14,359
Speaker 3: all along. But while in the past he didn't know

1036
00:56:14,480 --> 00:56:17,799
Speaker 3: if their intentions would be good or evil, he now

1037
00:56:17,840 --> 00:56:21,160
Speaker 3: knows that they're good. That this intelligence from Venus has

1038
00:56:21,200 --> 00:56:24,600
Speaker 3: returned with the goal of helping our planet to ascend

1039
00:56:24,760 --> 00:56:28,040
Speaker 3: and thrive. So later Tom falls asleep on the couch

1040
00:56:28,080 --> 00:56:30,680
Speaker 3: by his radio kit, and Claire comes out and lays

1041
00:56:30,680 --> 00:56:33,560
Speaker 3: a blanket over him, and it's a tender moment because

1042
00:56:33,719 --> 00:56:37,440
Speaker 3: she is frightened and bewildered by his behavior, but she

1043
00:56:37,520 --> 00:56:39,560
Speaker 3: still loves him and she wants him to be well.

1044
00:56:40,080 --> 00:56:41,400
Speaker 2: Yeah, it is a nice little scene.

1045
00:56:41,520 --> 00:56:43,640
Speaker 3: So the next day there's a scene where the scientists

1046
00:56:43,680 --> 00:56:46,920
Speaker 3: are bringing down the satellite and it is not responding

1047
00:56:46,960 --> 00:56:49,200
Speaker 3: to their remote controls the way it's supposed to it

1048
00:56:49,239 --> 00:56:53,400
Speaker 3: eventually crashes somewhere near the base. In some ways, I

1049
00:56:53,440 --> 00:56:55,600
Speaker 3: think this is supposed to be one of the quote

1050
00:56:55,640 --> 00:56:58,840
Speaker 3: exciting scenes. It's creating a type of suspense, what's going

1051
00:56:58,920 --> 00:57:01,360
Speaker 3: to happen to the satellite? I don't think it works

1052
00:57:01,400 --> 00:57:04,160
Speaker 3: super well. I think they could have trimmed stuff like this.

1053
00:57:05,239 --> 00:57:07,200
Speaker 2: Not that there's a lot of space to trim.

1054
00:57:07,520 --> 00:57:09,920
Speaker 3: Yeah, well this could have gone in the pile with

1055
00:57:09,960 --> 00:57:11,879
Speaker 3: all of the parking scenes and the driving scenes.

1056
00:57:11,920 --> 00:57:14,359
Speaker 2: Yeah stuff, thin you risk cutting it down to like

1057
00:57:14,480 --> 00:57:16,080
Speaker 2: a nice lean forty minutes.

1058
00:57:16,720 --> 00:57:18,720
Speaker 3: Well yeah, but as we were saying earlier, I mean

1059
00:57:19,040 --> 00:57:21,440
Speaker 3: I think this movie could work as a good, like

1060
00:57:21,520 --> 00:57:24,720
Speaker 3: forty five minute you know, philosophical sci fi story.

1061
00:57:24,880 --> 00:57:27,080
Speaker 2: Yeah, like basically like an Outer Limits episode.

1062
00:57:27,120 --> 00:57:31,480
Speaker 3: Yeah, yes, yeah. So Tom learns from his radio that

1063
00:57:31,560 --> 00:57:34,520
Speaker 3: the presence from Venus survived the crash and is now

1064
00:57:34,600 --> 00:57:37,680
Speaker 3: hiding in the mountains about ten miles south of the installation,

1065
00:57:38,160 --> 00:57:40,920
Speaker 3: And here we get our very first glimpse of the alien,

1066
00:57:41,000 --> 00:57:44,400
Speaker 3: moving slowly through the thick brush of a forest. We

1067
00:57:44,480 --> 00:57:47,000
Speaker 3: do not see its whole body. We see the conical

1068
00:57:47,080 --> 00:57:50,600
Speaker 3: tip of its head with some little antennae poking out

1069
00:57:50,880 --> 00:57:53,600
Speaker 3: and then it stops and reaches up and waves these

1070
00:57:53,640 --> 00:57:56,560
Speaker 3: clawed hands around. This part is already pretty funny.

1071
00:57:56,800 --> 00:58:00,280
Speaker 2: Yeah, it's probably a bad sign when you're in the

1072
00:58:00,360 --> 00:58:02,440
Speaker 2: right thing, you're not showing your full monster. And it's

1073
00:58:02,480 --> 00:58:06,760
Speaker 2: already ridiculous because we've talked about other films where at

1074
00:58:06,840 --> 00:58:10,000
Speaker 2: least the first like in Mortal Kombat, the first little

1075
00:58:10,000 --> 00:58:12,600
Speaker 2: glimpse you get a goro, it worked really well. Yes,

1076
00:58:12,680 --> 00:58:16,400
Speaker 2: it's only as you reveal more that the problems become obvious. Here,

1077
00:58:16,640 --> 00:58:18,680
Speaker 2: it's a little hilarious from the get go.

1078
00:58:19,280 --> 00:58:22,280
Speaker 3: Oh you know what, I realized the static design of

1079
00:58:22,320 --> 00:58:25,160
Speaker 3: the monster face and it conquered the world is basically

1080
00:58:25,200 --> 00:58:28,240
Speaker 3: in the same zone as the goro punched in the

1081
00:58:28,280 --> 00:58:29,080
Speaker 3: groin face.

1082
00:58:31,600 --> 00:58:32,640
Speaker 2: Yeah, yeah, okay.

1083
00:58:33,040 --> 00:58:38,360
Speaker 3: Anyway, next we get a montage of all machinery coming

1084
00:58:38,360 --> 00:58:41,880
Speaker 3: to a halt. There's some clever use of stock footage

1085
00:58:41,920 --> 00:58:44,720
Speaker 3: played in reverse here to achieve a stopping effect on

1086
00:58:44,800 --> 00:58:48,800
Speaker 3: things like So the idea is the alien has managed

1087
00:58:48,840 --> 00:58:52,120
Speaker 3: to shut off every machine in the area. I think

1088
00:58:52,160 --> 00:58:55,160
Speaker 3: I saw some plot summary that said it managed to

1089
00:58:55,160 --> 00:58:57,880
Speaker 3: stop every machine in the whole world. I don't recall

1090
00:58:57,920 --> 00:58:59,680
Speaker 3: if they actually say that in the movie. I don't

1091
00:58:59,680 --> 00:59:00,600
Speaker 3: think they do well.

1092
00:59:00,640 --> 00:59:03,320
Speaker 2: The title of the movie is it conquered the World,

1093
00:59:03,400 --> 00:59:06,680
Speaker 2: And there's maybe like some brief mention of that, but

1094
00:59:06,840 --> 00:59:08,880
Speaker 2: the whole film feels very regional.

1095
00:59:09,080 --> 00:59:12,480
Speaker 3: Yes, the action is quite local. Yeah, so I don't

1096
00:59:12,520 --> 00:59:15,400
Speaker 3: know whatever's going on far away, at least within this talent.

1097
00:59:15,480 --> 00:59:19,240
Speaker 3: Around the military installation, all machines stop, and that's all

1098
00:59:19,280 --> 00:59:23,480
Speaker 3: machines of every kind, electrical gas combustion, all the cars

1099
00:59:23,520 --> 00:59:26,080
Speaker 3: come to a stop in the road. We see airplanes

1100
00:59:26,080 --> 00:59:28,320
Speaker 3: falling out of the sky. A train stops, we see

1101
00:59:28,480 --> 00:59:31,439
Speaker 3: I think a printing press stop printing, and it even

1102
00:59:31,480 --> 00:59:35,800
Speaker 3: stops just purely mechanical machines like Jones wind up watch

1103
00:59:35,880 --> 00:59:36,640
Speaker 3: stops working.

1104
00:59:37,440 --> 00:59:40,880
Speaker 2: This is like the same level of logic that you

1105
00:59:41,000 --> 00:59:45,280
Speaker 2: get in maximum Overdrive, where whatever is controlling all the

1106
00:59:45,320 --> 00:59:49,000
Speaker 2: machines controls everything from like a high tech vehicle to

1107
00:59:49,120 --> 00:59:53,360
Speaker 2: a toaster. Yeah, like whatever the alien is doing, it

1108
00:59:53,400 --> 00:59:56,760
Speaker 2: can stop a power plant, it can stop a wristwatch.

1109
00:59:57,000 --> 00:59:59,640
Speaker 2: Presumably like the drinking birds are no longer working.

1110
01:00:00,960 --> 01:00:02,960
Speaker 3: Yeah, that's right, it stops dipping.

1111
01:00:03,120 --> 01:00:05,960
Speaker 2: Yeah, wind up toys are totally non functional.

1112
01:00:06,400 --> 01:00:11,520
Speaker 3: Yeah, that monkey is not clapping symbols anymore so, that's

1113
01:00:11,560 --> 01:00:13,640
Speaker 3: phase one of the takeover plan. Turn off all the

1114
01:00:13,680 --> 01:00:18,040
Speaker 3: machines begin phase two. Tom is on the radio with

1115
01:00:18,080 --> 01:00:20,280
Speaker 3: an alien. Now, why does his radio still work? Because

1116
01:00:20,320 --> 01:00:24,960
Speaker 3: the alien can specifically target certain machines to still function.

1117
01:00:25,120 --> 01:00:28,720
Speaker 3: They're the machines that belong to the alien's allies, and

1118
01:00:28,800 --> 01:00:31,280
Speaker 3: right now I think Tom is the only ally and

1119
01:00:31,440 --> 01:00:33,760
Speaker 3: Tom and Claire's household, so their stuff still works.

1120
01:00:33,840 --> 01:00:38,120
Speaker 2: Yeah, which again speaks to this being a very local invasion. Yes,

1121
01:00:38,160 --> 01:00:43,000
Speaker 2: maybe like maybe limited to a single California county. Yes,

1122
01:00:43,320 --> 01:00:45,120
Speaker 2: maybe not even municipal regions yet.

1123
01:00:47,000 --> 01:00:49,160
Speaker 3: So Tom's on the radio with the alien and he's

1124
01:00:49,160 --> 01:00:53,000
Speaker 3: reading off a list that he has created of control personnel.

1125
01:00:53,480 --> 01:00:56,080
Speaker 3: This includes the mayor of the town, the chief of police,

1126
01:00:56,200 --> 01:00:58,560
Speaker 3: the commander of the air Force base, and also his

1127
01:00:58,600 --> 01:01:03,440
Speaker 3: friend Paul Nelson. They say that these four men, along

1128
01:01:03,480 --> 01:01:06,280
Speaker 3: with their wives, will be the targets of the eight

1129
01:01:06,520 --> 01:01:11,160
Speaker 3: control devices that the Presence has brought with them from Venus,

1130
01:01:11,720 --> 01:01:14,760
Speaker 3: and it will take time on the scale of weeks

1131
01:01:14,800 --> 01:01:17,640
Speaker 3: to create more control devices. So this is all they've

1132
01:01:17,680 --> 01:01:21,840
Speaker 3: got right now. And then in a hilarious cutaway, we

1133
01:01:21,880 --> 01:01:26,600
Speaker 3: see these little mineoch type creatures, nasty little winged beasts

1134
01:01:26,640 --> 01:01:29,880
Speaker 3: scooting out from under the alien's costume and flying away.

1135
01:01:30,240 --> 01:01:32,920
Speaker 3: Now Here we begin a number of scenes that are

1136
01:01:33,080 --> 01:01:36,560
Speaker 3: the mind control attacks. So these flying creatures, they spread

1137
01:01:36,600 --> 01:01:39,360
Speaker 3: out all over the place, They swoop down on their targets,

1138
01:01:39,480 --> 01:01:42,160
Speaker 3: latch briefly onto the back of the neck, and then

1139
01:01:42,280 --> 01:01:44,480
Speaker 3: once they do and it only takes a few seconds,

1140
01:01:44,880 --> 01:01:48,080
Speaker 3: the target is fully obedient to the will of the

1141
01:01:48,080 --> 01:01:52,440
Speaker 3: benefactor from Venus, I think, in a seemingly psychic sense,

1142
01:01:52,520 --> 01:01:55,600
Speaker 3: like they automatically into it their orders. They don't have

1143
01:01:55,680 --> 01:01:57,960
Speaker 3: to check in via radio like Tom does.

1144
01:01:58,800 --> 01:02:01,600
Speaker 2: I guess there are a few moments in the in

1145
01:02:01,680 --> 01:02:03,600
Speaker 2: the in the plot though, where you're like, well, maybe

1146
01:02:03,640 --> 01:02:07,400
Speaker 2: it's not instant communication. Maybe they get like an update

1147
01:02:07,480 --> 01:02:10,120
Speaker 2: every few hours. I don't know. Yeah, but I'm going

1148
01:02:10,160 --> 01:02:14,520
Speaker 2: to try not to be too pedantic about it. Overall,

1149
01:02:14,880 --> 01:02:16,680
Speaker 2: pretty cool little mind control concept, I.

1150
01:02:16,680 --> 01:02:19,479
Speaker 3: Guess, yes. And then once they bite you and mind

1151
01:02:19,480 --> 01:02:22,200
Speaker 3: control you, they just fall off and die immediately. They

1152
01:02:22,840 --> 01:02:23,440
Speaker 3: say it's.

1153
01:02:23,240 --> 01:02:26,800
Speaker 2: Like a b sting, yeah, kind of like a face hugger,

1154
01:02:26,880 --> 01:02:32,360
Speaker 2: you know, yes, face hug Yeah.

1155
01:02:37,720 --> 01:02:40,320
Speaker 3: Now we learn that in this early phase of the

1156
01:02:40,360 --> 01:02:43,480
Speaker 3: plan that they're targeting these key leadership figures in the

1157
01:02:43,520 --> 01:02:46,880
Speaker 3: immediate vicinity of the crash site set where the satellite

1158
01:02:46,960 --> 01:02:51,360
Speaker 3: came down. But ultimately we learned that the way the

1159
01:02:51,440 --> 01:02:56,040
Speaker 3: being from Venus intends to help or save humanity is

1160
01:02:56,080 --> 01:02:59,960
Speaker 3: by subjecting all of us to a mind altering procedure

1161
01:03:00,360 --> 01:03:05,240
Speaker 3: which will leave us with no emotions, only logic. And

1162
01:03:05,600 --> 01:03:09,120
Speaker 3: Tom explains the rationale here, emotions are the source of

1163
01:03:09,200 --> 01:03:15,440
Speaker 3: everything bad in human society, all war, hate, stupidity, unnecessary strife.

1164
01:03:15,680 --> 01:03:20,760
Speaker 3: This purging of emotions will purge humankind of these evils

1165
01:03:21,040 --> 01:03:24,840
Speaker 3: and elevate us to a state of utopian rationality. Now,

1166
01:03:24,920 --> 01:03:30,040
Speaker 3: ultimately this plan comes under some serious interrogation by various

1167
01:03:30,120 --> 01:03:33,040
Speaker 3: characters in later scenes. But I first wanted to ask,

1168
01:03:33,600 --> 01:03:37,560
Speaker 3: so this is Tom's understanding of the alien's plan. We

1169
01:03:37,560 --> 01:03:40,400
Speaker 3: hear it explained in Tom's words, what the alien is

1170
01:03:40,440 --> 01:03:43,640
Speaker 3: going to do purge us of emotions and elevate us

1171
01:03:43,680 --> 01:03:47,320
Speaker 3: to a better existence. But I had a serious question,

1172
01:03:47,840 --> 01:03:51,560
Speaker 3: do we ever find out if the alien itself actually

1173
01:03:51,640 --> 01:03:56,200
Speaker 3: believes this? Like, from the alien's perspective, is it really

1174
01:03:56,240 --> 01:03:59,640
Speaker 3: trying to help us at least what it would consider help,

1175
01:04:00,200 --> 01:04:02,680
Speaker 3: or in the alien's own mind, is this just a

1176
01:04:02,760 --> 01:04:07,280
Speaker 3: mission of conquest and exploitation, and the emotion purging Utopia

1177
01:04:07,360 --> 01:04:10,440
Speaker 3: story is a way of manipulating Tom into helping it.

1178
01:04:10,880 --> 01:04:13,080
Speaker 2: Yeah. I don't know. There are various ways to sort

1179
01:04:13,120 --> 01:04:17,439
Speaker 2: of interpret this because on one level, I was thinking

1180
01:04:17,520 --> 01:04:23,280
Speaker 2: earlier about the earlier satellites that had failed gone missing,

1181
01:04:23,360 --> 01:04:27,120
Speaker 2: and Anderson's theory that this was due to alien interference.

1182
01:04:28,640 --> 01:04:31,720
Speaker 2: Perhaps those were different aliens, you know, the idea that

1183
01:04:31,720 --> 01:04:35,240
Speaker 2: there are different intelligence is in the Solar System that

1184
01:04:35,400 --> 01:04:38,440
Speaker 2: don't want Earth to advance too much. But then you

1185
01:04:38,520 --> 01:04:43,040
Speaker 2: have a few bad players on Venus who realize, actually,

1186
01:04:43,560 --> 01:04:46,920
Speaker 2: we can make this work for us. We need to

1187
01:04:46,960 --> 01:04:50,200
Speaker 2: get off Venus. We would love to manipulate these people

1188
01:04:50,240 --> 01:04:53,320
Speaker 2: and make them work for us, conquering their world.

1189
01:04:53,600 --> 01:04:57,000
Speaker 3: Because later we do learn that these creatures from Venus

1190
01:04:57,560 --> 01:05:02,800
Speaker 3: they have severe limitations their own environment, like they we

1191
01:05:03,200 --> 01:05:05,600
Speaker 3: sort of get the idea that Venus is lacking in

1192
01:05:05,680 --> 01:05:08,720
Speaker 3: the resources they need to achieve their ultimate goals.

1193
01:05:09,360 --> 01:05:13,480
Speaker 2: Yeah, And it's also later discussed that the Venusians themselves

1194
01:05:13,680 --> 01:05:18,919
Speaker 2: lack emotion. Yeah, but at the same time, we've seen

1195
01:05:19,040 --> 01:05:22,720
Speaker 2: this creature's face. Its face is clearly evil, it's full

1196
01:05:22,720 --> 01:05:26,080
Speaker 2: of emotion. Yeah, so I don't know, the message is

1197
01:05:26,080 --> 01:05:28,960
Speaker 2: a little skewed here, like is it evil and I'm

1198
01:05:28,960 --> 01:05:33,520
Speaker 2: looking to manipulate our desire for betterment and Anderson's desire

1199
01:05:33,640 --> 01:05:37,440
Speaker 2: for human advancement? Or is this all just perfectly logical

1200
01:05:37,480 --> 01:05:40,760
Speaker 2: to it, like, of course I'm going to you know,

1201
01:05:40,800 --> 01:05:44,120
Speaker 2: take over key leaders and overthrow the government because these

1202
01:05:44,120 --> 01:05:46,320
Speaker 2: are all necessary logical steps that need to take place

1203
01:05:46,320 --> 01:05:50,280
Speaker 2: in order to bring about this new utopia. We don't

1204
01:05:50,280 --> 01:05:52,040
Speaker 2: really know. It's kind of the movie seems to have

1205
01:05:52,080 --> 01:05:52,760
Speaker 2: it both ways.

1206
01:05:53,040 --> 01:05:55,360
Speaker 3: Yeah. Yeah, So I've got my own thoughts about the

1207
01:05:55,440 --> 01:05:58,400
Speaker 3: sort of emotion logic divide here that we can get

1208
01:05:58,400 --> 01:06:00,160
Speaker 3: into after we talk about some of the scenes where

1209
01:06:00,200 --> 01:06:04,360
Speaker 3: they discussed this. But before we get to that, in

1210
01:06:04,400 --> 01:06:06,160
Speaker 3: the middle of the movie, there are a lot of

1211
01:06:06,160 --> 01:06:09,000
Speaker 3: scenes of like Paul riding around on a bicycle to

1212
01:06:09,120 --> 01:06:12,320
Speaker 3: different locations trying to figure out what's going on. Paul

1213
01:06:12,480 --> 01:06:15,480
Speaker 3: sort of slowly gets wise to the fact that something

1214
01:06:15,600 --> 01:06:18,600
Speaker 3: is really wrong. But I had a question, if a

1215
01:06:18,680 --> 01:06:21,760
Speaker 3: wind up watch stops working, why would a bicycle work?

1216
01:06:24,320 --> 01:06:28,920
Speaker 2: Yeah, yeah, exactly, because it's It's likewise the same question

1217
01:06:28,960 --> 01:06:31,800
Speaker 2: with maximum overdrive. Did the bicycles take off and if

1218
01:06:31,800 --> 01:06:34,680
Speaker 2: they didn't, why not Why is the bicycle immune to

1219
01:06:34,800 --> 01:06:39,600
Speaker 2: being maximum overdrived? Yeah, or maximum overdriven if you will.

1220
01:06:39,640 --> 01:06:41,560
Speaker 2: I'm not sure which term is preferred.

1221
01:06:41,840 --> 01:06:44,560
Speaker 3: Yeah, I don't know the answer to that. But anyway,

1222
01:06:44,640 --> 01:06:46,920
Speaker 3: So in this middle, I'd say a big part of

1223
01:06:46,960 --> 01:06:52,440
Speaker 3: the middle of the movie is characters such as Tom's

1224
01:06:52,480 --> 01:06:57,160
Speaker 3: wife Claire and Paul becoming convinced that Tom is not

1225
01:06:57,400 --> 01:07:00,600
Speaker 3: hallucinating and that the plans of the benefactor from Venus

1226
01:07:00,680 --> 01:07:04,400
Speaker 3: are real. And so this leads to scenes where these

1227
01:07:04,480 --> 01:07:07,240
Speaker 3: characters are trying to talk since into Tom.

1228
01:07:07,560 --> 01:07:10,640
Speaker 2: And these scenes are really the meat of the movie. Yeah,

1229
01:07:10,840 --> 01:07:12,520
Speaker 2: And I say that in a good way because they're

1230
01:07:12,560 --> 01:07:13,960
Speaker 2: generally entertaining scenes.

1231
01:07:14,240 --> 01:07:14,520
Speaker 3: Yeah.

1232
01:07:14,560 --> 01:07:17,120
Speaker 2: If they weren't, the entire film would be a watch.

1233
01:07:17,560 --> 01:07:21,560
Speaker 3: Yeah. So there's one scene between Tom and Claire that's

1234
01:07:21,920 --> 01:07:25,400
Speaker 3: leev Ncleeve in Beverly, Garland, and he's trying to sell

1235
01:07:25,440 --> 01:07:27,960
Speaker 3: her on the benefits of being part of the alien's

1236
01:07:28,000 --> 01:07:31,280
Speaker 3: plan and purging all emotion. But she's like, if we

1237
01:07:31,320 --> 01:07:34,560
Speaker 3: have no emotion, will we won't we have no love

1238
01:07:34,640 --> 01:07:39,040
Speaker 3: for one another? And Tom is he's not dissuaded, but

1239
01:07:39,080 --> 01:07:40,840
Speaker 3: it seems like he doesn't really have a very good

1240
01:07:40,880 --> 01:07:43,840
Speaker 3: answer for this. He says something like, well, even if

1241
01:07:43,840 --> 01:07:47,320
Speaker 3: there are no emotions, they'll still need you. But Claire

1242
01:07:47,480 --> 01:07:49,840
Speaker 3: presses him on this. She's like, okay, but if you

1243
01:07:50,000 --> 01:07:52,919
Speaker 3: need me but you don't love me, what does that mean?

1244
01:07:53,880 --> 01:07:57,080
Speaker 3: So would I just basically work for you? And it

1245
01:07:57,120 --> 01:07:59,520
Speaker 3: seems that this kind of gets through. Tom doesn't really

1246
01:07:59,560 --> 01:08:01,640
Speaker 3: have a good answer, but he just kind of like

1247
01:08:01,760 --> 01:08:04,800
Speaker 3: is like, well, I can't think about that right now. Yeah,

1248
01:08:04,840 --> 01:08:07,440
Speaker 3: somewhere also in here, we've got the I've got a

1249
01:08:07,480 --> 01:08:10,880
Speaker 3: present for you scene, which is great but also a

1250
01:08:11,000 --> 01:08:13,680
Speaker 3: huge WTF scene, Yeah.

1251
01:08:13,480 --> 01:08:16,960
Speaker 2: Because because earlier we get a scene where Paul leaves

1252
01:08:17,000 --> 01:08:18,960
Speaker 2: Joan to go off on one of his bike rides

1253
01:08:19,000 --> 01:08:21,880
Speaker 2: to try and figure out the mystery, and he's like,

1254
01:08:21,920 --> 01:08:23,920
Speaker 2: don't you know, don't leave the window open, make sure

1255
01:08:23,960 --> 01:08:26,519
Speaker 2: you're inside, and like the door's open for a second,

1256
01:08:26,560 --> 01:08:28,840
Speaker 2: and we give you in like one of the flying

1257
01:08:28,880 --> 01:08:32,479
Speaker 2: bat creatures swoops in and we presume that it gets her.

1258
01:08:32,800 --> 01:08:37,840
Speaker 3: Yes, So Paul comes home and Joan is in. She's

1259
01:08:37,920 --> 01:08:41,280
Speaker 3: very much in Stepford wife mode. She's like, honey, welcome home.

1260
01:08:41,360 --> 01:08:44,080
Speaker 3: I love you. I have a present for you. Why

1261
01:08:44,120 --> 01:08:46,160
Speaker 3: don't you sit down? Right there, and I'll show you,

1262
01:08:46,160 --> 01:08:48,080
Speaker 3: you know, show you what I'm holding behind my back.

1263
01:08:48,960 --> 01:08:50,639
Speaker 3: And of course, what do you know, it's a mind

1264
01:08:50,680 --> 01:08:55,360
Speaker 3: control bat. Beautiful, thank you, thank you, Happy birthday. She

1265
01:08:55,520 --> 01:08:59,000
Speaker 3: releases it, and she's while it's attacking Paul. She's like,

1266
01:08:59,040 --> 01:09:00,519
Speaker 3: I'm going to go out for a while. I'll be

1267
01:09:00,600 --> 01:09:03,760
Speaker 3: back when you're feeling better, And so she goes out

1268
01:09:03,800 --> 01:09:06,559
Speaker 3: for a walk, but Paul bests the mind control bad.

1269
01:09:06,600 --> 01:09:08,280
Speaker 3: He kills it with a fire poker.

1270
01:09:09,120 --> 01:09:12,040
Speaker 2: And I rather like the scene where he kills it

1271
01:09:12,040 --> 01:09:14,240
Speaker 2: with the fire poker. It had some some oomph to it.

1272
01:09:14,520 --> 01:09:18,040
Speaker 3: Yeah, yeah, it's good. Uh. And then when she comes back,

1273
01:09:18,120 --> 01:09:21,559
Speaker 3: she thinks he has been turned. So these the people

1274
01:09:21,600 --> 01:09:23,960
Speaker 3: who have been turned by the mind control devices are

1275
01:09:24,000 --> 01:09:28,840
Speaker 3: not like omnipotent, like they don't fully understand everything. Uh

1276
01:09:29,000 --> 01:09:31,439
Speaker 3: So I guess that comes back somewhat on my guess

1277
01:09:31,439 --> 01:09:34,760
Speaker 3: about them being sort of psychic. She doesn't know he

1278
01:09:34,800 --> 01:09:37,880
Speaker 3: hasn't been turned. He's faking it, and he's like, will

1279
01:09:37,920 --> 01:09:39,920
Speaker 3: we ever go back to how we were? And she

1280
01:09:40,040 --> 01:09:44,840
Speaker 3: says no, the change is irreversible, and then Paul shoots

1281
01:09:44,880 --> 01:09:49,519
Speaker 3: her yes what yes, Like what if she was wrong

1282
01:09:49,560 --> 01:09:51,200
Speaker 3: about the fact that they couldn't go back.

1283
01:09:51,680 --> 01:09:54,800
Speaker 2: Yeah, yeah, what if there was some sort of cure? Yeah,

1284
01:09:55,200 --> 01:09:58,439
Speaker 2: so many questions here. So yeah, this is like really shocking.

1285
01:09:59,400 --> 01:10:01,200
Speaker 2: I mean, I think part of it is most of

1286
01:10:01,280 --> 01:10:03,559
Speaker 2: us at this point we've seen enough vampire and zombie

1287
01:10:03,640 --> 01:10:07,360
Speaker 2: films to be very well acquainted with the my beloved

1288
01:10:07,479 --> 01:10:09,280
Speaker 2: is no longer my beloved. They're a monster. Now I'm

1289
01:10:09,280 --> 01:10:11,360
Speaker 2: going to have to kill them. Seen. You know, he

1290
01:10:11,520 --> 01:10:15,160
Speaker 2: usually comes with a great deal of emotional anguish, and

1291
01:10:15,600 --> 01:10:20,160
Speaker 2: sometimes you know, it's it's the individual facing this choice,

1292
01:10:20,800 --> 01:10:23,679
Speaker 2: can't do it, you know, like their emotions are too strong.

1293
01:10:23,680 --> 01:10:26,120
Speaker 2: They're like, I know you're a zombie now, but I

1294
01:10:26,200 --> 01:10:28,040
Speaker 2: can't kill you. I'm gonna have to lock you in

1295
01:10:28,080 --> 01:10:29,720
Speaker 2: the basement instead, that sort of thing.

1296
01:10:30,000 --> 01:10:32,040
Speaker 3: And most of the time in those scenes, there's like

1297
01:10:32,160 --> 01:10:35,600
Speaker 3: a lot of also just esthetic work being done to

1298
01:10:35,680 --> 01:10:38,599
Speaker 3: fully convince you like it's not the person anymore. They

1299
01:10:38,600 --> 01:10:40,960
Speaker 3: are not in there. It's a difference, it's just their

1300
01:10:41,000 --> 01:10:43,559
Speaker 3: body being controlled by a demonic entity or.

1301
01:10:43,560 --> 01:10:45,200
Speaker 2: So yeah, they want it. They have to drive home

1302
01:10:45,320 --> 01:10:48,280
Speaker 2: a very black and white scenario while also driving home

1303
01:10:48,320 --> 01:10:50,320
Speaker 2: that this is a terrible choice that is having to

1304
01:10:50,320 --> 01:10:53,400
Speaker 2: be made. Yes, but Paul does not hesitate. He just

1305
01:10:53,400 --> 01:10:56,479
Speaker 2: shoots her down in cold blood, then presumably has a

1306
01:10:56,520 --> 01:10:59,519
Speaker 2: smoke and finishes reading the newspaper. I don't know. Yeah,

1307
01:10:59,520 --> 01:11:03,160
Speaker 2: there's no exploration of the parameters here, no consideration of

1308
01:11:03,200 --> 01:11:06,040
Speaker 2: how much of her is truly in there anymore. And

1309
01:11:06,400 --> 01:11:09,160
Speaker 2: it's even weirder when you drag in the whole sort

1310
01:11:09,200 --> 01:11:12,759
Speaker 2: of like cold War anxiety aspects of this film, because

1311
01:11:12,760 --> 01:11:14,400
Speaker 2: it's kind of like, no, sir, I found out my

1312
01:11:14,439 --> 01:11:16,479
Speaker 2: wife was a secret Communist, and I did what any

1313
01:11:16,479 --> 01:11:20,800
Speaker 2: red blooded American would do, and it just comes off

1314
01:11:20,880 --> 01:11:25,920
Speaker 2: like darn. But Paul is a cold guy. Again. This

1315
01:11:25,960 --> 01:11:29,120
Speaker 2: is our champion of emotion in the film, and he

1316
01:11:29,880 --> 01:11:33,120
Speaker 2: shows very little emotion in making this fatal choice.

1317
01:11:33,560 --> 01:11:35,600
Speaker 3: Yeah, that's right. So that is a real tension and

1318
01:11:35,720 --> 01:11:39,800
Speaker 3: how these themes are realized within the movie because of

1319
01:11:39,840 --> 01:11:43,479
Speaker 3: how cold Paul is. But so later we get these

1320
01:11:43,520 --> 01:11:48,080
Speaker 3: scenes where Tom and Paul are themselves arguing about the

1321
01:11:48,800 --> 01:11:53,400
Speaker 3: plans of the benefactor from Venus. Paul is convinced basically

1322
01:11:53,400 --> 01:11:55,360
Speaker 3: of what's going on. He goes to talk to Tom

1323
01:11:55,439 --> 01:11:57,000
Speaker 3: about the merits of the plan. I think there are

1324
01:11:57,120 --> 01:12:00,000
Speaker 3: various they're planning to kill each other. Also in these scenes,

1325
01:12:00,200 --> 01:12:04,120
Speaker 3: because Tom has received orders from the alien that he

1326
01:12:04,160 --> 01:12:07,200
Speaker 3: has to kill Paul. I think Paul has plans of

1327
01:12:07,200 --> 01:12:10,080
Speaker 3: his own, but they're arguing it out, and so we

1328
01:12:10,120 --> 01:12:13,720
Speaker 3: get some speeches. One thing is that Tom says, you know,

1329
01:12:13,800 --> 01:12:16,120
Speaker 3: first of all, he tries to convince Paul to join him.

1330
01:12:16,200 --> 01:12:18,640
Speaker 3: He's like, he wants you on his side, next to me.

1331
01:12:18,760 --> 01:12:21,679
Speaker 3: He wants you so like, you know, come be, Come

1332
01:12:21,720 --> 01:12:26,080
Speaker 3: be the lieutenant of the Venus invasion plan. And Paul says,

1333
01:12:26,160 --> 01:12:28,680
Speaker 3: you want me to condone this reign of terror, to

1334
01:12:28,760 --> 01:12:32,000
Speaker 3: swear allegiance to this monstrous king of yours, to kill

1335
01:12:32,040 --> 01:12:35,320
Speaker 3: my own soul and all within reach. Well I won't, Anderson.

1336
01:12:35,600 --> 01:12:37,920
Speaker 3: I'll fight it till the last of breath in my body.

1337
01:12:38,120 --> 01:12:40,280
Speaker 3: And I'll fight you too, because you're part of it,

1338
01:12:40,479 --> 01:12:43,360
Speaker 3: the worst part, because you belong to a living race,

1339
01:12:43,479 --> 01:12:46,759
Speaker 3: not a dying one. This is your land, your world.

1340
01:12:47,120 --> 01:12:50,400
Speaker 3: Your hands are human, but your mind is enemy. You're

1341
01:12:50,400 --> 01:12:53,680
Speaker 3: a trader, Anderson, the greatest trader of all time. And

1342
01:12:53,760 --> 01:12:57,080
Speaker 3: you know why, because you're not betraying part of mankind,

1343
01:12:57,280 --> 01:13:00,960
Speaker 3: you're betraying all of it. That's a Peter Graves speech.

1344
01:13:01,240 --> 01:13:02,000
Speaker 3: That's pretty great.

1345
01:13:02,040 --> 01:13:03,680
Speaker 2: I mean, and you know, I have to say I'm

1346
01:13:03,720 --> 01:13:05,800
Speaker 2: glad they're doing this in person, because if this film

1347
01:13:05,840 --> 01:13:08,360
Speaker 2: we're set today, this whole conversation would take place on

1348
01:13:08,400 --> 01:13:12,599
Speaker 2: Facebook and it would just be super awful, and half

1349
01:13:12,600 --> 01:13:14,320
Speaker 2: of it would be in memes. Half of it would

1350
01:13:14,320 --> 01:13:14,839
Speaker 2: be memes.

1351
01:13:15,120 --> 01:13:17,479
Speaker 3: You know. Yeah, it's a comment. He's got a lot

1352
01:13:17,479 --> 01:13:21,640
Speaker 3: of little the mad face emoji reactions. Yeah, So he

1353
01:13:21,680 --> 01:13:23,760
Speaker 3: makes the case that he's being a trader. But they

1354
01:13:23,760 --> 01:13:29,439
Speaker 3: also have a conversation where Paul explains why the why

1355
01:13:29,479 --> 01:13:33,200
Speaker 3: he thinks that the emotion purging plan won't work. He's like,

1356
01:13:33,400 --> 01:13:37,200
Speaker 3: I think Earth is actually going to defeat these you know,

1357
01:13:37,320 --> 01:13:43,000
Speaker 3: these supposedly purely logical, mind controlled beings from Venus, because

1358
01:13:43,040 --> 01:13:48,200
Speaker 3: he says, for example, humans will feel emotional solidarity for

1359
01:13:48,240 --> 01:13:52,440
Speaker 3: one another, and their emotions will cause them to cooperate

1360
01:13:52,560 --> 01:13:58,320
Speaker 3: together and to sacrifice their own personal interests in you know,

1361
01:13:58,360 --> 01:14:01,320
Speaker 3: in the interest of better protect humanity as a whole,

1362
01:14:01,560 --> 01:14:06,160
Speaker 3: so they can coordinate and cooperate and make sacrifices in

1363
01:14:06,200 --> 01:14:11,600
Speaker 3: a way that these purely logical, rational, individualistic beings controlled

1364
01:14:11,600 --> 01:14:15,040
Speaker 3: by the aliens will not. Now I sort of get

1365
01:14:15,040 --> 01:14:16,760
Speaker 3: what they're going for there. I don't know if that's

1366
01:14:16,800 --> 01:14:19,120
Speaker 3: exactly the way I would frame it, but I think

1367
01:14:19,160 --> 01:14:22,640
Speaker 3: it raises a lot of interesting questions. I think the

1368
01:14:22,680 --> 01:14:26,280
Speaker 3: way I would think about it more is that the

1369
01:14:26,320 --> 01:14:29,920
Speaker 3: way Tom is thinking about logic versus emotion is just

1370
01:14:30,400 --> 01:14:33,599
Speaker 3: a little bit miscalibrated as to the roles these things

1371
01:14:33,640 --> 01:14:37,960
Speaker 3: actually play in how we act. Like, logic is a

1372
01:14:38,080 --> 01:14:41,599
Speaker 3: good way of formulating plans of action, right, It's better

1373
01:14:41,640 --> 01:14:45,000
Speaker 3: to think logically about what to do than to just

1374
01:14:45,080 --> 01:14:47,320
Speaker 3: act emotionally to try to figure out what you should do.

1375
01:14:47,760 --> 01:14:51,759
Speaker 3: But emotions generate all of the motivation states for action.

1376
01:14:52,320 --> 01:14:55,120
Speaker 3: So if you have a very logical plan about how

1377
01:14:55,160 --> 01:14:58,360
Speaker 3: to achieve a goal, the way you decide what your

1378
01:14:58,479 --> 01:15:03,120
Speaker 3: goal is as usually emotion like. You have emotional motivations

1379
01:15:03,640 --> 01:15:06,040
Speaker 3: that tell you what you want and what you think

1380
01:15:06,120 --> 01:15:08,519
Speaker 3: is good, and then you have logic to help you

1381
01:15:08,600 --> 01:15:10,599
Speaker 3: decide best how to achieve that thing.

1382
01:15:11,200 --> 01:15:14,840
Speaker 2: Yeah, and of course logic can be flawed. Logic can

1383
01:15:15,200 --> 01:15:19,439
Speaker 2: lead to incorrect answers like it's interesting to think about

1384
01:15:19,840 --> 01:15:23,040
Speaker 2: you Anderson here, like he has been he has followed

1385
01:15:23,040 --> 01:15:26,719
Speaker 2: a path that is both logical and emotional to reach

1386
01:15:26,800 --> 01:15:29,360
Speaker 2: this point where he risks dooming the planet, you know, yes,

1387
01:15:30,160 --> 01:15:32,040
Speaker 2: so yeah, it is hard to sort of tease tease

1388
01:15:32,120 --> 01:15:34,040
Speaker 2: these apart. You know, you get into the whole vulcan

1389
01:15:34,120 --> 01:15:38,080
Speaker 2: territory right of trying to figure out what a what

1390
01:15:38,120 --> 01:15:40,400
Speaker 2: a people would be like if they purge themselves of

1391
01:15:40,439 --> 01:15:45,040
Speaker 2: emotion and followed pure logic, you know, what what would

1392
01:15:45,040 --> 01:15:47,160
Speaker 2: that look like and what would be what kind of

1393
01:15:47,160 --> 01:15:48,559
Speaker 2: pitfalls would still be possible.

1394
01:15:49,000 --> 01:15:51,560
Speaker 3: But there's a great twist here because in one of

1395
01:15:51,600 --> 01:15:54,040
Speaker 3: these scenes where Paul comes over and he's arguing with

1396
01:15:54,080 --> 01:15:59,439
Speaker 3: Tom about what they should do, Claire actually sneaks out,

1397
01:15:59,479 --> 01:16:03,679
Speaker 3: like she she comes to hate this alien presence and

1398
01:16:03,760 --> 01:16:05,599
Speaker 3: she's like, you know what, I'm going to deal with

1399
01:16:05,640 --> 01:16:09,600
Speaker 3: this issue myself. So Beverly Garland steals Tom's rifle that

1400
01:16:09,680 --> 01:16:12,160
Speaker 3: he was going to use to kill Paul and then

1401
01:16:12,240 --> 01:16:14,640
Speaker 3: goes and gets in the car and drives away to

1402
01:16:14,840 --> 01:16:18,400
Speaker 3: find the alien. And she at one point, she I think,

1403
01:16:18,439 --> 01:16:22,200
Speaker 3: gets on the radio and says like I'm coming for you, yeah, yeah,

1404
01:16:22,240 --> 01:16:25,040
Speaker 3: and I love this. Like Claire, she gets in the car,

1405
01:16:25,240 --> 01:16:27,719
Speaker 3: arms herself, gets in the car and goes to find

1406
01:16:27,760 --> 01:16:31,160
Speaker 3: the cave where the alien lives, and she's like, I'm

1407
01:16:31,200 --> 01:16:32,120
Speaker 3: going to destroy it.

1408
01:16:32,520 --> 01:16:35,880
Speaker 2: Yeah. She's a woman of action, and Beverly Garland really

1409
01:16:35,920 --> 01:16:37,840
Speaker 2: brings a lot of energy to this role. Is great

1410
01:16:37,840 --> 01:16:41,519
Speaker 2: in this role, So like this alone is a breath

1411
01:16:41,560 --> 01:16:44,040
Speaker 2: of fresh air for movies of this time period.

1412
01:16:44,439 --> 01:16:46,400
Speaker 3: Yeah, and she has some great lines too. I think

1413
01:16:46,439 --> 01:16:49,400
Speaker 3: when she's going to kill it in the cave, she says,

1414
01:16:49,439 --> 01:16:51,360
Speaker 3: you think you're going to make a slave of the world,

1415
01:16:51,640 --> 01:16:53,439
Speaker 3: I'll see you in hell first.

1416
01:16:54,680 --> 01:16:55,800
Speaker 2: Yeah, and she sells it.

1417
01:16:56,000 --> 01:16:57,639
Speaker 3: She also tells it that it's ugly.

1418
01:17:00,240 --> 01:17:02,320
Speaker 2: It is ugly, Yeah, And I think that's one thing

1419
01:17:02,320 --> 01:17:04,200
Speaker 2: they were trying to sort of drive, like they're trying

1420
01:17:04,200 --> 01:17:07,240
Speaker 2: to like hold off this is one of the tricky

1421
01:17:07,280 --> 01:17:09,800
Speaker 2: things of having seen this picture so many times and

1422
01:17:09,960 --> 01:17:12,720
Speaker 2: or having seen that face on the poster. You know,

1423
01:17:13,040 --> 01:17:15,880
Speaker 2: the menace, the alien menace is ugly, and I think

1424
01:17:15,920 --> 01:17:18,599
Speaker 2: the film is crafted in a sense where they wanted

1425
01:17:18,640 --> 01:17:22,120
Speaker 2: that to be a big reveal and it you know

1426
01:17:22,200 --> 01:17:25,160
Speaker 2: that this would be a realization. Oh, the thing that

1427
01:17:25,400 --> 01:17:28,000
Speaker 2: we thought was a benefactor really as a hideous monster.

1428
01:17:28,320 --> 01:17:31,000
Speaker 2: And there's something about its appearance that cluses into this

1429
01:17:31,080 --> 01:17:33,680
Speaker 2: even more. But you know, what can you do? You

1430
01:17:33,720 --> 01:17:35,000
Speaker 2: got to put a monster on the poster.

1431
01:17:35,479 --> 01:17:40,080
Speaker 3: That's right. So eventually Tom is convinced. He's sort of

1432
01:17:40,120 --> 01:17:43,040
Speaker 3: he's talked down out of cooperating with the alien, which

1433
01:17:43,080 --> 01:17:47,559
Speaker 3: is pretty interesting. I don't know if I would normally

1434
01:17:48,160 --> 01:17:50,360
Speaker 3: expect the plot to work that way in a movie

1435
01:17:50,400 --> 01:17:54,720
Speaker 3: like this. I would normally expect some kind of I

1436
01:17:54,760 --> 01:18:00,439
Speaker 3: don't know, like sight or plot twist to change Tom's allegiance. Instead,

1437
01:18:00,479 --> 01:18:02,680
Speaker 3: he's just sort of convinced through argumentation.

1438
01:18:03,400 --> 01:18:05,760
Speaker 2: Yeah, and well, and I think the fact too that

1439
01:18:06,479 --> 01:18:09,280
Speaker 2: his wife is in peril now, Like he realizes that

1440
01:18:11,160 --> 01:18:13,400
Speaker 2: she is in danger, right, and he has to go

1441
01:18:13,479 --> 01:18:16,800
Speaker 2: attempt to save her, but also rectify this problem that

1442
01:18:16,840 --> 01:18:19,320
Speaker 2: he is doomed that he's potentially brought to the planet.

1443
01:18:19,560 --> 01:18:21,479
Speaker 3: That's right. So Claire has run off to fight the

1444
01:18:21,479 --> 01:18:25,240
Speaker 3: alien herself. Tom is on Paul's side now, He's like, okay,

1445
01:18:25,240 --> 01:18:28,040
Speaker 3: we got to stop it. So Paul and Tom both

1446
01:18:28,120 --> 01:18:31,360
Speaker 3: run off to enact various parts of the plan. Tom

1447
01:18:31,520 --> 01:18:34,760
Speaker 3: arms himself with like a little flamethrower of some kind,

1448
01:18:34,920 --> 01:18:36,960
Speaker 3: like a it's not a huge flamethrower. What do you

1449
01:18:37,000 --> 01:18:39,080
Speaker 3: call this thing? It's like a little tiny, sort of

1450
01:18:39,160 --> 01:18:41,080
Speaker 3: kettle sized flamethrower.

1451
01:18:41,439 --> 01:18:45,719
Speaker 2: Yeah, like some sort of like little blowtorch sized flamer device. Yeah,

1452
01:18:45,760 --> 01:18:49,360
Speaker 2: but I really like this division in weapons because obviously

1453
01:18:49,360 --> 01:18:51,680
Speaker 2: Paul will shoot anything that moves, so he needs a

1454
01:18:51,680 --> 01:18:56,080
Speaker 2: handgun that fits his character. But Anderson. Anderson's more of

1455
01:18:56,120 --> 01:18:57,720
Speaker 2: a you know, a thinker. You know. It's like he

1456
01:18:57,760 --> 01:19:00,880
Speaker 2: had that rifle earlier and the rifle's gone now. I

1457
01:19:00,880 --> 01:19:03,559
Speaker 2: don't know, it feels appropriate that he's using something a

1458
01:19:03,560 --> 01:19:07,120
Speaker 2: little more sciency, a little more sci fi, you know,

1459
01:19:07,160 --> 01:19:08,679
Speaker 2: this little flamethrower device.

1460
01:19:09,200 --> 01:19:12,799
Speaker 3: There is some more brutal violence in this movie. Shocking violence,

1461
01:19:12,800 --> 01:19:15,120
Speaker 3: I would say for a movie from fifty six where

1462
01:19:16,800 --> 01:19:20,400
Speaker 3: the mind controlled police chief that is working for the

1463
01:19:20,439 --> 01:19:23,240
Speaker 3: alien he tries to stop Tom from getting to the cave,

1464
01:19:23,320 --> 01:19:25,960
Speaker 3: and he's like shooting at Tom and Tom just burns

1465
01:19:26,080 --> 01:19:27,400
Speaker 3: him yeah.

1466
01:19:27,080 --> 01:19:29,640
Speaker 2: Yeah, yeah, flames him up. Yeah, and he runs a

1467
01:19:29,680 --> 01:19:33,720
Speaker 2: little bit and falls over on fire. Yeah. So yeah, pretty.

1468
01:19:33,439 --> 01:19:35,640
Speaker 3: Harsh, But eventually they get to the cave. Oh and

1469
01:19:35,720 --> 01:19:40,120
Speaker 3: this intersects with a fairly consistently grown inducing subplot where

1470
01:19:40,320 --> 01:19:43,639
Speaker 3: some soldiers are wandering around in the woods and they're like, oh,

1471
01:19:43,920 --> 01:19:45,720
Speaker 3: we're hungry, where can we get food? They are not

1472
01:19:45,920 --> 01:19:50,080
Speaker 3: mine controlled, and they're wandering around but they eventually hear

1473
01:19:50,280 --> 01:19:53,439
Speaker 3: the violence in the commotion at the cave, so they

1474
01:19:53,479 --> 01:19:55,760
Speaker 3: go there with all their weapons, and so we end

1475
01:19:55,840 --> 01:19:57,960
Speaker 3: up with a bunch of soldiers going into the cave

1476
01:19:58,160 --> 01:20:01,720
Speaker 3: confronting the monster, and the monster attacks them. I think

1477
01:20:01,720 --> 01:20:05,559
Speaker 3: it kills some of them, and ultimately, in the final showdown,

1478
01:20:05,720 --> 01:20:08,640
Speaker 3: Tom himself has to go up against the creature that

1479
01:20:08,720 --> 01:20:10,160
Speaker 3: he invited from Venus.

1480
01:20:10,800 --> 01:20:13,639
Speaker 2: Yeah, and this is a this is a pretty satisfying showdown.

1481
01:20:13,680 --> 01:20:17,040
Speaker 2: I mean, again, the blocking of it, what is possible

1482
01:20:17,120 --> 01:20:21,040
Speaker 2: with interactions between the monster and human actors aside? Uh,

1483
01:20:21,560 --> 01:20:23,519
Speaker 2: it plays out rather well, I think.

1484
01:20:24,000 --> 01:20:27,040
Speaker 3: Yeah, the broad payoff in terms of what the characters do,

1485
01:20:27,880 --> 01:20:30,760
Speaker 3: at least maybe as described on paper works pretty well.

1486
01:20:30,800 --> 01:20:34,920
Speaker 3: So Paul, sorry, Tom does run up and he like

1487
01:20:35,040 --> 01:20:38,240
Speaker 3: burns one of the alien's eyes with the blowtorch.

1488
01:20:38,479 --> 01:20:40,720
Speaker 2: Oh, he like just like sticks that sucker into the

1489
01:20:40,760 --> 01:20:43,760
Speaker 2: eye socket. I mean it's it's great and and it's

1490
01:20:43,840 --> 01:20:48,240
Speaker 2: made even better because Lee van Kleef delivers like just

1491
01:20:48,320 --> 01:20:51,120
Speaker 2: this awesome line line that has a lot of like

1492
01:20:51,200 --> 01:20:53,599
Speaker 2: venom in it, you know, like he's finally seen through

1493
01:20:54,520 --> 01:20:56,880
Speaker 2: the to the menace here and he's like, I'm gonna

1494
01:20:57,000 --> 01:20:58,880
Speaker 2: like this is what you get for messing with Earth.

1495
01:20:59,200 --> 01:21:02,200
Speaker 3: Yeah yeah. But then, of course he is killed in

1496
01:21:02,240 --> 01:21:05,200
Speaker 3: the scuffle as well, so he's laying there next to

1497
01:21:05,240 --> 01:21:08,800
Speaker 3: the dead overturned ice cream cone or artichoke, however you

1498
01:21:08,840 --> 01:21:11,600
Speaker 3: think of it. And then finally, so all of the

1499
01:21:11,720 --> 01:21:14,960
Speaker 3: characters except Paul are dead. Basically he's the only one

1500
01:21:15,040 --> 01:21:17,680
Speaker 3: left standing. And then he gives the monologue the one

1501
01:21:17,720 --> 01:21:20,400
Speaker 3: I delivered earlier. I'm not going to say it again,

1502
01:21:20,800 --> 01:21:23,840
Speaker 3: but he does explain that, referring to Tom, he learned

1503
01:21:23,880 --> 01:21:27,799
Speaker 3: almost too late, that man is a feeling creature. Well wait, no, actually,

1504
01:21:27,800 --> 01:21:31,200
Speaker 3: hold on a second. I always assumed in this monologue

1505
01:21:31,280 --> 01:21:33,880
Speaker 3: he's talking about Tom. Do you think he could be

1506
01:21:33,960 --> 01:21:36,479
Speaker 3: talking about the alien from Venus or is he definitely

1507
01:21:36,479 --> 01:21:37,920
Speaker 3: talking about Tom, who.

1508
01:21:38,720 --> 01:21:41,720
Speaker 2: Let's see, let's think about it, and for himself. That

1509
01:21:41,840 --> 01:21:44,720
Speaker 2: men have to find their own way, to make their

1510
01:21:44,760 --> 01:21:48,479
Speaker 2: own mistakes. There can't be any gift of perfection from

1511
01:21:48,520 --> 01:21:54,040
Speaker 2: outside ourselves. I think he's probably talking about Tom.

1512
01:21:54,160 --> 01:21:55,720
Speaker 3: Yeah, yeah, yeah.

1513
01:21:55,439 --> 01:21:58,840
Speaker 2: Because you know Tom is looking for that outside fix.

1514
01:21:59,240 --> 01:22:03,120
Speaker 2: It's going to help humanity, something that will help us advance,

1515
01:22:03,160 --> 01:22:07,439
Speaker 2: like we're struggling to advance on our own. We need

1516
01:22:07,880 --> 01:22:09,280
Speaker 2: salvation to come from above.

1517
01:22:09,680 --> 01:22:14,639
Speaker 3: Yeah, this monologue assumes it was a good faith desire

1518
01:22:14,720 --> 01:22:17,400
Speaker 3: to get perfection from the outside. And I don't know

1519
01:22:17,400 --> 01:22:20,160
Speaker 3: if Paul would assume that about the alien from Venus,

1520
01:22:20,160 --> 01:22:23,120
Speaker 3: that it was actually trying to help us. Yeah, so

1521
01:22:23,200 --> 01:22:25,360
Speaker 3: there is hope, but it has to come from inside,

1522
01:22:25,439 --> 01:22:26,920
Speaker 3: from man himself.

1523
01:22:27,600 --> 01:22:29,519
Speaker 2: Of course, they don't get into this, and of course

1524
01:22:29,520 --> 01:22:31,880
Speaker 2: there was never a sequel or anything to this film.

1525
01:22:31,920 --> 01:22:34,880
Speaker 2: But you know, there are still other members of the

1526
01:22:34,880 --> 01:22:37,439
Speaker 2: Benefactor race on Venus. I forget what the head count was.

1527
01:22:37,439 --> 01:22:38,519
Speaker 2: They said they're like nine of them.

1528
01:22:38,560 --> 01:22:41,360
Speaker 3: I think, yeah, it's only eight or nine or something,

1529
01:22:41,439 --> 01:22:42,559
Speaker 3: and this is just one of them.

1530
01:22:42,720 --> 01:22:46,880
Speaker 2: Yeah, there's still eight super intelligent Venusians out there who

1531
01:22:46,920 --> 01:22:49,960
Speaker 2: may or may not be reaching out to humans via

1532
01:22:50,000 --> 01:22:54,720
Speaker 2: their radar. There may be other alien players in the

1533
01:22:54,760 --> 01:22:59,160
Speaker 2: Solar System who have a vested interest in keeping humanity

1534
01:22:59,240 --> 01:23:03,760
Speaker 2: from advance beyond a certain technological level. So I don't know.

1535
01:23:03,800 --> 01:23:05,599
Speaker 2: It's kind of commendable that a film like this, this

1536
01:23:05,720 --> 01:23:09,719
Speaker 2: does ultimately introduce those kinds of concepts, you know, where

1537
01:23:09,920 --> 01:23:13,120
Speaker 2: you can leave the theater thinking about all of these

1538
01:23:13,160 --> 01:23:16,040
Speaker 2: things and wondering, well, how would this how would the

1539
01:23:16,120 --> 01:23:17,960
Speaker 2: characters from this film, how would the world from this

1540
01:23:18,040 --> 01:23:18,839
Speaker 2: film progress?

1541
01:23:19,240 --> 01:23:22,160
Speaker 3: Yeah? What if the benefactors from Mars come to purgase

1542
01:23:22,200 --> 01:23:24,320
Speaker 3: of all logic and leave us with only emotion?

1543
01:23:24,800 --> 01:23:28,679
Speaker 2: Oh wow, there you go. Now there's an interesting sequel

1544
01:23:28,720 --> 01:23:31,880
Speaker 2: idea for it conquered the World. Like this time they

1545
01:23:32,040 --> 01:23:36,479
Speaker 2: promise pure emotion, pure ecstasy, they come in peace.

1546
01:23:38,280 --> 01:23:40,960
Speaker 3: Yeah, okay, well I think that's all I've got on

1547
01:23:41,200 --> 01:23:42,520
Speaker 3: It Conquered the World.

1548
01:23:42,800 --> 01:23:45,879
Speaker 2: All right. Well, yeah, it's a fun one. Highly recommend

1549
01:23:45,880 --> 01:23:47,639
Speaker 2: it to anyone who's never seen it, and if you've

1550
01:23:47,640 --> 01:23:50,479
Speaker 2: seen it before, watch it again. It's Yeah, it's a hoot.

1551
01:23:50,880 --> 01:23:53,960
Speaker 2: That MST three K episode is, of course rightfully considered

1552
01:23:53,960 --> 01:23:55,040
Speaker 2: one of the best as well.

1553
01:23:55,320 --> 01:23:58,479
Speaker 3: If I recall correctly, by the time that episode is over,

1554
01:23:58,640 --> 01:24:01,960
Speaker 3: they've played the end monologue by Peter Graves at least

1555
01:24:02,000 --> 01:24:03,400
Speaker 3: three times, maybe four.

1556
01:24:04,040 --> 01:24:04,360
Speaker 2: You have.

1557
01:24:06,320 --> 01:24:07,040
Speaker 3: Good choice.

1558
01:24:07,680 --> 01:24:09,800
Speaker 2: All right, We're going to gohea and close out here,

1559
01:24:10,040 --> 01:24:12,680
Speaker 2: but we'd love to hear from everyone out there. Misty's

1560
01:24:12,720 --> 01:24:15,080
Speaker 2: if you want to write in about this one. Old

1561
01:24:15,120 --> 01:24:19,439
Speaker 2: school science fiction fans, Roger Korman fans write in as well,

1562
01:24:20,160 --> 01:24:22,400
Speaker 2: Western fans. You may have some thoughts here as well.

1563
01:24:22,479 --> 01:24:25,920
Speaker 2: Especially as it relates to Lee van Cleef. But yeah,

1564
01:24:25,960 --> 01:24:28,519
Speaker 2: this was film number one hundred and seventy five for

1565
01:24:28,600 --> 01:24:30,599
Speaker 2: Weird House Cinema. If you want to see the full

1566
01:24:30,600 --> 01:24:32,679
Speaker 2: list of films we've covered over the years and sometimes

1567
01:24:32,720 --> 01:24:34,800
Speaker 2: get a peek ahead at what's coming up next, go

1568
01:24:34,880 --> 01:24:37,080
Speaker 2: to letterbox dot com. That's l E T E r

1569
01:24:37,120 --> 01:24:40,400
Speaker 2: box d dot com. Our user name there is weird

1570
01:24:40,400 --> 01:24:43,080
Speaker 2: House and you can find that list. Let's see. If

1571
01:24:43,080 --> 01:24:46,400
Speaker 2: you're on Instagram, follow us. We are st b ym

1572
01:24:46,479 --> 01:24:48,679
Speaker 2: podcast and that way you can keep up with everything

1573
01:24:48,680 --> 01:24:50,799
Speaker 2: we're doing in the Stuff to Blow Your Mind podcast space.

1574
01:24:51,200 --> 01:24:54,840
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1575
01:24:55,120 --> 01:24:56,800
Speaker 3: If you would like to get in touch with us

1576
01:24:56,840 --> 01:24:59,320
Speaker 3: with feedback on this episode or any other, to suggest

1577
01:24:59,360 --> 01:25:01,439
Speaker 3: a topic for the future, or just to say hello,

1578
01:25:01,760 --> 01:25:04,360
Speaker 3: you can email us at contact at stuff to Blow

1579
01:25:04,400 --> 01:25:12,120
Speaker 3: your Mind dot com.

1580
01:25:12,200 --> 01:25:15,160
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1581
01:25:15,240 --> 01:25:18,040
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1582
01:25:18,200 --> 01:25:21,200
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.