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Speaker 1: Hey, Welcome to Weird House Cinema. Rewind, this is Rob Lamb.

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Speaker 1: Today is Saint Patrick's Day, so we do have an

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Speaker 1: older episode of Weird House Cinema that does, at least

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Speaker 1: in some small way involve an Irish setting. We're going

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Speaker 1: to be talking about the nineteen sixty one European Kaiju

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Speaker 1: movie Gorgo. This this one's pretty fun and has a

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Speaker 1: great monster in it. So let's jump right in.

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

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Speaker 1: 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: on today's episode of Weird House Cinema, we are going

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Speaker 3: to be talking about the nineteen sixty one British Kaiju

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Speaker 3: movie Gorgo, which I just saw for the first time

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Speaker 3: a couple of weeks ago when my friend Ben brought

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Speaker 3: it over for a movie night. So one of the

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Speaker 3: first things you might be thinking is did I hear

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Speaker 3: the first line of the description? Right? Is this a

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Speaker 3: British giant monster movie? Yes? You did? Why is that

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Speaker 3: concept inherently so funny? I don't really know, but to

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Speaker 3: me certainly it is. And I wonder if you have

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Speaker 3: the same thought, Rob, So, like I was interrogating this further, So,

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Speaker 3: Japanese giant monster movie could be funny in execution, but

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Speaker 3: it's not necessarily funny in principle, Like the original Godzilla

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Speaker 3: is not funny at all. It's a very dark, grim serious,

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Speaker 3: great movie. An American giant monster movie, I'd say same

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Speaker 3: thing could be funny in execution, not necessarily funny in principle.

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Speaker 3: But a British giant monster movie where a huge rat

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Speaker 3: creature attacks London is just fundamentally hilarious.

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Speaker 1: Yeah. I'm not sure quite what it is, because you

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Speaker 1: do find giant monster kaiju movies in various films cultures,

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Speaker 1: and it doesn't feel inherently out of place in other

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Speaker 1: film traditions. But yeah, there's something about the British setting

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Speaker 1: and all the British actors. I don't know. It makes

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Speaker 1: it unique, and it does maybe make it a little

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Speaker 1: bit hilarious unintentionally.

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Speaker 3: But at the same time, there are a lot of

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Speaker 3: things about this movie that are beautifully executed. It has

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Speaker 3: a similar problem that a lot of giant monster movies have,

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Speaker 3: which is that there's a lot of city stomping at

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Speaker 3: the end, just relentless smashing of buildings and such. It

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Speaker 3: goes on for a long time. That's not unique to Gorgo.

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Speaker 3: But the city smashing looks fantastic. It looks great. They've

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Speaker 3: got really good models. We get to see a creature

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Speaker 3: smashing well known landmarks throughout London, you know, really laying

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Speaker 3: into Big Ben and the Tower Bridge and all that stuff,

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Speaker 3: and it is really pleasurable to watch.

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Speaker 1: Yeah, I mean, it's the basic formula in play here.

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Speaker 1: Don't go into Gorgo expecting some drastically different from any

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Speaker 1: other giant monster movie that you've seen, but it is

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Speaker 1: well executed. There are a lot of solid talents that

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Speaker 1: were involved in making this film, and it does find

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Speaker 1: some places to do things that, if not entirely unique,

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Speaker 1: at least they come up with an interesting palette with

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Speaker 1: which to paint it.

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Speaker 3: Yeah, I would agree. There are some other things that

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Speaker 3: work kind of well. I would say in the first

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Speaker 3: act there's an interesting sort of full corror vibe that

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Speaker 3: is unexpected for a movie of this type. We can

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Speaker 3: talk more about that when we get into the plot,

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Speaker 3: but I think we should start off by exploring the

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Speaker 3: question of what is Gorgo right. So Godzilla is a

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Speaker 3: giant bipedal reptile or lizard of some kind with atomic

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Speaker 3: radiation breath who emerges from under the ocean. Gamera is

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Speaker 3: a giant fire breathing turtle from the Arctic that can fly.

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Speaker 3: King Kong is a giant prehistoric ape from Skull Island.

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Speaker 3: What is Gorgo? I would describe Gorgo as a gigantic

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Speaker 3: two the monster with a similar bipedal posture to Godzilla,

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Speaker 3: who looks like a cross between a frilly eared lizard

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Speaker 3: and a satanic rat with red glowing eyes. He comes

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Speaker 3: out of the sea off the coast of an Irish island,

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Speaker 3: and he is thought to be some kind of ancient god,

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Speaker 3: at least at first.

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Speaker 1: Yeah, and I would also add that he has pretty

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Speaker 1: much has the body of a rock'm sockem robot, not

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Speaker 1: in the sense that it's metallic, but in the basic

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Speaker 1: posture and proportions. It looks like he's ready to throw

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Speaker 1: some punches, and I guess ultimately does throw some punches

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Speaker 1: at major London landmarks.

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Speaker 3: And the way you can kind of see him rotating

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Speaker 3: his torso as he reaches with his arms.

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Speaker 1: Yeah, now, if there I had plenty of scenes later

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Speaker 1: in the film to stare at this monster and try

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Speaker 1: and cope with some headcanon for everything I'm seeing. And

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Speaker 1: I will say the teeth. The more I looked at them,

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Speaker 1: the more I started thinking, well, these are like filter

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Speaker 1: feeding teeth. Like, this isn't a qua organism that's had

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Speaker 1: millions and millions of years to sort of evolve. Maybe

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Speaker 1: it's a filter feeder. Maybe that's what those teeth are

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Speaker 1: all about.

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Speaker 3: That's a good point. So you might think giant toothy

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Speaker 3: rat lizard creature and think a smaller number of large,

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Speaker 3: pointy teeth. You know, maybe each pointy tooth is like

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Speaker 3: the size of a sharpened boulder. But no, instead it's

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Speaker 3: a lot of tiny, pointy teeth. It's more like a

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Speaker 3: mouthful of swords. And so I think with that in mind,

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Speaker 3: you could also look at that as like the bristles

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Speaker 3: or the bleen of a filter feeder. That's a good connection, Rob,

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Speaker 3: thank you.

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Speaker 1: But you know this is not the only the only

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Speaker 1: connection between this monster and the world of actual terrestrial biology,

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Speaker 1: because the creature's name Gorgo is allegedly based on an

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Speaker 1: actual dinosaur, the Gorgosaurs.

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Speaker 3: Now they don't say that in the movie, and the

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Speaker 3: movie they later explained that. Well, first, when we learned

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Speaker 3: the name Gorgo, they literally say, we don't know why

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Speaker 3: he's called that. But then the scheming circus operator who

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Speaker 3: is exploiting Gorgo for cash, he explains that he named

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Speaker 3: the creature Gorgo after the gorgon Medusa. So there is

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Speaker 3: a common connective thread that we could get into. But

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Speaker 3: they don't say in the movie that it's named after

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Speaker 3: this dinosaur.

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Speaker 1: Yeah, so this might have been something that was more

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Speaker 1: of a stronger connection at some earlier phase of production.

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Speaker 1: It could also be something that's been kind of added

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Speaker 1: after the fact. But the truth is there is a gorgosaurus.

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Speaker 1: The gorgosaurus was not named after this movie. This is

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Speaker 1: the literally names fierce lizard. This creature lived during the

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Speaker 1: Late Cretaceous period eighty to seventy three million years ago

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Speaker 1: in parts of what is now the United States and Canada,

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Speaker 1: So you know, I guess its range wouldn't actually have

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Speaker 1: extended over to the British Isles. But anyway, it was

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Speaker 1: a large therapod and we have at least twelve complete

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Speaker 1: or near complete skulls and various partial skeletons to go

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Speaker 1: off of. It was a tyrannosaur, not as big as

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Speaker 1: a t rex, but still quite impressive at eight to

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Speaker 1: nine meters or twenty six to thirty feet in length.

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Speaker 1: It was first described and named by Canadian paleontologist Lawrence

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Speaker 1: Lamb that's not spelled like my name is Lambe in

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Speaker 1: nineteen fourteen. And the gorgo part of the name fierce

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Speaker 1: is in fact related to the ancient Greek word gorgos,

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Speaker 1: which means grim or dreadful, reflected in the naming of

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Speaker 1: the mythical gorgons.

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Speaker 3: Okay, so at the very least, the real gorgosaurus and

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Speaker 3: the gorgo of the movie get their name from the

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Speaker 3: same place.

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Speaker 1: Yes, And you know, if this strikes a chord with

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Speaker 1: anyone out there, you're like, where have I heard about

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Speaker 1: gorgosaurus recently? Well, the gorgosar has actually just made the

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Speaker 1: news last month. This was reported about in the New

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Speaker 1: York Times under their Ancient Meat Reporting Desk. This concerns

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Speaker 1: a seventy five million year old gorgosaurus fossil. It was

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Speaker 1: discovered with fossilized stomach contents. This was the first, apparently

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Speaker 1: for a tyrannosaur. It was a juvenile and the stomach

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Speaker 1: contents were the hind limbs of two small feathered dinosaurs.

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Speaker 1: According to Michael Greshko in his New York Times article

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Speaker 1: covering a study authored by Francois Therein, the curator of

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Speaker 1: Dinosaur paleo Ecology at the Royal Tirel Museum in Alberta.

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Speaker 1: They said that if it had grown to adulthood, it

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Speaker 1: would have likely moved on too much bigger prey. But

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Speaker 1: as a smaller critter, it was having to eat the

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Speaker 1: legs of various bird creatures. So at any rate, gorgosaurs

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Speaker 1: still making the headlines, at least, you know, as far

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Speaker 1: as stories about ancient meat and an ancient chicken legs ghost.

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Speaker 3: Now you included an illustration from the New York Times article.

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Speaker 3: It's an artist's impression of what the living juvenile gorgosaurus

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Speaker 3: would have looked like. And this is a much more

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Speaker 3: spindily creeture than the gorgo of the film, which is

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Speaker 3: which is very dense and bulky, and apart from its

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Speaker 3: rat like head, it's got the more classic sort of

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Speaker 3: storybook illustration of the tyrannosaur that's very sort of bottom

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Speaker 3: heavy and has like big legs and lower body parts.

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Speaker 1: Right right, but before you Gorgo fans look up this

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Speaker 1: article and say this is not accurate, let me suggest

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Speaker 1: that the Gorgo that we see in this movie has

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Speaker 1: again evolved for life in an aquatic setting over millions

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Speaker 1: of years. So he has kind of like that whale

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Speaker 1: body going on. Ah So, if we're being generous, we

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Speaker 1: might say, well, it's it kind of makes sense.

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Speaker 3: That's right. Yes, the Gorgo's body has has evolved for

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Speaker 3: insulation purposes.

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Speaker 1: Yeah, so a little science there, but believe me, the

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Speaker 1: science is not necessary for your appreciation and understanding of

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Speaker 1: this movie.

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Speaker 3: Okay, so on, We've talked a little bit before on

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Speaker 3: the podcast when we've done other Kaiju or giant monster

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Speaker 3: movies about the various subgenres that these movies fall into,

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Speaker 3: and I thought it might make sense to try to

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Speaker 3: figure out where Gorgo fits into that subgenre map. So

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Speaker 3: a few of the main types of giant monster movies are.

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Speaker 3: I would say, first of all, Kaiju the destroyer. An

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Speaker 3: example of this would be the original Godzilla. A giant

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Speaker 3: beast arrives unexpectedly and brings ruined to humankind, and the

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Speaker 3: monster must somehow be defeated or driven away. Second category,

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Speaker 3: I would call Kaiju the Defender. Good examples here would

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Speaker 3: be the later sequels involving almost any of the popular

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Speaker 3: Kaiju monsters, monsters like Godzilla and Gammera. This is a

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Speaker 3: variation that arises in which the giant monster that was

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Speaker 3: once the Destroyer must now defend us from a more

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Speaker 3: horrible threat, usually either space aliens or a new giant

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Speaker 3: monster that is meaner and more spiny. And I would

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Speaker 3: argue that the emergence of Kaiju the Defender as a

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Speaker 3: subgenre of giant monster movies is part of a broader

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Speaker 3: trend that's not just in giant monster movies, but it's

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Speaker 3: this trend where if you have a series of movies

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Speaker 3: all about the same focal character, that character will almost

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Speaker 3: always become more friendly and approachable over time, even if

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Speaker 3: they began as a villain or an anti hero. So

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Speaker 3: Gamera goes from being a terrifying pyro turtle on a

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Speaker 3: rampage to the friend of all children. You can look

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Speaker 3: to any Vin Diesel movie series for examples of this.

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Speaker 3: The Vin Diesel character will always become nicer as it

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Speaker 3: goes on. Even Freddy Krueger goes from being in the

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Speaker 3: First Nightmare on elm Street movie, this grimy, disgusting child

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Speaker 3: murderer to later on more just kind of like a

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Speaker 3: lethal puck in a sweater, Like he does still kill people,

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Speaker 3: but he's more kind of a prankster and a jokester.

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Speaker 1: Yeah, it becomes more of like a peewee Herman kind

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Speaker 1: of a character as opposed to just a nightmare monster

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Speaker 1: from your mind, that sort of thing.

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Speaker 3: Right, So in the later sequels in these movies you

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Speaker 3: often get Kaiju the defender. Next, I would say is

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Speaker 3: the pity the Kaiju movie. Great example here is sort

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Speaker 3: of the original King Kong, Like a dangerous but in

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Speaker 3: many ways admirable and noble monster is kidnapped or imprisoned

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Speaker 3: or otherwise exploited by greedy humans, and in the end

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Speaker 3: you have emotional sympathy for the creature in the way

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Speaker 3: that it has been mistreated by humankind.

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Speaker 1: Yeah, and obviously there are numerous sub classifications that we

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Speaker 1: could point out here, but well, one that comes to

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Speaker 1: mind as well as essentially the ware Kaiju option. So

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Speaker 1: not an amazing colossal situation where just a human gets

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Speaker 1: big and then does big stuff, but a situation where

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Speaker 1: a protagonist transforms into a giant monster that is distinct

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Speaker 1: from just a giant human. The twenty sixteen film Colossal

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Speaker 1: starring Anne Hathaway comes to mind that has a fun

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Speaker 1: twist on this concept, and there's also nineteen sixty five's

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Speaker 1: Frankenstein Versus Beragon that involves something like this as well,

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Speaker 1: with a small boy transforming into a giant Frankenstein's monster.

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Speaker 3: Hmmm, I don't think I've seen either of those. I

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Speaker 3: certainly haven't seen the one with Anne Hathaway. Does Ann

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Speaker 3: is Anne Hathaway the one who transforms into a giant monster?

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Speaker 1: Yes, she is, or it's a so spoilers if if

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Speaker 1: you if you haven't seen this, just skip like you know,

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Speaker 1: a few minutes ahead. But the basic concept, if memory serves,

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Speaker 1: is that she she has the spells where she becomes

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Speaker 1: the monster or controls the monster with her impulses, but

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Speaker 1: is not conscious of the fact. So it's not a

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Speaker 1: physical transformation. Uh. It's it's it's something else, it's it's

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Speaker 1: it's a very fun film. It's it's it's it's a comedy.

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Speaker 4: Uh.

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Speaker 1: But it has a giant monster and it has a

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Speaker 1: number of wonderful actors in it. Well worth checking out.

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Speaker 3: That does sound interesting. I'll have to look that up.

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Speaker 3: But okay, So where does Gorgo fit into the these subgenres?

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Speaker 3: I would say Gorgo has elements of the first Kusu

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Speaker 3: the Destroyer, and elements of the third the Pity the

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Speaker 3: Monster film, less of the second, which makes sense because

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Speaker 3: this is the first Gorgo movie. This is not like

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Speaker 3: a later sequel, and usually they don't become defenders of

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Speaker 3: people or friend to all children until later on, so

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Speaker 3: it has elements of both. I would say, especially in

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Speaker 3: the first act, the monster really does seem scary and

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Speaker 3: seem like a threat. But as the film goes on, yeah,

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Speaker 3: you really come to sympathize with the monster spoiler monsters

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Speaker 3: over the I don't know, just like gloating, egotistical naval

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Speaker 3: commanders who think that launching some more bombs at them

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Speaker 3: will finally solve the problem.

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Speaker 1: Right right, It's ultimately going to be a draw, and

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Speaker 1: you realize, well, we can't really oppose Gorgo anymore. We

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Speaker 1: must form an alliance with Gorgo. Clearly, if they'd made

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Speaker 1: more Gorgo movies, it would have been Gorgo protecting the

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Speaker 1: British Isles from some other menace.

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Speaker 3: Right, But Rob, you brought to my attention the fact

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Speaker 3: that there was a Gorgo comic series that seems to

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Speaker 3: have happened after the movie. So, if I understand correctly,

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Speaker 3: the character was created for the film, but then there

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Speaker 3: were comics made in the wake of that, and I

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Speaker 3: haven't read these comics, but just judging by looking at

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Speaker 3: some of the covers online, Gorgo does appear to go

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Speaker 3: through the exact same like heel to face turn we

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Speaker 3: see in these other Monsters, because in the first issue

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Speaker 3: he's just yeah, like you know, looming over London opposing

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Speaker 3: some kind of threat. But by the last issue, it

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Speaker 3: looks like he's the only thing that can save the

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Speaker 3: world from communism. Yeah.

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Speaker 1: Yeah, these covers are definitely worth looking up. I was

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Speaker 1: surprised because I think i'd run across the idea before

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Speaker 1: that there was some sort of a comic book adaptation,

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Speaker 1: and that alone is not surprising. I was thinking, oh,

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Speaker 1: it's a one off, you know, they did a comic

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Speaker 1: book adaptation of the movie, But no, it's like it's

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Speaker 1: a whole run with Gorgo fighting various threats including communism

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Speaker 1: and giant squidsed it. You know, it's that sort of thing,

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Speaker 1: big furry monsters with horns on their head, cyclopses, you

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Speaker 1: name it.

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Speaker 3: Yeah, So for a brief survey, issue number one, Rob,

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Speaker 3: I've added these images to the outline so we can

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Speaker 3: comment on them as we look. Issue number one is

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Speaker 3: just Gorgo standing. There's London in the background because he

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Speaker 3: big ben. You see the tower and the clock, and

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Speaker 3: then some guys on the ground with flame throwers blasting

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Speaker 3: up at Gorgo's hands, and Gorgo just looks done. He's

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Speaker 3: got a kind of like grinning through the pain look

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Speaker 3: on his face.

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Speaker 1: Yeah, yeah, And I assume this one is basically an

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Speaker 1: adaptation of the picture, or you know, an abbreviation of

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Speaker 1: it anyway.

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Speaker 3: Right, But then by issue number three we see a

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Speaker 3: cover that is some kind of mad scientists trying to

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Speaker 3: harness Gorgo's power. Gorgo looks different now, by the way.

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Speaker 3: He's kind of he's got a different shape, and he's

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Speaker 3: kind of bubbly all over in a lighter shade of

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Speaker 3: like yellow green. But he's standing there and he's sort

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Speaker 3: of reeling back. Gorgo looks like it's a more defensive posture,

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Speaker 3: and this mad scientist is poking at him with this

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Speaker 3: shock ray, and the mad scientist is saying, I can

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Speaker 3: control you. With you at my command, I will rule

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Speaker 3: the world. Yeah.

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Speaker 1: Like, clearly, Gorgo is a force of nature that is

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Speaker 1: going to be potentially exploited by bad actors in the

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Speaker 1: human realm, and therefore the real villains are the mad scientists.

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Speaker 3: That's right. So that's three. By issue number five, we've

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Speaker 3: got the title Gorgo Clashes with the Sea Beast, where

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Speaker 3: he's just it's a Kaiju meat slam. Now he's just

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Speaker 3: wrestling with another giant monster. This looks like some kind

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Speaker 3: of octopus inspired type creature, though. I have to say

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Speaker 3: the illustration is funny because it looks like they're about

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Speaker 3: to kiss. Doesn't it like Gorgo's even sort of holding

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Speaker 3: the back of the octopus's head like he's going to

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Speaker 3: dip him for a kiss.

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Speaker 1: Yeah. Yeah. It says Gorgo clashes with the Sea Beast

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Speaker 1: and the Unforgettable the Day Manhattan Died, which raises all

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Speaker 1: sorts of questions. Why is Gorgo going over to Manhattan?

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Speaker 1: Is like, is there like a Gorgo sharing program or

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Speaker 1: treaty between the UK and the United States At this point,

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Speaker 1: I'm not sure.

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Speaker 3: Oh, you know, they do invoke NATO later in the

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Speaker 3: uh oh in the movie yeah, and then it goes on. So,

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Speaker 3: like I included issue number ten, there's more fighting that

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Speaker 3: looks kind of like kissing. This is where Gorgo is

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Speaker 3: fighting the Venusian Terror. It says they came from an

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Speaker 3: alien world bent on destroying Earth and its inhabitants. Could

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Speaker 3: even the mighty Gorgo stop them. Don't miss the Venusian Terror.

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Speaker 3: What is the Venusian Terror? Well, you see a couple

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Speaker 3: of flying saucers in the background that almost kind of

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Speaker 3: look like they have eyes, like they're kind of placid,

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Speaker 3: smiley faces. But then the Venusian monster is a cyclops

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Speaker 3: being with a long yellow snake tongue, one big eye,

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Speaker 3: and one big horn on the top of his head.

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Speaker 1: Yep, and he's licking Gorgo in the face. It really

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Speaker 1: seems like maybe this is a big misunderstanding. The Venusian

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Speaker 1: tear doesn't really want to hurt anyone. He just wants

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Speaker 1: a little snuggling, a little little face licking.

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Speaker 3: That's it. Yeah, he is cute. And then, like we said, finally,

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Speaker 3: by like the end of the series, we've got Gorgo

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Speaker 3: in one of them. I don't know what's going on here.

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Speaker 3: He's fighting a giant guy just like a guy who

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Speaker 3: kind of looks like Dracula, but he's Gorgo sized. I

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Speaker 3: think they must have blown him up with mad science somehow.

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Speaker 3: He's fighting Gorgo. And then also Gorgo is fighting somebody

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Speaker 3: called General Thung, and we see General Thung saying that

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Speaker 3: with together we will destroy all imperialistic nations, and Gorgo,

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Speaker 3: I guess is gonna gonna prevent that? I don't know.

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Speaker 1: Yeah, Gorgo's politics are fully explored in this particular issue,

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Speaker 1: I'm sure, Yeah, but all of that comes later. This

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Speaker 1: movie is about then this would be my elevator pitch.

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Speaker 1: It's the British Isles versus giant.

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Speaker 3: Monster, that is exactly it.

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Speaker 1: All right, well, let's go ahead and have that trailer

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Speaker 1: audio so everyone can hear some of the destruction that's

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Speaker 1: coming their way.

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Speaker 4: FA No motion picture of our time has ever unleashed

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Speaker 4: shut spectacle of such scope and realism as up from

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Speaker 4: the depths of prehistoric mystery rages Virgo. The Headlines of

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Speaker 4: the World plays the fabulous story of this monster from

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Speaker 4: another age?

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Speaker 3: Can it pulled?

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Speaker 4: It romps up vast soub ocean cavern by unprecedented volcanic action,

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Speaker 4: and the Headlines screamed. The story of the reckless skin

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Speaker 4: divers who capture the monster and put it on exhibition.

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Speaker 2: Sap the debts you're joint.

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Speaker 1: Take it easy.

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Speaker 4: I can't go home and go back to see where belongs?

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Speaker 3: Why maybe to see they're silly skins for you gorgo.

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Speaker 4: But the headlines do not record the story of the

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Speaker 4: little boy who had a curious sympathy and understanding for

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Speaker 4: the fantastic creature. What strange secret does he know that

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Speaker 4: scientists only suspect.

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Speaker 2: You're trying to say, there maybe a fully grown one

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Speaker 2: of these things around somewhere.

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Speaker 4: How big would a full grown one be an approximate

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Speaker 4: guess the infant the adult that'll make an early two

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Speaker 4: hundred feet tall. Freaking terrible ventuance against the civilization that

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Speaker 4: has captured its offspring, powering over the cities of the world,

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Speaker 4: has millions flee. It's awesome terror. Nothing can stop it,

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Speaker 4: defying the porce of the army, the might of the navy,

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Speaker 4: na Montanie.

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Speaker 1: Ready to open fiser file, then.

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Speaker 4: Even the fury of the jets and a writing proshundo.

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Speaker 4: Fights never before beheld by human eyes, and adventures never

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Speaker 4: be more experienced by any man no woman.

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Speaker 1: All right, Well, if you want to go out and

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Speaker 1: watch gorgo before proceeding with this episode. It is widely

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Speaker 1: available in physical and digital formats and on multiple streaming platforms.

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Speaker 1: You can even grab it on Blu Ray and again.

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Speaker 1: The film was also covered by Mystery Science Theater three

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Speaker 1: thousand in a nineteen ninety eight episode, and I think

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Speaker 1: that's available in different formats as well. All right, let's

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Speaker 1: talk about the people behind this film, starting at the

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Speaker 1: top with the director. Eugene Lourie born nineteen oh three

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Speaker 1: died nineteen ninety one, Russian born French art director and

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Speaker 1: ultimately director. His production design work goes back to the

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Speaker 1: early nineteen thirties, but his first directorial credit was nineteen

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Speaker 1: fifty three's The Beast from twenty thousand fathoms. This one,

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Speaker 1: of course, has an excellent ray Harry Housen. Lizard in it,

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Speaker 1: a giant lizard monster the terrorizes the city and in

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Speaker 1: one memorable scene, eats a cop.

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Speaker 3: Is this the one attacking New York or somewhere else?

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Speaker 1: I think it's New York. This is one I've never

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Speaker 1: seen in full, but I've certainly seen the monster clips.

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Speaker 1: Anytime you see Harry Housen retrospective. You're going to see

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Speaker 1: clips from this film for sure. And this movie was

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Speaker 1: a hit. Seems to have cubmitted Laurie as a giant

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Speaker 1: monster director, and he followed this up with nineteen fifty

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Speaker 1: eight's The Colossus of New York. This is about a

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Speaker 1: giant robot body that has a dead boy's brain in it.

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Speaker 1: I included a still for you here, Joe OFV said Robot.

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Speaker 3: I have considered suggesting this for the show before. I

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Speaker 3: think we may come around to it one day, because,

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Speaker 3: from what I understand, is a similar concept to Tammy

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Speaker 3: and the t Rex, except instead of a t Rex body,

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Speaker 3: it's a giant sort of colossus being.

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Speaker 1: Then there's also nineteen fifty nine's The Giant Behemoth. This

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Speaker 1: has another giant dinosaur in it, less memorable, not a

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Speaker 1: ray her at Harry House in Creation. And then he

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Speaker 1: also did an episode of the nineteen fifty nine TV

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Speaker 1: series World of Giants. This was an incredible Shrinking Man

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Speaker 1: inspired show. I couldn't find details on the specific episode

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Speaker 1: he did and what kind of giant aka normal sized

430
00:24:51,560 --> 00:24:53,919
Speaker 1: insect or what have you might have been featured in

431
00:24:53,920 --> 00:24:58,520
Speaker 1: that episode. Now, Michael Weldon and his Psychotronic Movie Guides

432
00:24:58,560 --> 00:25:02,400
Speaker 1: points out that the six sess of nineteen fifty threes

433
00:25:02,640 --> 00:25:07,600
Speaker 1: Beast was actually an inspiration on fifty four's Godzilla, and

434
00:25:07,640 --> 00:25:10,840
Speaker 1: I've read elsewhere that Godzilla was also inspired by the

435
00:25:10,840 --> 00:25:13,520
Speaker 1: commercial success of a nineteen fifty two re release of

436
00:25:13,600 --> 00:25:16,560
Speaker 1: nineteen thirty three's King Kong. So you can think of

437
00:25:16,600 --> 00:25:22,600
Speaker 1: those two films as two primary predecessors to Godzilla and

438
00:25:22,640 --> 00:25:26,800
Speaker 1: therefore the vast world of Kaiju that we have before us.

439
00:25:27,920 --> 00:25:31,000
Speaker 1: So that's the director. A couple of writers attached to this.

440
00:25:31,200 --> 00:25:33,639
Speaker 1: There's Robert L. Richard, who of nineteen oh nine through

441
00:25:33,720 --> 00:25:38,119
Speaker 1: nineteen eighty four, American writer of mostly westerns. Another one

442
00:25:38,160 --> 00:25:41,840
Speaker 1: of these individuals who lost their Hollywood career due to

443
00:25:41,920 --> 00:25:46,080
Speaker 1: the Blacklist during this time period. Daniel James as the

444
00:25:46,119 --> 00:25:48,600
Speaker 1: other writer of nineteen eleven through nineteen eighty eight, also

445
00:25:48,640 --> 00:25:52,400
Speaker 1: blacklisted from Hollywood for his political views. He worked as

446
00:25:52,400 --> 00:25:55,800
Speaker 1: an uncredited writer on The Beast from twenty thousand Fathoms

447
00:25:56,040 --> 00:25:59,320
Speaker 1: as well as The Giant Behemoth served as Earlier in

448
00:25:59,359 --> 00:26:02,080
Speaker 1: his career, he had as assistant director on the nineteen

449
00:26:02,160 --> 00:26:05,720
Speaker 1: forty Charlie Chaplin movie The Great Dictator, all right, let's

450
00:26:05,720 --> 00:26:08,479
Speaker 1: get into the cast. The towering lead man in this

451
00:26:08,720 --> 00:26:11,600
Speaker 1: is Bill Travers playing the character Joe Ryan.

452
00:26:12,280 --> 00:26:14,000
Speaker 3: There's really sort of there are really sort of two

453
00:26:14,160 --> 00:26:17,719
Speaker 3: leads in this movie. There's there's Sam and Joe the characters,

454
00:26:17,760 --> 00:26:19,720
Speaker 3: and you know, one is Bill Travers and the other

455
00:26:20,080 --> 00:26:23,480
Speaker 3: is William Sylvester. And I was thinking them as Bill

456
00:26:23,520 --> 00:26:25,000
Speaker 3: trev and Bill sill.

457
00:26:25,600 --> 00:26:28,320
Speaker 1: Well obviously for the lead, and I mean in terms

458
00:26:28,359 --> 00:26:30,600
Speaker 1: of billing and in terms of height, and maybe that's

459
00:26:30,640 --> 00:26:33,600
Speaker 1: all they decided on it. Big Bill Travers is your

460
00:26:33,720 --> 00:26:37,400
Speaker 1: lead here. He lived nineteen twenty two through nineteen ninety four. Yeah,

461
00:26:37,400 --> 00:26:38,560
Speaker 1: I looked it up. I was like, how tall was

462
00:26:38,600 --> 00:26:42,560
Speaker 1: this guy? Apparently six six, So that's that's that's a

463
00:26:42,560 --> 00:26:46,960
Speaker 1: big guy by most standards. And it's clear in the film,

464
00:26:47,000 --> 00:26:49,200
Speaker 1: you know, this is this guy's he's almost as tall

465
00:26:49,200 --> 00:26:52,800
Speaker 1: as Gorgo basically. But anyway, British leading man and animal

466
00:26:52,880 --> 00:26:56,199
Speaker 1: rights activists who mostly worked in mainstream dramas, with this

467
00:26:56,280 --> 00:26:59,000
Speaker 1: being I believe his only sci fi or horror film.

468
00:26:59,520 --> 00:27:02,520
Speaker 1: Everything else is more traditional real world sort of stuff.

469
00:27:03,000 --> 00:27:06,639
Speaker 1: His most famous and ultimately most influential film was nineteen

470
00:27:06,720 --> 00:27:09,919
Speaker 1: sixty six Is Born Free This was an adaptation of

471
00:27:10,000 --> 00:27:13,560
Speaker 1: George and Joy Adamson's book about their experiences raising a

472
00:27:13,640 --> 00:27:16,640
Speaker 1: lion cub in Kenya, and it led to a kind

473
00:27:16,640 --> 00:27:19,560
Speaker 1: of spiritual follow up with the same stars called Ring

474
00:27:19,680 --> 00:27:23,200
Speaker 1: of Bright Water in nineteen sixty nine. Bill Travers's wife,

475
00:27:23,280 --> 00:27:26,080
Speaker 1: Virginia mckinnab born nineteen thirty one, was his co star

476
00:27:26,160 --> 00:27:29,760
Speaker 1: in both of those pictures, and their experience with the films,

477
00:27:29,920 --> 00:27:33,520
Speaker 1: especially the first one, Born Free this open apparently opened

478
00:27:33,600 --> 00:27:36,880
Speaker 1: up their eyes to various challenges concerning captive wild animals

479
00:27:36,880 --> 00:27:39,920
Speaker 1: in the world, and they created the Born Free Foundation

480
00:27:40,160 --> 00:27:44,000
Speaker 1: in nineteen eighty four, which is still very active. It

481
00:27:44,040 --> 00:27:47,240
Speaker 1: works to quote ensure that all wild animals, whether living

482
00:27:47,359 --> 00:27:49,919
Speaker 1: in captivity or in the wild, are treated with compassion

483
00:27:50,000 --> 00:27:52,800
Speaker 1: and respect and are able to live their lives according

484
00:27:52,800 --> 00:27:54,800
Speaker 1: to their needs. And you can learn more about that

485
00:27:54,960 --> 00:27:58,000
Speaker 1: organization at Bornfree dot org dot UK.

486
00:27:58,760 --> 00:28:03,680
Speaker 3: That's interesting given the themes of Gorgo. Yeah, correct me

487
00:28:03,720 --> 00:28:05,399
Speaker 3: if I'm wrong. I don't think I heard you mentioned

488
00:28:05,400 --> 00:28:10,920
Speaker 3: Gorgo as a sighted inspiration for this activism. But Gorgo

489
00:28:11,040 --> 00:28:14,719
Speaker 3: also has themes of animal rights and captivity.

490
00:28:15,119 --> 00:28:16,919
Speaker 1: I mean, maybe it was there in the background, and

491
00:28:17,000 --> 00:28:21,359
Speaker 1: maybe Gorgo is what pushed it over the edge. But no,

492
00:28:21,520 --> 00:28:25,040
Speaker 1: they never mentioned Gorgo with It's not the Gorgo Foundation,

493
00:28:25,119 --> 00:28:26,360
Speaker 1: it's the Born Free Foundation.

494
00:28:27,280 --> 00:28:29,880
Speaker 3: Now I say this not to tarnish his acting or

495
00:28:29,920 --> 00:28:33,840
Speaker 3: his activism by association, but there's kind of an elephant

496
00:28:33,840 --> 00:28:35,560
Speaker 3: in the room with this guy, which I know of

497
00:28:35,600 --> 00:28:39,080
Speaker 3: being brought up multiple times independently when talking about this

498
00:28:39,160 --> 00:28:42,680
Speaker 3: movie with people, which is that in some shots he

499
00:28:42,800 --> 00:28:45,920
Speaker 3: kind of looks like Steven Sagall. Here it helps that

500
00:28:45,960 --> 00:28:49,000
Speaker 3: he's tall. Sometimes at like certain angles he makes a

501
00:28:49,080 --> 00:28:52,960
Speaker 3: kind of Stephen Segall face. And there's also a kind

502
00:28:53,040 --> 00:28:56,720
Speaker 3: of energy that I don't know if this exactly makes sense,

503
00:28:56,800 --> 00:28:59,400
Speaker 3: rob but like the fact that he doesn't take off

504
00:28:59,400 --> 00:29:02,680
Speaker 3: his captain even when they come on board land that

505
00:29:03,200 --> 00:29:04,600
Speaker 3: kind of has a sigall thing too.

506
00:29:05,320 --> 00:29:08,520
Speaker 1: Okay, all right, fair enough, fair enough. Now you mentioned

507
00:29:08,520 --> 00:29:12,560
Speaker 1: that William Sylvester plays the other main character, the character

508
00:29:12,640 --> 00:29:15,800
Speaker 1: Sam Slade, And this is a guy that I think

509
00:29:15,800 --> 00:29:18,120
Speaker 1: a lot of people will recognize he was. He lived

510
00:29:18,160 --> 00:29:21,480
Speaker 1: nineteen twenty two through nineteen ninety five. His most recognizable

511
00:29:21,560 --> 00:29:25,160
Speaker 1: role is that of doctor Haywood R. Floyd in Stanley

512
00:29:25,160 --> 00:29:27,920
Speaker 1: Cooprit's nineteen sixty eight masterpiece two thousand and one of

513
00:29:27,960 --> 00:29:28,680
Speaker 1: Space Odyssey.

514
00:29:29,040 --> 00:29:31,280
Speaker 3: So he is the character in two thousand and one

515
00:29:31,440 --> 00:29:35,600
Speaker 3: who we see him when we first transition from the

516
00:29:35,640 --> 00:29:39,040
Speaker 3: prologue into the future. He's like taking a shuttle to

517
00:29:39,160 --> 00:29:43,680
Speaker 3: the moon and then arrives there to investigate the anomaly

518
00:29:43,840 --> 00:29:45,720
Speaker 3: found buried on the moon. Is that right?

519
00:29:46,440 --> 00:29:48,920
Speaker 1: Yeah? Yeah, so it's you see him early in the film,

520
00:29:49,120 --> 00:29:51,760
Speaker 1: and he is I mean, not too early, because early

521
00:29:51,840 --> 00:29:53,000
Speaker 1: enough you're only seeing.

522
00:29:54,280 --> 00:29:54,920
Speaker 3: Hominids and.

523
00:29:56,520 --> 00:29:59,840
Speaker 1: Tapers and so forth. But yeah, one of the first

524
00:30:00,040 --> 00:30:03,480
Speaker 1: modern humans you encounter. And I don't know about anyone else,

525
00:30:03,480 --> 00:30:06,040
Speaker 1: but like watching this film and recognizing him from two

526
00:30:06,040 --> 00:30:08,800
Speaker 1: thousand and one, it kind of added a little extra

527
00:30:08,840 --> 00:30:11,720
Speaker 1: class to this picture, you know, like like two thousand

528
00:30:11,760 --> 00:30:14,160
Speaker 1: and one can't help but where it could rub off

529
00:30:14,480 --> 00:30:16,640
Speaker 1: on any other picture you see some of the various

530
00:30:16,680 --> 00:30:17,520
Speaker 1: actors from that film.

531
00:30:17,600 --> 00:30:20,280
Speaker 3: Yeen, though, of course Gorgo did come first, so you

532
00:30:20,320 --> 00:30:23,520
Speaker 3: could look at it as Bill Sill bringing that class

533
00:30:23,560 --> 00:30:26,160
Speaker 3: of Gorgo into the production of two thousand and one.

534
00:30:26,680 --> 00:30:29,600
Speaker 1: Certainly, you certainly could, But you know, it wasn't all

535
00:30:29,760 --> 00:30:33,800
Speaker 1: like generational, all time best sci fi films for William Sylvester,

536
00:30:34,000 --> 00:30:36,600
Speaker 1: other folks might recognize him from the TV series Gemini

537
00:30:36,640 --> 00:30:40,360
Speaker 1: Man and the TV movie from seventy six as well

538
00:30:40,600 --> 00:30:43,440
Speaker 1: Writing with Death. This was pieced together from I think

539
00:30:43,640 --> 00:30:46,080
Speaker 1: like a couple of episodes of Gemini Man and was

540
00:30:46,080 --> 00:30:48,080
Speaker 1: featured on Mystery Science Theater three thousand.

541
00:30:48,400 --> 00:30:51,160
Speaker 3: Oh yeah, I have vague memories of that one.

542
00:30:51,640 --> 00:30:54,880
Speaker 1: His other credits include nineteen sixty four's Devil Doll, sixty

543
00:30:54,920 --> 00:30:57,080
Speaker 1: five's Devils of Darkness, and he also pops up in

544
00:30:57,160 --> 00:30:58,720
Speaker 1: nineteen seventy eights Heaven Can Wait.

545
00:31:00,200 --> 00:31:03,160
Speaker 3: There's only so much that is demanded of the actors

546
00:31:03,200 --> 00:31:06,680
Speaker 3: in Gorgo, but I think I would say William Sylvester

547
00:31:06,840 --> 00:31:09,560
Speaker 3: stands out in this movie as doing maybe the most

548
00:31:09,640 --> 00:31:10,800
Speaker 3: with his role of anyone.

549
00:31:11,320 --> 00:31:14,200
Speaker 1: Yeah, and he gets the smoke a lot. Let's smoke

550
00:31:14,240 --> 00:31:14,880
Speaker 1: a lot.

551
00:31:15,160 --> 00:31:18,040
Speaker 3: He's the one who we first see really seeming to

552
00:31:18,080 --> 00:31:21,600
Speaker 3: feel bad about what's happening to Gorgo. Apart from a

553
00:31:21,680 --> 00:31:24,200
Speaker 3: child actor who we'll talk about in a bit, all right.

554
00:31:24,240 --> 00:31:27,120
Speaker 1: A couple other characters of note. We have Professor Hendrix,

555
00:31:27,440 --> 00:31:31,000
Speaker 1: played by Joseph O'Connor ten through two thousand and one,

556
00:31:31,360 --> 00:31:35,200
Speaker 1: Irish actor and playwright with extensive Shakespearean stage credits. His

557
00:31:35,520 --> 00:31:38,840
Speaker 1: films include nineteen sixty four's The Gorgon, So it's in

558
00:31:38,840 --> 00:31:41,560
Speaker 1: both Gorgo and The Gorgon. This is the Terence Fisher

559
00:31:41,640 --> 00:31:45,720
Speaker 1: Hammer film, starring both Peter Cushing and Christopher Lee. He

560
00:31:45,800 --> 00:31:48,400
Speaker 1: was in nineteen sixty nine's And of the Thousand Days,

561
00:31:48,760 --> 00:31:53,200
Speaker 1: ninety eight's Elizabeth, nineteen ninety nine's The Messenger and this

562
00:31:53,240 --> 00:31:55,960
Speaker 1: is pretty cool too. He served as the narrator in

563
00:31:56,000 --> 00:31:58,840
Speaker 1: the Voice of the ERSKX in nineteen eighty two's The

564
00:31:58,920 --> 00:32:02,440
Speaker 1: Dark Crystal. Oh wow, yeah, So that voice you hear

565
00:32:02,480 --> 00:32:05,280
Speaker 1: at the end, that's Joseph O'Connor. I had no idea,

566
00:32:05,560 --> 00:32:07,960
Speaker 1: all right, So that's Professor Hendrix. And then there's this

567
00:32:08,080 --> 00:32:08,920
Speaker 1: character Dorkin.

568
00:32:09,240 --> 00:32:11,160
Speaker 3: Oh what a skiez.

569
00:32:11,840 --> 00:32:14,880
Speaker 1: Yeah. Dorkan is played by Martin Benson, who lived nineteen

570
00:32:14,880 --> 00:32:19,280
Speaker 1: eighteen through twenty ten. English character actor whose credits include

571
00:32:19,480 --> 00:32:21,680
Speaker 1: nineteen fifty six is the King and I, sixty three

572
00:32:21,760 --> 00:32:23,840
Speaker 1: Is Cleopatra, sixty four is a Shot in the Dark

573
00:32:24,200 --> 00:32:28,000
Speaker 1: sixty nine's Goldfinger. He plays one of the mobsters that

574
00:32:28,080 --> 00:32:31,960
Speaker 1: the villain in that is involved in his scheme to

575
00:32:32,160 --> 00:32:33,240
Speaker 1: radiate a bunch of gold.

576
00:32:33,640 --> 00:32:38,000
Speaker 3: I believe he is the guy who objects to goldfingers

577
00:32:38,080 --> 00:32:41,600
Speaker 3: plan and they're like, oh, oh, you know, that's fine,

578
00:32:41,640 --> 00:32:43,040
Speaker 3: you don't have to be part of this. So they

579
00:32:43,040 --> 00:32:44,680
Speaker 3: go put him in a car and then they put

580
00:32:44,720 --> 00:32:48,400
Speaker 3: the car in a trash compactor. Classic.

581
00:32:48,680 --> 00:32:50,719
Speaker 1: All right, then you got seventy six is the Omen

582
00:32:50,880 --> 00:32:55,080
Speaker 1: seventy sevens Jesus of Nazareth in nineteen ninety nine's Angela's Ashes.

583
00:32:55,160 --> 00:32:57,200
Speaker 1: So yeah, I don't think he was ever. He was

584
00:32:57,360 --> 00:32:59,640
Speaker 1: very much a character actor, often like a little further

585
00:32:59,680 --> 00:33:03,000
Speaker 1: down the listings, but had major roles in a number

586
00:33:03,000 --> 00:33:03,720
Speaker 1: of big pictures.

587
00:33:04,240 --> 00:33:09,680
Speaker 3: Dorkin is the greedy, unscrupulous circus proprietor in this film

588
00:33:09,920 --> 00:33:13,280
Speaker 3: who exploits Gorgo for profit, and I think Benson does

589
00:33:13,280 --> 00:33:16,080
Speaker 3: a great job with this role. He's like he's out Carnival,

590
00:33:16,120 --> 00:33:20,640
Speaker 3: barking about how you know, oh, the Irish government may

591
00:33:20,720 --> 00:33:22,920
Speaker 3: soon put a stop to what we're doing to Gorgo,

592
00:33:23,400 --> 00:33:25,720
Speaker 3: so come and get your tickets now while there's still

593
00:33:25,720 --> 00:33:26,520
Speaker 3: a chance.

594
00:33:26,600 --> 00:33:28,800
Speaker 1: There's a window for Gorgo exploitation.

595
00:33:29,160 --> 00:33:30,160
Speaker 3: Yeah, all right.

596
00:33:30,400 --> 00:33:31,960
Speaker 1: I'm not going to go into a lot of detail here,

597
00:33:32,000 --> 00:33:35,160
Speaker 1: but it is worth noting that in small uncredited roles

598
00:33:35,200 --> 00:33:38,600
Speaker 1: we also have future UFO lead ed bishop who lived

599
00:33:38,680 --> 00:33:41,280
Speaker 1: thirty two through two thousand and five, and then we

600
00:33:41,480 --> 00:33:46,480
Speaker 1: also have Nigel Green, John Wood, Fred Wood. All three

601
00:33:46,920 --> 00:33:49,000
Speaker 1: would later go would go on to be bigger name

602
00:33:49,040 --> 00:33:52,280
Speaker 1: actors there and there. I wasn't able to spot most

603
00:33:52,280 --> 00:33:54,520
Speaker 1: of them. I think I spotted one or both of

604
00:33:54,560 --> 00:33:57,520
Speaker 1: the Woods. And then as far as the monsters go,

605
00:33:57,880 --> 00:33:59,920
Speaker 1: there's a stunt man by the name of Dave Wilde

606
00:34:00,280 --> 00:34:02,920
Speaker 1: inside the monster suit. I couldn't find out much about him,

607
00:34:02,960 --> 00:34:05,240
Speaker 1: but I do like to acknowledge the person wearing the

608
00:34:05,280 --> 00:34:09,000
Speaker 1: monster suit whenever possible. All right, now, behind the scenes,

609
00:34:09,200 --> 00:34:12,440
Speaker 1: you actually have a number of notable names here. We'll

610
00:34:12,440 --> 00:34:14,680
Speaker 1: try not to spend too much time on him here.

611
00:34:14,719 --> 00:34:17,839
Speaker 1: But the cinematographer for this was Freddie Young, who lived

612
00:34:17,920 --> 00:34:21,319
Speaker 1: nineteen oh two through nineteen ninety eight, British cinematographer best

613
00:34:21,400 --> 00:34:24,720
Speaker 1: known for his Oscar winning work on David Lean's films

614
00:34:24,800 --> 00:34:28,520
Speaker 1: Lawrence of Arabia from sixty two, Doctor Shivago from sixty

615
00:34:28,600 --> 00:34:31,719
Speaker 1: five and Ryan's Daughter from nineteen seventy. So this is

616
00:34:31,880 --> 00:34:33,880
Speaker 1: right before Lawrence of Arabia.

617
00:34:34,239 --> 00:34:34,719
Speaker 3: Wow.

618
00:34:35,040 --> 00:34:37,960
Speaker 1: He also worked on sixty seven's You Only Live Twice,

619
00:34:38,160 --> 00:34:42,160
Speaker 1: seventy one's Nicholas and Alexandra and nineteen seventy two's The Asphix.

620
00:34:42,600 --> 00:34:44,000
Speaker 3: Wow Freddy got around.

621
00:34:44,560 --> 00:34:49,200
Speaker 1: Yeah, big name, big name. Yeah. Another one, Elliot Scott,

622
00:34:49,239 --> 00:34:51,360
Speaker 1: was the art director on This So Lived nineteen fifteen

623
00:34:51,360 --> 00:34:54,640
Speaker 1: through nineteen ninety three. He'd worked previously on nineteen fifty

624
00:34:54,640 --> 00:34:57,000
Speaker 1: eight's Tom Thumb, which was a kind of a big

625
00:34:57,080 --> 00:34:59,360
Speaker 1: special effects feature of the time period.

626
00:34:59,360 --> 00:34:59,800
Speaker 3: I believe.

627
00:35:00,360 --> 00:35:02,399
Speaker 1: He went on to work as art director on such

628
00:35:02,400 --> 00:35:05,920
Speaker 1: films as sixty four's Children of the Damned, nineteen seventies

629
00:35:05,960 --> 00:35:09,200
Speaker 1: No Blade of Grass, and he served as production designer

630
00:35:09,239 --> 00:35:12,680
Speaker 1: on a ton of big films nineteen eighties The Water

631
00:35:12,800 --> 00:35:15,759
Speaker 1: in the Woods, eighty one's Dragon Slayer, eighty three's The

632
00:35:15,800 --> 00:35:19,400
Speaker 1: Pirates of Penzance, eighty four's Indiana Jones and The Temple

633
00:35:19,400 --> 00:35:22,040
Speaker 1: of Doom eighty six is Labyrinth, eighty eights, who framed

634
00:35:22,120 --> 00:35:24,960
Speaker 1: Roger Rabbit and nineteen eighty nine's Indiana Jones in the

635
00:35:25,040 --> 00:35:25,919
Speaker 1: Last Crusade.

636
00:35:26,040 --> 00:35:29,040
Speaker 3: Oh Jen, a lot of high profile work. Wow Yeah.

637
00:35:29,680 --> 00:35:33,200
Speaker 1: Then we have Tom Howard Special Photographic Effects Live nineteen

638
00:35:33,280 --> 00:35:36,160
Speaker 1: tenth through nineteen eighty five. He was a visual effects

639
00:35:36,200 --> 00:35:38,400
Speaker 1: expert who worked on a number of award winning and

640
00:35:38,480 --> 00:35:43,400
Speaker 1: legendary special effects film, including Tom Thumb nineteen sixty three's

641
00:35:43,480 --> 00:35:46,440
Speaker 1: The Haunting and nineteen sixty eight two thousand and one

642
00:35:46,440 --> 00:35:48,680
Speaker 1: A Space Odyssey. As we'll discuss, there are a lot

643
00:35:48,680 --> 00:35:50,719
Speaker 1: of monster suit effects in this, a lot of like

644
00:35:50,840 --> 00:35:53,640
Speaker 1: miniature set effects, but there's also a fair amount of

645
00:35:53,920 --> 00:35:58,080
Speaker 1: chroma key replacement stuff, you know, like blue green screen

646
00:35:58,160 --> 00:36:00,799
Speaker 1: type effects. I'm thinking of special early on in the

647
00:36:00,840 --> 00:36:03,520
Speaker 1: film when when you know, however, two main characters out

648
00:36:03,520 --> 00:36:06,840
Speaker 1: on the water about to go scuba diving, like clearly

649
00:36:07,320 --> 00:36:11,040
Speaker 1: they did some combination of on location and sat with

650
00:36:11,160 --> 00:36:14,680
Speaker 1: the ocean thrown in the background. And then finally the

651
00:36:14,719 --> 00:36:18,000
Speaker 1: score is by and I may not be pronouncing this correctly.

652
00:36:18,239 --> 00:36:22,600
Speaker 1: Angelo Francisco Lavagnino, who lived nineteen oh nine through nineteen

653
00:36:22,640 --> 00:36:26,240
Speaker 1: eighty seven, an Italian composer whose other scores include nineteen

654
00:36:26,280 --> 00:36:29,440
Speaker 1: fifty five Lost Continent and a whole slew of Spaghetti

655
00:36:29,480 --> 00:36:33,160
Speaker 1: westerns and Sword and Sandal epics. His score for Lost

656
00:36:33,160 --> 00:36:35,680
Speaker 1: Continent was a winner at the Cans Film Festival. So

657
00:36:36,280 --> 00:36:39,440
Speaker 1: you know, it's it's a fine sweeping orchestral score here.

658
00:36:40,160 --> 00:36:44,439
Speaker 1: It fits the grandeur that is Gorgo. But that's about

659
00:36:44,440 --> 00:36:45,239
Speaker 1: all I can say for it.

660
00:36:45,560 --> 00:36:49,319
Speaker 3: Yeah. Well, sometimes it's funny because clearly something it's trying

661
00:36:49,360 --> 00:36:53,440
Speaker 3: to do, especially at the beginning, is blend this thundering,

662
00:36:53,880 --> 00:36:58,360
Speaker 3: you know, suite of monster horns with the lilting Irish

663
00:36:58,360 --> 00:37:02,359
Speaker 3: folk melodies. And you know, I'd say it does that

664
00:37:02,360 --> 00:37:06,000
Speaker 3: fairly successfully. Though it's a kind of amusing thing to hear.

665
00:37:14,520 --> 00:37:17,600
Speaker 3: So I guess we're transitioning to the plot now. And

666
00:37:18,320 --> 00:37:23,200
Speaker 3: the movie opens with that score that combines like the

667
00:37:23,400 --> 00:37:26,720
Speaker 3: you know, the dramatic monster music with the Irish sounding

668
00:37:26,719 --> 00:37:29,920
Speaker 3: folk melody, and that is playing while we see the

669
00:37:29,960 --> 00:37:35,120
Speaker 3: titles and the title is there are such like block

670
00:37:35,280 --> 00:37:40,239
Speaker 3: letters in the title here. I love the heaviness of it,

671
00:37:40,320 --> 00:37:43,919
Speaker 3: like you can imagine the teams that built the pyramids

672
00:37:43,920 --> 00:37:45,560
Speaker 3: putting together the Gorgo title.

673
00:37:46,200 --> 00:37:49,520
Speaker 1: That's right. Yeah, when they drop the title Gorgo here,

674
00:37:49,600 --> 00:37:52,160
Speaker 1: it is like a thousand feet tall. It's like a

675
00:37:52,200 --> 00:37:56,200
Speaker 1: biblical epic font. It looks like it should be comically

676
00:37:56,400 --> 00:38:02,440
Speaker 1: Monty Python style crushing something. And then this alone was amazing.

677
00:38:02,480 --> 00:38:05,400
Speaker 1: But then they kept using it like smaller of course,

678
00:38:05,520 --> 00:38:07,360
Speaker 1: but they kept using it for the rest of the credits,

679
00:38:07,360 --> 00:38:08,000
Speaker 1: and I loved it.

680
00:38:08,280 --> 00:38:11,680
Speaker 3: Strong choice. So the action begins with a steamship out

681
00:38:11,680 --> 00:38:14,680
Speaker 3: on the sea, and we see the men of the

682
00:38:14,719 --> 00:38:17,960
Speaker 3: crew all looking out over the sea with concern. Something

683
00:38:18,040 --> 00:38:21,000
Speaker 3: is troubling them, and then we see what they're looking at.

684
00:38:21,280 --> 00:38:23,560
Speaker 3: Far out in the distance, there is a patch of

685
00:38:23,600 --> 00:38:26,799
Speaker 3: ocean that appears to be at a rolling boil. It

686
00:38:26,920 --> 00:38:33,040
Speaker 3: is this giant, white, frothy mass swirling around ominously, and

687
00:38:33,239 --> 00:38:36,080
Speaker 3: soon a diver in scuba gear comes up to the

688
00:38:36,160 --> 00:38:38,400
Speaker 3: ladder on the side of the ship. From the water

689
00:38:38,840 --> 00:38:42,520
Speaker 3: and from the diver we learned that these are salvage operators,

690
00:38:42,640 --> 00:38:46,160
Speaker 3: and while they're certainly worried about the boiling ocean, there

691
00:38:46,239 --> 00:38:48,800
Speaker 3: is money to be made. A shipwreck worth a fortune

692
00:38:49,280 --> 00:38:54,120
Speaker 3: is down below, so the dive continues until disaster strikes.

693
00:38:54,560 --> 00:38:58,720
Speaker 3: The boiling region of the ocean suddenly irrupts. Something comes

694
00:38:58,760 --> 00:39:00,400
Speaker 3: out of it looks kind of like a vult cannic

695
00:39:00,480 --> 00:39:03,920
Speaker 3: mountaintop poking up out of the water, and the ship

696
00:39:03,960 --> 00:39:07,640
Speaker 3: is rocked by brutal waves. It nearly turns over. We

697
00:39:07,680 --> 00:39:11,200
Speaker 3: see cargo from the deck being washed overboard, sailors fighting

698
00:39:11,239 --> 00:39:14,719
Speaker 3: to keep the vessel afloat, and the boat is nearly destroyed,

699
00:39:15,280 --> 00:39:17,760
Speaker 3: and then we cut to the next morning. The violence

700
00:39:17,800 --> 00:39:20,680
Speaker 3: has subsided, but the ship is very damaged. It's engine

701
00:39:20,719 --> 00:39:23,760
Speaker 3: has taken on water. We see this giant propeller making

702
00:39:23,760 --> 00:39:28,240
Speaker 3: a weak effort to spin, and here assessing the problem,

703
00:39:28,520 --> 00:39:30,840
Speaker 3: we meet our two main characters. Actually I guess we

704
00:39:30,920 --> 00:39:32,719
Speaker 3: met them before, but we sort of get to know them.

705
00:39:33,160 --> 00:39:36,320
Speaker 3: So there is Captain Joe Ryan played by Bill Travers,

706
00:39:36,360 --> 00:39:39,200
Speaker 3: and then there is the first mate, Sam Slade, played

707
00:39:39,239 --> 00:39:43,440
Speaker 3: by William Sylvester. Now, honestly, the first time I watched this,

708
00:39:43,520 --> 00:39:45,960
Speaker 3: though they don't look the same, I couldn't tell much

709
00:39:45,960 --> 00:39:48,200
Speaker 3: of a difference between these two guys. I didn't really

710
00:39:49,040 --> 00:39:51,040
Speaker 3: separate them. In my mind, they were just like the

711
00:39:51,040 --> 00:39:54,919
Speaker 3: two salvage guys. Captain Joe is the taller guy, he's

712
00:39:54,960 --> 00:40:00,440
Speaker 3: the guy wearing the captain's hat. But on rewad I

713
00:40:00,520 --> 00:40:03,160
Speaker 3: could see more of the differences between their characters.

714
00:40:03,680 --> 00:40:06,080
Speaker 1: Yeah, this film doesn't set them up as being like

715
00:40:06,600 --> 00:40:08,160
Speaker 1: an antagonistic to each other.

716
00:40:08,320 --> 00:40:08,400
Speaker 3: Like.

717
00:40:08,480 --> 00:40:11,839
Speaker 1: They clearly have a great working relationship and therefore they

718
00:40:11,880 --> 00:40:14,400
Speaker 1: line up on a lot of things. You know, another

719
00:40:14,440 --> 00:40:16,400
Speaker 1: film might have gone in a different direction where you

720
00:40:16,440 --> 00:40:18,080
Speaker 1: know one of them's good, one of them's bad. You

721
00:40:18,120 --> 00:40:20,600
Speaker 1: know one of them wants to cut corners and the

722
00:40:20,600 --> 00:40:22,919
Speaker 1: other one is by the book and it's not really

723
00:40:22,920 --> 00:40:23,399
Speaker 1: what we have.

724
00:40:23,400 --> 00:40:25,680
Speaker 3: Here, certainly not in the beginning. They do have more

725
00:40:25,680 --> 00:40:27,440
Speaker 3: differences later on in the film.

726
00:40:27,800 --> 00:40:30,560
Speaker 1: Yeah, because you throw a giant monster into a relationship,

727
00:40:30,600 --> 00:40:33,560
Speaker 1: even a working relationship, and it changes everything that's right.

728
00:40:34,800 --> 00:40:37,279
Speaker 3: So Sam and Joe figured that the boat is going

729
00:40:37,360 --> 00:40:39,520
Speaker 3: to take three or four days to repair, and they're

730
00:40:39,520 --> 00:40:41,480
Speaker 3: out of fresh water, so they need to go ashore

731
00:40:41,560 --> 00:40:44,600
Speaker 3: at the nearest port, which is on a small island

732
00:40:45,160 --> 00:40:47,480
Speaker 3: where they're off the coast of Ireland by the way,

733
00:40:47,880 --> 00:40:51,319
Speaker 3: but it's a small island called Nara, and so our

734
00:40:51,360 --> 00:40:54,400
Speaker 3: salvage buddies take a dinghy into the port and along

735
00:40:54,480 --> 00:40:58,000
Speaker 3: the way we see some kind of strange creatures that

736
00:40:58,040 --> 00:41:01,840
Speaker 3: appear to be dead floating in the water. They're like

737
00:41:02,000 --> 00:41:05,600
Speaker 3: weird float I mean, we see these models. At one point,

738
00:41:05,840 --> 00:41:08,279
Speaker 3: Bill Travers like picks one up out of the water

739
00:41:08,320 --> 00:41:10,399
Speaker 3: and holds it up for us to see. And they're

740
00:41:10,480 --> 00:41:13,640
Speaker 3: like these rubber fish that I think have legs and

741
00:41:13,680 --> 00:41:15,840
Speaker 3: they have things poking out of their eyes.

742
00:41:16,640 --> 00:41:20,920
Speaker 1: Yeah, big rubber monster fish everywhere, like weird enough looking

743
00:41:21,000 --> 00:41:22,920
Speaker 1: that you would have it seems like it would have

744
00:41:22,960 --> 00:41:25,880
Speaker 1: been more alarming, But I guess yeah, they're just like, well,

745
00:41:25,880 --> 00:41:28,320
Speaker 1: these are strange, not familiar with this species.

746
00:41:28,719 --> 00:41:31,600
Speaker 3: Yeah, Bill Travs says, never seen anything like that before,

747
00:41:31,680 --> 00:41:32,839
Speaker 3: and then just throws it back.

748
00:41:33,200 --> 00:41:34,920
Speaker 1: Yeah, they pick one up, look at it, throw it

749
00:41:34,960 --> 00:41:35,200
Speaker 1: back in.

750
00:41:35,640 --> 00:41:37,840
Speaker 3: But I don't know, maybe when you're a salvage operator,

751
00:41:37,880 --> 00:41:40,200
Speaker 3: you are just constantly seeing things like, oh, that's a

752
00:41:40,239 --> 00:41:42,040
Speaker 3: weird thing from the ocean. Don't know what that is.

753
00:41:42,520 --> 00:41:45,440
Speaker 1: Yeah, cryptozoology hadn't been invented yet, so you couldn't like

754
00:41:45,480 --> 00:41:47,120
Speaker 1: take a picture of it and claim that it's a

755
00:41:47,320 --> 00:41:49,200
Speaker 1: you know, some sort of fantastic creature. They're just like,

756
00:41:49,200 --> 00:41:50,680
Speaker 1: well that's expected.

757
00:41:50,800 --> 00:41:54,080
Speaker 3: Really, it's a chepiccopra, it's got to be. So. Yeah.

758
00:41:54,120 --> 00:41:57,120
Speaker 3: They determined that the whole ocean floor must have been

759
00:41:57,120 --> 00:42:00,200
Speaker 3: torn up by what appeared to be a volcanic coertion,

760
00:42:00,400 --> 00:42:02,719
Speaker 3: the thing that damaged their boat. But they dock, they

761
00:42:02,760 --> 00:42:05,319
Speaker 3: meet some local fishermen who are not very friendly and

762
00:42:05,360 --> 00:42:07,960
Speaker 3: mostly don't speak English. They just kind of cuss them

763
00:42:07,960 --> 00:42:12,280
Speaker 3: out in Gaelic, and eventually they come to a house

764
00:42:12,320 --> 00:42:14,800
Speaker 3: where they meet a little boy who will become another

765
00:42:14,840 --> 00:42:17,560
Speaker 3: one of the main characters of this movie. The boy

766
00:42:17,880 --> 00:42:21,759
Speaker 3: is Sean. He is introduced as an orphan boy who

767
00:42:21,840 --> 00:42:25,359
Speaker 3: assists the harbormaster mccarton. And you know what, I give

768
00:42:25,400 --> 00:42:27,520
Speaker 3: credit to this child actor. He does a much better

769
00:42:27,640 --> 00:42:30,800
Speaker 3: job than you might expect with his role. But also

770
00:42:30,960 --> 00:42:33,759
Speaker 3: they have him dressed up in some funny clothes. When

771
00:42:33,800 --> 00:42:36,520
Speaker 3: we were watching it, Rachel was observing that, like they

772
00:42:36,600 --> 00:42:40,320
Speaker 3: just have Sean in these gigantic clothes, like he's wearing

773
00:42:40,360 --> 00:42:43,920
Speaker 3: this huge sweater tucked into huge pants.

774
00:42:44,200 --> 00:42:47,640
Speaker 1: Yeah, yeah, but yeah, he does become important. He's an

775
00:42:47,680 --> 00:42:50,680
Speaker 1: important character, not just a one off. And as we

776
00:42:50,760 --> 00:42:53,560
Speaker 1: kind of alluded to earlier, Yeah, this whole first act

777
00:42:53,600 --> 00:42:56,600
Speaker 1: has kind of a full car vibe to it. A

778
00:42:56,680 --> 00:43:00,920
Speaker 1: solid mysterious atmosphere is rolled out, and I'd say they

779
00:43:00,960 --> 00:43:04,840
Speaker 1: also venture into sort of like soft lovecrafty and othering

780
00:43:04,880 --> 00:43:08,440
Speaker 1: of the Irish here with this whole like, oh, they

781
00:43:08,480 --> 00:43:11,879
Speaker 1: can't understand them. There's something creepy going on here in

782
00:43:11,920 --> 00:43:15,960
Speaker 1: this this Irish village, which I mean, as we'll find out,

783
00:43:16,000 --> 00:43:19,520
Speaker 1: nothing really that creepy is going on, but they kind

784
00:43:19,520 --> 00:43:21,400
Speaker 1: of create this air of mystery.

785
00:43:21,960 --> 00:43:24,640
Speaker 3: Well, yeah, the way they're first introduced, you might expect

786
00:43:24,640 --> 00:43:26,680
Speaker 3: that the like all the people on the island are

787
00:43:26,680 --> 00:43:29,520
Speaker 3: part of a cult that worships Gorgo or something. That's

788
00:43:29,560 --> 00:43:32,840
Speaker 3: not the case. They're like, they're just as baffled and

789
00:43:32,920 --> 00:43:37,640
Speaker 3: terrified by Gorgo as anybody else, it seems. Yeah. But anyway,

790
00:43:37,760 --> 00:43:41,640
Speaker 3: So Sean invites our heroes into the harbor Master's cabin

791
00:43:42,120 --> 00:43:45,759
Speaker 3: and he informs them that macarton is not the harbor Master.

792
00:43:45,880 --> 00:43:49,880
Speaker 3: Mccarton is not actually a local Sean says, instead a

793
00:43:49,920 --> 00:43:55,080
Speaker 3: city man. He is a government man. Calls himself an archaeologist.

794
00:43:56,080 --> 00:43:58,920
Speaker 3: So I was a little confused by this. Mccarton is

795
00:43:59,120 --> 00:44:03,280
Speaker 3: simultaneous the harbormaster and a working archaeologist.

796
00:44:04,480 --> 00:44:06,320
Speaker 1: Yeah, I feel like a lot of roles were combined

797
00:44:06,320 --> 00:44:09,640
Speaker 1: into one. This was originally just gonna be the whole movie,

798
00:44:10,120 --> 00:44:12,560
Speaker 1: his tinkering around in the small village.

799
00:44:14,040 --> 00:44:16,360
Speaker 3: That's a good point. This in an earlier draft. I

800
00:44:16,400 --> 00:44:19,040
Speaker 3: wonder if this was two different characters that were combined

801
00:44:19,080 --> 00:44:23,440
Speaker 3: into one. Yeah, could have been anyway. Sean says he

802
00:44:23,480 --> 00:44:26,680
Speaker 3: works for mcarton, quote, cleaning up the things he finds,

803
00:44:27,080 --> 00:44:29,440
Speaker 3: and Seawan asks if they want to see these things

804
00:44:29,520 --> 00:44:32,880
Speaker 3: that he cleans up for mcarton. Turns out mccarton is

805
00:44:33,360 --> 00:44:35,520
Speaker 3: he's got like a back room where he is piling

806
00:44:35,600 --> 00:44:40,160
Speaker 3: up a secret stash of priceless Viking artifacts left over

807
00:44:40,640 --> 00:44:43,239
Speaker 3: from a great sea battle a thousand years ago when

808
00:44:43,280 --> 00:44:46,520
Speaker 3: the Irish drove off the Vikings and sank their ships.

809
00:44:47,200 --> 00:44:51,240
Speaker 3: And Sean says that apparently fighting in the Irish's corner

810
00:44:51,560 --> 00:44:55,440
Speaker 3: was a sea spirit called Ogra, and he points up

811
00:44:55,480 --> 00:44:58,200
Speaker 3: to a figure of like a dragon head that I

812
00:44:58,200 --> 00:45:00,480
Speaker 3: guess is supposed to be a representation Ogra.

813
00:45:01,680 --> 00:45:03,200
Speaker 1: It's a nice shot, I mean, in a way, it

814
00:45:03,239 --> 00:45:04,880
Speaker 1: kind of reminds me of the early scenes in The

815
00:45:04,920 --> 00:45:07,719
Speaker 1: Exorcist where we haven't seen anything demonic yet. We see

816
00:45:07,719 --> 00:45:10,799
Speaker 1: that statue of the zoo Zu and it's you know,

817
00:45:10,800 --> 00:45:13,080
Speaker 1: it's ominous and really one of the creepier moments of

818
00:45:13,080 --> 00:45:15,840
Speaker 1: a film that you know, in its later stages is

819
00:45:15,920 --> 00:45:19,520
Speaker 1: less concerned with being subtly creepy and more in your face.

820
00:45:19,920 --> 00:45:23,239
Speaker 3: Yeah, the dogs are fighting in the rubbisheep well while

821
00:45:23,239 --> 00:45:24,680
Speaker 3: he's looking at the statue. Yeah.

822
00:45:24,800 --> 00:45:26,600
Speaker 1: Yeah, And in a similar way, this is a movie

823
00:45:26,600 --> 00:45:28,960
Speaker 1: that is going to be very in your face later on.

824
00:45:29,640 --> 00:45:32,560
Speaker 1: But at this point we haven't seen the monster and

825
00:45:32,600 --> 00:45:35,799
Speaker 1: we just have this nice subtle idea, you know, the

826
00:45:35,960 --> 00:45:38,280
Speaker 1: sort of the mythic potency of the idea.

827
00:45:38,960 --> 00:45:41,600
Speaker 3: So just then in the artifact room, they are interrupted

828
00:45:41,600 --> 00:45:46,040
Speaker 3: by mccarton, the city man. McCartin is borderline hostile from

829
00:45:46,040 --> 00:45:48,759
Speaker 3: the get go. He seems to be wanting to protect

830
00:45:48,800 --> 00:45:52,480
Speaker 3: his stash of Viking stuff, and he says, by orders

831
00:45:52,480 --> 00:45:54,839
Speaker 3: of the local authorities, no ship is allowed to put

832
00:45:54,840 --> 00:45:57,240
Speaker 3: into port at Nara for more than twenty four hours

833
00:45:57,239 --> 00:46:00,600
Speaker 3: without a permit. So Joe and Sam plea for help.

834
00:46:00,719 --> 00:46:03,120
Speaker 3: After all, he's like, you know, the ocean boiled, something

835
00:46:03,160 --> 00:46:05,759
Speaker 3: wrecked our engine. But mccarton will not budge on this.

836
00:46:05,880 --> 00:46:09,520
Speaker 3: He's like, I don't make the rules. It's never established

837
00:46:09,520 --> 00:46:12,439
Speaker 3: who does make the rules. But they cannot come into

838
00:46:12,440 --> 00:46:15,880
Speaker 3: port except to get some water and leave. So on

839
00:46:15,920 --> 00:46:18,640
Speaker 3: the way back to their ship, Sam and Joe run

840
00:46:18,719 --> 00:46:22,359
Speaker 3: into some local boats who at first cust them out

841
00:46:22,360 --> 00:46:25,520
Speaker 3: in Gaelic and then report that they are waiting for

842
00:46:25,560 --> 00:46:27,759
Speaker 3: some divers to come up. And when one of the

843
00:46:27,800 --> 00:46:30,319
Speaker 3: divers does turn up, he is dead. At this so

844
00:46:30,360 --> 00:46:32,759
Speaker 3: they pull him on board the boat, and Sam looks

845
00:46:32,800 --> 00:46:36,200
Speaker 3: at the dead diver and concludes that he died of fright.

846
00:46:36,640 --> 00:46:38,279
Speaker 3: And I always wonder how you can tell that in

847
00:46:38,320 --> 00:46:39,840
Speaker 3: movies just by looking at people.

848
00:46:40,480 --> 00:46:44,360
Speaker 1: Yeah, yeah, without like a Star Trek medical scanner device.

849
00:46:45,120 --> 00:46:49,400
Speaker 1: Usually sometimes there's a vision that they make it abundantly clear,

850
00:46:49,520 --> 00:46:52,200
Speaker 1: like suddenly the hair is turned white, or they're like

851
00:46:52,280 --> 00:46:56,680
Speaker 1: severe distortions allah the ring. But for the most part

852
00:46:56,680 --> 00:46:58,400
Speaker 1: in films like this, it's like, out, let's touch him

853
00:46:58,440 --> 00:47:00,000
Speaker 1: on the neck. He's dead, Jim.

854
00:47:01,040 --> 00:47:03,480
Speaker 3: So we get a diving scene next. Sam and Joe

855
00:47:03,480 --> 00:47:06,200
Speaker 3: are on the case. They're trying to figure out what

856
00:47:06,280 --> 00:47:07,680
Speaker 3: are they trying to figure out? I don't know. They

857
00:47:07,680 --> 00:47:10,080
Speaker 3: go down to investigate, I think, what could have scared

858
00:47:10,120 --> 00:47:11,960
Speaker 3: the diver that killed him.

859
00:47:12,320 --> 00:47:15,880
Speaker 1: And they also are just suspicious. They're suspicious of this archaeologist.

860
00:47:15,920 --> 00:47:19,040
Speaker 1: They're like, something is up, and we want to find

861
00:47:19,080 --> 00:47:21,839
Speaker 1: out what is up and what he's up to. And

862
00:47:21,960 --> 00:47:23,960
Speaker 1: that's why they're going freelance.

863
00:47:23,520 --> 00:47:26,520
Speaker 3: Here, that's right. So they just they like scoop it down.

864
00:47:26,680 --> 00:47:28,759
Speaker 3: And I really like in this scene that they just

865
00:47:28,840 --> 00:47:32,240
Speaker 3: kind of see gorgo. He's just down there swimming around

866
00:47:32,440 --> 00:47:34,359
Speaker 3: the water is murky, so you don't get a great

867
00:47:34,400 --> 00:47:36,120
Speaker 3: look at him yet, but you just see this like

868
00:47:36,239 --> 00:47:39,480
Speaker 3: lizard rat swimming through the water. And they come back up.

869
00:47:39,520 --> 00:47:42,400
Speaker 3: They're sitting there in their scuba gear smoking cigarettes, and

870
00:47:42,480 --> 00:47:44,799
Speaker 3: Joe says, what did you see, Sam? And Sam says,

871
00:47:44,840 --> 00:47:46,719
Speaker 3: I don't know, but whatever it was and never want

872
00:47:46,719 --> 00:47:51,080
Speaker 3: to see it again. Unfortunately you will in the next scene.

873
00:47:51,640 --> 00:47:54,760
Speaker 3: So later on the salvage ship they're bringing aboard barrels.

874
00:47:54,800 --> 00:47:56,759
Speaker 3: I think this is the fresh water they asked for,

875
00:47:57,400 --> 00:48:00,480
Speaker 3: and Sean the child shows up on the boat. He

876
00:48:00,560 --> 00:48:03,319
Speaker 3: says that mccarton wants to see them, uh, and then

877
00:48:03,360 --> 00:48:06,880
Speaker 3: he also says that the permit is a heathen lie.

878
00:48:07,160 --> 00:48:09,239
Speaker 3: I didn't know exactly what this meant.

879
00:48:09,400 --> 00:48:11,480
Speaker 1: Yeah, but Sean is ready to sell out his village

880
00:48:11,480 --> 00:48:14,359
Speaker 1: to any outsider salvage crew that is just halfway nice

881
00:48:14,360 --> 00:48:14,560
Speaker 1: to it.

882
00:48:14,960 --> 00:48:18,440
Speaker 3: Yeah, there's nothing so far to establish that Joe and

883
00:48:18,480 --> 00:48:20,360
Speaker 3: Sam are nice people like they.

884
00:48:20,320 --> 00:48:24,960
Speaker 1: They're like everybody's in the business of finding stuff lost

885
00:48:25,000 --> 00:48:28,799
Speaker 1: on the seafloor and stealing it for your own purposes. Yeah,

886
00:48:29,440 --> 00:48:33,480
Speaker 1: but it's implied that that these guys are okay, whereas

887
00:48:33,600 --> 00:48:36,000
Speaker 1: the archaeologist is clearly up to no good.

888
00:48:36,160 --> 00:48:39,040
Speaker 3: He's a city man. Yeah. Yeah, Are Sam and Joe

889
00:48:39,080 --> 00:48:41,319
Speaker 3: not citymen? What makes one a city man?

890
00:48:42,200 --> 00:48:45,400
Speaker 1: I guess they're they're they're seenen. They're navy men.

891
00:48:45,360 --> 00:48:47,759
Speaker 3: Right, Okay, Yeah, there are men of the salt. Yeah,

892
00:48:47,800 --> 00:48:52,080
Speaker 3: of the salt in the wind. Okay. So the next

893
00:48:52,080 --> 00:48:55,759
Speaker 3: thing that happens is the atmosphere gets pretty cool, like

894
00:48:55,800 --> 00:48:59,120
Speaker 3: the locals appear to be preparing for something weird. I

895
00:48:59,120 --> 00:49:02,319
Speaker 3: would say this scene like a cross between Jaws and

896
00:49:02,360 --> 00:49:06,320
Speaker 3: The wicker Man. We see locals loading into boats rowboats

897
00:49:06,320 --> 00:49:11,840
Speaker 3: with flaming torches and harpoons and one harpooneer spies something

898
00:49:11,880 --> 00:49:14,480
Speaker 3: in the water and then lets his dart fly, and

899
00:49:14,520 --> 00:49:17,360
Speaker 3: then we see gorgo. We see this head, this like

900
00:49:17,560 --> 00:49:20,320
Speaker 3: rat lizard type head pop up out of the water

901
00:49:20,680 --> 00:49:23,920
Speaker 3: with red eyes, with a with a harpoon I think,

902
00:49:24,040 --> 00:49:28,680
Speaker 3: stuck in his eye. And Sean informs us that this

903
00:49:28,960 --> 00:49:32,680
Speaker 3: is Ogre, this is the sea spirit. So then we

904
00:49:32,719 --> 00:49:35,600
Speaker 3: get kind of a battle scene that is Ogre versus

905
00:49:35,719 --> 00:49:39,040
Speaker 3: the boat Posse. And then after this, Ogre comes on

906
00:49:39,160 --> 00:49:42,840
Speaker 3: shore and attacks the harbor. He's like stomping around smashing things,

907
00:49:43,239 --> 00:49:46,160
Speaker 3: and mccarton seems to be in command of the locals.

908
00:49:46,239 --> 00:49:48,440
Speaker 3: He's like he's like commanding a group of men with

909
00:49:48,560 --> 00:49:52,000
Speaker 3: rifles who get into formation and shoot it Ogra. But

910
00:49:52,480 --> 00:49:54,040
Speaker 3: does it do anything, of course, not.

911
00:49:54,760 --> 00:49:57,319
Speaker 1: How did they control the monster in ancient times? I

912
00:49:57,320 --> 00:50:02,279
Speaker 1: feel like like ultimately the the alluded to backstory is

913
00:50:02,320 --> 00:50:04,840
Speaker 1: far more fascinating than anything we'd get into later on

914
00:50:04,920 --> 00:50:07,680
Speaker 1: in the film, Like what was that encounter like between

915
00:50:07,920 --> 00:50:11,160
Speaker 1: the Irish and their monster and the Viking invaders? Like

916
00:50:11,239 --> 00:50:13,080
Speaker 1: I want to see that prequel.

917
00:50:13,320 --> 00:50:15,600
Speaker 3: Yeah, we never really learned any more about that, do we.

918
00:50:16,160 --> 00:50:18,879
Speaker 1: Yeah, maybe they controlled the monster with the religion. That's

919
00:50:18,960 --> 00:50:21,520
Speaker 1: that would make sense, That would be interesting.

920
00:50:22,040 --> 00:50:23,440
Speaker 3: But I do like a lot of the way the

921
00:50:23,480 --> 00:50:26,160
Speaker 3: scene looks like there are some shots of, you know,

922
00:50:26,400 --> 00:50:30,640
Speaker 3: from a distance, of the monster, the monster sort of

923
00:50:31,120 --> 00:50:33,200
Speaker 3: walking through the harbor, and then you see all the

924
00:50:33,200 --> 00:50:36,640
Speaker 3: people running around with their fires and torches trying to

925
00:50:36,680 --> 00:50:39,920
Speaker 3: stand off against him. It is a It's actually a

926
00:50:39,960 --> 00:50:44,160
Speaker 3: surprisingly dark and cool looking scene. Yeah, I agree, But

927
00:50:44,280 --> 00:50:47,600
Speaker 3: of course the locals are completely ineffective at repelling the creature.

928
00:50:47,960 --> 00:50:52,120
Speaker 3: Their harpoons and bullets do nothing. But the outsider Sam

929
00:50:52,160 --> 00:50:54,960
Speaker 3: and Joe they have an idea. They have the idea

930
00:50:54,960 --> 00:50:59,160
Speaker 3: of throwing sticks at Gorgo. Technically, they throw flaming torches

931
00:50:59,239 --> 00:51:02,480
Speaker 3: at Gore or Ogra, whatever the creature is called. At

932
00:51:02,520 --> 00:51:05,200
Speaker 3: this point, I can't remember what we specified so far.

933
00:51:05,360 --> 00:51:07,440
Speaker 3: So far, but to be clear, nobody in the movie

934
00:51:07,520 --> 00:51:10,160
Speaker 3: has said the word Gorgo yet. That name will come later.

935
00:51:10,560 --> 00:51:13,280
Speaker 3: So they throw some torches. Gorgo gets the torches stuck

936
00:51:13,280 --> 00:51:17,080
Speaker 3: in his teeth. Then he squeals, walks backwards into the water,

937
00:51:17,200 --> 00:51:19,680
Speaker 3: almost as if moving in reverse. I think this actually

938
00:51:19,760 --> 00:51:22,760
Speaker 3: is a reverse shot, and then sinks back into the waves.

939
00:51:23,400 --> 00:51:24,440
Speaker 1: So they drove him away.

940
00:51:24,640 --> 00:51:29,359
Speaker 3: It worked, right, And after the attack the locals are

941
00:51:29,719 --> 00:51:34,080
Speaker 3: mad at mccarton and I wasn't your wily Is Gorgo

942
00:51:34,200 --> 00:51:36,240
Speaker 3: his fault? Don't see any reason to think.

943
00:51:36,080 --> 00:51:38,840
Speaker 1: So now, I mean, I mean, we know the viewer

944
00:51:38,960 --> 00:51:40,680
Speaker 1: knows that this probably has something to do with the

945
00:51:40,719 --> 00:51:44,719
Speaker 1: volcanic activity, yeah, and that they're thinking, oh, it's because

946
00:51:44,719 --> 00:51:48,480
Speaker 1: he's still in all that Viking gold. But that, I mean,

947
00:51:48,600 --> 00:51:50,480
Speaker 1: did it unless you were going to make some sort

948
00:51:50,520 --> 00:51:55,520
Speaker 1: of crazy hypothesis in which the theft of Viking gold

949
00:51:55,520 --> 00:51:58,959
Speaker 1: from the seafloor caused some sort of volcanic reaction.

950
00:51:58,920 --> 00:52:01,520
Speaker 3: There's no indication of that in the film or and

951
00:52:01,600 --> 00:52:04,000
Speaker 3: also from what I can tell, no indication that Gorgo

952
00:52:04,080 --> 00:52:07,239
Speaker 3: cares about the Viking artifacts or the gold anyway. So

953
00:52:07,280 --> 00:52:09,640
Speaker 3: the locals are mad at mccarton. They start saying, hey,

954
00:52:09,680 --> 00:52:12,080
Speaker 3: we want to leave with Sam and Joe on their

955
00:52:12,080 --> 00:52:15,640
Speaker 3: salvage ship when it's repaired, but mccarton tries to talk

956
00:52:15,719 --> 00:52:19,240
Speaker 3: them out of that, and eventually Sam and Joe retreat

957
00:52:19,400 --> 00:52:23,600
Speaker 3: with mccarton into his harbormaster's shack to discuss a deal.

958
00:52:24,239 --> 00:52:27,640
Speaker 3: They know that Macarton is secretly trying to protect the

959
00:52:27,719 --> 00:52:30,920
Speaker 3: Viking treasure, which I guess he plans to keep for himself.

960
00:52:31,120 --> 00:52:33,759
Speaker 3: He reveals that he has a safe full of what

961
00:52:33,880 --> 00:52:35,200
Speaker 3: looked like Holy Grails.

962
00:52:36,120 --> 00:52:38,640
Speaker 1: Yeah, yeah, different Holy Grail prototypes in there.

963
00:52:39,200 --> 00:52:41,800
Speaker 3: Yeah, he's got, like I can see at least fifteen

964
00:52:41,840 --> 00:52:45,360
Speaker 3: Holy Grails in there. And Sam and Joe offer a trade.

965
00:52:45,520 --> 00:52:48,719
Speaker 3: They say, if Macarton pays them off in some of

966
00:52:48,760 --> 00:52:51,440
Speaker 3: the Viking gold, they will get rid of the monster

967
00:52:51,560 --> 00:52:54,759
Speaker 3: for him. So they make a deal. So they leave,

968
00:52:54,840 --> 00:52:58,239
Speaker 3: but then Sean the kid follows them and he does

969
00:52:58,280 --> 00:53:01,200
Speaker 3: not like the idea of them catching Ogra. He catches

970
00:53:01,280 --> 00:53:04,359
Speaker 3: up to them and he says, it's a bad thing.

971
00:53:04,400 --> 00:53:08,040
Speaker 3: You're doing a terrible bad thing, mister Ryan, And then

972
00:53:08,480 --> 00:53:10,719
Speaker 3: Joe Ryan kneels next to the kid. He says, why

973
00:53:10,719 --> 00:53:13,359
Speaker 3: don't you call me Joe, and Sean says okay Joe,

974
00:53:13,520 --> 00:53:20,879
Speaker 3: And Joe says okay Sean. End of conversation. So next

975
00:53:20,960 --> 00:53:23,680
Speaker 3: time a child accuses you of doing evil, just remember

976
00:53:23,800 --> 00:53:26,960
Speaker 3: you get on a first name basis. It'll totally distract them.

977
00:53:27,239 --> 00:53:28,959
Speaker 1: But I love the set up here, Like we're really

978
00:53:29,719 --> 00:53:32,920
Speaker 1: cooking with gas now. The idea is that these guys

979
00:53:32,960 --> 00:53:37,759
Speaker 1: are going to catch the monster in order to make

980
00:53:37,760 --> 00:53:41,160
Speaker 1: that sweet Viking gold, and so this is the challenge

981
00:53:41,160 --> 00:53:43,239
Speaker 1: ahead of them. There's no indication that they actually have

982
00:53:43,280 --> 00:53:45,839
Speaker 1: the ability to do this, but they're going to set

983
00:53:45,840 --> 00:53:46,840
Speaker 1: out and try to do it anyway.

984
00:53:47,000 --> 00:53:49,319
Speaker 3: That's right. Well, at first they're like, how would you

985
00:53:49,360 --> 00:53:51,960
Speaker 3: even kill a creature like that? Maybe you'd use dynamite

986
00:53:52,040 --> 00:53:54,759
Speaker 3: or something, But then they consider, actually, what is a

987
00:53:54,800 --> 00:53:58,200
Speaker 3: creature like that worth alive? Maybe it's worth more alive.

988
00:53:58,520 --> 00:54:03,359
Speaker 3: So from here move on to the bathistsphere scene. Though

989
00:54:03,360 --> 00:54:06,080
Speaker 3: this bathistphere is not a sphere. It is not spherical.

990
00:54:06,120 --> 00:54:11,320
Speaker 3: It's sort of the Bathist cylinder. And Joe gets into

991
00:54:11,520 --> 00:54:14,760
Speaker 3: this metal contraption with some portholes on it that looks

992
00:54:14,760 --> 00:54:20,560
Speaker 3: incredibly small inside, and I don't know, this is a

993
00:54:20,600 --> 00:54:25,319
Speaker 3: cool scene concept though it doesn't look as amazing as

994
00:54:25,360 --> 00:54:26,200
Speaker 3: I think it could have.

995
00:54:27,200 --> 00:54:30,200
Speaker 1: Weldon points out that this section of the film is

996
00:54:30,200 --> 00:54:32,320
Speaker 1: pretty much a direct remake of a scene in The

997
00:54:32,320 --> 00:54:34,600
Speaker 1: Beast from twenty thousand Fathoms, and so I had to

998
00:54:34,640 --> 00:54:36,600
Speaker 1: look it up because again I've only really seen the

999
00:54:36,640 --> 00:54:40,600
Speaker 1: monster sequences from that movie. And indeed there's another Bathtisphere

1000
00:54:41,200 --> 00:54:43,920
Speaker 1: segment that you can watch. So they basically were like, well,

1001
00:54:43,920 --> 00:54:46,959
Speaker 1: that worked last time, let's do it again. But yeah,

1002
00:54:47,000 --> 00:54:49,759
Speaker 1: to your point, I think it works better in the

1003
00:54:49,760 --> 00:54:52,600
Speaker 1: mind that it does on screen, at least by modern standards.

1004
00:54:52,600 --> 00:54:54,960
Speaker 1: I don't know, maybe this was a lot more impressive

1005
00:54:55,000 --> 00:54:55,520
Speaker 1: at the time.

1006
00:54:56,000 --> 00:54:58,560
Speaker 3: Also, the bathistphere in this movie is like a tartist

1007
00:54:58,680 --> 00:55:00,759
Speaker 3: and that it is much bigger on the inside then

1008
00:55:00,800 --> 00:55:04,560
Speaker 3: on the outside. We see Joe Ryan inside there, and

1009
00:55:04,600 --> 00:55:08,000
Speaker 3: I don't know, it's quite roomy actually on the inside though.

1010
00:55:07,880 --> 00:55:11,120
Speaker 1: Yeah, especially concerns how big this actor is again, yeah,

1011
00:55:11,200 --> 00:55:13,359
Speaker 1: he has he has so much room. And if you're

1012
00:55:13,400 --> 00:55:16,000
Speaker 1: curious about all this, we did some episodes of stuff

1013
00:55:16,000 --> 00:55:17,520
Speaker 1: to blow your mind back in the day about the

1014
00:55:17,560 --> 00:55:21,520
Speaker 1: Bathisphere and about the construction of it and the size

1015
00:55:21,520 --> 00:55:25,680
Speaker 1: of it, and some of the amazing observations that were

1016
00:55:25,719 --> 00:55:28,319
Speaker 1: made with it. It's an amazing story and I can

1017
00:55:28,320 --> 00:55:30,960
Speaker 1: totally understand wanting to capture that in the film, and

1018
00:55:31,000 --> 00:55:32,759
Speaker 1: I guess to a certain extent they do. Like I

1019
00:55:32,880 --> 00:55:37,080
Speaker 1: like the idea of of of the small capsule being

1020
00:55:37,120 --> 00:55:41,160
Speaker 1: lowered into this vast, unexplored world, like of that world

1021
00:55:41,239 --> 00:55:45,080
Speaker 1: as vast and as large scale as your giant monsters,

1022
00:55:46,600 --> 00:55:49,920
Speaker 1: though being very much an outsider in it, in this

1023
00:55:50,280 --> 00:55:51,560
Speaker 1: vulnerable little capsule.

1024
00:55:51,920 --> 00:55:54,200
Speaker 3: Well, I mean, the thing to remember about the Bathisphere

1025
00:55:54,360 --> 00:55:56,680
Speaker 3: is that it has no propulsion of its own, so

1026
00:55:56,680 --> 00:55:59,160
Speaker 3: it's just dangling by this cable. So if it were

1027
00:55:59,200 --> 00:56:04,400
Speaker 3: to somehow that's it. You're not coming back up. Yeah. Well, anyway,

1028
00:56:04,600 --> 00:56:07,960
Speaker 3: so they send Joe down there and they make contact.

1029
00:56:08,120 --> 00:56:11,799
Speaker 3: There's a Gorgo attack. Gorgo attacks the Bathosphere and ooh,

1030
00:56:11,840 --> 00:56:14,560
Speaker 3: you hear these like tin can crunching sounds and you

1031
00:56:14,600 --> 00:56:17,040
Speaker 3: see water spraying on the inside. But there is not

1032
00:56:17,160 --> 00:56:20,840
Speaker 3: a catastrophic implosion. Joe is not killed. Instead, the ship

1033
00:56:20,880 --> 00:56:24,480
Speaker 3: successfully traps Gorgo in a net.

1034
00:56:23,680 --> 00:56:28,080
Speaker 1: It's kind of a lackluster finish to that though, because

1035
00:56:28,120 --> 00:56:30,879
Speaker 1: it's like the bathistphere. Oh, high technology, and then they

1036
00:56:30,920 --> 00:56:32,960
Speaker 1: just use a net just yeah.

1037
00:56:32,600 --> 00:56:34,799
Speaker 3: Yeah, yeah, and then we get some news reports and

1038
00:56:34,880 --> 00:56:37,680
Speaker 3: I can't remember what we've said about this already, but

1039
00:56:38,840 --> 00:56:42,000
Speaker 3: from here on out the movie will become highly reliant

1040
00:56:42,040 --> 00:56:46,279
Speaker 3: on news reports for both plot exposition and for exploration

1041
00:56:46,560 --> 00:56:50,400
Speaker 3: of themes. Uh, we're just going to get reporters telling

1042
00:56:50,480 --> 00:56:53,560
Speaker 3: us what's going on and what it means, over and over.

1043
00:56:54,239 --> 00:56:57,280
Speaker 1: Yeah, it basically goes all Santa Claus conquers the Martians

1044
00:56:57,320 --> 00:56:59,520
Speaker 1: for a bit here where it's yeah, a bunch of

1045
00:56:59,560 --> 00:57:04,800
Speaker 1: news expert interviews, and of course our all time favorite

1046
00:57:04,800 --> 00:57:07,920
Speaker 1: stock footage. So much stock footage, though at least this

1047
00:57:08,040 --> 00:57:11,880
Speaker 1: time around it's British military stock footage, which has, you know,

1048
00:57:11,920 --> 00:57:14,400
Speaker 1: a different texture to it compared to the like nineteen

1049
00:57:14,440 --> 00:57:17,919
Speaker 1: fifties and sixties US military stock footage that you see

1050
00:57:17,960 --> 00:57:19,360
Speaker 1: in so many films of that era.

1051
00:57:20,000 --> 00:57:22,919
Speaker 3: Yeah, we haven't gotten exactly to the point where stock

1052
00:57:22,920 --> 00:57:26,640
Speaker 3: footage becomes super prevalent yet. That'll come a little later

1053
00:57:26,720 --> 00:57:29,920
Speaker 3: into the second act. Right now, we're at the at

1054
00:57:29,920 --> 00:57:34,720
Speaker 3: the like peak newscaster stuff. So we get a newscast

1055
00:57:34,800 --> 00:57:38,600
Speaker 3: where this guy at a desk explains what's happening. He says,

1056
00:57:38,600 --> 00:57:41,480
Speaker 3: the headlines of the entire world are being monopolized by

1057
00:57:41,520 --> 00:57:44,720
Speaker 3: the news of the capture of a fantastic monster seemingly

1058
00:57:44,760 --> 00:57:49,040
Speaker 3: of prehistoric origin off the coast of Ireland. Puzzled scientists

1059
00:57:49,080 --> 00:57:51,960
Speaker 3: are already speculating that the monster may have been released

1060
00:57:52,280 --> 00:57:56,880
Speaker 3: from some vast suboceanic cavern far beneath Earth's crust by

1061
00:57:57,000 --> 00:58:02,040
Speaker 3: unprecedented volcanic eruptions which occurred in the last week. And

1062
00:58:02,080 --> 00:58:04,960
Speaker 3: then meanwhile, we also get this other guy who, like

1063
00:58:04,960 --> 00:58:08,000
Speaker 3: we cut to a different newscaster who says some scientific

1064
00:58:08,000 --> 00:58:10,600
Speaker 3: authorities are suggesting that the whole thing is merely an

1065
00:58:10,640 --> 00:58:17,960
Speaker 3: elaborate Irish hoax. Nevertheless, the Irish government are sending two

1066
00:58:18,080 --> 00:58:22,200
Speaker 3: of their top paleontologists to claim the creature for Ireland

1067
00:58:22,560 --> 00:58:23,920
Speaker 3: if it does exist.

1068
00:58:25,560 --> 00:58:28,120
Speaker 1: I also have to throw in here that, you know,

1069
00:58:28,560 --> 00:58:31,560
Speaker 1: I think all organisms are of prehistoric origin, if you

1070
00:58:31,560 --> 00:58:33,439
Speaker 1: want to be technical about it. So I don't really

1071
00:58:33,440 --> 00:58:35,640
Speaker 1: know what that means. What do you mean of prehistoric origin?

1072
00:58:35,880 --> 00:58:37,520
Speaker 1: I know, I know what they're getting at, but I'm

1073
00:58:37,520 --> 00:58:38,520
Speaker 1: just not sure it makes sense.

1074
00:58:38,840 --> 00:58:41,640
Speaker 3: You know, We've watched a lot of movies with plot

1075
00:58:41,680 --> 00:58:45,560
Speaker 3: exposition via like a newsdesk segment, and I feel like

1076
00:58:45,640 --> 00:58:47,560
Speaker 3: at some point we should go back and rank the

1077
00:58:48,040 --> 00:58:50,640
Speaker 3: newscaster segments. I want to say, these guys, they're no

1078
00:58:50,760 --> 00:58:54,720
Speaker 3: Dick Cutting. Now what was he that he was in

1079
00:58:55,880 --> 00:58:58,960
Speaker 3: a creature with the Adam brain right? He was, Yes, yeah,

1080
00:58:59,040 --> 00:59:01,840
Speaker 3: he's the Walter Krung kind of monster attacks. Always always

1081
00:59:01,880 --> 00:59:05,640
Speaker 3: Trustick Cutting. Let's see here. Oh yeah. Then we get

1082
00:59:05,640 --> 00:59:08,520
Speaker 3: the transport segment. So we see gorgo on the salvage ship.

1083
00:59:08,560 --> 00:59:10,720
Speaker 3: He's like tied up in ropes and nets. He's being

1084
00:59:10,760 --> 00:59:15,400
Speaker 3: taken somewhere. The scientists from Dublin who are mentioned in

1085
00:59:15,480 --> 00:59:18,880
Speaker 3: the news report, they arrive on the boat and they say,

1086
00:59:18,920 --> 00:59:22,240
Speaker 3: this animal is of enormous scientific value. You must take

1087
00:59:22,240 --> 00:59:25,640
Speaker 3: it to Dublin immediately, and its skin must be kept wet.

1088
00:59:26,520 --> 00:59:28,760
Speaker 3: But then, when the scientists are out of earshot Sam

1089
00:59:28,800 --> 00:59:32,560
Speaker 3: and Joe, one of them pulls out like a letter.

1090
00:59:32,680 --> 00:59:36,240
Speaker 3: They got, I think, which is a better offer. It

1091
00:59:36,360 --> 00:59:40,240
Speaker 3: is from Dorkin's circus in London, and they say that

1092
00:59:40,320 --> 00:59:43,840
Speaker 3: Dorkin is offering them thirty thousand against fifty percent of

1093
00:59:43,840 --> 00:59:48,320
Speaker 3: the gross So are these hardened mercenaries going to turn

1094
00:59:48,360 --> 00:59:51,280
Speaker 3: Gorgo over to the clutches of science for a pittance

1095
00:59:51,320 --> 00:59:53,800
Speaker 3: of compensation? Hell no, No, they're going to go They're

1096
00:59:53,800 --> 00:59:58,080
Speaker 3: going to send him to the circus of Dorkin. So

1097
00:59:58,120 --> 01:00:01,240
Speaker 3: they set the course for London. I think the scientists

1098
01:00:01,240 --> 01:00:04,320
Speaker 3: from Dublin are still on the ship as the ship

1099
01:00:04,400 --> 01:00:07,720
Speaker 3: is like departing, like going in the other direction to

1100
01:00:08,160 --> 01:00:12,800
Speaker 3: take the monster to London. So I assume they're protesting

1101
01:00:12,840 --> 01:00:16,920
Speaker 3: the entire time. Oh. Also, Sean comes along on the

1102
01:00:16,960 --> 01:00:20,160
Speaker 3: ship and I don't know why, but he's on the

1103
01:00:20,160 --> 01:00:22,760
Speaker 3: ship now. I think he has now just become the

1104
01:00:22,840 --> 01:00:28,040
Speaker 3: ward of Sam and Joe. And Sean comes to Oh

1105
01:00:28,080 --> 01:00:29,680
Speaker 3: he comes out in the middle of the night and

1106
01:00:29,880 --> 01:00:31,880
Speaker 3: talks to Gorgo. He's like, I came to let you

1107
01:00:31,920 --> 01:00:34,680
Speaker 3: go back to the sea, and tries to release him.

1108
01:00:35,040 --> 01:00:37,400
Speaker 3: But then Joe comes out and gets mad at Sean

1109
01:00:37,480 --> 01:00:40,200
Speaker 3: and he says, you, little nuthead, I have a gutton

1110
01:00:40,240 --> 01:00:42,080
Speaker 3: notion to toss you over the side.

1111
01:00:42,640 --> 01:00:45,440
Speaker 1: But we get a little bit of the natural affinity

1112
01:00:46,240 --> 01:00:49,160
Speaker 1: that a young child has for a giant monster. You know,

1113
01:00:49,240 --> 01:00:51,800
Speaker 1: this is of course something recently see especially in the

1114
01:00:51,800 --> 01:00:54,400
Speaker 1: Gamera movies. Camera is a friend to children.

1115
01:00:54,640 --> 01:00:56,960
Speaker 3: Yeah, it's never established that Gorgo is a friend to

1116
01:00:57,000 --> 01:01:00,400
Speaker 3: all children. But Sean is like naturally drawn to Gorgo.

1117
01:01:00,440 --> 01:01:05,360
Speaker 3: There are scenes later where Gorgo spoiler Gorgo's mother is

1118
01:01:05,440 --> 01:01:09,080
Speaker 3: destroying London and Sean while all the crowds are running away,

1119
01:01:09,160 --> 01:01:10,280
Speaker 3: Sean runs.

1120
01:01:09,960 --> 01:01:14,000
Speaker 1: Toward kids get Kaijuk. They understand that's part of the connection.

1121
01:01:23,200 --> 01:01:26,000
Speaker 3: So anyway, Joe and Sam they put armed guards on Gorgo.

1122
01:01:26,240 --> 01:01:29,040
Speaker 3: They say, if that thing moves, start shooting. But why

1123
01:01:29,040 --> 01:01:31,560
Speaker 3: would they do that. Isn't like this thing being alive.

1124
01:01:31,600 --> 01:01:35,840
Speaker 3: Their meal ticket as so Gorgo, I think kills a

1125
01:01:35,880 --> 01:01:38,560
Speaker 3: guard in the middle of the night. And they also

1126
01:01:38,600 --> 01:01:41,920
Speaker 3: mentioned that Gorgo is dripping some kind of phosphorescent ooze

1127
01:01:41,960 --> 01:01:44,680
Speaker 3: into the water as they travel that won't come back.

1128
01:01:44,760 --> 01:01:49,360
Speaker 3: Later they arrive in London and we get a bunch

1129
01:01:49,400 --> 01:01:52,720
Speaker 3: of shots of London and some things that are interesting.

1130
01:01:52,840 --> 01:01:55,240
Speaker 3: Rob I included one screenshot for you to look at here,

1131
01:01:55,280 --> 01:01:58,680
Speaker 3: because what we're looking at is like in the background

1132
01:01:58,720 --> 01:02:02,640
Speaker 3: a real of the Thames with like the Tower Bridge

1133
01:02:02,640 --> 01:02:05,400
Speaker 3: in the background. But then in the foreground there is

1134
01:02:05,600 --> 01:02:09,040
Speaker 3: a it's supposed to be a tent like a circus

1135
01:02:09,080 --> 01:02:11,480
Speaker 3: tent that says Gorgo over the top of it, so

1136
01:02:11,520 --> 01:02:14,200
Speaker 3: now we're actually seeing the name, and then there are

1137
01:02:14,480 --> 01:02:18,160
Speaker 3: painted cutouts of people in front of the circus tent,

1138
01:02:18,280 --> 01:02:21,600
Speaker 3: so they're not actors. They're like stands of people. But

1139
01:02:21,680 --> 01:02:24,120
Speaker 3: it cuts away pretty quickly, so if you weren't able

1140
01:02:24,120 --> 01:02:26,520
Speaker 3: to pause, you might think they were really standing there.

1141
01:02:27,200 --> 01:02:28,960
Speaker 1: Yeah, it gets just a quick mat painting here.

1142
01:02:29,120 --> 01:02:33,880
Speaker 3: It's not in there interesting. So there's some conflict here.

1143
01:02:34,360 --> 01:02:37,160
Speaker 3: When they arrive in London, the scientists from Dublin are

1144
01:02:37,240 --> 01:02:39,560
Speaker 3: mad that Sam and Joe have decided to sell the

1145
01:02:39,600 --> 01:02:42,280
Speaker 3: animal to Dorkin instead of handing it over for research,

1146
01:02:42,320 --> 01:02:44,440
Speaker 3: and they point out that it may be carrying unknown

1147
01:02:44,440 --> 01:02:48,000
Speaker 3: diseases or parasites. It hasn't been studied yet, but Dorkin

1148
01:02:48,120 --> 01:02:51,200
Speaker 3: has got that sweet cash for them. And Dorkin also

1149
01:02:51,240 --> 01:02:54,560
Speaker 3: makes assurances to the scientists. He's like, don't worry, you know,

1150
01:02:54,680 --> 01:02:58,000
Speaker 3: we'll We'll be giving you every opportunity to study the

1151
01:02:58,000 --> 01:03:00,520
Speaker 3: creature while it is held in a con creep pit

1152
01:03:00,680 --> 01:03:05,280
Speaker 3: for the gauking crowds I'm selling tickets to. And Dorkin

1153
01:03:05,520 --> 01:03:10,240
Speaker 3: is a real like pencil mustache, bow tie wearing money freak.

1154
01:03:10,840 --> 01:03:14,440
Speaker 1: Yeah, yeah, it's very clear that he is a villain

1155
01:03:14,480 --> 01:03:17,560
Speaker 1: in this picture. We're not giving a lot of reason

1156
01:03:17,640 --> 01:03:19,240
Speaker 1: to sympathize with this case.

1157
01:03:19,640 --> 01:03:22,880
Speaker 3: Oh, and then we get the Gorgo in chains parade

1158
01:03:22,960 --> 01:03:26,400
Speaker 3: through London. I think this scene was amazing. So there

1159
01:03:26,520 --> 01:03:29,840
Speaker 3: is like this parade of trucks or lorries I guess

1160
01:03:30,600 --> 01:03:33,440
Speaker 3: that say Dorkins Circus and say Gorgo on them. And

1161
01:03:33,480 --> 01:03:36,160
Speaker 3: one of them is like a flatbed truck that has

1162
01:03:36,280 --> 01:03:39,600
Speaker 3: Gorgo on the trailer and he's like wrapped in a

1163
01:03:39,600 --> 01:03:43,520
Speaker 3: big tarp that says Gorgo, covered in chains, and it

1164
01:03:43,560 --> 01:03:46,000
Speaker 3: feels like it's like tied to Saint Dronicus, like marching

1165
01:03:46,040 --> 01:03:48,360
Speaker 3: into Rome with the Queen of the Goths in a cage.

1166
01:03:48,440 --> 01:03:51,800
Speaker 3: But it's all for Dorkin and and I guess it

1167
01:03:51,880 --> 01:03:55,120
Speaker 3: was Dorkin's idea to call the creature Gorgo because it's

1168
01:03:55,120 --> 01:03:56,800
Speaker 3: written on all of his circus stuff.

1169
01:03:57,280 --> 01:03:59,080
Speaker 1: Well he knows you got to brand it, so that

1170
01:03:59,160 --> 01:04:01,960
Speaker 1: makes sense. And yeah, this this whole sequence is pretty

1171
01:04:02,000 --> 01:04:05,960
Speaker 1: great because it's it's weird, and also you get lots

1172
01:04:05,960 --> 01:04:10,920
Speaker 1: of period shots of London. I really enjoy just seeing

1173
01:04:11,640 --> 01:04:15,000
Speaker 1: all of like the neon and the signage and so forth,

1174
01:04:15,120 --> 01:04:16,480
Speaker 1: So this is a lot of fun.

1175
01:04:16,640 --> 01:04:19,480
Speaker 3: Yeah, and these are real location shots, so they actually

1176
01:04:19,600 --> 01:04:21,520
Speaker 3: must have like driven a truck with a thing that

1177
01:04:21,600 --> 01:04:24,400
Speaker 3: said Gorgo on it in front of Buckingham Palace and

1178
01:04:24,440 --> 01:04:29,840
Speaker 3: stuff like that, and we get another newscast that's saying

1179
01:04:29,880 --> 01:04:33,240
Speaker 3: we bring you the in our most unusual telecast today,

1180
01:04:33,320 --> 01:04:36,680
Speaker 3: we bring you the arrival of Gorgo. This creature, which

1181
01:04:36,680 --> 01:04:39,280
Speaker 3: should have been extinct ten million years ago, is truly

1182
01:04:39,320 --> 01:04:42,440
Speaker 3: an awesome sight as it is transported through the streets

1183
01:04:42,440 --> 01:04:45,720
Speaker 3: of modern London on its way to Battersea Park and

1184
01:04:45,760 --> 01:04:48,280
Speaker 3: there's a big sign for Gordon's Gin in the background,

1185
01:04:48,360 --> 01:04:51,080
Speaker 3: so it's just ads all over the place and the

1186
01:04:51,120 --> 01:04:54,920
Speaker 3: newscast goes on. Of course, Londoners are notoriously skeptical, and

1187
01:04:55,000 --> 01:04:57,960
Speaker 3: a good many we've spoken to still seem to think

1188
01:04:58,000 --> 01:05:00,919
Speaker 3: it's some kind of circus stunt. The animal is real,

1189
01:05:01,160 --> 01:05:04,120
Speaker 3: take my word for it. And they go on to

1190
01:05:04,280 --> 01:05:07,280
Speaker 3: it to say, well, the streets have been cleared, but

1191
01:05:07,760 --> 01:05:10,840
Speaker 3: you know, rest assured there is no danger. The animal

1192
01:05:10,880 --> 01:05:14,360
Speaker 3: has been given a large dose of tranquilizer and actually

1193
01:05:14,400 --> 01:05:16,640
Speaker 3: being so close to this thing, I could do with

1194
01:05:16,680 --> 01:05:20,280
Speaker 3: a large dose of tranquilizer myself. But jokes aside, the

1195
01:05:20,320 --> 01:05:25,160
Speaker 3: animal has killed a number of persons already. Oh and finally,

1196
01:05:25,200 --> 01:05:28,600
Speaker 3: this is also the newscast where when the guy is saying, oh,

1197
01:05:28,640 --> 01:05:31,600
Speaker 3: we've arrived at Battersea Park where Gorgo as he is

1198
01:05:31,640 --> 01:05:34,760
Speaker 3: called we don't know why, will be exhibited to the public.

1199
01:05:35,920 --> 01:05:39,200
Speaker 3: And Gorgo is like you can just straight up see

1200
01:05:39,280 --> 01:05:41,680
Speaker 3: Gorgo on the back of the truck, like his eyes

1201
01:05:41,720 --> 01:05:44,600
Speaker 3: are open and they're glowing red, but he's all tied down,

1202
01:05:44,680 --> 01:05:49,200
Speaker 3: and Gorgo in captivity like this does look very pitiable,

1203
01:05:49,360 --> 01:05:52,920
Speaker 3: like they achieve in tugging on the heart strings, Like

1204
01:05:52,960 --> 01:05:56,040
Speaker 3: I'm already feeling bad for Gorgo and they haven't even

1205
01:05:56,120 --> 01:05:58,000
Speaker 3: really gotten to the part where you're supposed to feel

1206
01:05:58,080 --> 01:05:59,160
Speaker 3: super bad for him yet.

1207
01:05:59,840 --> 01:06:02,160
Speaker 1: Yeah, you know, I can't help but feel as cool

1208
01:06:02,160 --> 01:06:04,439
Speaker 1: as these scenes are, Dorkin's kind of giving it away here,

1209
01:06:04,840 --> 01:06:08,440
Speaker 1: like everyone gets a free peak at Gorgo, and then

1210
01:06:08,480 --> 01:06:11,560
Speaker 1: he's gonna sell tickets to have Gorgo do more than

1211
01:06:11,760 --> 01:06:12,840
Speaker 1: just be present.

1212
01:06:13,200 --> 01:06:15,760
Speaker 3: I don't know that's a good point, yeah, Dorkin, you

1213
01:06:15,760 --> 01:06:18,080
Speaker 3: would think he'd be keeping more of a lid on it,

1214
01:06:18,280 --> 01:06:21,360
Speaker 3: or maybe just trying to give people the tiniest tease

1215
01:06:21,480 --> 01:06:23,560
Speaker 3: so that they will have to come pay for a ticket.

1216
01:06:23,560 --> 01:06:26,080
Speaker 3: But no, like you can see you can see Gorgo's

1217
01:06:26,120 --> 01:06:28,320
Speaker 3: face on the truck because.

1218
01:06:28,040 --> 01:06:31,600
Speaker 1: We know from King Kong that like a ticketed King

1219
01:06:31,680 --> 01:06:36,000
Speaker 1: Kong presentation consists of King Kong chained on stage and

1220
01:06:36,040 --> 01:06:40,520
Speaker 1: there's not much to it. I remember The Simpsons Treehouse

1221
01:06:40,560 --> 01:06:43,040
Speaker 1: of Horror has some jokes kind of alluding to this

1222
01:06:43,080 --> 01:06:45,080
Speaker 1: fact that, like, like, what was the rest of the

1223
01:06:45,080 --> 01:06:47,800
Speaker 1: show going to consist of? You just sit there looking

1224
01:06:47,800 --> 01:06:52,040
Speaker 1: at King Kong? But you know, what's the Gorgo show

1225
01:06:52,040 --> 01:06:56,280
Speaker 1: going to consist of? Is there an opening act? Is

1226
01:06:56,320 --> 01:06:59,120
Speaker 1: there some sort of a finale you're working towards. Is

1227
01:06:59,120 --> 01:07:01,200
Speaker 1: he going to do any trick or is he just

1228
01:07:01,240 --> 01:07:03,320
Speaker 1: going to be tied up more or less like he

1229
01:07:03,480 --> 01:07:05,280
Speaker 1: is in this whole sequence.

1230
01:07:05,240 --> 01:07:11,120
Speaker 3: He was supposed to read Gorgo then puppet show. Yeah,

1231
01:07:11,320 --> 01:07:14,280
Speaker 3: but so oh and we see so like for some reason,

1232
01:07:14,800 --> 01:07:18,920
Speaker 3: Sam and Joe are still involved, and they don't just

1233
01:07:19,000 --> 01:07:21,680
Speaker 3: like hand Gorgo off to Dorkin at the port and

1234
01:07:21,720 --> 01:07:24,680
Speaker 3: then take their money and go. They're like they seem

1235
01:07:24,760 --> 01:07:28,040
Speaker 3: to be Gorgo's full time caretakers.

1236
01:07:28,080 --> 01:07:32,200
Speaker 1: Now, yeah, despite having no qualifications, no qualifications for this

1237
01:07:32,280 --> 01:07:32,720
Speaker 1: at all.

1238
01:07:32,800 --> 01:07:36,160
Speaker 3: Right, they're they're salvage divers. What what do they what

1239
01:07:36,200 --> 01:07:39,800
Speaker 3: do they know about Gorgo? But Joe, Joe Ryan still

1240
01:07:39,840 --> 01:07:42,480
Speaker 3: has his captain's hat on by the way, But there's

1241
01:07:42,560 --> 01:07:45,600
Speaker 3: like a Dorkin press conference, and this is the part

1242
01:07:45,640 --> 01:07:47,760
Speaker 3: where one of the reporters is like, you know, is

1243
01:07:47,760 --> 01:07:50,040
Speaker 3: it true that you stole this from the Irish government?

1244
01:07:50,440 --> 01:07:52,880
Speaker 3: And Dorkin is like, yeah, they may take it back soon.

1245
01:07:52,920 --> 01:07:54,680
Speaker 3: So you've got to get your tickets to see Gorgo

1246
01:07:54,760 --> 01:07:58,680
Speaker 3: today while it's still here. So yeah, like we said,

1247
01:07:58,880 --> 01:08:02,720
Speaker 3: Joe and Sam they're still in handling Gorgo and during

1248
01:08:02,760 --> 01:08:05,360
Speaker 3: transport they're trying to put it in its enclosure, and

1249
01:08:05,400 --> 01:08:10,200
Speaker 3: Gorko is awakened from his tranquilizer slumber by camera flashes

1250
01:08:10,280 --> 01:08:14,560
Speaker 3: of irresponsible reporters. That seems familiar. Was that in King Kong?

1251
01:08:14,640 --> 01:08:17,880
Speaker 3: I think maybe it was? And there is a brief

1252
01:08:17,920 --> 01:08:21,760
Speaker 3: Gorgo rampage at the circus where he is eventually driven back.

1253
01:08:22,160 --> 01:08:25,760
Speaker 3: He's driven into his concrete pit by men with flame throwers.

1254
01:08:26,280 --> 01:08:29,479
Speaker 3: There seems to be a theme that fires Gorgo's weakness,

1255
01:08:29,800 --> 01:08:32,280
Speaker 3: but Gorgo kills some people with his tail on the

1256
01:08:32,320 --> 01:08:35,960
Speaker 3: way back to his concrete pit, including a friend of

1257
01:08:36,040 --> 01:08:40,320
Speaker 3: Joe and Sam's named Mike, and Sam seems more disturbed

1258
01:08:40,360 --> 01:08:43,120
Speaker 3: by this than Joe does, but eventually they get Gorgo

1259
01:08:43,240 --> 01:08:45,960
Speaker 3: locked away and then we're just treated to some shots

1260
01:08:45,960 --> 01:08:49,040
Speaker 3: of like London having Gorgo fever. So there are double

1261
01:08:49,040 --> 01:08:52,240
Speaker 3: decker buses that all say Gorgo on the side of them.

1262
01:08:52,640 --> 01:08:55,800
Speaker 3: We see the I guess it's Piccadilly Circus maybe, or

1263
01:08:55,840 --> 01:08:58,040
Speaker 3: you know, some like streets of London where there are

1264
01:08:58,080 --> 01:09:00,800
Speaker 3: just Gorgo signs all over the place, next to big

1265
01:09:00,840 --> 01:09:05,400
Speaker 3: posters for Schwepes and Gordon's Gin and stuff. We see

1266
01:09:05,400 --> 01:09:09,280
Speaker 3: fireworks for Gorgo. There's cotton candy and rides at the circus,

1267
01:09:09,800 --> 01:09:12,600
Speaker 3: and Dorkin is out like barking in front of the

1268
01:09:13,000 --> 01:09:16,160
Speaker 3: circus entrance saying everyone in the world is talking about Gorgo,

1269
01:09:16,280 --> 01:09:19,240
Speaker 3: but only you can see him. Only five shillings ladies

1270
01:09:19,240 --> 01:09:19,719
Speaker 3: and gentlemen.

1271
01:09:20,400 --> 01:09:20,559
Speaker 4: Uh.

1272
01:09:20,600 --> 01:09:22,519
Speaker 3: And they're you know, they're selling ice cream and stuff.

1273
01:09:22,560 --> 01:09:26,200
Speaker 3: And we see all of the British circus goers standing

1274
01:09:26,200 --> 01:09:28,920
Speaker 3: at the edge of this concrete pit where Gorgo is

1275
01:09:28,960 --> 01:09:31,800
Speaker 3: in chain, standing in like a puddle of water. They're

1276
01:09:31,840 --> 01:09:35,040
Speaker 3: all eating cotton candy and bananas and gaulking at this

1277
01:09:35,120 --> 01:09:37,439
Speaker 3: creature and just poor Gorgo.

1278
01:09:38,560 --> 01:09:40,880
Speaker 1: Yeah, yeah, we you feel a lot of sympathy for

1279
01:09:40,920 --> 01:09:42,760
Speaker 1: the monster at this point, because yeah, he's just he's

1280
01:09:42,800 --> 01:09:46,519
Speaker 1: in this pit and people are gawking at him, and

1281
01:09:46,840 --> 01:09:49,960
Speaker 1: he does not belong here. Gorgo was born.

1282
01:09:49,840 --> 01:09:52,880
Speaker 3: Free exactly, and he's also he's supposed to be in

1283
01:09:52,920 --> 01:09:55,439
Speaker 3: the sea. This is a point that Sean makes multiple times.

1284
01:09:55,960 --> 01:09:58,719
Speaker 3: It's not just that he's in captivity, that's bad enough,

1285
01:09:59,000 --> 01:10:02,080
Speaker 3: but he's being kept on land and like hosed down

1286
01:10:02,160 --> 01:10:05,760
Speaker 3: with water. Gorgo is a sea creature. And we get

1287
01:10:05,800 --> 01:10:08,120
Speaker 3: a scene where we see how Sam and Joe are

1288
01:10:08,120 --> 01:10:11,200
Speaker 3: dealing with their success. Differently, Joe is like living it up.

1289
01:10:11,280 --> 01:10:13,080
Speaker 3: We see he's got like a nice new suit on

1290
01:10:13,400 --> 01:10:17,720
Speaker 3: and he seems to be flashing his wealth. And Sam, meanwhile,

1291
01:10:18,080 --> 01:10:21,760
Speaker 3: is shown apparently just like hiding in a trailer at

1292
01:10:21,800 --> 01:10:25,720
Speaker 3: the circus where perhaps Sean is living. Like Sean, the

1293
01:10:25,800 --> 01:10:29,479
Speaker 3: kid is seen sleeping there. Again, it's not exactly clear,

1294
01:10:29,479 --> 01:10:32,120
Speaker 3: but it almost suggests that like Sam and Joe have

1295
01:10:32,240 --> 01:10:35,559
Speaker 3: adopted Sean. Maybe I don't like they are taking care

1296
01:10:35,600 --> 01:10:40,840
Speaker 3: of him now. And Sam is seen drinking heavily and

1297
01:10:41,080 --> 01:10:45,599
Speaker 3: he says and like Joe comes in and says, hey,

1298
01:10:45,720 --> 01:10:47,880
Speaker 3: you know, how about coming out and having a few drinks,

1299
01:10:47,880 --> 01:10:50,160
Speaker 3: And Sam's like, I'm having a few drinks right now.

1300
01:10:50,479 --> 01:10:53,479
Speaker 3: Sam is clearly not happy with how things are going,

1301
01:10:54,320 --> 01:10:56,760
Speaker 3: and Joe is like, stop having feelings. Let's just take

1302
01:10:56,760 --> 01:10:59,360
Speaker 3: the money and you know, be happy. But Sam has

1303
01:10:59,360 --> 01:11:02,160
Speaker 3: a Sam has a bad premonition about everything. He's like,

1304
01:11:02,400 --> 01:11:06,160
Speaker 3: something bad's gonna happen. I can just feel it suddenly,

1305
01:11:06,160 --> 01:11:08,599
Speaker 3: And what do you know, it's it's prescient because they

1306
01:11:08,600 --> 01:11:10,960
Speaker 3: get a phone call and it's an urgent meeting with

1307
01:11:11,000 --> 01:11:14,759
Speaker 3: the scientists from Dublin and they're like, hey, we figured

1308
01:11:14,760 --> 01:11:21,800
Speaker 3: something out. The creature you captured is not an adult specimen. Yeah, whoops,

1309
01:11:21,840 --> 01:11:24,800
Speaker 3: not an adult specimen. And then Sam says, you mean

1310
01:11:24,840 --> 01:11:29,280
Speaker 3: it isn't fully grown. They say no, in fact, it's

1311
01:11:29,479 --> 01:11:32,639
Speaker 3: very early in infancy. And they're like, okay, well what

1312
01:11:32,680 --> 01:11:35,439
Speaker 3: would an adult look like? And then they open up

1313
01:11:35,479 --> 01:11:38,160
Speaker 3: this page where they just like put a finger down

1314
01:11:38,280 --> 01:11:42,559
Speaker 3: on this illustration of two gorgo skeletons that are exactly

1315
01:11:42,600 --> 01:11:45,120
Speaker 3: the same, but one is like ten times bigger than.

1316
01:11:45,000 --> 01:11:47,519
Speaker 1: The other, and it's you know, it's not quite an

1317
01:11:47,520 --> 01:11:51,840
Speaker 1: actual Gorgosaurus skeleton that they have illustrated here, but it

1318
01:11:52,000 --> 01:11:55,840
Speaker 1: is more in keeping with a realistic This may be

1319
01:11:55,920 --> 01:12:01,080
Speaker 1: another dinosaur species that they're just using the skeleton illustration from,

1320
01:12:01,080 --> 01:12:04,840
Speaker 1: but it is very hard to imagine the monster that

1321
01:12:04,880 --> 01:12:09,800
Speaker 1: we've seen having this skeleton at at the center of it.

1322
01:12:10,240 --> 01:12:11,679
Speaker 1: There's a lot of meat on those bones.

1323
01:12:12,080 --> 01:12:14,599
Speaker 3: Yeah, and they're upset. They're like, wow, that would make

1324
01:12:14,600 --> 01:12:18,400
Speaker 3: the adult nearly two hundred feet tall. And the scientists

1325
01:12:18,439 --> 01:12:22,080
Speaker 3: are like, yep, so obviously we got to notify the authorities.

1326
01:12:22,439 --> 01:12:24,880
Speaker 3: And Joe responds by saying, what are you trying to

1327
01:12:24,920 --> 01:12:26,960
Speaker 3: do stir up a whole hornet's nest because of a

1328
01:12:26,960 --> 01:12:29,760
Speaker 3: few calculations on a piece of paper. Nuts to that,

1329
01:12:30,000 --> 01:12:33,479
Speaker 3: Nuts to that, I say. Then next we see Gorgo

1330
01:12:33,720 --> 01:12:36,800
Speaker 3: back in his enclosing. So he's in this concrete pit

1331
01:12:36,920 --> 01:12:40,040
Speaker 3: and it's surrounded by electric fencing, but we see Gorgo

1332
01:12:40,160 --> 01:12:46,560
Speaker 3: testing the fences for weaknesses systematically. He remembers Clever Girl exactly. Meanwhile,

1333
01:12:46,600 --> 01:12:51,800
Speaker 3: back on Nara Island, remember Macarton, the corrupt archaeologist and

1334
01:12:51,920 --> 01:12:55,040
Speaker 3: harbor master. While we see him in his harbor master shack,

1335
01:12:55,240 --> 01:12:59,000
Speaker 3: just examining his precious Viking gold with a magnifying glass.

1336
01:12:59,280 --> 01:13:01,280
Speaker 3: I guess this is all he does in his free time.

1337
01:13:01,920 --> 01:13:05,120
Speaker 3: And he's sitting there and then suddenly a Gorgo like

1338
01:13:05,280 --> 01:13:08,320
Speaker 3: creature rises up out of the sea and attacks Nara

1339
01:13:08,880 --> 01:13:13,880
Speaker 3: and McMartin or mccarton is crushed, and so oh you

1340
01:13:13,920 --> 01:13:17,160
Speaker 3: know what's next. This is Gorgo's mom and the Gorgo

1341
01:13:17,280 --> 01:13:19,120
Speaker 3: matriarch is on the way to London.

1342
01:13:19,680 --> 01:13:21,280
Speaker 1: Oh man, he messed up.

1343
01:13:21,320 --> 01:13:24,520
Speaker 3: Now humans, So we see all the British radio operators,

1344
01:13:24,640 --> 01:13:27,360
Speaker 3: naval authorities, they're trying to make contact with Nara Island,

1345
01:13:27,520 --> 01:13:30,720
Speaker 3: but not a word from them. And then so the

1346
01:13:30,760 --> 01:13:32,599
Speaker 3: next thing is, let's see if we can use our

1347
01:13:32,640 --> 01:13:36,639
Speaker 3: precious national stock footage reserves to figure out what's going on.

1348
01:13:37,360 --> 01:13:41,719
Speaker 3: So we see lots of naval engagements, so stock footage

1349
01:13:41,760 --> 01:13:45,519
Speaker 3: of like battleships moving their guns around and firing into

1350
01:13:45,560 --> 01:13:49,200
Speaker 3: the water and chugging along, and then close ups of

1351
01:13:49,280 --> 01:13:53,240
Speaker 3: just admirals with binoculars looking out over the water. There

1352
01:13:53,320 --> 01:13:57,120
Speaker 3: is a naval engagement between a battleship and Gorgo's mother.

1353
01:13:57,280 --> 01:13:58,840
Speaker 3: Who do you think is going to prevail here?

1354
01:14:00,120 --> 01:14:01,280
Speaker 1: It's going to be the monster.

1355
01:14:02,080 --> 01:14:04,599
Speaker 3: But of course we see the authorities back in London

1356
01:14:04,680 --> 01:14:08,840
Speaker 3: making these gloating statements about how the creature was undoubtedly destroyed,

1357
01:14:08,920 --> 01:14:11,040
Speaker 3: you know, it could not possibly be a match for

1358
01:14:11,120 --> 01:14:13,680
Speaker 3: our navy. But then they get a phone call and

1359
01:14:13,760 --> 01:14:15,320
Speaker 3: we see this guy on the phone. He's like, oh

1360
01:14:15,400 --> 01:14:19,639
Speaker 3: really capsized. Oh't know. So they're getting the bad news

1361
01:14:19,680 --> 01:14:23,080
Speaker 3: and they figure out that the creature is Gorgo's mother,

1362
01:14:23,560 --> 01:14:26,640
Speaker 3: and it is on the way to London, following a

1363
01:14:26,760 --> 01:14:30,080
Speaker 3: trail left in the sea, the ooze that had been

1364
01:14:30,120 --> 01:14:32,559
Speaker 3: dripping off of Gorgo when they traveled by boat.

1365
01:14:33,200 --> 01:14:35,439
Speaker 1: M she's coming after him.

1366
01:14:35,720 --> 01:14:37,960
Speaker 3: So what are you going to do. We've got a bigger,

1367
01:14:38,040 --> 01:14:41,240
Speaker 3: you know, ten times bigger monster on the way. Sam

1368
01:14:41,320 --> 01:14:44,120
Speaker 3: has an idea, as Sam says, well, we got to

1369
01:14:44,280 --> 01:14:46,400
Speaker 3: turn Gorgo loose. We got to let him loose and

1370
01:14:46,439 --> 01:14:48,120
Speaker 3: send him back to the sea while we've still got

1371
01:14:48,160 --> 01:14:51,439
Speaker 3: a chance. But Dorkin and Joe do not want to

1372
01:14:51,479 --> 01:14:55,360
Speaker 3: lose out on their profits. Joe says, what's the matter

1373
01:14:55,400 --> 01:14:57,600
Speaker 3: with you? This is the twentieth century. There must be

1374
01:14:57,640 --> 01:15:01,760
Speaker 3: some way of handling an overgrown animal. And the admirals

1375
01:15:01,800 --> 01:15:05,120
Speaker 3: give assurances that there will be no problem stopping this creature.

1376
01:15:05,320 --> 01:15:08,120
Speaker 3: So like the authorities are like, no, no, no, don't

1377
01:15:08,160 --> 01:15:11,439
Speaker 3: release Gorgo. You keep making money at the circus. We

1378
01:15:11,479 --> 01:15:15,240
Speaker 3: will defeat the monster. And then later that night we

1379
01:15:15,280 --> 01:15:18,799
Speaker 3: see Sam. Sam gets drunk and tries to release Gorgo,

1380
01:15:19,000 --> 01:15:21,120
Speaker 3: and this leads to a fight with Joe, in which

1381
01:15:21,160 --> 01:15:25,120
Speaker 3: Sam is knocked unconscious and Gorgo is not released. Sean

1382
01:15:25,240 --> 01:15:28,720
Speaker 3: is just here like watching these adults fight. And then

1383
01:15:29,000 --> 01:15:32,240
Speaker 3: Gorgo's mother arrives, and from here until the end of

1384
01:15:32,240 --> 01:15:35,080
Speaker 3: the movie, it is just a long series of Mother

1385
01:15:35,240 --> 01:15:39,439
Speaker 3: Gorgo attacks Mother Gorgo versus more of the British Navy.

1386
01:15:39,520 --> 01:15:43,040
Speaker 3: They launch torpedoes, they bombard her with heavy guns, they

1387
01:15:43,120 --> 01:15:47,000
Speaker 3: drop depth charges, all to no effect. She penetrates the defense,

1388
01:15:47,120 --> 01:15:50,360
Speaker 3: swims up the estuary, up the river, and she's coming

1389
01:15:50,400 --> 01:15:54,639
Speaker 3: for Battersea Park. There's a scene where she's like coming

1390
01:15:54,720 --> 01:15:56,800
Speaker 3: up into the harbor. I guess this is on the

1391
01:15:56,920 --> 01:16:00,840
Speaker 3: river in London, and the military tries to stop her

1392
01:16:00,880 --> 01:16:03,799
Speaker 3: by dumping petrol in the river and setting it on fire,

1393
01:16:03,880 --> 01:16:06,960
Speaker 3: and she clearly doesn't like that, but she is not deterred,

1394
01:16:07,560 --> 01:16:10,519
Speaker 3: and Robbi caught a picture. There's one scene where it

1395
01:16:10,560 --> 01:16:13,839
Speaker 3: just cuts to these random onlookers who are like watching

1396
01:16:13,920 --> 01:16:17,559
Speaker 3: Mother Gorgo gets set on fire with these faces like wow,

1397
01:16:17,840 --> 01:16:18,479
Speaker 3: so cool.

1398
01:16:19,160 --> 01:16:22,000
Speaker 1: Yeah, And we also get a burning man stunt in

1399
01:16:22,040 --> 01:16:24,959
Speaker 1: all of this, which was also quite terrifying.

1400
01:16:25,520 --> 01:16:27,679
Speaker 3: Oh is that wait, what do you have in mind?

1401
01:16:27,880 --> 01:16:30,680
Speaker 3: Somebody in the Gorgo suit or a human.

1402
01:16:31,120 --> 01:16:33,120
Speaker 1: Human at some point in all of this, I mean,

1403
01:16:33,160 --> 01:16:37,160
Speaker 1: there's a some of the chaos kind of melts together

1404
01:16:37,400 --> 01:16:39,479
Speaker 1: in my mind. But I distinctly remember at least one

1405
01:16:39,520 --> 01:16:42,000
Speaker 1: shot of a man on fire.

1406
01:16:42,439 --> 01:16:44,840
Speaker 3: Oh interesting, I don't recall that, but I believe you.

1407
01:16:44,880 --> 01:16:47,000
Speaker 3: There are a lot of effects back to back here,

1408
01:16:47,040 --> 01:16:49,920
Speaker 3: so they kind of like they wash over you. At

1409
01:16:49,920 --> 01:16:52,960
Speaker 3: some point, but we see the army and civil defense

1410
01:16:53,000 --> 01:16:56,719
Speaker 3: authorities making emergency announcements. They start clearing out the streets.

1411
01:16:56,720 --> 01:17:00,320
Speaker 3: They're running around on bullhorns saying don't panic, will be

1412
01:17:00,360 --> 01:17:04,000
Speaker 3: notified when the emergency is over. These shots of people

1413
01:17:04,040 --> 01:17:06,679
Speaker 3: running around, there are tanks in the streets. We see

1414
01:17:06,680 --> 01:17:10,200
Speaker 3: officials discuss the possibility of using atomic weapons, but they

1415
01:17:10,240 --> 01:17:11,679
Speaker 3: decide against it wisely.

1416
01:17:12,560 --> 01:17:12,840
Speaker 1: Uh.

1417
01:17:12,880 --> 01:17:15,840
Speaker 3: And then we see Gorgo's mother just smashing landmarks, so

1418
01:17:15,880 --> 01:17:19,680
Speaker 3: she comes up on the tower bridge smashes it. At

1419
01:17:19,680 --> 01:17:22,559
Speaker 3: some point we get close ups on these British soldiers

1420
01:17:22,600 --> 01:17:24,479
Speaker 3: and I'm like, why do they look like they're they're

1421
01:17:24,520 --> 01:17:27,080
Speaker 3: outfitted to go fight in World War One?

1422
01:17:28,000 --> 01:17:30,360
Speaker 1: I assume this was the standard uniform of the day.

1423
01:17:30,960 --> 01:17:32,240
Speaker 1: Gorgo would get it, right.

1424
01:17:33,360 --> 01:17:37,920
Speaker 3: I believe it. Yeah, they it is surprisingly antiquated looking

1425
01:17:38,000 --> 01:17:40,960
Speaker 3: like uniforms and helmets. But maybe that that was the

1426
01:17:41,040 --> 01:17:45,439
Speaker 3: outfit in sixty one. Yeah, but you know, nothing stop

1427
01:17:45,479 --> 01:17:48,599
Speaker 3: in Mother Gorgo. So uh, as we were talking about earlier,

1428
01:17:49,479 --> 01:17:51,960
Speaker 3: the city smashing does go on for a long time

1429
01:17:52,120 --> 01:17:54,840
Speaker 3: and it gets somewhat tedious. I would say, Uh, this

1430
01:17:55,000 --> 01:17:57,080
Speaker 3: is I would say, kind of a low point for

1431
01:17:57,160 --> 01:17:59,200
Speaker 3: a lot of giant monster movies. And it's a tough

1432
01:17:59,240 --> 01:18:02,880
Speaker 3: balance because in way, the city smashing is what you're

1433
01:18:02,880 --> 01:18:04,760
Speaker 3: there for. That's a part of the part of the

1434
01:18:04,800 --> 01:18:07,320
Speaker 3: appeal of the movie. On the other hand, in a

1435
01:18:07,320 --> 01:18:09,960
Speaker 3: lot of these movies, there's just more of it than

1436
01:18:10,000 --> 01:18:11,040
Speaker 3: you actually need.

1437
01:18:12,400 --> 01:18:15,320
Speaker 1: Eyes are always bigger than your stomach. Yeah. Yeah, this

1438
01:18:15,320 --> 01:18:17,160
Speaker 1: looks great and they're like, oh wow, it's still it's

1439
01:18:17,200 --> 01:18:21,599
Speaker 1: still happenings, still going, but you know the really memorable

1440
01:18:21,640 --> 01:18:24,920
Speaker 1: moments of course, when the monster keys in on a

1441
01:18:24,920 --> 01:18:27,479
Speaker 1: particular landmark and we do get some of that action here.

1442
01:18:27,720 --> 01:18:30,680
Speaker 3: Yeah, exactly. So this one has the same issue a

1443
01:18:30,720 --> 01:18:33,840
Speaker 3: lot of these movies do. The smashing I think goes

1444
01:18:33,840 --> 01:18:36,200
Speaker 3: on a little too long. There's a surplus of it.

1445
01:18:36,320 --> 01:18:39,200
Speaker 3: But on the other hand, as we said earlier, it's

1446
01:18:39,520 --> 01:18:41,800
Speaker 3: superb model work. I love the way a lot of

1447
01:18:41,800 --> 01:18:45,839
Speaker 3: this looks. It's very tactle and pleasurable smashing to observe.

1448
01:18:46,400 --> 01:18:50,160
Speaker 3: At one point, I think, actually the army like accidentally

1449
01:18:50,160 --> 01:18:54,439
Speaker 3: shoots Big Ben or the clock tower. They like launch

1450
01:18:54,439 --> 01:18:58,280
Speaker 3: a missile through it, trying to hit mother Gorgo. So,

1451
01:18:58,439 --> 01:18:59,920
Speaker 3: you know, how do you think this is going to end? Well,

1452
01:19:00,120 --> 01:19:03,519
Speaker 3: power of tanks and guns and bombs stop Gorgo's mother,

1453
01:19:03,960 --> 01:19:08,080
Speaker 3: what do you think? No, So we see, you know,

1454
01:19:08,120 --> 01:19:10,599
Speaker 3: our characters running around trying to get out of Harm's way.

1455
01:19:10,600 --> 01:19:14,800
Speaker 3: At one point, Sean is like drawn to Gorgo's mother.

1456
01:19:14,920 --> 01:19:17,840
Speaker 3: He's like approaching her when everybody else is fleeing, and

1457
01:19:17,880 --> 01:19:20,200
Speaker 3: we see Joe have kind of a hero turn. Joe

1458
01:19:20,240 --> 01:19:23,640
Speaker 3: has been the selfish, the more selfish, greedy one in

1459
01:19:23,640 --> 01:19:27,240
Speaker 3: this act so far, but when Shawn is in Harm's way,

1460
01:19:27,320 --> 01:19:29,120
Speaker 3: Joe goes to rescue him and bring him out of

1461
01:19:29,160 --> 01:19:32,439
Speaker 3: harms way, and we see Joe and Sean they're chased

1462
01:19:32,439 --> 01:19:35,559
Speaker 3: into the underground and then the tunnels are collapsing and flooding,

1463
01:19:35,560 --> 01:19:36,439
Speaker 3: but they make it out.

1464
01:19:36,800 --> 01:19:41,160
Speaker 1: Yeah, this segment with in the tunnels I thought was

1465
01:19:41,280 --> 01:19:44,839
Speaker 1: very effective. Like in general, all of the monster destruction

1466
01:19:45,000 --> 01:19:47,920
Speaker 1: going on you know, even though, like you said, there's

1467
01:19:47,960 --> 01:19:50,080
Speaker 1: a lot of it, but we do cut to all

1468
01:19:50,080 --> 01:19:52,960
Speaker 1: of these scenes of the crowds in full panic mode

1469
01:19:53,800 --> 01:19:56,200
Speaker 1: and like the street level understanding of the destruction and

1470
01:19:56,240 --> 01:19:59,880
Speaker 1: then our character level understanding of the destruction, and that

1471
01:20:00,120 --> 01:20:02,599
Speaker 1: does make it feel a lot more real. And there's

1472
01:20:02,640 --> 01:20:06,599
Speaker 1: one segment in particular where Joe and Sean are just

1473
01:20:06,640 --> 01:20:10,280
Speaker 1: in there in the crowd crush. Everyone's just going down

1474
01:20:10,439 --> 01:20:13,760
Speaker 1: into the tunnels, into the subway tunnels there, and there's

1475
01:20:13,800 --> 01:20:17,559
Speaker 1: this terrifying scene where like they make it into the

1476
01:20:17,960 --> 01:20:22,720
Speaker 1: tunnels proper and behind them again crowds of people and

1477
01:20:22,760 --> 01:20:26,880
Speaker 1: then the steveln collapses like Gorgo just destroys all of

1478
01:20:26,920 --> 01:20:30,360
Speaker 1: them and like hundreds of people die. It's you know,

1479
01:20:31,720 --> 01:20:34,080
Speaker 1: it would seem to be the case anyway, and only

1480
01:20:34,400 --> 01:20:37,040
Speaker 1: Joe and Sean make it out. And I was like, oh,

1481
01:20:37,080 --> 01:20:39,439
Speaker 1: that that was effective, Like that made me feel the

1482
01:20:39,760 --> 01:20:43,280
Speaker 1: chaos and the destruction of these sequences. So it's not

1483
01:20:43,680 --> 01:20:46,240
Speaker 1: just man in rubber suit fall on bridge.

1484
01:20:46,600 --> 01:20:49,559
Speaker 3: Yeah, I would emphasize that, like nothing this year does

1485
01:20:49,600 --> 01:20:52,920
Speaker 3: not look funny, Like this is a the way it's

1486
01:20:53,040 --> 01:20:56,639
Speaker 3: visually realized. These scenes are very like dark and grim.

1487
01:20:57,240 --> 01:20:58,120
Speaker 1: Yeah.

1488
01:20:58,240 --> 01:21:00,360
Speaker 3: So of course as the chaos is going on, we

1489
01:21:00,400 --> 01:21:02,960
Speaker 3: get a lot more radio reports, you know, like the

1490
01:21:03,280 --> 01:21:06,280
Speaker 3: radio reporter says, like Piccadilly the heart of London. Words

1491
01:21:06,280 --> 01:21:08,639
Speaker 3: can't describe it. There's been nothing like it, not even

1492
01:21:08,720 --> 01:21:11,320
Speaker 3: in the worst of the blitz. This section is a

1493
01:21:11,360 --> 01:21:15,599
Speaker 3: complete shambles, people running mad with fear, and we see

1494
01:21:15,640 --> 01:21:17,880
Speaker 3: on the street level there's like a there's an End

1495
01:21:17,920 --> 01:21:20,840
Speaker 3: Times profit who's wearing a sign that says repent the

1496
01:21:20,960 --> 01:21:25,400
Speaker 3: end is nigh. And we see the admirals and the

1497
01:21:25,479 --> 01:21:27,800
Speaker 3: Dublin scientists trying to come up with a plan to

1498
01:21:27,960 --> 01:21:32,479
Speaker 3: like electrocute Mother Gorgo. The admirals like how much voltage, well,

1499
01:21:32,520 --> 01:21:35,760
Speaker 3: we need and the Dublin scientist is like, h two

1500
01:21:35,800 --> 01:21:39,520
Speaker 3: to three million volts but that's only a guess. Yeah,

1501
01:21:39,640 --> 01:21:41,720
Speaker 3: then why do you even say it?

1502
01:21:41,720 --> 01:21:41,760
Speaker 2: It?

1503
01:21:41,880 --> 01:21:44,160
Speaker 1: Really they do a great job of making it feel

1504
01:21:44,280 --> 01:21:47,120
Speaker 1: rather hopeless because at this point there's just no real

1505
01:21:47,200 --> 01:21:50,040
Speaker 1: plan and it seems like nothing is going to stop

1506
01:21:50,040 --> 01:21:54,479
Speaker 1: the absolute destruction of the city unless they were maybe

1507
01:21:54,479 --> 01:21:58,640
Speaker 1: to do something like release Little Gorgo, which nobody is

1508
01:21:58,720 --> 01:21:59,280
Speaker 1: actually doing.

1509
01:21:59,520 --> 01:22:03,040
Speaker 3: Yeah, Sam suggested before this all started. Sam was right.

1510
01:22:03,200 --> 01:22:06,640
Speaker 3: Sam was right. Uh, so they've got this plan. You know,

1511
01:22:06,680 --> 01:22:09,320
Speaker 3: we get a lot of moralizing from the radio reporters

1512
01:22:09,400 --> 01:22:13,680
Speaker 3: talking about, you know, the whire all the electricity of

1513
01:22:13,720 --> 01:22:17,439
Speaker 3: London has been redirected to the wires, to this animal

1514
01:22:17,479 --> 01:22:20,040
Speaker 3: small enclosure. Will it be enough? Will it be enough

1515
01:22:20,080 --> 01:22:22,880
Speaker 3: to stop this huge beast? Where will the miracle be

1516
01:22:22,960 --> 01:22:25,960
Speaker 3: granted or will it be yet another of man's puny

1517
01:22:26,000 --> 01:22:29,920
Speaker 3: efforts to oppose this irresistible force of ancient nature.

1518
01:22:31,120 --> 01:22:34,920
Speaker 1: The miracle, the miracle of keeping this mother monster from

1519
01:22:34,920 --> 01:22:38,519
Speaker 1: her young And like in a way, I mean, I

1520
01:22:38,520 --> 01:22:42,040
Speaker 1: guess it's it's a rather effective part of the film here,

1521
01:22:42,080 --> 01:22:46,640
Speaker 1: because it's like just do the the the like, like

1522
01:22:46,720 --> 01:22:48,800
Speaker 1: the answer is right there in front of you, Like

1523
01:22:49,040 --> 01:22:51,680
Speaker 1: why don't you do that? Release the monster? Why like

1524
01:22:51,720 --> 01:22:57,080
Speaker 1: this this desperate, uh you know, egotistical uh desire to

1525
01:22:57,320 --> 01:23:00,599
Speaker 1: defeat nature instead of like bending it least a little

1526
01:23:00,640 --> 01:23:03,360
Speaker 1: bit to it here and instead they're just going to

1527
01:23:03,400 --> 01:23:04,639
Speaker 1: invite absolute destruction.

1528
01:23:04,880 --> 01:23:08,639
Speaker 3: Rob you're not understanding. Dorkin would lose some money.

1529
01:23:08,760 --> 01:23:10,519
Speaker 1: I mean that's right because on top of the tickets,

1530
01:23:10,520 --> 01:23:13,400
Speaker 1: the concessions alone, like he was banking on that.

1531
01:23:13,760 --> 01:23:17,799
Speaker 3: Yeah, yeah, all right, So in the end, Mother Gorgo.

1532
01:23:17,920 --> 01:23:20,840
Speaker 3: She makes it through. She rescues her baby, and Gorgo

1533
01:23:20,960 --> 01:23:23,880
Speaker 3: and Mother Gorgo they trek back out to the ocean.

1534
01:23:23,960 --> 01:23:26,599
Speaker 3: They get in the water and they start swimming away

1535
01:23:27,200 --> 01:23:33,280
Speaker 3: and get the more of the like crazy commentary from

1536
01:23:33,280 --> 01:23:36,920
Speaker 3: the radio reporter saying, we've prayed for a miracle. Maybe

1537
01:23:36,920 --> 01:23:39,360
Speaker 3: our prayers have been answered. It's this speech that goes

1538
01:23:39,400 --> 01:23:42,639
Speaker 3: on for a long time. He's saying. In the end,

1539
01:23:42,920 --> 01:23:46,320
Speaker 3: she turns with her young, leaving the prostrate city, leaving

1540
01:23:46,400 --> 01:23:49,360
Speaker 3: the haunts of man, and leaving Man himself to ponder

1541
01:23:49,400 --> 01:23:52,960
Speaker 3: the proud boast that he alone is lord of all creation.

1542
01:23:53,800 --> 01:23:56,880
Speaker 3: It is a very he tampered in God's domain kind

1543
01:23:56,880 --> 01:24:00,880
Speaker 3: of ending. Yeah, and then we in the end, actually

1544
01:24:00,920 --> 01:24:03,200
Speaker 3: they give the last word to Shan, the child who

1545
01:24:03,920 --> 01:24:07,439
Speaker 3: who's watching the creatures leave, and Sean says, you're going

1546
01:24:07,520 --> 01:24:10,720
Speaker 3: back now, back to the sea. And I do have

1547
01:24:10,760 --> 01:24:12,799
Speaker 3: to say in the final shot where they're showing Gorgo

1548
01:24:12,880 --> 01:24:15,200
Speaker 3: and Mother Gorgo going back into the water, they make

1549
01:24:15,360 --> 01:24:18,440
Speaker 3: little Gorgo look really tiny in comparison.

1550
01:24:19,000 --> 01:24:22,120
Speaker 1: Yeah. Yeah, it kind of drives home the obscenity of

1551
01:24:22,200 --> 01:24:25,400
Speaker 1: the whole act of keeping this creature hostage.

1552
01:24:25,800 --> 01:24:29,559
Speaker 3: Yeah, so that's the end of Gorgo, Pity the Monster.

1553
01:24:30,320 --> 01:24:34,920
Speaker 1: Yeah, yeah, you know it's reflecting back on it more here.

1554
01:24:35,439 --> 01:24:38,600
Speaker 1: I feel like it does have a strong message that

1555
01:24:38,680 --> 01:24:41,320
Speaker 1: it's trying to drive home and yeah you can't help.

1556
01:24:41,360 --> 01:24:45,160
Speaker 1: But wonder if this too might have had an impact

1557
01:24:45,240 --> 01:24:48,240
Speaker 1: on the Star. You know, this might have like laid

1558
01:24:48,280 --> 01:24:52,479
Speaker 1: some of the groundwork for Bill Traver's later involvement in

1559
01:24:52,760 --> 01:24:57,680
Speaker 1: animal rights activism. I mean, not officially, but maybe a

1560
01:24:57,680 --> 01:24:59,519
Speaker 1: little bit in addition to Born Free.

1561
01:25:00,040 --> 01:25:04,080
Speaker 3: So that's a final verdict. I think Gorgo is a

1562
01:25:04,080 --> 01:25:07,920
Speaker 3: tremendously enjoyable movie. It's, of course, as I said in

1563
01:25:08,000 --> 01:25:11,320
Speaker 3: the beginning, funny and very concept funny in some elements

1564
01:25:11,320 --> 01:25:14,960
Speaker 3: of execution, quite strong in other elements of execution. So

1565
01:25:15,080 --> 01:25:17,759
Speaker 3: I think it's a fairly good entry in the giant

1566
01:25:17,760 --> 01:25:21,639
Speaker 3: monster movie canon. You know, it's not quite your on

1567
01:25:21,680 --> 01:25:24,519
Speaker 3: the level of like your original Godzilla and stuff like that,

1568
01:25:24,680 --> 01:25:28,760
Speaker 3: but of the sort of mid level big monsters. It's

1569
01:25:28,800 --> 01:25:29,880
Speaker 3: one of the better ones. I think.

1570
01:25:30,320 --> 01:25:32,240
Speaker 1: Do you think they could come back and do a

1571
01:25:32,280 --> 01:25:37,880
Speaker 1: Shin Gorgo Gorgo movie inspired by Shin Godzilla.

1572
01:25:37,920 --> 01:25:40,800
Speaker 3: Where half of it is like the British Navy having

1573
01:25:40,840 --> 01:25:44,000
Speaker 3: meetings and then having meetings about other meetings that should

1574
01:25:44,040 --> 01:25:44,760
Speaker 3: be organized.

1575
01:25:45,040 --> 01:25:47,360
Speaker 1: Yeah, we didn't get enough meetings in this film about

1576
01:25:47,640 --> 01:25:52,479
Speaker 1: relations with Ireland, about Gorgo rights, who has the rights

1577
01:25:52,520 --> 01:25:56,880
Speaker 1: to the monster, and the exporting of the monster and

1578
01:25:56,920 --> 01:25:59,719
Speaker 1: so forth. A lot that could be done there.

1579
01:26:00,840 --> 01:26:03,360
Speaker 3: For listeners who don't recall and the pat We're big

1580
01:26:03,400 --> 01:26:07,040
Speaker 3: fans of shin Godzilla. I haven't seen the more recent one,

1581
01:26:07,080 --> 01:26:09,840
Speaker 3: Godzilla Minus one, but I've been hearing very good things

1582
01:26:09,840 --> 01:26:10,280
Speaker 3: about it.

1583
01:26:10,600 --> 01:26:13,559
Speaker 1: Yeah, same, same. So it's a reminder that even though

1584
01:26:13,680 --> 01:26:16,760
Speaker 1: the giant monster movie, you know, we think of it

1585
01:26:16,800 --> 01:26:20,200
Speaker 1: as being just very formulaic and if you've seen one,

1586
01:26:20,200 --> 01:26:22,439
Speaker 1: you've seen them all, and that everything that could be

1587
01:26:22,520 --> 01:26:25,760
Speaker 1: done has been done and the only upgrade you're going

1588
01:26:25,840 --> 01:26:27,680
Speaker 1: to get are going to be effects based, right, But

1589
01:26:27,760 --> 01:26:30,840
Speaker 1: it's not the case. Like clearly, there are still interesting

1590
01:26:30,880 --> 01:26:34,719
Speaker 1: stories to tell with giant monsters, and they keep coming,

1591
01:26:35,360 --> 01:26:37,800
Speaker 1: and I say that's wonderful. I'm all for it.

1592
01:26:38,240 --> 01:26:39,439
Speaker 3: Here here all right.

1593
01:26:39,360 --> 01:26:40,559
Speaker 1: We're going to go ahead and close the book on

1594
01:26:40,600 --> 01:26:42,320
Speaker 1: Gorgo here, but we'd love to hear from you if

1595
01:26:42,360 --> 01:26:46,559
Speaker 1: you have thoughts on Gorgo on other Kaiju movies that

1596
01:26:46,680 --> 01:26:49,040
Speaker 1: we mentioned in this episode, or once we didn't mention

1597
01:26:49,200 --> 01:26:51,760
Speaker 1: just what your favorites are. We'd love to hear from you.

1598
01:26:51,880 --> 01:26:55,200
Speaker 1: We'll share the email address in just a moment here

1599
01:26:55,439 --> 01:26:57,760
Speaker 1: and you can write into us. Just a reminder to

1600
01:26:57,800 --> 01:26:59,760
Speaker 1: everyone that Stuff will Blow Your Mind is primarily a

1601
01:27:00,280 --> 01:27:03,200
Speaker 1: podcast with core episodes on Tuesdays and Thursdays, but on

1602
01:27:03,240 --> 01:27:05,280
Speaker 1: Fridays we set aside most serious concerns to just talk

1603
01:27:05,320 --> 01:27:08,280
Speaker 1: about a weird film on Weird House Cinema. If you

1604
01:27:08,360 --> 01:27:10,639
Speaker 1: want a list of all the movies we've covered so far,

1605
01:27:10,760 --> 01:27:12,680
Speaker 1: the best place to go is to head on over

1606
01:27:12,720 --> 01:27:14,800
Speaker 1: to letterbox dot com. It's l E T T E

1607
01:27:14,960 --> 01:27:18,240
Speaker 1: r bosd dot com. Our username is weird House, and

1608
01:27:18,280 --> 01:27:19,960
Speaker 1: we have a list of all the films we've covered,

1609
01:27:19,960 --> 01:27:24,080
Speaker 1: and sometimes there's a peek ahead at what's coming up next. Also,

1610
01:27:24,160 --> 01:27:27,040
Speaker 1: while I have you, if you have not rated and

1611
01:27:27,160 --> 01:27:31,200
Speaker 1: reviewed the Stuff to Blow your Mind podcast feed, do so.

1612
01:27:31,560 --> 01:27:33,360
Speaker 1: It helps us out well, leave us a nice review,

1613
01:27:33,439 --> 01:27:35,840
Speaker 1: leave us a bunch of stars. And I should also

1614
01:27:35,880 --> 01:27:38,799
Speaker 1: add that if you listen to this podcast on Apple

1615
01:27:38,960 --> 01:27:41,680
Speaker 1: on an Apple device or you're using like Apple Podcast,

1616
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Speaker 1: pop in there and make sure that you're still subscribed,

1617
01:27:44,479 --> 01:27:47,240
Speaker 1: that you're still receiving downloads that also helps us.

1618
01:27:47,120 --> 01:27:51,600
Speaker 3: Out huge things. As always to our excellent audio producer Jjposway.

1619
01:27:51,920 --> 01:27:53,559
Speaker 3: If you would like to get in touch with us

1620
01:27:53,600 --> 01:27:56,320
Speaker 3: with feedback on this episode or any other, to suggest

1621
01:27:56,360 --> 01:27:59,320
Speaker 3: a topic for the future, or just to say hello,

1622
01:28:00,040 --> 01:28:02,840
Speaker 3: can email us at contact at stuff to Blow your

1623
01:28:02,960 --> 01:28:10,840
Speaker 3: Mind dot com.

1624
01:28:10,960 --> 01:28:13,920
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1625
01:28:14,000 --> 01:28:16,800
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