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

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Speaker 1: Lamb and Hey, this is going to be an episode

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Speaker 1: that originally aired three three, twenty twenty three. It is

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Speaker 1: Renee Cardona's nineteen sixty three Luchadora film Doctor of Doom.

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Speaker 1: It's full of mad science and a sprinkling of Luca

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Speaker 1: action in there as well. We hope you enjoy it.

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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. This is Rob.

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Speaker 3: Lamb and this is Joe McCormick. And today we're going

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Speaker 3: to be wrestling again. Because you may recall, if you've

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Speaker 3: been listening to the show a while, there was a

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Speaker 3: time long ago once in the world before that, I

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Speaker 3: heard a voice whispering in the darkness, and I listen

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Speaker 3: and it said to me, supernatural wrestling movies, and we

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Speaker 3: of course that led to us covering Santo in the

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Speaker 3: Treasure of Dracula, one of my favorite movies we've watched,

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Speaker 3: pitting the ultimate good guy hero wrestler against the forces

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Speaker 3: of Satan and the undead in the form of a actually,

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Speaker 3: rather from what I call square, normal looking Dracula just

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Speaker 3: kind of like Cape and you know the classic bell lego.

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Speaker 3: See look right now it is time once again the

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Speaker 3: voice has called out to us, and this time it said,

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Speaker 3: not supernatural wrestling movies, but science fiction lucha libre.

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Speaker 1: That's right, we're dipping back into the wild world of

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Speaker 1: Mexican lucha libre cinema. And yeah, this movie is a

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Speaker 1: lot of fun. We're going to be talking about Doctor

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Speaker 1: of Doom from nineteen sixty three. It's a different beast

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Speaker 1: and that yeah, it leans more ridiculous sci fi as

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Speaker 1: opposed to ridiculous supernatural elements. And also, while Santo in

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Speaker 1: the Treasure of Dracula was a Lucidor picture starring El

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Speaker 1: Santo himself, this is a Lucidora picture focusing instead mostly

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Speaker 1: on female wrestlers.

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Speaker 3: Oh and what a treit it was to discover that

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Speaker 3: there are science fiction lucha libre movies where the main

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Speaker 3: luchadora is played by none other than Lorrain of Alaskaz,

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Speaker 3: who you may remember from our episode on the movie

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Speaker 3: Ship of Monsters, another one of my favorite films we've

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Speaker 3: done on this show, Lorain of Alaskas in that played

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Speaker 3: one of the two aliens sent to Earth to Find

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Speaker 3: Earth's Greatest Hunks, and she was an absolute delight in

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Speaker 3: that movie. I love her in this movie as well.

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Speaker 3: She is our heroine, our butt kicking lucidora hero. So

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Speaker 3: today's movie, the version of it I saw, was known

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Speaker 3: with the English title Doctor of Doom. But I wanted

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Speaker 3: to raise an issue right here at the beginning, because

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Speaker 3: this movie is also known as Las Lucidoris contra el

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Speaker 3: medico Asssino, meaning I guess the Lucidorus versus the killer

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Speaker 3: doctor or versus the medical assassin. And there's a complication

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Speaker 3: here with the fact that just before we started recording,

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Speaker 3: I was looking around on the internet and I discovered

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Speaker 3: that El Medico Assessino was also the name of an

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Speaker 3: actual luchador. But I don't think he is in any

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Speaker 3: way related to this movie, or if he is, I

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Speaker 3: couldn't tell how he was related to the movie except

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Speaker 3: in the overlapping idea of a killer doctor.

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Speaker 1: Yeah, because this film does not have outside of one

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Speaker 1: dude who shows up, there's not a male wrestler. There's

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Speaker 1: not a luchador proper in this film. So this guy,

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Speaker 1: who I wasn't familiar with, is not part of the picture.

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Speaker 1: So maybe it's just coincidence.

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Speaker 3: I do remember there's a good scene where a male

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Speaker 3: wrestler just gets beat up by a room full of

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Speaker 3: lady wrestlers. I love that.

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Speaker 1: Yeah. Oh, and there is a caveat there is a

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Speaker 1: There is an actor in this film who was a wrestler.

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Speaker 1: It may have been a wrestler at the time of

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Speaker 1: the film. We'll get into that. But for the most part,

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Speaker 1: none of the characters are male luchadors, and no male

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Speaker 1: luchadors are showing up and saving the day. It's all

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Speaker 1: up to the ladies. And of course other men will

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Speaker 1: get into that in a second. But yeah, I wasn't

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Speaker 1: familiar with this particular luchador, though there is. Interestingly enough,

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Speaker 1: another guy I was familiar with. His name was doctor Cerebro,

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Speaker 1: I think, and his Luca mask looked rather standard, except

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Speaker 1: on the top it looked like there was an exposed brain,

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Speaker 1: like he had had open cranium, you know, brain surgery.

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Speaker 3: So he's just like going into the ring with brain exposed.

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Speaker 1: Well, you know, it's that's frae. You're not supposed to

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Speaker 1: believe that that's his actual brain up there, but that's

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Speaker 1: the way his mask is decorated.

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Speaker 3: So a lot of what was fun to me about

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Speaker 3: Santo and the Treasure of Dracula was that sort of

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Speaker 3: like ludicrous collision of the different genres, the fact that

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Speaker 3: you are pitting a in one sense, very mundane but

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Speaker 3: exciting sport with a charismatic hero Lucha libre, you know,

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Speaker 3: Mexican wrestling with these supernatural monster themes, and this movie

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Speaker 3: has exactly the same appeal. It pits you know, mundane,

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Speaker 3: earthly wrestlers against a science fiction murderer who wants to

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Speaker 3: steal people's brains for his ungodly experiments.

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Speaker 1: Yes, I think the other interesting comparison to make is

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Speaker 1: Santo and the Treasure of Dracula. Yes, you had absolute

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Speaker 1: evil in Dracula, but then you have absolute goodness in

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Speaker 1: the Ultimate Technico El Santo, who is so good and

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Speaker 1: so capable, like it's never really in doubt who's going

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Speaker 1: to come up on top. He's a superman, he's a

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Speaker 1: living legend. And then as far as female characters go

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Speaker 1: in that film, they're mostly just there to look beautiful

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Speaker 1: and stand in the background. This picture is kind of

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Speaker 1: it's interesting, you know, in the way that it sort

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Speaker 1: of attempts to depict feminine strength because you know, on

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Speaker 1: one hand, this is nineteen sixty three and it's an

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Speaker 1: obvious genre picture, B movie. It's only going to do

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Speaker 1: so much, and we end up with this weird mixture

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Speaker 1: of female character traits both you know, very stereotypical, but

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Speaker 1: then also you know, these are luchadoras. They're supposed to

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Speaker 1: be strong, capable women.

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Speaker 3: Oh yeah, well, once again, I'd love Lorraine of Alaskas,

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Speaker 3: and she's great as the heroin in this two thumbs up.

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Speaker 1: Yeah yeah. However, it's still again, it's nineteen sixty three,

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Speaker 1: so things are only going to be so progressive because

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Speaker 1: despite the fact that the various female characters in the film,

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Speaker 1: including a female scientist, you know, get to show that

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Speaker 1: they're capable, the luchadoras get to beat up a bunch

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Speaker 1: of men and that's pretty great. But still we ultimately

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Speaker 1: end up in the place plot wise where men have

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Speaker 1: to save the women. And I would say that ultimately

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Speaker 1: that's the weak link in the picture.

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Speaker 3: Hmmm, are you talking about what are you referring to there?

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Speaker 3: Like the detective character.

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Speaker 1: The detective characters as show up, Yeah, yeah, so it

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Speaker 1: ends up they end up having like more of a

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Speaker 1: role in ultimately defeating the villains than I think we

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Speaker 1: would want today as modern viewers, and I think maybe

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Speaker 1: even in sixty three, Like it's a film about Luchadora's

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Speaker 1: I want to see the luchador is doing more in

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Speaker 1: the finale. But you know, that's that's my take on it.

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Speaker 3: Oh, I don't know. I mean, Lorreina and Golden Ruby

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Speaker 3: opened quite a few cans in the film.

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Speaker 1: They do, Yeah, they do. They do not hold back

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Speaker 1: on just beating the tar out of some Hinchman. Yeah,

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Speaker 1: but I don't know. We'll see what We'll see where

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Speaker 1: we get with this when we start talking about the plot,

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Speaker 1: all right, elevator pitch, I don't know that we really

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Speaker 1: need one at this point. But basically it's a brain

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Speaker 1: transplant mad science picture, but with female wrestlers in it.

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Speaker 3: There's a wonderful scene in this film where a news

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Speaker 3: report shares the information with the public that the police

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Speaker 3: were able to deter from markings on the victim that

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Speaker 3: their brain had been removed.

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Speaker 1: Yes, it's pretty clear that they're not removing the brains

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Speaker 1: through the nose, you know, they're going right in the top. Yeah,

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Speaker 1: doctor Cerebros style. So Yeah, I think the markings would

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Speaker 1: be pretty obvious.

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Speaker 3: They don't show you the markings. What do those markings

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Speaker 3: look like indicating the brain have been removed?

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Speaker 1: Yeah, I'm picturing open skull and an ice cream scoop,

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Speaker 1: bloody ice cream scoop laying next to it, you know,

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Speaker 1: all right, Well, when it comes to the trailer for

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Speaker 1: this film, I wasn't able to find an obvious example

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Speaker 1: of either the English or the Spanish language trailer, so

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Speaker 1: instead we're going to feature just a clip here from

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Speaker 1: the English dub of the picture. Joe, this is going

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Speaker 1: to be the one failure after another monologue between the

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Speaker 1: two mad scientists.

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Speaker 4: On failure after another box, the operation is tremendously difficult, doctor.

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Speaker 5: Isn't there any human being who can.

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Speaker 4: Stand the shock? Perhaps a stronger type of woman, an athlete,

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Speaker 4: the one that can take more punishment than the average.

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Speaker 4: If we could find a woman like that, doctor, she

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Speaker 4: probably lived through the operation.

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Speaker 3: You know, they really give the murderous mad doctor a

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Speaker 3: lot of pathos mm hmm.

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Speaker 1: Yes, yes, he is a very fun character. Though he

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Speaker 1: has a secret identity. You don't know who he is.

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Speaker 1: There's a lot of Scooby Doo action going on in

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Speaker 1: this picture. So we're gonna treat that with kid gloves

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Speaker 1: at least for a while. We're gonna try and retain

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Speaker 1: the spoiler, keep it fresh for you.

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Speaker 3: Well, yeah, we'll warn you at the end before we

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Speaker 3: do the reveal. Though it's not very hard to figure out.

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Speaker 1: You'll you'll see it coming miles away. You'll see it

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Speaker 1: on the horizon with the so unrising behind it. It's

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Speaker 1: but yeah, it's still fun when it gets there.

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Speaker 3: I totally agree. Yeah, it's not much of a mystery,

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Speaker 3: but it's a great reveal anyway.

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Speaker 1: All right, Well, if you want to take a break

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Speaker 1: here and go watch the film, it's pretty widely available.

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Speaker 1: You can currently stream it on just to name some

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Speaker 1: of the Amazon Prime fandor to the Flick's Fling. I

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Speaker 1: don't know if some of those are real. Some of

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Speaker 1: those I might be making up on the fly. You

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Speaker 1: can also rent or buy it several places digitally as well.

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Speaker 1: If you're looking for a DVD copy. I think something

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Speaker 1: Weird put it out on disc a while back, alongside

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Speaker 1: Wrestling Women Versus the Aztec Mummy. All right, let's get

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Speaker 1: into the cast and the people involved in making this picture,

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Speaker 1: starting at the Top with our director Renee Cardona, who

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Speaker 1: lived nineteen oh five through nineteen eighty eight. Cardona was

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Speaker 1: a director, actor, producer, writer, and editor, but best remembered

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Speaker 1: as a director in the Golden age of Mexican cinema.

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Speaker 1: He was born in Havana, Cuba. He began medical school,

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Speaker 1: but had to flee the country from New York City.

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Speaker 1: He was unable to continue his studies, but he got

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Speaker 1: involved in filmmaking, which took him to Hollywood, and then

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Speaker 1: he made the move to Mexico City. First as an actor,

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Speaker 1: but then he went on to direct I think one

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Speaker 1: hundred and forty six different pictures, or at least that's

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Speaker 1: the credit number on IMDb. As an actor, he was

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Speaker 1: in some really well received Mexican films, such as The

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Speaker 1: Priest Secret from forty one and The Rocket Souls from

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Speaker 1: forty three. As a director, however, he mostly made his

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Speaker 1: splash directing I think seven different Santo movies, including Santo

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Speaker 1: and the Treasure of Dracula from sixty nine, as well

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Speaker 1: as such titles as She Wolves of the Ring and

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Speaker 1: nineteen seventy two's Night of the Bloody Apes, which is

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Speaker 1: sort of a nastier retread of this film, like basically

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Speaker 1: he came back around and like, what if I made

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Speaker 1: Doctor of Doom accept Sleazier for the nineteen seventies.

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Speaker 3: I recall looking at that one to see, oh, maybe

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Speaker 3: this would be good for the show, but thinking it

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Speaker 3: looked just gross.

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Speaker 1: Yeah. Yeah, Sometimes I'll forget and I'll go back and say, ah,

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Speaker 1: Night of the Bloody Apes sounds good, and then I

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Speaker 1: look at the details like no, no, no, not this one.

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Speaker 3: But he also made an absolutely unforgettable Christmas classic.

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Speaker 1: Oh yes, Santa Claus from nineteen fifty nine, in which

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Speaker 1: Santa Claus and the devil battle for the soul of

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Speaker 1: poor Lupita in Mexico City.

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Speaker 3: Can you imagine if they had gotten Santo and Lupita

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Speaker 3: together in the same movie, like just the pure goodness

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Speaker 3: would like it would like blind you.

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Speaker 1: Oh man, that would be good. Oh, speaking of Santa Claus,

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Speaker 1: if memory serves the actor who played Santa Claus and

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Speaker 1: that is also in Night of the Bloody Apes, I

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Speaker 1: think he plays a doctor in that maybe the mad

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Speaker 1: doctor in that picture.

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Speaker 5: Hmmm.

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Speaker 1: Well, as far as story and adaptation credit, this goes

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Speaker 1: to Alfredo Salazar, who lived nineteen twenty two through two

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Speaker 1: thousand and six. Brother of Mexican director Abel Salazar, Alfredo

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Speaker 1: scripted a number of notable Mexican B pictures, including the

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Speaker 1: Tech Mummy movies, multiple Santo movies, including Santo and The

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Speaker 1: Treasure of Dracula. He also wrote The Batwoman from sixty

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Speaker 1: eight nineteen sixty seven's The Panther Women as well, which

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Speaker 1: is another well regarded luchadora film, But this one starred

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Speaker 1: exotic dancer tongo Ela. I was interested in this one.

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Speaker 1: This was a close pick for this week. I was

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Speaker 1: looking for a good luchadora picture and that was the

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Speaker 1: runner up.

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Speaker 3: Hmmm, well, maybe we'll have to check that out in

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Speaker 3: the future as well. Now, when I'm thinking about the

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Speaker 3: writing of wrestling films like this, obviously, one thing I

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Speaker 3: love is the combination of the genres and the subject matters,

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Speaker 3: you know, the science fiction horror or the supernatural horror

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Speaker 3: with the wrestling. But the other thing is I'm wondering

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Speaker 3: how you're going to find new ways every time to

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Speaker 3: work in a wrestling match as the climax, because it's

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Speaker 3: hard to make that fit. In this movie, they do

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Speaker 3: it pretty well.

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Speaker 4: Yeah.

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Speaker 1: Yeah, it is an inter interesting check I was thinking

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Speaker 1: about this a lot while watching it as well, like, Okay,

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Speaker 1: they had the mandate, it's got to be probably, I'm

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Speaker 1: assuming they were probably like it's got to be a

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Speaker 1: luchador film. People want to see lucadoras. The Luchador films

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Speaker 1: are very successful, so just do that. And they're like, okay, well, well,

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Speaker 1: all right, we gotta somehow work it in. Okay, what's

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Speaker 1: what's our villain gonna be? Yeah? How do you weave

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Speaker 1: it together? And you'll end up with a situation where

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Speaker 1: of course, your mad brain transplant doctor needs strong women,

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Speaker 1: so he's going to target or attempt to target luchadoras.

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Speaker 3: Right, So in this film they managed to do it

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Speaker 3: by having like, oh, she think our heroin thinks she's

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Speaker 3: just going into a regular wrestling match against a human wrestler,

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Speaker 3: but in fact this is a superpowered brain transplanted monster

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Speaker 3: of science. But like, how do they usually I mean,

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Speaker 3: every time is it just like the hero or heroin

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Speaker 3: gets tricked into a wrestling match with somebody they think

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Speaker 3: is a human but turns out to be a monster

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Speaker 3: or something.

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Speaker 1: Well with I think in a lot of the Santo

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Speaker 1: pictures it also comes down to characters realizing, hey, we've

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Speaker 1: got some sort of problem, We've got a threat. We

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Speaker 1: need to call El Santo. Santo because he's like a superhero,

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Speaker 1: he's larger than life. He's solving crimes and defeating evil

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Speaker 1: in this picture, though, Gloria Venus, who will talk about

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Speaker 1: in just a minute, like she's just a working luchadora.

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Speaker 1: That's true. Yeah, they just get sucked into this whole situation.

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Speaker 1: They don't call her, she's not a crime fighter. So

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Speaker 1: in a way, this film is a lot more believable.

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Speaker 1: It's a lot of realistic that.

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Speaker 3: Yeah, I guess that's the difference. Now, I can't recall

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Speaker 3: actually did the climax of Treasure Santo and the Treasure

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Speaker 3: of Dracula even involve a match in the ring. Maybe

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Speaker 3: it didn't. Maybe it was just a bunch of wrestling

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Speaker 3: and fighting in like actual locations relevant to the plot.

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Speaker 1: Yeah, there are other Santo pictures where that is the factor.

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Speaker 1: Like there's like the evil Rudo is actually a werewolf,

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Speaker 1: But I don't think that happened at all in Treasure

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Speaker 1: of Fracula.

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Speaker 3: Okay, so maybe it's a well I don't know. I

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Speaker 3: wonder if it's a thing over time, they are more

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Speaker 3: comfortable just having the climax be some kind of conflict

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Speaker 3: outside the ring. But maybe in earlier pictures they're they're

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Speaker 3: they're like, Okay, we got to bring it back to

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Speaker 3: the ring somehow for the big showdown.

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Speaker 1: Yeah. Yeah, and perhaps as they go, yeah, they have

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Speaker 1: to keep thinking of ways to spice it up. What

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Speaker 1: can we do differently. We can't just have the same format,

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Speaker 1: even though these are you know, the expectations are there

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Speaker 1: for the audience.

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Speaker 3: I'm sure this has been commented on a million times,

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Speaker 3: but I can't help but notice it. It seems to

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Speaker 3: me like the the Great Uh sort of fantastical, over

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Speaker 3: the top dramas. The fictionalized stories in these Mexican wrestling

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Speaker 3: films from the middle of the century must have contributed

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Speaker 3: to the elaborate fictional storylines that come to fill in

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Speaker 3: between the matches in like American professional wrestling circuits. Does

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Speaker 3: that make sense, Yeah?

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Speaker 1: Maybe so. Yeah. It's interesting though, because I don't think

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Speaker 1: you see much of that in Lucha Libre. But then again,

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Speaker 1: you end up having this thing where, you know, American

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Speaker 1: wrestling ends up influencing Lucha Libre and so forth, So

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Speaker 1: there's a lot of exchange going there between these different styles.

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Speaker 3: You know, a lot more than me. I guess I

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Speaker 3: had assumed. Maybe maybe I was wrong that the like

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Speaker 3: all the elaborate fictional backstories and the soap opera aspect

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Speaker 3: of it is is a more recent thing in American

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Speaker 3: professional wrestling that like, if you go back to the

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Speaker 3: mid century, they didn't have as much of the like

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Speaker 3: supposed backstage drama and the kind of super the meta stories, right.

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Speaker 1: I believe that is the case. That's my understanding. Yeah,

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Speaker 1: that you go back far enough and a lot of

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Speaker 1: these pro wrestling products are based are going to be

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Speaker 1: very similar. They're all originally based on kind of a

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Speaker 1: US euro model where it's more about the action in

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Speaker 1: the ring and if there may be some you know,

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Speaker 1: backstage stuff, radio stuff, et cetera, but it's not as

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Speaker 1: much of a focus as it is today in American wrestling.

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Speaker 3: Another question you might not know the answer, I don't know,

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Speaker 3: but does like does modern American pro wrestling it all

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Speaker 3: rope in any of these like supernatural or science fiction themes.

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Speaker 3: Is there like a wrestler in the WWE today that

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Speaker 3: wants to remove people's brains?

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Speaker 5: Yeah?

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Speaker 1: I think there is one guy. There's always there's always

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00:18:23,560 --> 00:18:28,800
Speaker 1: room for a supernatural gimmick in wrestling, especially American wrestling,

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Speaker 1: and sometimes in Japanese. It just it kind of varies,

339
00:18:32,400 --> 00:18:36,720
Speaker 1: but definitely in American wrestling you'll always have at least one,

340
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Speaker 1: maybe two guys that are doing some sort of supernatural gimmick,

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Speaker 1: and you know it. It's one of those things that

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Speaker 1: some people love, some people hate. I guess it's it's

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Speaker 1: great for great for the kids, of nothing else. I

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Speaker 1: don't know. I enjoyed. I think there should always be

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Speaker 1: some sort of a undead zombie man in wrestling.

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Speaker 3: Of course, always gotta have a vampire, gotta have a

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Speaker 3: brain thief. Yeah, oh hey, But I want to say

348
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Speaker 3: one thing about the particular version of this movie that

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Speaker 3: I watched that I really enjoyed was the English dub

350
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Speaker 3: of it. So I haven't I couldn't speak to the

351
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Speaker 3: Spanish audio version, but the English dub on this movie

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Speaker 3: was great, fun and highly amusing.

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Speaker 1: Oh yeah, I really enjoyed the dub. Unlike Treasure of

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Speaker 1: Draculade with Treasure of Dracula, I also enjoyed the dub,

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Speaker 1: but that was, as you might recall, a modern dub

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Speaker 1: that attempted to and I think mostly succeeded in capturing

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Speaker 1: the feel of a nineteen sixties dub.

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Speaker 3: Yes, but you could tell it was modern from what

359
00:19:37,240 --> 00:19:39,560
Speaker 3: I could tell it. The one I was watching, I

360
00:19:39,600 --> 00:19:40,480
Speaker 3: think was vintage.

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Speaker 1: Yeah, this is vintage. This is because this film was

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Speaker 1: distributed in the US by Kay Gordon Murray lived nineteen

363
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Speaker 1: twenty two through nineteen seventy nine, American producer best known

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Speaker 1: for dubbing and releasing foreign films for the US market,

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Speaker 1: including such films as The Robot Versus The az Tech

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Speaker 1: Mommy from fifty seven Santa Claus. We just talked about, oh,

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Speaker 1: in the Brainiac from sixty two, which is a really

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Speaker 1: fun Mexican vampire movie in which the vampire is very monstrous.

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Speaker 3: Has a long tongue. Am I right about that?

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Speaker 1: Yeah? Yeah, all right, Well let's get into the cast here.

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Speaker 1: We've mentioned her several times already, but yeah, Gloria Venus,

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Speaker 1: played by the beautiful and talented Lorena of Alaska, is

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Speaker 1: born nineteen thirty seven and as of this recording still around.

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Speaker 1: I don't think she's been active in the last few years,

375
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Speaker 1: but she had a very long career. I think she

376
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Speaker 1: was still showing up occasionally in films or TV shows.

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Speaker 3: I love Loraina of Alaskas in this movie, and I

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Speaker 3: loved her in the other when we watched Ship of Monsters.

379
00:20:53,359 --> 00:20:59,119
Speaker 3: In both cases, it's a very interesting kind of performance

380
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Speaker 3: in that she is not chewing the scenery, like she's

381
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Speaker 3: not doing an over the top, you know, high energy

382
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Speaker 3: acting performance. She's she's very reserved, you might say, in

383
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Speaker 3: the character kind of like economical with her movements and

384
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Speaker 3: her expressions, but to a very pleasing effect, Like she

385
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Speaker 3: just kind of wears this expression of ironic, almost inappropriate

386
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Speaker 3: amusement almost all the time, and it plays so well

387
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Speaker 3: in these scenes.

388
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Speaker 1: Yeah, And it's not like she's cracking up or or

389
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Speaker 1: what corpsing as the as the modern term for it.

390
00:21:38,440 --> 00:21:40,439
Speaker 1: It's not like that, but it's just she strikes this

391
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Speaker 1: nice balance of amusement.

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Speaker 3: But I think a big difference here is that while

393
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Speaker 3: while she's great in this movie, Lorraine of Alaskaz was

394
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Speaker 3: not a wrestler first, and you don't I don't think

395
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Speaker 3: see her do much, if any, actual wrestling in this movie.

396
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Speaker 3: She is frequently replaced by an obvious stunt double.

397
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Speaker 5: Yeah.

398
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Speaker 1: I mean they might have taught her a few things,

399
00:22:03,080 --> 00:22:06,040
Speaker 1: just for some of these scenes where she's applying a

400
00:22:06,080 --> 00:22:10,360
Speaker 1: submission hold and you see her face rather clearly, But yeah,

401
00:22:10,400 --> 00:22:12,639
Speaker 1: she was. I think she was a model turned actor

402
00:22:13,680 --> 00:22:17,280
Speaker 1: and plays a wrestler here. Very different from these scenarios

403
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Speaker 1: where someone like Al Santo or Blue Demon are luchador's

404
00:22:20,800 --> 00:22:23,120
Speaker 1: first and they become a big enough name that they

405
00:22:23,160 --> 00:22:24,919
Speaker 1: transition into acting as well.

406
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Speaker 3: And I guess you could argue, of course that you know,

407
00:22:28,160 --> 00:22:31,399
Speaker 3: being a luchador is already that gives you kind of

408
00:22:31,440 --> 00:22:33,639
Speaker 3: a leg up into the acting world because it is

409
00:22:33,720 --> 00:22:36,480
Speaker 3: both an athletic art and a performance art at the

410
00:22:36,520 --> 00:22:38,439
Speaker 3: same time. It's like having to be an athlete and

411
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Speaker 3: an actor rolled into one.

412
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Speaker 1: Yeah, though with some key differences, and you know, I imagine

413
00:22:46,119 --> 00:22:51,919
Speaker 1: it's not a seamless transition, but great for the stunt scenes.

414
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Speaker 1: Like I will say that that the wrestling that we

415
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Speaker 1: see in Santo and the Treasure of Dracula is far

416
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Speaker 1: superior to what we see in this picture. And part

417
00:23:01,040 --> 00:23:02,360
Speaker 1: of that, I think has to do with the fact

418
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Speaker 1: that you it's centered around a non wrestler an actor

419
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Speaker 1: playing the key role.

420
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Speaker 3: Agree, So it's like there's less I don't know. I

421
00:23:12,000 --> 00:23:16,680
Speaker 3: guess technical flare, but I nonetheless greatly enjoyed the beat

422
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Speaker 3: them up scenes.

423
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Speaker 1: Oh yeah, yeah, certainly. So. Yeah. She was a model,

424
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Speaker 1: but she was also step daughter of actor Victor of

425
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Speaker 1: Velasquez and a former beauty pageant competitor, I believe for

426
00:23:28,680 --> 00:23:31,879
Speaker 1: Miss Mexico. She was in two different Santo movies from

427
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Speaker 1: nineteen sixty two, Santo Versus the Zombies and Santo Versus

428
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Speaker 1: The Vampire Woman or Women. I can't remember which one

429
00:23:38,520 --> 00:23:40,720
Speaker 1: it is, but at any rate, she is a vampire woman

430
00:23:40,760 --> 00:23:43,760
Speaker 1: in that she plays Zorina, Queen of the Vampires.

431
00:23:43,800 --> 00:23:44,960
Speaker 3: Oh, I gotta see that one.

432
00:23:46,119 --> 00:23:48,439
Speaker 1: She was also in another Santo movie as well, nineteen

433
00:23:48,480 --> 00:23:52,520
Speaker 1: sixty five's The Diabolical Acts. So this is her first

434
00:23:52,600 --> 00:23:56,040
Speaker 1: portrayal of Gloria Venus, and she went on to play

435
00:23:56,040 --> 00:23:59,160
Speaker 1: that character again in nineteen sixty four's Wrestling Women Versus

436
00:23:59,200 --> 00:24:03,480
Speaker 1: the Aztec Mummy, and she played Loretta Venus in nineteen

437
00:24:03,520 --> 00:24:06,800
Speaker 1: sixty five's She Wolves of the Ring, also from Cardona.

438
00:24:07,200 --> 00:24:08,960
Speaker 1: I haven't seen that one, so I don't know if

439
00:24:08,960 --> 00:24:12,640
Speaker 1: it's just basically the same character, or if the name

440
00:24:12,680 --> 00:24:15,560
Speaker 1: gets changed by accident, or if it's supposed to be

441
00:24:15,600 --> 00:24:17,440
Speaker 1: her sister. I'm not sure.

442
00:24:17,840 --> 00:24:20,440
Speaker 3: Takes place a generation in the future and she plays

443
00:24:20,480 --> 00:24:21,119
Speaker 3: her own daughter.

444
00:24:21,560 --> 00:24:24,560
Speaker 1: Yeah, I'm not sure what the angle is there, but

445
00:24:25,480 --> 00:24:27,720
Speaker 1: at any rate, she's a delight. She was a huge

446
00:24:27,760 --> 00:24:30,199
Speaker 1: star in Mexican cinema and also had a presence on

447
00:24:30,320 --> 00:24:32,560
Speaker 1: Mexican soap operas and was active up until I believe

448
00:24:32,720 --> 00:24:37,200
Speaker 1: about twenty twenty. All Right, just because it's a sixties

449
00:24:37,240 --> 00:24:40,840
Speaker 1: film centering around female characters doesn't mean you get away

450
00:24:41,119 --> 00:24:44,600
Speaker 1: without having some sort of a hunky man hero in

451
00:24:44,640 --> 00:24:48,000
Speaker 1: the picture, and that's what we have in this character.

452
00:24:48,200 --> 00:24:51,159
Speaker 1: Armando played by Armando Silvestri.

453
00:24:52,320 --> 00:24:54,560
Speaker 3: Ladies and gentlemen, meet your jawline.

454
00:24:55,240 --> 00:24:58,320
Speaker 1: Yes, he was born in nineteen twenty six and I

455
00:24:58,359 --> 00:25:01,480
Speaker 1: think it's still still around. He was apparently a bullfighter

456
00:25:01,520 --> 00:25:06,040
Speaker 1: turned actor. He was active from nineteen forty seven through

457
00:25:06,320 --> 00:25:09,720
Speaker 1: twenty seventeen as an actor. Apparently he left bullfighting for

458
00:25:09,760 --> 00:25:12,600
Speaker 1: acting after being badly gored. Oh wow, I have to

459
00:25:12,600 --> 00:25:15,919
Speaker 1: say had quite an acting career, played a lot of

460
00:25:15,960 --> 00:25:19,000
Speaker 1: honky leading men in Mexican cinema, but also played various

461
00:25:19,000 --> 00:25:22,920
Speaker 1: parts in American westerns. So his credits include numerous Cardona

462
00:25:23,000 --> 00:25:25,920
Speaker 1: pictures including Knight of the Bloody Apes and The Wrestling

463
00:25:25,920 --> 00:25:28,960
Speaker 1: Women Versus the Aztec Mummy. But he also pops up

464
00:25:29,000 --> 00:25:32,560
Speaker 1: in nineteen seventies, Two Meals for Sister Sarah, nineteen sixty eights,

465
00:25:32,600 --> 00:25:35,960
Speaker 1: The Scalp Hunters, and in some other pictures as well,

466
00:25:36,040 --> 00:25:38,440
Speaker 1: so multiple loos of films in there. Though.

467
00:25:38,480 --> 00:25:41,400
Speaker 3: To be clear, now we get another major character to mention,

468
00:25:41,920 --> 00:25:44,760
Speaker 3: which is that our heroin in this film does not

469
00:25:44,920 --> 00:25:49,240
Speaker 3: fight alone. She ends up developing a great friendship with

470
00:25:50,000 --> 00:25:52,959
Speaker 3: another luchadora and it becomes kind of a buddy picture

471
00:25:52,960 --> 00:25:56,120
Speaker 3: in a way. And that is with the luchadora Golden Ruby.

472
00:25:56,280 --> 00:25:58,439
Speaker 3: Is that ruby spelled with a Y or ruby spelled

473
00:25:58,440 --> 00:25:58,760
Speaker 3: with an I?

474
00:25:59,359 --> 00:26:02,440
Speaker 1: Oh, I don't member, but Golden Ruby is played by

475
00:26:02,520 --> 00:26:07,560
Speaker 1: Elizabeth Campbell for nineteen forty two American actor who's with

476
00:26:07,600 --> 00:26:10,159
Speaker 1: a number of films. I think a lot of a

477
00:26:10,160 --> 00:26:15,639
Speaker 1: lot of her filmography is Mexican cinema, so she was

478
00:26:15,720 --> 00:26:18,080
Speaker 1: in all of the luchadora movies that we've mentioned so

479
00:26:18,200 --> 00:26:22,400
Speaker 1: far in this episode, as well as Las Lobo still Ring,

480
00:26:22,840 --> 00:26:25,920
Speaker 1: and she pops up in at least one US Western

481
00:26:26,000 --> 00:26:28,000
Speaker 1: nineteen sixty six is the professionals.

482
00:26:28,320 --> 00:26:31,240
Speaker 3: She and Lorena make a great team. There are multiple scenes.

483
00:26:31,600 --> 00:26:34,760
Speaker 3: There's like one scene where they're I think they're temporarily

484
00:26:34,840 --> 00:26:38,520
Speaker 3: roommates for some reason, and they're both just like sleeping

485
00:26:38,600 --> 00:26:40,880
Speaker 3: in these twin beds and what looks like an apartment

486
00:26:41,760 --> 00:26:44,600
Speaker 3: and they're like, hey, wait, somebody's about to break in

487
00:26:44,680 --> 00:26:47,880
Speaker 3: and try to steal our brains. So they like pretend

488
00:26:47,960 --> 00:26:50,320
Speaker 3: to be asleep, and then when the guys sneak in

489
00:26:50,359 --> 00:26:53,040
Speaker 3: the window, they just pop up and whip their butts.

490
00:26:53,480 --> 00:26:55,440
Speaker 1: Yeah, and they're not even I don't think they're even

491
00:26:55,480 --> 00:26:57,560
Speaker 1: doing They might have thrown some arm drags or something,

492
00:26:57,560 --> 00:26:59,880
Speaker 1: but for the most part they're just like pummeling these

493
00:27:00,040 --> 00:27:03,080
Speaker 1: eyes in the face with their fists. Yeah, okay. Now,

494
00:27:03,520 --> 00:27:07,880
Speaker 1: another major actor in this picture is Roberto Canado who

495
00:27:08,119 --> 00:27:12,359
Speaker 1: lived nineteen eighteen through nineteen ninety eight. He plays the professor.

496
00:27:12,560 --> 00:27:15,800
Speaker 3: I loved this guy's performance as well as and also

497
00:27:15,920 --> 00:27:20,400
Speaker 3: whoever did the English dub for him, Big thumbs up on.

498
00:27:20,440 --> 00:27:23,080
Speaker 1: Both agreed this is a very fun dubbing.

499
00:27:23,640 --> 00:27:27,760
Speaker 3: Oh yeah, so he quite often it gets extremely close

500
00:27:27,800 --> 00:27:29,600
Speaker 3: to the James Mason voice.

501
00:27:29,800 --> 00:27:32,520
Speaker 6: He comes in and says it's terrible. How they've been

502
00:27:32,520 --> 00:27:34,520
Speaker 6: stealing everyone's brains.

503
00:27:34,080 --> 00:27:38,440
Speaker 1: Isn't it. Oh yeah, yeah, this character is a lot

504
00:27:38,440 --> 00:27:43,000
Speaker 1: of fun. He's invited to attend the Luca and he's like,

505
00:27:43,400 --> 00:27:47,800
Speaker 1: oh no, I absolutely deployed. It's so violent. I can't

506
00:27:47,840 --> 00:27:50,960
Speaker 1: stand it. I don't have the constitution for it.

507
00:27:51,040 --> 00:27:55,119
Speaker 3: He walks backstage after watching a Gloria Venus match. He's like,

508
00:27:55,160 --> 00:27:58,679
Speaker 3: there to see her, and he comes into her locker

509
00:27:58,760 --> 00:28:01,560
Speaker 3: room or whatever. She's like, oh, did you like my match, Professor.

510
00:28:01,600 --> 00:28:04,720
Speaker 5: He's like, oh, it's terrible. I can still stand. Violence.

511
00:28:04,920 --> 00:28:07,520
Speaker 5: Just disgusts me. I don't to vomit right now.

512
00:28:09,400 --> 00:28:12,919
Speaker 1: Oh yeah, it's yeah. It's a really fun performance from

513
00:28:13,480 --> 00:28:16,160
Speaker 1: a very talented Mexican performer. Again from the golden age

514
00:28:16,160 --> 00:28:19,520
Speaker 1: of Mexican cinema. He acted in over three hundred films,

515
00:28:19,760 --> 00:28:22,520
Speaker 1: which included a lot of B films but also some

516
00:28:22,560 --> 00:28:25,800
Speaker 1: serious dramas. On the B cinema end of things. He

517
00:28:27,200 --> 00:28:30,240
Speaker 1: pops up in several Santo pictures. He's in sixty eight's

518
00:28:30,240 --> 00:28:34,240
Speaker 1: The Batman, He's in the nineteen sixty five werewolf film

519
00:28:34,359 --> 00:28:36,320
Speaker 1: Le Lobo, and well.

520
00:28:36,200 --> 00:28:38,160
Speaker 3: Wait a minute, was the sixty eight one The Batman

521
00:28:38,320 --> 00:28:39,000
Speaker 3: or The Batwoman?

522
00:28:39,440 --> 00:28:41,400
Speaker 1: I'm sorry, it's the Batwoman, I said to Batman, but

523
00:28:41,480 --> 00:28:45,960
Speaker 1: this is the Batwoman. There's another Cardona picture. Yeah, he's

524
00:28:45,960 --> 00:28:48,239
Speaker 1: in this werewolf picture. He also pops up in some

525
00:28:48,360 --> 00:28:51,640
Speaker 1: later day horror films, such as the nineteen eighty six

526
00:28:51,720 --> 00:28:56,440
Speaker 1: slasher movie Bestia Nocturna and the nineteen eighty nine Mexican

527
00:28:56,440 --> 00:29:00,320
Speaker 1: slasher film Grave Robbers, the latter of which is is

528
00:29:00,360 --> 00:29:03,160
Speaker 1: available to stream on various side side. I was tempted

529
00:29:03,200 --> 00:29:04,600
Speaker 1: to check it out, but I didn't get a chance.

530
00:29:04,960 --> 00:29:08,640
Speaker 1: But as a serious actor and dramas, he appeared in

531
00:29:08,960 --> 00:29:12,200
Speaker 1: I think at least two very critically well received pictures,

532
00:29:12,200 --> 00:29:17,040
Speaker 1: including Publrina from nineteen forty nine and Crime and Punishment

533
00:29:17,080 --> 00:29:19,640
Speaker 1: from nineteen fifty one, an adaptation of Crime and Punishment.

534
00:29:19,920 --> 00:29:23,040
Speaker 3: Great job, Roberto, Yeah, I love him in this. I

535
00:29:23,040 --> 00:29:24,240
Speaker 3: want to see his other movies.

536
00:29:24,720 --> 00:29:27,440
Speaker 1: Yeah, we'll talk more about his performance as we get

537
00:29:27,480 --> 00:29:30,800
Speaker 1: into the picture. But hey, you've also got to have

538
00:29:30,880 --> 00:29:33,920
Speaker 1: some comic relief. You got to get a comedian in there.

539
00:29:34,800 --> 00:29:37,440
Speaker 1: You might remember in Santo in the Treasure of Dracula,

540
00:29:37,480 --> 00:29:40,080
Speaker 1: we had a very funny Mexican comedian, and we have

541
00:29:40,120 --> 00:29:41,360
Speaker 1: another Mexican comedian in.

542
00:29:41,320 --> 00:29:44,000
Speaker 3: This film in Santo and the Treasure of Dracula. Was

543
00:29:44,040 --> 00:29:47,440
Speaker 3: it Perry Co the annoying sidekick.

544
00:29:48,040 --> 00:29:54,200
Speaker 1: Yes, the cowardly sidekick. It was a lot of fun

545
00:29:54,920 --> 00:29:58,000
Speaker 1: in this We have the character listed in the credits

546
00:29:58,040 --> 00:30:01,680
Speaker 1: as Cama, but I think he actually he gets a

547
00:30:01,680 --> 00:30:02,880
Speaker 1: different name in the dub.

548
00:30:02,680 --> 00:30:05,440
Speaker 3: Right, I'm not in the English dub. I could be

549
00:30:05,440 --> 00:30:08,400
Speaker 3: wrong about this, but I think maybe they called him Tommy. Okay,

550
00:30:08,440 --> 00:30:13,320
Speaker 3: but he's the main detective sidekick, Armando's buddy.

551
00:30:13,960 --> 00:30:18,120
Speaker 1: Yeah, a short little fella played by Chuccho Selinas, who

552
00:30:18,400 --> 00:30:20,640
Speaker 1: died in two thousand and one. I'm not sure birth

553
00:30:21,120 --> 00:30:24,400
Speaker 1: date is public record, but yeah. He seems to have

554
00:30:24,440 --> 00:30:28,400
Speaker 1: been mainly a comic actor, providing similar comic relief in

555
00:30:28,440 --> 00:30:31,280
Speaker 1: such pictures as The Wrestling Women Versus the Aztec Mummy

556
00:30:31,960 --> 00:30:35,320
Speaker 1: and some other lucha pictures. He was also in some

557
00:30:35,480 --> 00:30:39,160
Speaker 1: just outright comedies, such as Mexico two thousand from nineteen

558
00:30:39,160 --> 00:30:41,840
Speaker 1: eighty three. I believe we talked about that one in

559
00:30:41,880 --> 00:30:44,320
Speaker 1: Ship of Monsters because it's the same director.

560
00:30:44,040 --> 00:30:45,400
Speaker 3: Oh Rgalio Gonzalez.

561
00:30:45,920 --> 00:30:46,400
Speaker 1: Yeah.

562
00:30:46,480 --> 00:30:48,720
Speaker 3: Well, in this movie, a lot of his comedy scenes

563
00:30:48,760 --> 00:30:52,880
Speaker 3: I think are coming from an apparent mismatch where he's

564
00:30:53,520 --> 00:30:56,640
Speaker 3: He and Ruby Golden Ruby seem to be falling in

565
00:30:56,640 --> 00:30:58,880
Speaker 3: love with each other, which is funny because he's very

566
00:30:58,880 --> 00:31:00,800
Speaker 3: short and she's very tall.

567
00:31:00,720 --> 00:31:03,400
Speaker 1: And that's all. That's all there is. Yeah, it's a

568
00:31:03,440 --> 00:31:08,000
Speaker 1: pretty one note joke, one note romance. But they keep

569
00:31:08,320 --> 00:31:09,520
Speaker 1: touching base on it.

570
00:31:09,600 --> 00:31:11,120
Speaker 3: Oh it's sweet though.

571
00:31:11,160 --> 00:31:13,680
Speaker 1: It is sweet. Yes, we also did we mention that

572
00:31:13,720 --> 00:31:15,120
Speaker 1: we have an ape man in this picture?

573
00:31:15,160 --> 00:31:18,360
Speaker 3: Oh yeah, there's a there's a so we not only

574
00:31:18,400 --> 00:31:21,520
Speaker 3: brain transplants. This movie has Island of Doctor Moreau in it,

575
00:31:21,880 --> 00:31:24,320
Speaker 3: you know, the mad The mad doctor is like, why

576
00:31:24,320 --> 00:31:26,680
Speaker 3: didn't I make a half man half gorilla? Wouldn't that

577
00:31:26,720 --> 00:31:28,760
Speaker 3: be good? Yes, it would be good. Let's do that.

578
00:31:29,640 --> 00:31:31,680
Speaker 1: Yeah. Now the poster makes it looks like it is

579
00:31:31,720 --> 00:31:34,240
Speaker 1: a gorilla or a gorilla suit. It is not. It

580
00:31:34,320 --> 00:31:36,360
Speaker 1: is more of a gorilla like you said at Doctor

581
00:31:36,400 --> 00:31:37,719
Speaker 1: Island of Doctor Moreau sort of thing.

582
00:31:38,080 --> 00:31:40,240
Speaker 3: Well, that's how it's described with the it's just a

583
00:31:40,400 --> 00:31:42,719
Speaker 3: it's just a guy. And they glued some extra extra

584
00:31:42,800 --> 00:31:45,040
Speaker 3: hair on him, and some gave him some like a

585
00:31:45,080 --> 00:31:46,680
Speaker 3: prosthetic nose, I guess.

586
00:31:46,960 --> 00:31:51,200
Speaker 1: Yeah, yeah, limited prosthetics were applied to him. Yeah, but

587
00:31:51,680 --> 00:31:54,600
Speaker 1: the fella that these prosthetics are applied to and then

588
00:31:54,600 --> 00:31:58,360
Speaker 1: they glute some hair on. It is a pretty interesting character.

589
00:31:58,480 --> 00:32:03,400
Speaker 1: This is Geraldo's who lived nineteen thirty five through twenty eleven.

590
00:32:03,760 --> 00:32:06,480
Speaker 1: So this is just one of your cloud You find

591
00:32:06,480 --> 00:32:11,959
Speaker 1: this any cinematic culture. You have a great brute man character.

592
00:32:12,040 --> 00:32:15,760
Speaker 1: Actor here plays a lot of heavies, plays a lot

593
00:32:15,760 --> 00:32:20,400
Speaker 1: of monsters, does a lot of work in genre pictures,

594
00:32:20,400 --> 00:32:23,480
Speaker 1: but also ends up having some background work in a

595
00:32:23,480 --> 00:32:25,120
Speaker 1: lot of bigger pictures as well.

596
00:32:25,400 --> 00:32:29,480
Speaker 3: Now I might guess was this guy himself originally a wrestler.

597
00:32:30,280 --> 00:32:36,120
Speaker 1: He was. He was originally a luchador wrestling as Gerardo l. Romano.

598
00:32:36,960 --> 00:32:39,800
Speaker 1: I'm not sure how long he was actually active, but

599
00:32:40,160 --> 00:32:42,000
Speaker 1: it does seem from what I was reading about him

600
00:32:42,000 --> 00:32:44,280
Speaker 1: on like Luchiwiki and some other sites, it sounds like

601
00:32:44,320 --> 00:32:48,480
Speaker 1: he transitioned full time into acting after a while. This

602
00:32:48,600 --> 00:32:51,280
Speaker 1: was apparently his first picture. However, he followed it up

603
00:32:51,320 --> 00:32:55,800
Speaker 1: with several Santo Aztec Mummy and Blue Demon pictures, and

604
00:32:55,880 --> 00:32:58,880
Speaker 1: he sort of reprised this same role in nineteen sixty

605
00:32:58,960 --> 00:33:02,080
Speaker 1: nine's Night of the Bloody Aes. He is the eight

606
00:33:02,200 --> 00:33:05,480
Speaker 1: Monster in that, but he also pops up as a

607
00:33:05,520 --> 00:33:09,960
Speaker 1: bandit in Alejandro Jo Droowski's legendary nineteen seventy psychedelic western

608
00:33:10,000 --> 00:33:14,640
Speaker 1: al Topo. Oh yeah. He also plays a bandit in

609
00:33:14,720 --> 00:33:17,880
Speaker 1: nineteen seventy three's The Mansion of Madness, which is a

610
00:33:18,000 --> 00:33:22,240
Speaker 1: surreal inmates take over the asylum picture starring the legendary

611
00:33:22,240 --> 00:33:25,960
Speaker 1: Claudio Brook. Claudio Brook for any of them out there

612
00:33:26,200 --> 00:33:28,760
Speaker 1: not as familiar with Mexican cinema. He pops up in

613
00:33:29,320 --> 00:33:33,800
Speaker 1: Giermel de Toro's Kronos. He plays the evil old Man

614
00:33:33,840 --> 00:33:36,520
Speaker 1: who wants it to get a hold of the Kronos device.

615
00:33:37,040 --> 00:33:40,000
Speaker 3: Evil old man and the main villain I'm remembering in

616
00:33:40,080 --> 00:33:44,640
Speaker 3: that is is Oh what's his name that we know

617
00:33:44,720 --> 00:33:45,120
Speaker 3: so well?

618
00:33:45,600 --> 00:33:48,120
Speaker 1: Oh yeah, another great brute man actor, Ron Perlman.

619
00:33:48,280 --> 00:33:51,400
Speaker 3: Ron Perlman, I remember Ron Pearlman worked for him in

620
00:33:51,480 --> 00:33:52,000
Speaker 3: this movie.

621
00:33:52,320 --> 00:33:56,160
Speaker 1: Yeah yeah, His boss is Claudio Brook. Okay, so that's

622
00:33:56,200 --> 00:33:58,720
Speaker 1: a picture. There's some elements to it that kind of

623
00:33:58,720 --> 00:34:02,480
Speaker 1: disqualify it from weird house cinema, but it's a great

624
00:34:02,520 --> 00:34:06,080
Speaker 1: Claudia Brook performance anyway, as far as as a peda

625
00:34:06,200 --> 00:34:08,919
Speaker 1: goes here. His other credits include roles in nineteen eighty

626
00:34:08,920 --> 00:34:11,960
Speaker 1: three's Beyond the Limit, starring Michael Caine, Richard Gear and

627
00:34:12,000 --> 00:34:17,000
Speaker 1: Bob Hoskins Oliver Stone's nineteen eighty six films Salvador in

628
00:34:17,080 --> 00:34:20,080
Speaker 1: the He's also in the I did not know this existed,

629
00:34:20,200 --> 00:34:23,520
Speaker 1: but there's a nineteen eighty one Ringo star Caveman movie

630
00:34:23,719 --> 00:34:24,719
Speaker 1: titled Caveman.

631
00:34:24,960 --> 00:34:25,680
Speaker 3: But that's great.

632
00:34:26,200 --> 00:34:31,080
Speaker 1: That Yeah, it has the look of quality to it.

633
00:34:31,360 --> 00:34:33,719
Speaker 3: Wait a minute, now, I may have seen that there

634
00:34:33,719 --> 00:34:37,319
Speaker 3: were a lot of Caveman movies, but I may have

635
00:34:37,400 --> 00:34:39,440
Speaker 3: seen part of this one because I remember seeing a

636
00:34:39,480 --> 00:34:43,680
Speaker 3: movie on TV when I was younger where a Tyrannosaurus

637
00:34:43,719 --> 00:34:46,359
Speaker 3: rex is hit in the groin with a club and

638
00:34:46,400 --> 00:34:47,680
Speaker 3: its eyes go cross eyed.

639
00:34:49,560 --> 00:34:52,759
Speaker 1: Well, it sounds like nineteen eighty one's Caveman might be

640
00:34:52,800 --> 00:34:55,200
Speaker 1: the sort of picture where that happens. Dennis Quaid is

641
00:34:55,239 --> 00:34:59,080
Speaker 1: also in it. Oh wow, yeah, we may we may

642
00:34:59,120 --> 00:35:01,560
Speaker 1: have to come back in in this one in greater detail.

643
00:35:01,640 --> 00:35:03,640
Speaker 1: This is always one of the fun things about diving

644
00:35:03,680 --> 00:35:06,319
Speaker 1: into pictures like this, as you discover things you had

645
00:35:06,480 --> 00:35:09,359
Speaker 1: had no idea that it existed and or that had

646
00:35:09,360 --> 00:35:12,480
Speaker 1: any right to exist. Caveman from nineteen eighty one takes

647
00:35:12,560 --> 00:35:15,799
Speaker 1: place in the year one zillion BC. By the way,

648
00:35:15,960 --> 00:35:19,040
Speaker 1: that's that's part of this.

649
00:35:19,200 --> 00:35:21,160
Speaker 3: Could have done just a little bit of research to

650
00:35:22,440 --> 00:35:24,719
Speaker 3: get that a little more calibrated. Oh wait, I just

651
00:35:24,760 --> 00:35:26,879
Speaker 3: looked it up. Caveman had Barbara Bach in it.

652
00:35:27,360 --> 00:35:32,440
Speaker 1: Oh wow, great cast, great cast of nothing else of

653
00:35:32,600 --> 00:35:35,479
Speaker 1: just a couple of more. Zepeda also shows up in

654
00:35:36,120 --> 00:35:39,600
Speaker 1: Tony Scott's nineteen ninety Kevin Costner film Revenge, and he's

655
00:35:39,640 --> 00:35:42,759
Speaker 1: also in John Frankenheimer's The Burning Season from nineteen ninety four,

656
00:35:42,920 --> 00:35:46,960
Speaker 1: which starred Rol Julia So not bad, All told okay.

657
00:35:47,280 --> 00:35:50,600
Speaker 1: And finally, as far as the music goes, Atonio Diez

658
00:35:50,640 --> 00:35:54,160
Speaker 1: Conde did the music. He died in nineteen seventy six.

659
00:35:54,440 --> 00:35:56,640
Speaker 1: He was just He was a prolific Mexican composer who

660
00:35:56,719 --> 00:35:59,560
Speaker 1: worked on a ton of B pictures during this time period.

661
00:36:00,160 --> 00:36:02,560
Speaker 1: I get the impression he has just churning it out.

662
00:36:04,200 --> 00:36:06,920
Speaker 1: It's pretty standard stuff here. It's good. You know, it

663
00:36:07,000 --> 00:36:10,920
Speaker 1: delivers the musical vibes you expect from a Loocha picture

664
00:36:10,960 --> 00:36:11,480
Speaker 1: from this era.

665
00:36:11,719 --> 00:36:14,400
Speaker 3: I recall the music often really turns on a dime.

666
00:36:14,800 --> 00:36:17,200
Speaker 3: There's like a sudden cut and it goes from you know,

667
00:36:17,360 --> 00:36:22,799
Speaker 3: just the like plowing ominous orchestral music to straighten too,

668
00:36:22,880 --> 00:36:26,520
Speaker 3: going oh doop de dooo, you know, like whimsical fun stuff.

669
00:36:28,320 --> 00:36:30,200
Speaker 1: But you know he's keeping up with the picture.

670
00:36:30,239 --> 00:36:32,000
Speaker 3: Really, So we take a break and then come back

671
00:36:32,040 --> 00:36:32,920
Speaker 3: to talk about the plot.

672
00:36:33,800 --> 00:36:34,359
Speaker 1: Let's do it.

673
00:36:43,600 --> 00:36:45,600
Speaker 3: Hey, So I guess it's time to talk about the plot.

674
00:36:45,640 --> 00:36:47,919
Speaker 3: And if we sound different at all right now, it's

675
00:36:47,960 --> 00:36:50,080
Speaker 3: because we had to split this recording up into two

676
00:36:50,120 --> 00:36:53,919
Speaker 3: different sessions. So now we are returning from the from

677
00:36:53,960 --> 00:36:57,160
Speaker 3: the interlude to talk about the plot of Doctor of Doom.

678
00:36:57,640 --> 00:36:59,919
Speaker 3: And I think one thing I will say kicking off

679
00:37:00,760 --> 00:37:04,080
Speaker 3: this movie is that it should it probably assumes now

680
00:37:04,200 --> 00:37:09,680
Speaker 3: my number one position for movies that just get on

681
00:37:09,880 --> 00:37:14,120
Speaker 3: with it. This movie makes haste. So at the very beginning,

682
00:37:14,280 --> 00:37:18,719
Speaker 3: no studio logo, no credits. The first thirteen seconds of

683
00:37:18,760 --> 00:37:21,719
Speaker 3: this film depict what appears to be a murder. I

684
00:37:21,760 --> 00:37:25,040
Speaker 3: think later it is just a gorilla man kidnapping that

685
00:37:25,120 --> 00:37:28,040
Speaker 3: will turn into a murder. But it like it happens

686
00:37:28,080 --> 00:37:32,480
Speaker 3: so fast, so like orchestral, you know, ominous orchestral music

687
00:37:32,560 --> 00:37:36,840
Speaker 3: is just grinding. From frame one, we see this grimy

688
00:37:36,880 --> 00:37:40,080
Speaker 3: looking back loot. It looks I guess like a film

689
00:37:40,120 --> 00:37:43,000
Speaker 3: studio lot. But then there's a woman in a fur

690
00:37:43,080 --> 00:37:46,560
Speaker 3: coat walking around with a handbag. She's walking briskly as

691
00:37:46,560 --> 00:37:50,239
Speaker 3: though afraid. And then there are two menacing goons in

692
00:37:50,320 --> 00:37:53,880
Speaker 3: suits and ties following her. Here we're about eight seconds in.

693
00:37:54,440 --> 00:37:58,280
Speaker 3: She looks over her shoulder, she's afraid. The music swells.

694
00:37:58,640 --> 00:38:01,280
Speaker 3: There is a different dude, not one of the two suits,

695
00:38:01,320 --> 00:38:04,680
Speaker 3: but a shirtless guy with harry arms. He reaches out

696
00:38:04,680 --> 00:38:08,120
Speaker 3: from behind a brick wall strangles her from behind. Then

697
00:38:08,400 --> 00:38:11,160
Speaker 3: we're at like thirteen or fourteen seconds in, and then

698
00:38:11,200 --> 00:38:14,040
Speaker 3: we cut to a ladies wrestling match and then the

699
00:38:14,080 --> 00:38:19,440
Speaker 3: credits roll. Remember that thing about the head explosion scene

700
00:38:19,480 --> 00:38:22,120
Speaker 3: and scanners, how they like put it was originally going

701
00:38:22,160 --> 00:38:23,799
Speaker 3: to be the opening scene, but then they put it

702
00:38:23,920 --> 00:38:26,840
Speaker 3: later because they didn't want people coming in late to

703
00:38:26,880 --> 00:38:30,240
Speaker 3: the movie to the theaters to miss it. Renee Cardona

704
00:38:30,440 --> 00:38:34,560
Speaker 3: was obviously not consumed with similar worries about this Gomar

705
00:38:34,680 --> 00:38:35,480
Speaker 3: attack scene.

706
00:38:35,680 --> 00:38:38,960
Speaker 1: Yeah yeah. Cronenberg was more like, Oh, we want to

707
00:38:39,000 --> 00:38:40,480
Speaker 1: make sure they have time to get in and have

708
00:38:40,520 --> 00:38:42,920
Speaker 1: a seat, get their popcorn so they can see that

709
00:38:42,960 --> 00:38:46,520
Speaker 1: our signature was special effect. Cardona is more like, we

710
00:38:46,520 --> 00:38:49,400
Speaker 1: don't want them to leave. We need to They've just

711
00:38:49,440 --> 00:38:52,520
Speaker 1: set down make sure that they're getting all the action possible.

712
00:38:52,719 --> 00:38:54,440
Speaker 1: They need to know that this film is just going

713
00:38:54,480 --> 00:38:55,799
Speaker 1: to be NonStop.

714
00:38:55,480 --> 00:38:59,439
Speaker 3: Beast man murder within thirteen seconds, yes, but then okay,

715
00:38:59,520 --> 00:39:02,200
Speaker 3: so we cut to a wrestling match, and that's what

716
00:39:02,239 --> 00:39:04,280
Speaker 3: we're gonna be watching, or at least what we're gonna

717
00:39:04,600 --> 00:39:07,399
Speaker 3: try to watch, because it has credits playing over it.

718
00:39:07,920 --> 00:39:11,040
Speaker 3: I was immediately complaining about this because we can't see

719
00:39:11,040 --> 00:39:14,600
Speaker 3: the wrestling. The screen is just full of credits in

720
00:39:14,719 --> 00:39:18,000
Speaker 3: the you know, the dripping blood font and they're covering

721
00:39:18,120 --> 00:39:22,640
Speaker 3: up the action. But upon watching this scene a second time,

722
00:39:23,200 --> 00:39:25,520
Speaker 3: I realize there may be a reason that they are

723
00:39:25,560 --> 00:39:27,640
Speaker 3: not letting us get a good look at anything, that

724
00:39:27,680 --> 00:39:30,600
Speaker 3: they're putting the credits over the wrestling, and it's because

725
00:39:30,640 --> 00:39:34,120
Speaker 3: I think this scene is a footage double dip. This

726
00:39:34,640 --> 00:39:37,400
Speaker 3: is the wrestling match we see later in the movie

727
00:39:37,960 --> 00:39:43,680
Speaker 3: between between Gloria Venus and Golden Ruby and La Gasela

728
00:39:43,840 --> 00:39:46,719
Speaker 3: the Gazelle and I can't remember the other wrestler's name,

729
00:39:47,200 --> 00:39:49,480
Speaker 3: but it's the tag team match. And it's clear that

730
00:39:49,480 --> 00:39:52,600
Speaker 3: it's a double dip because this scene contains characters who

731
00:39:52,640 --> 00:39:55,160
Speaker 3: won't be introduced until later in the film.

732
00:39:55,560 --> 00:39:58,480
Speaker 1: Ah good aye, good eye. I didn't catch this myself

733
00:39:58,520 --> 00:40:00,400
Speaker 1: when I first started watching the picture.

734
00:40:00,680 --> 00:40:03,040
Speaker 3: Yeah, I didn't either. So we see Golden Ruby in it,

735
00:40:03,360 --> 00:40:06,800
Speaker 3: she'll arrive later in the movie. We see the detectives

736
00:40:06,800 --> 00:40:09,359
Speaker 3: in it, kind of like hooting at the action. And

737
00:40:09,520 --> 00:40:11,760
Speaker 3: I think it's funny because didn't we just talk about

738
00:40:11,760 --> 00:40:14,839
Speaker 3: movies that do this, that show you later scenes from

739
00:40:14,920 --> 00:40:18,520
Speaker 3: the movie, specifically action scenes during the opening credits like

740
00:40:18,640 --> 00:40:21,040
Speaker 3: Thrilling Bloody Sword and all Monsters.

741
00:40:20,560 --> 00:40:24,160
Speaker 1: Attack, Yep, yep, we have. This does pop up from

742
00:40:24,200 --> 00:40:28,200
Speaker 1: time to time, and in cases like that, they'll often

743
00:40:28,480 --> 00:40:31,360
Speaker 1: show off signature special effects from later on in the picture.

744
00:40:32,120 --> 00:40:34,480
Speaker 1: In the opening scene. It's like if you were watching

745
00:40:34,560 --> 00:40:38,920
Speaker 1: Scanners and the opening credits to Scanners showed our hero's

746
00:40:38,920 --> 00:40:41,920
Speaker 1: head exploding at the end of Scanners, you know, like

747
00:40:42,000 --> 00:40:45,759
Speaker 1: it's sometimes that bad. The Thrilling Bloody Sword. Yeah, it

748
00:40:45,760 --> 00:40:49,120
Speaker 1: gives away some of the coolest stuff, I guess, just

749
00:40:49,160 --> 00:40:51,560
Speaker 1: saying hey, stick around because you're going to get to

750
00:40:51,600 --> 00:40:54,520
Speaker 1: see this without words in front of it later on.

751
00:40:56,040 --> 00:40:58,600
Speaker 1: And then of course there are some really there are

752
00:40:58,640 --> 00:41:01,080
Speaker 1: some other ridiculous examples of it. It's like one of

753
00:41:01,120 --> 00:41:03,520
Speaker 1: the releases of pod People which we also talked about

754
00:41:03,560 --> 00:41:07,680
Speaker 1: on the show, features a footage from an entirely different film,

755
00:41:07,719 --> 00:41:08,680
Speaker 1: Galaxy Invader.

756
00:41:08,760 --> 00:41:13,200
Speaker 3: That's right, one of those Don Dollar movies, the Marilyn Special.

757
00:41:14,040 --> 00:41:17,160
Speaker 1: Yeah, so all told, I would say this is maybe

758
00:41:17,200 --> 00:41:21,960
Speaker 1: weirdly effective since the footage they're using feel it kind

759
00:41:21,960 --> 00:41:24,200
Speaker 1: of has a generic vibe to it. Anyway, you don't

760
00:41:24,200 --> 00:41:26,560
Speaker 1: know who these characters are yet, so for the most part,

761
00:41:26,560 --> 00:41:30,239
Speaker 1: they're just random wrestlers are random dudes in suits, and

762
00:41:30,320 --> 00:41:33,360
Speaker 1: it doesn't reveal a monster, a major special effect, or

763
00:41:33,360 --> 00:41:34,279
Speaker 1: a major plot point.

764
00:41:34,440 --> 00:41:36,440
Speaker 3: That's right. So I didn't catch it until I was

765
00:41:36,480 --> 00:41:40,280
Speaker 3: looking closely the second time. But there is one character

766
00:41:40,320 --> 00:41:44,120
Speaker 3: who stands out in the footage you see behind the credits,

767
00:41:44,400 --> 00:41:46,799
Speaker 3: and I think this is intentional because she is our

768
00:41:46,840 --> 00:41:49,279
Speaker 3: heroin for the film. One of the wrestlers in this

769
00:41:49,400 --> 00:41:54,720
Speaker 3: match is the brave, beautiful, bone crushingly mighty Gloria Venus,

770
00:41:54,800 --> 00:41:57,600
Speaker 3: played by Lorraino of Alaskaz. And I like how even

771
00:41:57,600 --> 00:41:59,600
Speaker 3: in the opening credits, while she's so this is a

772
00:41:59,640 --> 00:42:01,719
Speaker 3: tag te match, we see her first where she's like

773
00:42:02,080 --> 00:42:04,680
Speaker 3: at the ropes, she's watching the match in front of her.

774
00:42:04,719 --> 00:42:07,680
Speaker 3: She's not even fighting yet. She's about to come in

775
00:42:07,719 --> 00:42:10,400
Speaker 3: and open a can here, but she's still got that

776
00:42:10,520 --> 00:42:15,719
Speaker 3: signature facial expression of the kind of slightly inappropriate aloof amusement.

777
00:42:16,719 --> 00:42:18,959
Speaker 1: Yeah, and she's not touching the tag rope. But then again,

778
00:42:19,000 --> 00:42:21,480
Speaker 1: I'm now that I say that, I'm not sure Lucha

779
00:42:21,600 --> 00:42:24,120
Speaker 1: Libre has or had a tag rope.

780
00:42:24,160 --> 00:42:25,880
Speaker 3: So what is a tag rope?

781
00:42:26,200 --> 00:42:28,960
Speaker 1: They're like these little I didn't know they existed for

782
00:42:29,000 --> 00:42:34,600
Speaker 1: the longest, But if you watch the tag matches, especially

783
00:42:35,239 --> 00:42:37,600
Speaker 1: like American tag matches, there are these like little ropes

784
00:42:37,680 --> 00:42:41,480
Speaker 1: on top of the turn buckle that the the wrestler

785
00:42:41,480 --> 00:42:43,839
Speaker 1: who's not tagged in the other member of the tag

786
00:42:43,880 --> 00:42:46,600
Speaker 1: team has to be touching so that they can't just

787
00:42:46,680 --> 00:42:48,880
Speaker 1: run around on the ring apron and sometimes the raffle,

788
00:42:48,920 --> 00:42:50,239
Speaker 1: you know, get onto him and tell them to touch

789
00:42:50,280 --> 00:42:52,279
Speaker 1: the tag ropes. But I don't know, that might not

790
00:42:52,320 --> 00:42:53,080
Speaker 1: be a thing in legit.

791
00:42:53,320 --> 00:42:55,440
Speaker 3: But they violate this all the time, right, don't They

792
00:42:55,480 --> 00:42:57,279
Speaker 3: just kind of like run in when they're not supposed to.

793
00:42:57,760 --> 00:42:59,640
Speaker 1: I mean, that's why I have rules, so they could

794
00:42:59,640 --> 00:43:01,680
Speaker 1: they broke good by the bad guys.

795
00:43:01,400 --> 00:43:05,439
Speaker 3: Okay, but of course Gloria. Gloria wins this match and

796
00:43:05,920 --> 00:43:08,240
Speaker 3: as with most of the fight scenes in this movie,

797
00:43:08,680 --> 00:43:12,239
Speaker 3: there are shots where Loraine vel Esquez is replaced by

798
00:43:12,360 --> 00:43:15,839
Speaker 3: an incredibly obvious double doesn't look anything like her.

799
00:43:16,120 --> 00:43:18,799
Speaker 1: Yeah. Yeah, they have some some real grapplers on hand

800
00:43:18,800 --> 00:43:19,640
Speaker 1: to do these stunts.

801
00:43:19,719 --> 00:43:22,520
Speaker 3: Yeah, I think they try to accomplish it, especially by

802
00:43:22,760 --> 00:43:26,040
Speaker 3: giving her really big hair, which Gloria Venus has.

803
00:43:26,800 --> 00:43:31,360
Speaker 1: Yeah, and we should also describe Gloria Venus's wrestling attire

804
00:43:31,719 --> 00:43:34,400
Speaker 1: because you might if you've not seen this film or

805
00:43:34,440 --> 00:43:37,680
Speaker 1: seeing stills from it, you might imagine, you know, this

806
00:43:37,680 --> 00:43:42,799
Speaker 1: this beautiful, stunning Mexican actress in some sort of like

807
00:43:42,920 --> 00:43:46,239
Speaker 1: colorful I don't know. Maybe it's maybe it's flower theme,

808
00:43:46,239 --> 00:43:49,160
Speaker 1: maybe it's space theme. No, it's like a gray, full

809
00:43:49,200 --> 00:43:53,320
Speaker 1: body jumpsive that you're wearing, I mean, not particularly exciting.

810
00:43:53,440 --> 00:43:55,000
Speaker 3: It's in black and white, so I don't know what

811
00:43:55,200 --> 00:43:56,920
Speaker 3: color it would have been, but it does appear to

812
00:43:56,960 --> 00:43:58,760
Speaker 3: be one single solid color.

813
00:43:59,360 --> 00:44:01,560
Speaker 1: Yeah, maybe it's so like in real life it would

814
00:44:01,560 --> 00:44:03,399
Speaker 1: be a real floral color. I guess that would fit.

815
00:44:03,440 --> 00:44:05,680
Speaker 1: But yeah, there's no designs on it or anything. It's

816
00:44:05,719 --> 00:44:07,680
Speaker 1: just a full body suit. And maybe that makes the

817
00:44:08,920 --> 00:44:11,239
Speaker 1: I mean, everybody's costume is like that, like this in

818
00:44:11,360 --> 00:44:15,920
Speaker 1: these sequences, very drab outfits going on here. I don't

819
00:44:15,920 --> 00:44:17,239
Speaker 1: see any sequence or sparkles.

820
00:44:17,440 --> 00:44:19,120
Speaker 3: Oh, but I wanted to point out there is one

821
00:44:19,120 --> 00:44:22,239
Speaker 3: shot of her that's definitely lorraina of Alaska's. It's not

822
00:44:22,360 --> 00:44:25,040
Speaker 3: the stunt double, and it's one where she's doing some

823
00:44:25,120 --> 00:44:28,279
Speaker 3: kind of strange submission hold where she like stretches her

824
00:44:28,320 --> 00:44:32,000
Speaker 3: opponent's arms out in opposite directions. And I was trying

825
00:44:32,000 --> 00:44:34,399
Speaker 3: to think, what is this? Is this a real move?

826
00:44:34,480 --> 00:44:35,680
Speaker 3: What is this move called?

827
00:44:36,239 --> 00:44:40,480
Speaker 1: I couldn't find exactly what this is, but Lucha Libre

828
00:44:40,640 --> 00:44:43,840
Speaker 1: especially has a ton of crazy submission holds. They always

829
00:44:43,840 --> 00:44:46,680
Speaker 1: have all sorts of things, like some things that are

830
00:44:46,760 --> 00:44:49,880
Speaker 1: rooted more or less in actual grappling and actual wrestling,

831
00:44:50,200 --> 00:44:53,680
Speaker 1: but then it goes crazy from there. There's all sorts

832
00:44:53,719 --> 00:44:55,920
Speaker 1: of stuff where like people are, you know, being suspended

833
00:44:55,960 --> 00:45:00,239
Speaker 1: upside down or they're made into a human pendulum or something.

834
00:45:00,960 --> 00:45:04,239
Speaker 1: So this one's not even that wacky, but it and

835
00:45:04,280 --> 00:45:06,160
Speaker 1: it has similar vibes with the number of other sort

836
00:45:06,160 --> 00:45:09,600
Speaker 1: of twisty like step over fold the legs sort of holds.

837
00:45:09,640 --> 00:45:13,040
Speaker 1: I found one looking around on Lucha wiki that looked

838
00:45:13,520 --> 00:45:18,160
Speaker 1: similar called luck constida, but it's not a one hundred

839
00:45:18,160 --> 00:45:20,479
Speaker 1: percent match like it has a little bit more step over.

840
00:45:20,520 --> 00:45:23,560
Speaker 1: So maybe they had something picked out something and they

841
00:45:23,640 --> 00:45:27,160
Speaker 1: kind of adapted it so that Gloria here, again played

842
00:45:27,160 --> 00:45:30,600
Speaker 1: by a non wrestler, could stand in and do it. Also,

843
00:45:30,680 --> 00:45:33,040
Speaker 1: it's worth noting that this is a submission hold where

844
00:45:33,200 --> 00:45:37,760
Speaker 1: you can see both both individuals faces. Both wrestlers faces

845
00:45:37,800 --> 00:45:41,280
Speaker 1: are present, which heightens the drama, which is not always

846
00:45:41,320 --> 00:45:43,200
Speaker 1: a concern in lucha, but is often a concern in

847
00:45:43,239 --> 00:45:46,399
Speaker 1: wrestling in general. And for a film, obviously you want

848
00:45:46,560 --> 00:45:49,719
Speaker 1: you want those facial expressions, especially the facial expression of

849
00:45:49,800 --> 00:45:50,879
Speaker 1: your your hero here.

850
00:45:51,160 --> 00:45:53,200
Speaker 3: That's a good point. I'm glad we have your your

851
00:45:53,200 --> 00:45:56,160
Speaker 3: wrestling expertise to consult when doing like this.

852
00:45:56,200 --> 00:45:57,080
Speaker 1: I'm no expert.

853
00:45:57,360 --> 00:46:00,759
Speaker 3: Well not might your relative expertise compared to me, I

854
00:46:00,760 --> 00:46:03,319
Speaker 3: wouldn't have even thought about the faces. That totally makes sense.

855
00:46:03,719 --> 00:46:07,040
Speaker 3: But anyway, after the match, Gloria Gloria Venus wins and

856
00:46:07,080 --> 00:46:11,200
Speaker 3: she returns to her locker room accompanied by her sister Alice,

857
00:46:11,600 --> 00:46:16,560
Speaker 3: and Gloria and Alice both have such big hair. Alice's

858
00:46:16,600 --> 00:46:21,080
Speaker 3: hair here is like a gorgeous, glossy motorcycle helmet.

859
00:46:22,520 --> 00:46:24,440
Speaker 1: It really is. Yeah, this is I get. This was

860
00:46:24,719 --> 00:46:26,399
Speaker 1: the style of the day, right. I mean you look

861
00:46:26,440 --> 00:46:30,839
Speaker 1: at like college yearbooks and high school yearbooks in this era,

862
00:46:30,960 --> 00:46:32,960
Speaker 1: and this is the hairstyle for women.

863
00:46:33,160 --> 00:46:35,160
Speaker 3: I don't know what you call this hairstyle. So it's

864
00:46:35,200 --> 00:46:39,440
Speaker 3: like straight hair, but it's like gigantic, it's like helmet sized.

865
00:46:39,960 --> 00:46:43,719
Speaker 3: It's a great look. The sixties were amazing. So we

866
00:46:43,960 --> 00:46:48,160
Speaker 3: learn from their conversation that Gloria venus. She says, I

867
00:46:48,200 --> 00:46:49,920
Speaker 3: would hate to be thought of as a braggart, but

868
00:46:50,160 --> 00:46:52,960
Speaker 3: no woman has ever pinned me, isues, so she is

869
00:46:53,000 --> 00:46:57,880
Speaker 3: the undisputed champ. And we learn that Alice is not

870
00:46:57,920 --> 00:47:00,400
Speaker 3: a fighter like Gloria. She says if she were in

871
00:47:00,400 --> 00:47:02,439
Speaker 3: Gloria's line of work, she would be afraid of getting

872
00:47:02,440 --> 00:47:05,400
Speaker 3: her arm broken. But they have a good relationship. It

873
00:47:05,400 --> 00:47:07,200
Speaker 3: looks like they're going to head out to dinner together

874
00:47:07,280 --> 00:47:10,280
Speaker 3: after the match, so they're close. Then let's cut straight

875
00:47:10,280 --> 00:47:12,120
Speaker 3: from that to some sci fi horror. We go to

876
00:47:12,160 --> 00:47:15,440
Speaker 3: a different scene. Here there is a person lying on

877
00:47:15,520 --> 00:47:19,080
Speaker 3: an operating table strapped with a ventilator mask and all

878
00:47:19,080 --> 00:47:22,960
Speaker 3: these black hoses running to it while two creepy doctors

879
00:47:23,000 --> 00:47:27,040
Speaker 3: in surgical masks lean over the patient with a nervous eagerness.

880
00:47:27,719 --> 00:47:31,480
Speaker 3: And so these two guys. One is an imposing, taller

881
00:47:31,760 --> 00:47:35,800
Speaker 3: boss doctor with a piercing glare and a sonorous voice,

882
00:47:36,120 --> 00:47:39,640
Speaker 3: and then there is a cringing, shorter hinch doctor to

883
00:47:39,800 --> 00:47:42,240
Speaker 3: assist him and to sort of flatter his ego.

884
00:47:42,640 --> 00:47:46,600
Speaker 1: Yeah, it's clear the taller doctor is the titular doctor

885
00:47:46,640 --> 00:47:49,800
Speaker 1: of doom. I didn't know you could get a doctorate

886
00:47:49,840 --> 00:47:51,239
Speaker 1: in doom, but he did.

887
00:47:53,400 --> 00:48:00,200
Speaker 3: He specialized in doom studies at Moreau University. So they say,

888
00:48:00,239 --> 00:48:02,359
Speaker 3: you know, they're ready for the surgery now, So they

889
00:48:02,400 --> 00:48:07,160
Speaker 3: paint a circle on the person's shaved scalp, and then

890
00:48:07,160 --> 00:48:09,760
Speaker 3: they bring in a second person. So they're like lining

891
00:48:09,840 --> 00:48:12,680
Speaker 3: up these two bodies on operating tables next to each other.

892
00:48:13,640 --> 00:48:15,600
Speaker 3: Here we get a lot of close ups on rubber

893
00:48:15,600 --> 00:48:18,480
Speaker 3: gloves and electrodes and stuff like that to let us

894
00:48:18,480 --> 00:48:22,080
Speaker 3: know that mad science is taking place. But whatever it

895
00:48:22,120 --> 00:48:24,759
Speaker 3: is they're trying to do here doesn't work out. We

896
00:48:24,840 --> 00:48:30,280
Speaker 3: get sad orchestral music and the lead doctor says another failure.

897
00:48:30,719 --> 00:48:34,080
Speaker 3: He's clearly dejected. And here we get some exposition what's

898
00:48:34,120 --> 00:48:38,000
Speaker 3: going on here? Is your standard brain transplant. I think

899
00:48:38,120 --> 00:48:41,600
Speaker 3: they were trying to take out a random woman's brain

900
00:48:42,000 --> 00:48:46,719
Speaker 3: and then transplant it into a man's body. But that

901
00:48:46,760 --> 00:48:49,239
Speaker 3: doesn't make sense based on some other things they say later.

902
00:48:49,280 --> 00:48:51,600
Speaker 3: So they talk about like putting it in his body,

903
00:48:52,800 --> 00:48:56,000
Speaker 3: but then they're also saying that this operation will only

904
00:48:56,080 --> 00:48:59,359
Speaker 3: work with women's brains. I guess because women's brains are

905
00:48:59,480 --> 00:49:01,360
Speaker 3: better suit for it for some reason.

906
00:49:01,880 --> 00:49:05,239
Speaker 1: Well, it's because females are strong as hell. They they

907
00:49:05,239 --> 00:49:07,880
Speaker 1: basically say this later on. It's like the female brain

908
00:49:08,000 --> 00:49:10,040
Speaker 1: is just more resilient, it's tougher.

909
00:49:10,360 --> 00:49:13,120
Speaker 3: Yeah, okay, so there's only women's brains will work. But

910
00:49:13,160 --> 00:49:15,960
Speaker 3: they also I'm not clear why are they doing this.

911
00:49:16,520 --> 00:49:18,960
Speaker 3: Did the man that they're trying to transplant into not

912
00:49:19,160 --> 00:49:21,279
Speaker 3: have a brain of his own? Why did he need

913
00:49:21,320 --> 00:49:23,880
Speaker 3: a new brain? H They explain that it is the

914
00:49:23,880 --> 00:49:26,480
Speaker 3: fourth time they have attempted this type of procedure and

915
00:49:26,560 --> 00:49:27,799
Speaker 3: it has failed every time.

916
00:49:28,080 --> 00:49:31,160
Speaker 1: Yeah, I don't get the impression they're trying to help anyone.

917
00:49:31,200 --> 00:49:33,359
Speaker 1: They're just they just got to be first. They're trying

918
00:49:33,400 --> 00:49:38,200
Speaker 1: to break new ground and become underground surgical legends. I guess.

919
00:49:38,440 --> 00:49:41,120
Speaker 3: But what's going to happen to the to the patient

920
00:49:41,200 --> 00:49:44,120
Speaker 3: number one's brain. If he gets a new brain transplanted

921
00:49:44,160 --> 00:49:46,160
Speaker 3: into his head, where does his Is it a brain

922
00:49:46,200 --> 00:49:47,959
Speaker 3: swapp Does his brain go to her head?

923
00:49:48,920 --> 00:49:51,600
Speaker 1: Maybe one brain's just going in the trash? I don't know.

924
00:49:51,920 --> 00:49:55,320
Speaker 3: Okay, but the Hinch doctor here has an amazing theory

925
00:49:55,360 --> 00:49:58,319
Speaker 3: for why the operation has not been a success. He

926
00:49:58,400 --> 00:50:02,000
Speaker 3: starts hypothesized, saying that the women's brains they've been trying

927
00:50:02,040 --> 00:50:05,880
Speaker 3: to transplant have not been smart enough to survive the operation,

928
00:50:06,560 --> 00:50:10,320
Speaker 3: and they need to stop kidnapping women with dumb brains

929
00:50:10,400 --> 00:50:13,239
Speaker 3: and instead try to kidnap smart women to get their

930
00:50:13,280 --> 00:50:17,719
Speaker 3: smart brains. All right, all right, very interesting, and the

931
00:50:17,760 --> 00:50:20,520
Speaker 3: boss doctor seems convinced they should try it, but their

932
00:50:20,560 --> 00:50:26,279
Speaker 3: conversation is interrupted by kind of besteal growls what's this?

933
00:50:26,600 --> 00:50:30,560
Speaker 3: And the boss doctor says, Gomar is acting up again? Gomar?

934
00:50:30,800 --> 00:50:34,560
Speaker 3: What's Gomar? Well, here we introduced the second sci fi

935
00:50:34,640 --> 00:50:37,480
Speaker 3: theme adjacent to the first. So this is a wrestling movie.

936
00:50:37,840 --> 00:50:40,799
Speaker 3: It has brain transplants, but as we've alluded to, it

937
00:50:40,880 --> 00:50:45,040
Speaker 3: is also a Doctor Moreau style beast man movie. So

938
00:50:45,200 --> 00:50:47,920
Speaker 3: the monster we saw attack the lady in the opening

939
00:50:47,960 --> 00:50:51,560
Speaker 3: thirteen seconds is Gomar. From what I gather, he is

940
00:50:51,719 --> 00:50:56,160
Speaker 3: a gorilla human hybrid created by the boss doctor here

941
00:50:56,200 --> 00:50:59,840
Speaker 3: by transplanting a gorilla's brain into a man's body.

942
00:51:00,200 --> 00:51:02,360
Speaker 1: Yep, that seems to be the case. So this was

943
00:51:02,440 --> 00:51:07,880
Speaker 1: like patient A in this effort. This was the first success,

944
00:51:08,800 --> 00:51:10,640
Speaker 1: and they keep him around because he's useful.

945
00:51:11,560 --> 00:51:14,880
Speaker 3: But by the way, there's just a set note here.

946
00:51:15,400 --> 00:51:17,640
Speaker 3: To get to Gomar's cage, they have to go down

947
00:51:17,719 --> 00:51:21,000
Speaker 3: in a basement full of cardboard boxes and upside down chairs,

948
00:51:21,040 --> 00:51:22,640
Speaker 3: wild upside down chairs.

949
00:51:23,080 --> 00:51:23,520
Speaker 1: I got a.

950
00:51:23,440 --> 00:51:25,520
Speaker 3: Picture for you to look at here. There's like at

951
00:51:25,640 --> 00:51:28,200
Speaker 3: least ten upside down chairs. What's going on?

952
00:51:29,719 --> 00:51:31,840
Speaker 1: I mean at times I thought, well, maybe Gomar has

953
00:51:31,880 --> 00:51:35,640
Speaker 1: been down there throwing chairs around, but he's not actually

954
00:51:35,680 --> 00:51:38,560
Speaker 1: in this room, right, This is just like a store room.

955
00:51:38,719 --> 00:51:43,000
Speaker 3: Yeah, it's like the room that gives access to his cage.

956
00:51:43,040 --> 00:51:46,400
Speaker 1: It kept making me think about the Gilda Radner skit

957
00:51:46,600 --> 00:51:49,840
Speaker 1: from It came from Hollywood, in which there's a radio

958
00:51:49,840 --> 00:51:53,120
Speaker 1: program talking about an escape gorilla and she starts frantically

959
00:51:53,160 --> 00:51:56,680
Speaker 1: piling everything in her living room up against the windows

960
00:51:56,719 --> 00:52:01,480
Speaker 1: and doors. But that doesn't actually prevent an explanation for

961
00:52:01,600 --> 00:52:02,239
Speaker 1: what we see here.

962
00:52:02,400 --> 00:52:04,880
Speaker 3: No, So I just don't understand it. Maybe that's just

963
00:52:04,920 --> 00:52:08,239
Speaker 3: how they store their extra chairs at the Mad Science Lab.

964
00:52:08,760 --> 00:52:10,640
Speaker 1: Yeah, or even maybe it's just a case where like

965
00:52:10,680 --> 00:52:13,360
Speaker 1: set decoration, like we're so used to seeing the wall

966
00:52:13,400 --> 00:52:16,920
Speaker 1: of cardboard boxes in films, like that's a that's a

967
00:52:17,000 --> 00:52:19,560
Speaker 1: standard you need to create a storeroom environment. Just pack,

968
00:52:19,719 --> 00:52:23,000
Speaker 1: get some empty boxes, pile them up, start filming. And

969
00:52:23,040 --> 00:52:24,400
Speaker 1: so they're doing a little bit of this, but then

970
00:52:24,400 --> 00:52:26,160
Speaker 1: they're getting there a little chewos here. They're like, let's

971
00:52:26,160 --> 00:52:29,640
Speaker 1: get some other shapes in there. One thing that I

972
00:52:29,719 --> 00:52:32,279
Speaker 1: like about the Mad Science Chamber is that they do

973
00:52:32,320 --> 00:52:33,920
Speaker 1: a pretty good job of like, you know, you have

974
00:52:33,960 --> 00:52:36,080
Speaker 1: a lot of stuff going on, but also the shadows

975
00:52:36,120 --> 00:52:38,200
Speaker 1: of the stuff in the background, and in black and white,

976
00:52:38,360 --> 00:52:39,640
Speaker 1: it tends to play really well.

977
00:52:39,920 --> 00:52:42,560
Speaker 3: I agree. Yes, this movie actually does a lot of

978
00:52:43,200 --> 00:52:47,000
Speaker 3: scenes with good shadows. So anyway, they go down to

979
00:52:47,040 --> 00:52:49,319
Speaker 3: meet with Gomar, they give him some row on meat.

980
00:52:49,719 --> 00:52:53,000
Speaker 3: They say he's uh I think. They explain he's slowly

981
00:52:53,040 --> 00:52:57,160
Speaker 3: transforming from half man, half gorilla into full gorilla and

982
00:52:57,320 --> 00:53:00,160
Speaker 3: the only reason the doctor retains control over him for

983
00:53:00,239 --> 00:53:03,240
Speaker 3: the moment is because he has Gomar in a hypnotic state,

984
00:53:03,600 --> 00:53:06,160
Speaker 3: and he fears that he will soon lose all control

985
00:53:06,239 --> 00:53:06,920
Speaker 3: over Gomar.

986
00:53:07,400 --> 00:53:10,200
Speaker 1: Yeah, this is all tremendous because on one hand, first

987
00:53:10,239 --> 00:53:13,279
Speaker 1: of all, you have this movie is telling us that

988
00:53:13,320 --> 00:53:16,240
Speaker 1: if you transplant a gorilla's brain into a human body,

989
00:53:17,200 --> 00:53:21,080
Speaker 1: not only is this a success, but it will gradually

990
00:53:21,120 --> 00:53:24,399
Speaker 1: transform the body into the body of a gorilla. Yes,

991
00:53:24,760 --> 00:53:27,279
Speaker 1: and then on top of that, they're just feeding this

992
00:53:27,320 --> 00:53:31,080
Speaker 1: gorilla just big bloody chunks of meat and bone. Gorillas

993
00:53:31,120 --> 00:53:34,440
Speaker 1: don't eat big chunks of meat, so they should be

994
00:53:34,560 --> 00:53:36,680
Speaker 1: throwing in a whole bunch of like vegetables and stuff.

995
00:53:36,880 --> 00:53:39,280
Speaker 3: Yeah, give that gorilla some fruits and stuff.

996
00:53:39,600 --> 00:53:41,680
Speaker 1: Yeah, I guess it just wouldn't be as scary if

997
00:53:41,719 --> 00:53:44,520
Speaker 1: Gomar is sitting there chewing on a big head of cabbage.

998
00:53:45,520 --> 00:53:47,640
Speaker 3: But so in this scene we get the doctor muttering.

999
00:53:47,680 --> 00:53:50,520
Speaker 3: He says, I must trendsplant a human brain into another

1000
00:53:50,640 --> 00:53:55,520
Speaker 3: human being. That's the goal I've set for myself. You know,

1001
00:53:55,600 --> 00:53:58,800
Speaker 3: he's self directed in his ambitions. He picks a project

1002
00:53:58,800 --> 00:53:59,560
Speaker 3: and sticks with it.

1003
00:54:00,040 --> 00:54:01,600
Speaker 1: That's one of my favorite lines for in the film.

1004
00:54:01,719 --> 00:54:03,680
Speaker 1: That's the goal I've set for myself.

1005
00:54:04,239 --> 00:54:06,480
Speaker 3: Oh, there's a lot of good lines like that we

1006
00:54:06,719 --> 00:54:08,799
Speaker 3: will get to many more. But here's the part where

1007
00:54:08,840 --> 00:54:10,880
Speaker 3: they explained that the experiments have to be done on

1008
00:54:10,920 --> 00:54:14,360
Speaker 3: women because women's brains react better than men's brains to

1009
00:54:14,520 --> 00:54:17,959
Speaker 3: brain transplantation. But then I wonder, well, wait a minute,

1010
00:54:18,000 --> 00:54:20,200
Speaker 3: how would he know that because all of his patients

1011
00:54:20,200 --> 00:54:21,600
Speaker 3: have died during the procedure.

1012
00:54:21,920 --> 00:54:27,160
Speaker 1: Well, I guess maybe they're dying slower when they were

1013
00:54:27,160 --> 00:54:28,600
Speaker 1: working with men. I'm not sure.

1014
00:54:29,239 --> 00:54:32,800
Speaker 3: Okay, So here they agree on the theory of the

1015
00:54:32,840 --> 00:54:35,640
Speaker 3: Hinch doctor that they need to find a smart brain

1016
00:54:35,840 --> 00:54:38,800
Speaker 3: to use in the next experiment. So we get a

1017
00:54:38,840 --> 00:54:43,320
Speaker 3: scene transition, you know, newspaper seller saying extra extra, another

1018
00:54:43,320 --> 00:54:45,680
Speaker 3: woman murdered by the mad doctor. So this is the

1019
00:54:45,719 --> 00:54:49,160
Speaker 3: big headline in town. Then we cut inside a building

1020
00:54:49,200 --> 00:54:53,239
Speaker 3: that is it looks I mean, it looks just kind

1021
00:54:53,280 --> 00:54:55,040
Speaker 3: of like a house. It's like a living room that

1022
00:54:55,080 --> 00:54:58,200
Speaker 3: has been converted into a laboratory with a bunch of

1023
00:54:58,239 --> 00:55:01,960
Speaker 3: microscopes and chemistry re equipment and people in lab coats

1024
00:55:02,920 --> 00:55:05,080
Speaker 3: and oh, what do you know? One of the people

1025
00:55:05,160 --> 00:55:09,960
Speaker 3: here in lab coats is Alice, the sister of Gloria Venus.

1026
00:55:10,640 --> 00:55:13,000
Speaker 3: Uh but uh, oh wait a second, are you already

1027
00:55:13,000 --> 00:55:15,680
Speaker 3: putting two and two together. She's a scientist, and I

1028
00:55:15,680 --> 00:55:18,719
Speaker 3: think the filmmakers may be suggesting that she has a

1029
00:55:18,760 --> 00:55:19,399
Speaker 3: smart brain.

1030
00:55:20,120 --> 00:55:22,640
Speaker 1: I believe so. Also, I want to note that this

1031
00:55:23,040 --> 00:55:27,400
Speaker 1: living room like a laboratory set. This is your saying

1032
00:55:27,520 --> 00:55:30,319
Speaker 1: science lab as opposed to the mad science lab we

1033
00:55:30,360 --> 00:55:32,200
Speaker 1: saw earlier. So I think they put a lot of

1034
00:55:32,200 --> 00:55:34,040
Speaker 1: thought into this. It's like, we've got to transition to

1035
00:55:34,120 --> 00:55:36,279
Speaker 1: another science lab, but it needs to We need a

1036
00:55:36,320 --> 00:55:39,880
Speaker 1: different layout. It needs to be brighter, it needs to

1037
00:55:39,920 --> 00:55:44,240
Speaker 1: be a little more inviting, multiple people. Nobody's being victimized,

1038
00:55:44,360 --> 00:55:44,759
Speaker 1: that's right.

1039
00:55:44,840 --> 00:55:47,480
Speaker 3: Yeah, this one's more cozy than the other one. But

1040
00:55:47,600 --> 00:55:49,800
Speaker 3: even in the science lab, it seems that the latest

1041
00:55:49,880 --> 00:55:52,360
Speaker 3: murder by the mad doctor has everyone kind of in

1042
00:55:52,400 --> 00:55:54,360
Speaker 3: a buzz, and Alice wants to know more about it.

1043
00:55:54,400 --> 00:55:56,319
Speaker 3: She sends out one of her colleagues to buy her

1044
00:55:56,360 --> 00:55:59,800
Speaker 3: a newspaper so she can learn more, and then into

1045
00:55:59,840 --> 00:56:04,200
Speaker 3: the scene comes the Professor, one of my favorite characters.

1046
00:56:04,560 --> 00:56:07,640
Speaker 3: This is the guy who runs this nonspecific laboratory. He

1047
00:56:07,800 --> 00:56:12,040
Speaker 3: is a timid, soft spoken bookish man in a vest

1048
00:56:12,120 --> 00:56:15,800
Speaker 3: and tie with thick eyeglasses, and I loved this character,

1049
00:56:15,880 --> 00:56:18,680
Speaker 3: especially in the English dub because, as I mentioned earlier,

1050
00:56:19,040 --> 00:56:22,400
Speaker 3: they give him something pretty close to James Mason voice,

1051
00:56:22,480 --> 00:56:26,480
Speaker 3: and his scenes for this reason are almost uniformly hilarious.

1052
00:56:26,880 --> 00:56:29,560
Speaker 1: Yeah, and it's a great, great look too, like he's

1053
00:56:29,560 --> 00:56:32,800
Speaker 1: always looking down, rarely making eye contact with the people

1054
00:56:32,800 --> 00:56:35,560
Speaker 1: he's talking to, very meek, and when he does look up,

1055
00:56:35,640 --> 00:56:37,440
Speaker 1: especially if he happens to glance in the direction of

1056
00:56:37,480 --> 00:56:40,520
Speaker 1: the camera, he's got really thick glasses, so you get

1057
00:56:40,560 --> 00:56:44,520
Speaker 1: like that distortion of the eyes. It's great. Like he's

1058
00:56:44,560 --> 00:56:48,560
Speaker 1: not portrayed as a straight up comic character, but I

1059
00:56:48,560 --> 00:56:51,319
Speaker 1: guess there's sort of you know, he's a little bit

1060
00:56:51,360 --> 00:56:56,880
Speaker 1: bumbling and likable and just overly sensitive and concerned.

1061
00:56:57,040 --> 00:56:59,120
Speaker 3: He's got a little touch of who's that guy in

1062
00:56:59,160 --> 00:57:01,440
Speaker 3: trailer park bowl is with the thick glass what's the.

1063
00:57:01,480 --> 00:57:04,960
Speaker 1: Name is it? Bubbles? Yeah right, okay, yeah, yeah, definitely

1064
00:57:05,000 --> 00:57:07,520
Speaker 1: a similar visual effect going on.

1065
00:57:08,719 --> 00:57:10,399
Speaker 3: But he walks up to Alice and he's like, ooh,

1066
00:57:10,440 --> 00:57:14,080
Speaker 3: it's terrible out of stealing everyone's brains out there, and yeah,

1067
00:57:14,840 --> 00:57:16,080
Speaker 3: did you go out last night?

1068
00:57:16,120 --> 00:57:16,520
Speaker 5: Alice?

1069
00:57:17,080 --> 00:57:19,600
Speaker 3: And she says she went out to watch her sister's

1070
00:57:19,880 --> 00:57:23,080
Speaker 3: wrestling match, and then she goes, have you ever been

1071
00:57:23,120 --> 00:57:24,880
Speaker 3: to a wrestling match, professor, And.

1072
00:57:24,920 --> 00:57:28,160
Speaker 6: Oh no, simply couldn't bear it. I poor violence, It

1073
00:57:28,240 --> 00:57:29,160
Speaker 6: disgusts me.

1074
00:57:30,520 --> 00:57:32,600
Speaker 1: And she tries to real young yaker here.

1075
00:57:32,800 --> 00:57:37,840
Speaker 3: Yeah, she tries to defend wrestling. She's like, it's a

1076
00:57:37,840 --> 00:57:41,040
Speaker 3: fantastic sports, sir, I think you'd enjoy it once you

1077
00:57:41,120 --> 00:57:44,320
Speaker 3: saw it. And well, he's not interested in wrestling, but

1078
00:57:44,440 --> 00:57:48,480
Speaker 3: what he is way too interested in is Alice's personal life.

1079
00:57:48,640 --> 00:57:50,920
Speaker 3: He starts in on like how could.

1080
00:57:50,800 --> 00:57:53,720
Speaker 5: You how could you be walking out alone together without

1081
00:57:53,760 --> 00:57:54,440
Speaker 5: an escort?

1082
00:57:54,920 --> 00:57:57,080
Speaker 3: And he starts, you know, telling her she shouldn't have

1083
00:57:57,080 --> 00:57:59,240
Speaker 3: stayed out late last night, not without a man to

1084
00:57:59,280 --> 00:58:00,560
Speaker 3: help her get home safely.

1085
00:58:01,000 --> 00:58:02,880
Speaker 5: You know all this, and have you not read about

1086
00:58:02,920 --> 00:58:05,680
Speaker 5: the man doctor? It's really reckless.

1087
00:58:05,080 --> 00:58:08,920
Speaker 3: And uh, and she she just jokes about it. She's like,

1088
00:58:08,960 --> 00:58:11,560
Speaker 3: well I wear my little rabbit's foot, you know. And

1089
00:58:11,640 --> 00:58:14,160
Speaker 3: he just won't shut up. He's like, he starts explaining

1090
00:58:14,200 --> 00:58:16,200
Speaker 3: how it makes him so angry to hear a girl

1091
00:58:16,280 --> 00:58:18,760
Speaker 3: joke about a matter as dreadful as this and not

1092
00:58:18,800 --> 00:58:22,840
Speaker 3: take safety seriously. Uh, and then he gets distracted by

1093
00:58:22,840 --> 00:58:25,360
Speaker 3: another lab tech who's like, you know, a professor the

1094
00:58:25,600 --> 00:58:27,920
Speaker 3: you know, the blood you ordered last week has arrived

1095
00:58:27,960 --> 00:58:30,680
Speaker 3: and so he's going to go take care of that.

1096
00:58:30,760 --> 00:58:33,640
Speaker 3: But then he he has on a side to say like, wow.

1097
00:58:33,720 --> 00:58:35,480
Speaker 5: I say more to you about this later.

1098
00:58:37,600 --> 00:58:43,000
Speaker 1: No, yeah, real, real Michael Scott levels of wandering around

1099
00:58:43,040 --> 00:58:46,000
Speaker 1: the office here, not really doing anything but but just

1100
00:58:46,080 --> 00:58:47,240
Speaker 1: pestering the employees.

1101
00:58:47,840 --> 00:58:51,080
Speaker 3: But Alice doesn't seem all that annoyed. She just ignores

1102
00:58:51,160 --> 00:58:54,360
Speaker 3: him completely. And then we get another scene with a

1103
00:58:54,880 --> 00:58:58,680
Speaker 3: news report to trans transition between things, and this is

1104
00:58:58,680 --> 00:59:02,240
Speaker 3: a scene where the English dub once again was great.

1105
00:59:03,120 --> 00:59:07,240
Speaker 3: The newscaster says, reports showed that these nocturnal acts are

1106
00:59:07,280 --> 00:59:11,040
Speaker 3: continuing and police are still accusing that criminal who's caused

1107
00:59:11,040 --> 00:59:14,400
Speaker 3: so much public discussion due to his actions. He's been

1108
00:59:14,520 --> 00:59:17,960
Speaker 3: named the mad Doctor. Oh but then this is the

1109
00:59:18,000 --> 00:59:20,360
Speaker 3: part where I think we mentioned this earlier. So he says,

1110
00:59:20,400 --> 00:59:23,040
Speaker 3: the woman he killed last night is in the morgue.

1111
00:59:23,120 --> 00:59:25,920
Speaker 3: She was found early this morning, and as always happened,

1112
00:59:26,360 --> 00:59:30,120
Speaker 3: police found Marx showing that the brain had been removed

1113
00:59:30,280 --> 00:59:32,040
Speaker 3: from the unfortunate girl's body.

1114
00:59:32,320 --> 00:59:34,280
Speaker 1: Well, I mean, I guess we saw the mark being

1115
00:59:34,360 --> 00:59:37,920
Speaker 1: made on one of the bodies and the surgical proceedings earlier.

1116
00:59:38,000 --> 00:59:40,520
Speaker 1: So the little painting rush. Yeah, yeah, so I guess

1117
00:59:40,520 --> 00:59:41,440
Speaker 1: we know what it would look like.

1118
00:59:41,920 --> 00:59:43,800
Speaker 3: That's how they knew the brain had been removed.

1119
00:59:43,840 --> 00:59:44,480
Speaker 1: Okay, yeah.

1120
00:59:44,520 --> 00:59:47,720
Speaker 3: Anyway, the mad doctor's identity remains a mystery. The case

1121
00:59:47,760 --> 00:59:49,720
Speaker 3: is still unsolved. But here we meet a couple more

1122
00:59:49,760 --> 00:59:56,680
Speaker 3: main characters, the police detectives, and so this is Armando Armando.

1123
00:59:56,760 --> 00:59:59,800
Speaker 3: Wait is the actor or the character or Armando Silvestri.

1124
01:00:01,400 --> 01:00:04,680
Speaker 1: I think, oh goodness, Silvestria is the actor?

1125
01:00:04,880 --> 01:00:08,360
Speaker 3: Okay, correctly, Well so I think in the Spanish version

1126
01:00:08,440 --> 01:00:12,240
Speaker 3: he's called Armando Campos, but in the English dub he's

1127
01:00:12,240 --> 01:00:16,120
Speaker 3: called Mike and his associate is named Tommy, so it's

1128
01:00:16,160 --> 01:00:19,080
Speaker 3: Mike and Tommy. In the English dub. Tommy says, you know,

1129
01:00:19,120 --> 01:00:21,680
Speaker 3: they're really looking into it. He says, they investigated all

1130
01:00:21,760 --> 01:00:25,480
Speaker 3: the doctors in the medical profession and that got nowhere. Yeah,

1131
01:00:25,480 --> 01:00:26,080
Speaker 3: that is air.

1132
01:00:26,240 --> 01:00:28,600
Speaker 1: I love that because it's like, presumably we're in Mexico

1133
01:00:28,680 --> 01:00:31,560
Speaker 1: City and they have spoken to all the doctors in

1134
01:00:31,640 --> 01:00:33,320
Speaker 1: Mexico City. That's amazing.

1135
01:00:33,800 --> 01:00:37,800
Speaker 3: We interrogated all the doctors. And then there's a there's

1136
01:00:37,840 --> 01:00:39,800
Speaker 3: a comic bit where they're like, okay, well we still

1137
01:00:39,800 --> 01:00:43,640
Speaker 3: haven't caught him. And then Tommy is like, oh, I've

1138
01:00:43,680 --> 01:00:45,640
Speaker 3: got to go. I've got to go call my grandma,

1139
01:00:45,760 --> 01:00:47,760
Speaker 3: make sure she doesn't go out tonight. But then he

1140
01:00:47,800 --> 01:00:49,919
Speaker 3: gets on the phone, he's like, she's she's quite deaf,

1141
01:00:50,000 --> 01:00:52,840
Speaker 3: and he's like, Grandma, stay inside tonight.

1142
01:00:53,040 --> 01:00:55,200
Speaker 1: I can't help but feel this with somebody's stand up

1143
01:00:55,240 --> 01:00:58,840
Speaker 1: debt right here, maybe maybe Tommy's stand up debt in

1144
01:00:58,880 --> 01:01:05,920
Speaker 1: real life, kind of a new heart vibe to it.

1145
01:01:12,240 --> 01:01:15,120
Speaker 3: Then from here, whoa, we get to a scene with

1146
01:01:15,160 --> 01:01:17,160
Speaker 3: the bad guys, sort of a convention of all the

1147
01:01:17,200 --> 01:01:20,560
Speaker 3: bad guys, the mad doctor and his assistant. They appear

1148
01:01:20,920 --> 01:01:24,000
Speaker 3: in masked costumes. Now, remember when we saw them before,

1149
01:01:24,000 --> 01:01:26,040
Speaker 3: they were in surgical garbs, so they had caps and

1150
01:01:26,440 --> 01:01:30,240
Speaker 3: surgical masks on. And now they are wearing masks almost

1151
01:01:30,240 --> 01:01:34,800
Speaker 3: like inquisitors or like lucha masks, I guess, but much creepier,

1152
01:01:34,920 --> 01:01:38,080
Speaker 3: kind of like ghost versions. They look hideously unsettling.

1153
01:01:38,280 --> 01:01:41,200
Speaker 1: Yeah, and in this we're getting a better look at

1154
01:01:41,240 --> 01:01:46,520
Speaker 1: the full operation. Here we've got hooded doctors with secret identities.

1155
01:01:46,600 --> 01:01:51,040
Speaker 1: We've got Gomar, the mutant ape man. And then we

1156
01:01:51,200 --> 01:01:55,160
Speaker 1: have like a whole table or like a whole barrage

1157
01:01:55,200 --> 01:02:01,960
Speaker 1: of heavies here, presumably like criminal underworld characters that are

1158
01:02:02,000 --> 01:02:05,520
Speaker 1: working for the doctor. So this operation seems well funded

1159
01:02:05,600 --> 01:02:08,480
Speaker 1: because these guys are not doing this for free. I

1160
01:02:09,040 --> 01:02:12,400
Speaker 1: guess the Mad Doctor's paying them. I can't imagine what

1161
01:02:12,520 --> 01:02:13,560
Speaker 1: else is in it for them.

1162
01:02:13,680 --> 01:02:15,360
Speaker 3: Oh yeah, I'm sure he's paying them. In fact, he

1163
01:02:15,400 --> 01:02:19,400
Speaker 3: says later, he's like, you know, I reward my employees, well,

1164
01:02:19,480 --> 01:02:23,280
Speaker 3: the ones who are loyal to me. After he's complaining

1165
01:02:23,320 --> 01:02:26,960
Speaker 3: that he had to execute a traitor who was going

1166
01:02:27,000 --> 01:02:28,280
Speaker 3: to reveal his identity.

1167
01:02:28,520 --> 01:02:32,080
Speaker 1: Yeah, or maybe this is like an underground pharmaceutical company

1168
01:02:32,200 --> 01:02:35,920
Speaker 1: and the other chair people on the board.

1169
01:02:36,240 --> 01:02:39,760
Speaker 3: So anyway, the Mad Doctor says his experiments cannot be delayed.

1170
01:02:40,040 --> 01:02:43,000
Speaker 3: They must bring him another woman with a brain immediately,

1171
01:02:44,000 --> 01:02:47,240
Speaker 3: and the Hinchman complained, they're like, Boss, the police are

1172
01:02:47,280 --> 01:02:50,120
Speaker 3: watching all the highways and searching all cars. We can't

1173
01:02:50,160 --> 01:02:54,400
Speaker 3: get you a person with a brain. And he just says, silence,

1174
01:02:54,480 --> 01:02:57,080
Speaker 3: You're going to do exactly as I order you. And

1175
01:02:57,320 --> 01:02:59,040
Speaker 3: he says they don't have to worry about the police

1176
01:02:59,040 --> 01:03:01,600
Speaker 3: because Gomar is going to go with them, And the

1177
01:03:01,640 --> 01:03:05,360
Speaker 3: Mad Doctor has upgraded Gomar with special equipment so that

1178
01:03:05,480 --> 01:03:07,920
Speaker 3: even bullets will be unable to stop him.

1179
01:03:08,080 --> 01:03:10,360
Speaker 1: Oh, and I got excited when I heard this because

1180
01:03:10,640 --> 01:03:12,440
Speaker 1: I had no idea where this was going. How are

1181
01:03:12,440 --> 01:03:13,640
Speaker 1: they gonna upgrade Gomar?

1182
01:03:13,880 --> 01:03:17,720
Speaker 3: Oh they got a Gomar's upgrade is fantastic.

1183
01:03:18,000 --> 01:03:18,400
Speaker 1: Mm hmm.

1184
01:03:18,560 --> 01:03:20,480
Speaker 3: Okay, we'll get to that in the second. But who

1185
01:03:20,480 --> 01:03:23,160
Speaker 3: are they supposed to kidnap? The hand off a picture

1186
01:03:23,200 --> 01:03:25,920
Speaker 3: to the hnchman and oh no, it's a picture of Alice.

1187
01:03:26,400 --> 01:03:29,760
Speaker 3: My heart sank upon seeing this. But then there was

1188
01:03:29,800 --> 01:03:32,880
Speaker 3: something of some very funny timing with a music sting here,

1189
01:03:32,960 --> 01:03:37,040
Speaker 3: because you might expect a sting immediately upon revelation of

1190
01:03:37,080 --> 01:03:40,320
Speaker 3: the photo, but instead they like, show the photo and

1191
01:03:40,360 --> 01:03:43,800
Speaker 3: then there's a two to three second delay and then

1192
01:03:44,040 --> 01:03:48,000
Speaker 3: the dun, dun dun. So I wonder if they were

1193
01:03:48,000 --> 01:03:50,400
Speaker 3: thinking maybe we might need a minute to recognize who

1194
01:03:50,440 --> 01:03:51,200
Speaker 3: was in the picture.

1195
01:03:51,320 --> 01:03:53,840
Speaker 1: I'm not sure, all right, So things are not looking

1196
01:03:53,880 --> 01:03:56,080
Speaker 1: good for Alice at this point. We know where this

1197
01:03:56,160 --> 01:03:57,320
Speaker 1: is headed, right.

1198
01:03:57,360 --> 01:03:59,680
Speaker 3: So Alice gets kidnapped. We see her working late at

1199
01:03:59,680 --> 01:04:02,960
Speaker 3: the last doing chemistry. The professor shows up to pester

1200
01:04:03,120 --> 01:04:05,200
Speaker 3: her some more about how she shouldn't go home alone,

1201
01:04:06,040 --> 01:04:09,280
Speaker 3: and she ignores him and leaves, but uh oh, what's this?

1202
01:04:09,800 --> 01:04:12,440
Speaker 3: We see that she forgot her lucky Rabbit's foot.

1203
01:04:12,440 --> 01:04:13,200
Speaker 1: It's like the.

1204
01:04:13,160 --> 01:04:15,640
Speaker 3: Professor examines it. It's hanging there on a coat hook.

1205
01:04:16,080 --> 01:04:18,680
Speaker 3: And then some creeps in suits run up behind Alice

1206
01:04:18,720 --> 01:04:21,080
Speaker 3: on the sidewalk. They grab her, they throw her into

1207
01:04:21,160 --> 01:04:24,440
Speaker 3: a taxi. The I guess the taxis at this place

1208
01:04:24,480 --> 01:04:27,160
Speaker 3: in time. I'll have this pattern of triangles on them,

1209
01:04:27,160 --> 01:04:29,640
Speaker 3: which head on kind of looks like the car has teeth.

1210
01:04:29,840 --> 01:04:30,400
Speaker 3: I like that.

1211
01:04:31,000 --> 01:04:33,320
Speaker 1: Yeah, yeah, Like maybe this might be an accident of

1212
01:04:34,200 --> 01:04:37,040
Speaker 1: black and light here, like maybe it's red and white.

1213
01:04:37,080 --> 01:04:39,080
Speaker 1: I think that would probably make more sense. But maybe

1214
01:04:39,120 --> 01:04:40,640
Speaker 1: it's black and white in real life. I don't know.

1215
01:04:41,400 --> 01:04:45,520
Speaker 3: But then we come upon an action scene which is excellent.

1216
01:04:45,720 --> 01:04:48,960
Speaker 3: So what's going on with Gomar? What's the Gomar upgrade?

1217
01:04:49,000 --> 01:04:49,840
Speaker 3: Do you want to describe it?

1218
01:04:49,960 --> 01:04:53,840
Speaker 1: Rob Oh? Sure, Gomar has been updated with body armor.

1219
01:04:53,920 --> 01:04:55,920
Speaker 1: And when I say body armor, I don't mean like

1220
01:04:55,960 --> 01:04:58,960
Speaker 1: some sort of like military modern tech. I'm talking like

1221
01:04:59,120 --> 01:05:01,520
Speaker 1: he has like play like it's kind of like scale

1222
01:05:01,560 --> 01:05:05,720
Speaker 1: mail on his body, and then this big creepy metal

1223
01:05:05,760 --> 01:05:08,920
Speaker 1: mask over his head. The main thing that I instantly

1224
01:05:09,280 --> 01:05:13,360
Speaker 1: compared it to is the robot in the Phantom Creep

1225
01:05:13,480 --> 01:05:18,280
Speaker 1: starring Bella Lagosi that has a tremendous robot costume that

1226
01:05:18,440 --> 01:05:20,520
Speaker 1: doesn't quite look like a robot. It looks like it's

1227
01:05:20,640 --> 01:05:24,520
Speaker 1: hideous and demonic, and this has similar vibes like the

1228
01:05:24,800 --> 01:05:27,960
Speaker 1: robot from Phantom Creeps and Armored Gomar could be a

1229
01:05:28,040 --> 01:05:28,480
Speaker 1: tag team.

1230
01:05:28,680 --> 01:05:32,840
Speaker 3: So the police tried to stop the Henchman from kidnapping Alice.

1231
01:05:32,840 --> 01:05:35,280
Speaker 3: They stop the car, but Gomar gets out in his

1232
01:05:35,320 --> 01:05:38,920
Speaker 3: suit of armor and his mask which is so his

1233
01:05:39,120 --> 01:05:43,480
Speaker 3: like golden mask, super creepy looking. He gets out, he

1234
01:05:43,520 --> 01:05:45,680
Speaker 3: fights all the police. He beats him up. I think

1235
01:05:45,720 --> 01:05:48,640
Speaker 3: he kills several of them. He body slams them and

1236
01:05:48,680 --> 01:05:51,480
Speaker 3: so forth, and then gets back in the taxi and

1237
01:05:51,520 --> 01:05:54,400
Speaker 3: they head off to the Mad Doctor's lab, as happens

1238
01:05:54,480 --> 01:05:56,600
Speaker 3: multiple times in the movie. When they get back, Gomar

1239
01:05:56,680 --> 01:05:58,840
Speaker 3: is just standing there in his armor, and the Mad

1240
01:05:58,880 --> 01:06:00,880
Speaker 3: Doctor says, you did a good job. Gomar.

1241
01:06:01,960 --> 01:06:05,080
Speaker 1: Yes. Say what you will about the Mad Doctor here

1242
01:06:05,240 --> 01:06:07,680
Speaker 1: and the way he conducts his business, but he has

1243
01:06:07,720 --> 01:06:13,440
Speaker 1: a lot of positive reinforcement here for Gomar. He's constantly

1244
01:06:13,760 --> 01:06:15,560
Speaker 1: reminding him you are doing a good job, and I

1245
01:06:15,640 --> 01:06:17,840
Speaker 1: appreciate it. I just want you to know, Gomar. Sometimes

1246
01:06:17,880 --> 01:06:20,280
Speaker 1: I don't take enough time to tell you this, but

1247
01:06:20,920 --> 01:06:23,760
Speaker 1: I appreciate what you're doing and I love you. It's true.

1248
01:06:24,040 --> 01:06:26,120
Speaker 3: Onto the procedure, they're going to try to do another

1249
01:06:26,160 --> 01:06:31,400
Speaker 3: brain transplant. Unfortunately, despite her very smart brain, Alice does

1250
01:06:31,440 --> 01:06:35,880
Speaker 3: not survive the brain transplant surgery. So they try again.

1251
01:06:35,960 --> 01:06:39,440
Speaker 3: They fail and Alice dies in the process tragically. And

1252
01:06:39,480 --> 01:06:42,080
Speaker 3: then the sidekick doctor comes up with a new idea.

1253
01:06:43,040 --> 01:06:45,760
Speaker 3: He says, actually, maybe what we needed was not a

1254
01:06:45,800 --> 01:06:53,200
Speaker 3: smart brain, but a brain with some kind of toughness, athleticism, endurance,

1255
01:06:53,560 --> 01:06:55,840
Speaker 3: a brain from the kind of woman who could both

1256
01:06:55,920 --> 01:06:59,240
Speaker 3: dole out in withstand the most punishing of suplexes and

1257
01:06:59,280 --> 01:07:02,600
Speaker 3: pile drivers. But where could we expect to find a

1258
01:07:02,600 --> 01:07:03,640
Speaker 3: brain of this kind?

1259
01:07:04,200 --> 01:07:05,600
Speaker 1: We know where this is going as well.

1260
01:07:05,760 --> 01:07:07,920
Speaker 3: Yeah, that's all right. So the mad doctor hears this,

1261
01:07:08,000 --> 01:07:11,440
Speaker 3: he gets a look of sadistic inspiration. He clearly has

1262
01:07:11,480 --> 01:07:14,800
Speaker 3: an idea for how to proceed now here we uh,

1263
01:07:14,840 --> 01:07:17,360
Speaker 3: there's there's further investigation. We go back to the cops.

1264
01:07:17,400 --> 01:07:20,160
Speaker 3: They you know, they're following up on the death of Alice,

1265
01:07:21,160 --> 01:07:24,040
Speaker 3: and the police figure out that she has a sister.

1266
01:07:24,200 --> 01:07:28,440
Speaker 3: Everything's coming together here. So the two detectives, Mike and Tommy,

1267
01:07:28,480 --> 01:07:31,600
Speaker 3: they go to inform Glory Venus at the wrestling gym,

1268
01:07:31,640 --> 01:07:34,160
Speaker 3: and this will introduce the wrestling gym as a setting

1269
01:07:34,160 --> 01:07:37,960
Speaker 3: where many other scenes occur. There's always like a lot

1270
01:07:37,960 --> 01:07:39,640
Speaker 3: of activity going on in the gym.

1271
01:07:40,200 --> 01:07:43,400
Speaker 1: Yeah, there's a lot of independent workouts going on. Some

1272
01:07:43,400 --> 01:07:46,840
Speaker 1: some women are doing like setup, some are doing other

1273
01:07:46,880 --> 01:07:49,720
Speaker 1: types of like calisthenics, and then there's always at least

1274
01:07:49,720 --> 01:07:52,000
Speaker 1: a couple of women that are doing some some grapple

1275
01:07:53,120 --> 01:07:56,080
Speaker 1: sessions as well, some takedowns and some lock ups.

1276
01:07:56,400 --> 01:07:59,160
Speaker 3: So, of course Gloria Venus is horrified to find out

1277
01:07:59,160 --> 01:08:01,120
Speaker 3: that her sister has killed. She has to go in

1278
01:08:01,160 --> 01:08:03,960
Speaker 3: to identify the body and they the police, are trying

1279
01:08:04,000 --> 01:08:06,120
Speaker 3: to find out anything they can. They end up interrogating

1280
01:08:06,120 --> 01:08:10,480
Speaker 3: the professor from the chemistry lab about what happened, and

1281
01:08:11,000 --> 01:08:13,400
Speaker 3: he oh god, there was a line that made me laugh.

1282
01:08:13,520 --> 01:08:16,519
Speaker 3: So he goes up to Gloria Venus and.

1283
01:08:16,520 --> 01:08:19,240
Speaker 6: The professor is like, I can't tell you how sorry

1284
01:08:19,240 --> 01:08:21,719
Speaker 6: I feel Gloria about how is his death?

1285
01:08:21,760 --> 01:08:27,519
Speaker 3: I mean, like maybe she thought he'd been talking about,

1286
01:08:27,560 --> 01:08:30,200
Speaker 3: you know, how far away she had to park from

1287
01:08:30,200 --> 01:08:31,480
Speaker 3: the building or something.

1288
01:08:32,840 --> 01:08:35,639
Speaker 1: Yeah, but he's yeah, he's like he's really taking this hard.

1289
01:08:36,320 --> 01:08:37,680
Speaker 1: The professors really shook up, but.

1290
01:08:37,800 --> 01:08:40,679
Speaker 3: For this, so he tries to be helpful. He's like, please,

1291
01:08:40,680 --> 01:08:42,720
Speaker 3: do not hesitate to call upon me if you need

1292
01:08:42,760 --> 01:08:45,519
Speaker 3: anything at all, Gloria, do not call the professor just

1293
01:08:47,040 --> 01:08:51,160
Speaker 3: I don't think she's gonna Yeah, but she, Gloria Venus

1294
01:08:51,400 --> 01:08:55,200
Speaker 3: once again kind of ignores him, and she vows to

1295
01:08:55,200 --> 01:08:57,760
Speaker 3: find the killer and get revenge. So here we i'd

1296
01:08:57,800 --> 01:08:59,840
Speaker 3: say our Act one is complete. This is our set

1297
01:08:59,920 --> 01:09:00,280
Speaker 3: up up.

1298
01:09:00,800 --> 01:09:04,280
Speaker 1: Yeah, yeah, we know what everyone wants here. Mad Doctor

1299
01:09:04,840 --> 01:09:08,280
Speaker 1: wants wants a brain and it's probably gonna be vitness.

1300
01:09:08,360 --> 01:09:10,519
Speaker 1: It's going to be Gloria Venus's brain that he goes after,

1301
01:09:10,720 --> 01:09:12,559
Speaker 1: and Gloria Venus wants vengeance.

1302
01:09:12,960 --> 01:09:16,280
Speaker 3: Right, So the mad Doctor sets his henchmen about to

1303
01:09:16,400 --> 01:09:19,479
Speaker 3: find women with incredible physical strength and stamina.

1304
01:09:20,040 --> 01:09:20,160
Speaker 4: Uh.

1305
01:09:20,360 --> 01:09:23,200
Speaker 3: And here we cut back to the Lucidora Gym where

1306
01:09:23,200 --> 01:09:26,960
Speaker 3: all the grapples are going on, and we let's see

1307
01:09:26,960 --> 01:09:29,320
Speaker 3: several things happen. We in act too, we meet a

1308
01:09:29,360 --> 01:09:33,519
Speaker 3: new character. They introduce a character named Golden Ruby. She

1309
01:09:33,920 --> 01:09:36,479
Speaker 3: is I think she's coming from the States maybe, but

1310
01:09:36,600 --> 01:09:39,439
Speaker 3: she's like entering the circuit for some reason.

1311
01:09:40,200 --> 01:09:41,519
Speaker 1: Yeah, you know, I guess it's kind of like a

1312
01:09:41,600 --> 01:09:44,280
Speaker 1: territory sort of thing. So she's come down here to,

1313
01:09:45,000 --> 01:09:47,680
Speaker 1: you know, away from the American wrestling territories to work

1314
01:09:47,720 --> 01:09:51,240
Speaker 1: in Mexico for a little bit. And the whole vibe

1315
01:09:51,280 --> 01:09:55,759
Speaker 1: that we've seen thus far of the luchadora the scene

1316
01:09:55,800 --> 01:09:59,320
Speaker 1: here in this film is that it's just everyone's really pleasant.

1317
01:09:59,320 --> 01:10:02,559
Speaker 1: They're very support of each other, They're protective of each other.

1318
01:10:02,880 --> 01:10:08,640
Speaker 1: There's not really a technico rudo baby faced heel scenario

1319
01:10:08,760 --> 01:10:10,760
Speaker 1: going on here. Everybody's on the same team and they

1320
01:10:10,800 --> 01:10:13,320
Speaker 1: just want to get in there and compete. It has

1321
01:10:13,640 --> 01:10:17,200
Speaker 1: a real sports feel. I guess I agree like that. Yeah,

1322
01:10:17,200 --> 01:10:20,960
Speaker 1: the vibe between all of the luchadoras is wonderful. They're

1323
01:10:20,960 --> 01:10:23,679
Speaker 1: all kind of supportive of each other and they work together.

1324
01:10:24,000 --> 01:10:27,880
Speaker 1: There's one scene where this horrible like male wrestler comes

1325
01:10:27,920 --> 01:10:29,960
Speaker 1: into their gym and he's like, give me those weights

1326
01:10:30,000 --> 01:10:32,960
Speaker 1: and like punches one of them. I guess, yeah, he's like,

1327
01:10:33,000 --> 01:10:36,160
Speaker 1: I want that equipment and then just attacks them and

1328
01:10:36,200 --> 01:10:38,000
Speaker 1: then they all gang up and they just.

1329
01:10:38,040 --> 01:10:41,240
Speaker 3: Beat him down. It is a righteous rudo beat down,

1330
01:10:41,360 --> 01:10:42,160
Speaker 3: and I love it.

1331
01:10:42,600 --> 01:10:46,320
Speaker 1: Yeah, it's a great scene because our two main luchadora

1332
01:10:46,439 --> 01:10:49,320
Speaker 1: characters are standing in the background and we see all

1333
01:10:49,360 --> 01:10:54,040
Speaker 1: the actual luchadoras that are in the film. They're the

1334
01:10:54,080 --> 01:10:58,080
Speaker 1: ones that jump in and start grabbing and flipping this guy.

1335
01:10:58,520 --> 01:11:00,559
Speaker 1: I think somebody puts him in a full nelson and

1336
01:11:00,600 --> 01:11:03,840
Speaker 1: somebody drop kicks in, and then there's just a huge

1337
01:11:03,880 --> 01:11:06,280
Speaker 1: pile up on him, like one does a jumping pin

1338
01:11:06,400 --> 01:11:08,880
Speaker 1: and then everyone else piles on top of that. And

1339
01:11:09,200 --> 01:11:11,599
Speaker 1: Gloria Venus and in Ruby they just have a nice

1340
01:11:11,640 --> 01:11:12,080
Speaker 1: laugh at this.

1341
01:11:13,400 --> 01:11:15,920
Speaker 3: But then they also get to bond, like they become

1342
01:11:15,960 --> 01:11:19,479
Speaker 3: fast friends. Because there's a scene right after this. Ruby

1343
01:11:19,520 --> 01:11:22,479
Speaker 3: clearly admires Gloria Vinas. She's like, you know, you're the greatest.

1344
01:11:22,640 --> 01:11:24,920
Speaker 3: You're just I wish I could be a wrestler like you,

1345
01:11:25,000 --> 01:11:28,120
Speaker 3: and Gloria Venus is like, oh no, you're great too,

1346
01:11:28,160 --> 01:11:30,320
Speaker 3: and then Golden Ruby asks her, what why do you

1347
01:11:30,320 --> 01:11:32,240
Speaker 3: have such a sad look in your eye despite being

1348
01:11:32,360 --> 01:11:35,799
Speaker 3: you know, despite being a wrestling machine. And then Gloria

1349
01:11:35,880 --> 01:11:39,160
Speaker 3: Venus says, it's just something I can't forget. My sister,

1350
01:11:39,760 --> 01:11:43,000
Speaker 3: she was murdered three nights ago. It's like would you

1351
01:11:43,120 --> 01:11:44,600
Speaker 3: expect her to forget.

1352
01:11:44,200 --> 01:11:44,760
Speaker 1: It by now?

1353
01:11:46,520 --> 01:11:49,040
Speaker 3: But anyway, they decide to be friends, and they decide

1354
01:11:49,040 --> 01:11:51,599
Speaker 3: Golden Ruby is going to move into Gloria's apartment.

1355
01:11:51,960 --> 01:11:52,960
Speaker 1: Makes sense. Makes sense.

1356
01:11:53,160 --> 01:11:54,960
Speaker 3: Now after this we get to watch a full on

1357
01:11:55,080 --> 01:11:58,439
Speaker 3: Luchadora match, and if this is the tag team match

1358
01:11:58,560 --> 01:12:01,160
Speaker 3: that played under the open credits, now we get to

1359
01:12:01,160 --> 01:12:04,439
Speaker 3: finally look at it. So it's Gloria Venus and Golden

1360
01:12:04,520 --> 01:12:08,280
Speaker 3: Ruby as a team versus the Gazelle and Bertha Galindo.

1361
01:12:08,800 --> 01:12:11,120
Speaker 1: Yeah, and this was this was interesting to watch. Now

1362
01:12:11,120 --> 01:12:14,799
Speaker 1: for my taste, I would say that the actual lucha

1363
01:12:14,800 --> 01:12:18,000
Speaker 1: wrestling we see in Santo and the Treasure of Dracula

1364
01:12:18,240 --> 01:12:22,920
Speaker 1: is better and more entertaining. This wrestling, I don't know,

1365
01:12:22,960 --> 01:12:25,439
Speaker 1: It's hard for me to make out exactly how to

1366
01:12:25,439 --> 01:12:27,920
Speaker 1: feel about. I think like, on one hand, what they

1367
01:12:27,920 --> 01:12:30,960
Speaker 1: show us here again has no rudo technico distinction. There's

1368
01:12:31,000 --> 01:12:32,840
Speaker 1: no good guys or bad guys. So it has a

1369
01:12:32,880 --> 01:12:36,000
Speaker 1: you know, very has that real sports feel to it

1370
01:12:36,080 --> 01:12:38,840
Speaker 1: that certainly fits the vibe of the film, because again,

1371
01:12:38,880 --> 01:12:43,480
Speaker 1: this is not a film about superhero luchadors or Luchadora's

1372
01:12:43,520 --> 01:12:46,120
Speaker 1: saving the day. This is about like normal people, like

1373
01:12:46,320 --> 01:12:49,360
Speaker 1: they're just professionals working in a a in a real

1374
01:12:49,360 --> 01:12:52,240
Speaker 1: world scenario, and they just happen to fall into this

1375
01:12:52,240 --> 01:12:56,519
Speaker 1: this sci fi speculative plot line. And in terms of

1376
01:12:56,560 --> 01:12:59,880
Speaker 1: like trying to compare the wrestling that we're seeing here

1377
01:13:00,439 --> 01:13:03,240
Speaker 1: to existing footage, that's where you really run into some problems.

1378
01:13:03,280 --> 01:13:05,679
Speaker 1: And I hadn't really looked into this all that much before.

1379
01:13:06,240 --> 01:13:08,559
Speaker 1: But and I could be very wrong in this, because

1380
01:13:08,600 --> 01:13:11,200
Speaker 1: again I'm not an expert. But when I go looking

1381
01:13:11,240 --> 01:13:15,400
Speaker 1: around for non movie Lucha footage from before, say, the

1382
01:13:15,479 --> 01:13:19,360
Speaker 1: nineteen eighties, or even any indications that some of the

1383
01:13:19,400 --> 01:13:24,559
Speaker 1: biggest annual Luca shows of the year, like going back

1384
01:13:24,600 --> 01:13:27,439
Speaker 1: to like sixty two and I'm back in the fifties

1385
01:13:27,920 --> 01:13:31,160
Speaker 1: as well, any indication that those were recorded, I don't

1386
01:13:31,320 --> 01:13:34,920
Speaker 1: get anything. And then I looked a little deeper and

1387
01:13:34,960 --> 01:13:40,519
Speaker 1: I found there's an individual that on social media Luca blog,

1388
01:13:40,600 --> 01:13:43,000
Speaker 1: and Luca blog is also the blog it's a great

1389
01:13:43,040 --> 01:13:48,120
Speaker 1: English language Luca source. This individual points out that while

1390
01:13:48,160 --> 01:13:51,920
Speaker 1: there was Luca on TV in the nineteen fifties, it

1391
01:13:51,960 --> 01:13:54,120
Speaker 1: doesn't seem like that footage has ever turned up, so

1392
01:13:54,160 --> 01:13:56,280
Speaker 1: I don't know if it's lost, if it needs to

1393
01:13:56,320 --> 01:13:58,559
Speaker 1: be restored or what. I know that with some of

1394
01:13:58,560 --> 01:14:02,280
Speaker 1: those older TV stations, like tapes were reused and stuff

1395
01:14:02,400 --> 01:14:06,280
Speaker 1: was just destroyed and without any really forethought in terms

1396
01:14:06,320 --> 01:14:08,600
Speaker 1: of you know, setting aside for the future. And I

1397
01:14:08,600 --> 01:14:10,799
Speaker 1: don't know, maybe some of these big shows weren't even recorded.

1398
01:14:10,800 --> 01:14:14,080
Speaker 1: Maybe they're just you know, big gate live events. So

1399
01:14:14,240 --> 01:14:16,320
Speaker 1: what I'm trying to get to is like it's hard

1400
01:14:16,320 --> 01:14:20,479
Speaker 1: to compare this to what actual pure Lujah Libre was

1401
01:14:20,680 --> 01:14:23,160
Speaker 1: like and this time period, because I don't think that

1402
01:14:23,200 --> 01:14:28,360
Speaker 1: we have much footage outside of Luca films of male

1403
01:14:28,479 --> 01:14:32,599
Speaker 1: or female performers. And yeah, so some of the earliest

1404
01:14:32,640 --> 01:14:36,840
Speaker 1: Luca footage we have maybe from these films from going

1405
01:14:36,840 --> 01:14:40,400
Speaker 1: back into the nineteen fifties. I think the oldest Luca

1406
01:14:40,520 --> 01:14:45,600
Speaker 1: film in existence was the nineteen fifty two's Hurricane Ramirez.

1407
01:14:45,760 --> 01:14:49,240
Speaker 1: That's the name of the wrestler that is the star

1408
01:14:49,360 --> 01:14:51,519
Speaker 1: of it. So this was pre Santo, but I think

1409
01:14:51,560 --> 01:14:54,439
Speaker 1: Santo Pictures picked up not long after this, so I

1410
01:14:54,439 --> 01:14:56,400
Speaker 1: don't know. I find that kind of interesting to think of,

1411
01:14:56,479 --> 01:15:01,200
Speaker 1: like these are films about Lujah do and luchadors going

1412
01:15:01,280 --> 01:15:06,320
Speaker 1: up against monsters and scientists and and also like you know,

1413
01:15:06,360 --> 01:15:09,040
Speaker 1: criminal masterbinds and that sort of thing very much in

1414
01:15:09,080 --> 01:15:12,479
Speaker 1: the in the vein of the old serial adventures. But

1415
01:15:12,520 --> 01:15:15,439
Speaker 1: it also seems like that this that these films are

1416
01:15:15,479 --> 01:15:17,679
Speaker 1: also some of the only examples we have of what

1417
01:15:18,200 --> 01:15:20,960
Speaker 1: of what Lucia Libra looked like at the time. Yeah,

1418
01:15:21,040 --> 01:15:24,200
Speaker 1: but at any rate, we see some grapples, there's some takedowns,

1419
01:15:24,240 --> 01:15:25,920
Speaker 1: there's you know, it's some fun action going on in

1420
01:15:25,960 --> 01:15:28,120
Speaker 1: the ring, and it gets it across for the audience

1421
01:15:28,160 --> 01:15:29,240
Speaker 1: what's going on here.

1422
01:15:29,360 --> 01:15:32,080
Speaker 3: And we get to see characters in the audience in

1423
01:15:32,120 --> 01:15:35,360
Speaker 3: the scene. So both the police detectives Mike and Tommy,

1424
01:15:35,479 --> 01:15:39,200
Speaker 3: and the professor come to watch, even though despite what

1425
01:15:39,240 --> 01:15:42,120
Speaker 3: the professor said, he's there at the match, and on

1426
01:15:42,160 --> 01:15:44,960
Speaker 3: the close ups of the professor he looks hilarious.

1427
01:15:45,439 --> 01:15:47,599
Speaker 1: Yeah. Yeah, these are definitely some of those scenes where

1428
01:15:47,600 --> 01:15:50,320
Speaker 1: you get that the effect of the big thick glasses

1429
01:15:50,400 --> 01:15:52,640
Speaker 1: making his eyes look enormous.

1430
01:15:52,360 --> 01:15:54,720
Speaker 3: And he does he does look kind of queasy observing

1431
01:15:54,840 --> 01:15:56,680
Speaker 3: the brutal violence.

1432
01:15:57,120 --> 01:16:00,519
Speaker 1: Yeah, everyone around him is yelling and whot and and

1433
01:16:00,600 --> 01:16:04,120
Speaker 1: getting into it, and he is not so much. He's

1434
01:16:04,240 --> 01:16:07,720
Speaker 1: just quietly observing it, and you know, maybe it's making

1435
01:16:07,800 --> 01:16:08,439
Speaker 1: him feel bad.

1436
01:16:09,120 --> 01:16:11,559
Speaker 3: Here's another thing that you might understand. I didn't. Why

1437
01:16:11,560 --> 01:16:14,720
Speaker 3: are the detectives When they show up. Tommy encourages Mike

1438
01:16:14,800 --> 01:16:18,080
Speaker 3: to start booing, and they just boo as if that's

1439
01:16:18,160 --> 01:16:21,040
Speaker 3: like understood as something you're just supposed to do during

1440
01:16:21,080 --> 01:16:23,960
Speaker 3: the match, But like, why are they booing and who

1441
01:16:24,040 --> 01:16:26,559
Speaker 3: are they booing at? Were you just supposed to boo

1442
01:16:26,680 --> 01:16:27,559
Speaker 3: in these matches?

1443
01:16:29,080 --> 01:16:31,120
Speaker 1: I mean, I'm guessing that you the booing would be

1444
01:16:31,160 --> 01:16:33,719
Speaker 1: for the bad guys, for the rudos, and you're cheering

1445
01:16:33,720 --> 01:16:36,080
Speaker 1: for the technicos. I mean that's the clear division, the

1446
01:16:36,120 --> 01:16:38,760
Speaker 1: moral division that would take place, and the passion play

1447
01:16:38,760 --> 01:16:42,120
Speaker 1: that you're observing in the ring. But again, we don't

1448
01:16:42,120 --> 01:16:44,760
Speaker 1: really have anything to indicate that either team is good

1449
01:16:44,840 --> 01:16:48,320
Speaker 1: or bad. They're just all working ladies doing their jobs

1450
01:16:48,400 --> 01:16:48,760
Speaker 1: up there.

1451
01:16:50,040 --> 01:16:53,599
Speaker 3: Well, the professor visits the locker room after so Gloria

1452
01:16:53,640 --> 01:16:55,639
Speaker 3: and Ruby I think they win. They make a great

1453
01:16:55,680 --> 01:16:58,720
Speaker 3: tag team. And then the professor comes to visit them

1454
01:16:58,720 --> 01:17:00,800
Speaker 3: in the locker room. I guess them something I don't

1455
01:17:00,800 --> 01:17:03,960
Speaker 3: remember what. The first thing they're like, oh, hey, did

1456
01:17:04,040 --> 01:17:05,519
Speaker 3: you like the fight? Professor?

1457
01:17:05,920 --> 01:17:09,559
Speaker 6: He's like, nah, I detest such spectacles, absolutely horrible.

1458
01:17:11,280 --> 01:17:15,160
Speaker 3: And then the detectives come in, and there's a funny

1459
01:17:15,160 --> 01:17:18,720
Speaker 3: moment when Ruby Golden Ruby shakes hands with Tommy, the

1460
01:17:18,720 --> 01:17:22,360
Speaker 3: short detective. She like crushes his hand and he buckles

1461
01:17:22,360 --> 01:17:24,920
Speaker 3: at the knees and he is immediately in love.

1462
01:17:25,720 --> 01:17:25,920
Speaker 1: Yeah.

1463
01:17:26,080 --> 01:17:29,120
Speaker 3: Yeah, And then we see the two wrestlers and the

1464
01:17:29,160 --> 01:17:32,400
Speaker 3: two detectives. They go out for supper and dancing after this.

1465
01:17:32,439 --> 01:17:33,719
Speaker 3: So love is in the air.

1466
01:17:34,000 --> 01:17:35,760
Speaker 1: And you really do think you're going to go and

1467
01:17:35,840 --> 01:17:38,240
Speaker 1: see this date like it sounds like it could be fun.

1468
01:17:38,360 --> 01:17:41,240
Speaker 1: We've learned more about these characters. We'll get more of

1469
01:17:41,280 --> 01:17:44,840
Speaker 1: this Tommy and Ruby romance that is budding.

1470
01:17:45,240 --> 01:17:47,240
Speaker 3: No, we don't see that at all'll be cut straight

1471
01:17:47,280 --> 01:17:50,280
Speaker 3: to Gloria and Ruby asleep in bed, So I guess

1472
01:17:50,640 --> 01:17:53,479
Speaker 3: just skip over that. The Mad Doctor's goons show up.

1473
01:17:53,520 --> 01:17:55,679
Speaker 3: This is the I think we mentioned the scene earlier.

1474
01:17:55,800 --> 01:17:57,639
Speaker 3: They show up to like creep in through the window

1475
01:17:57,680 --> 01:18:02,920
Speaker 3: and kidnap them, I think, But they hear them coming

1476
01:18:03,160 --> 01:18:06,160
Speaker 3: and then they pretend to be asleep but then jump

1477
01:18:06,200 --> 01:18:09,599
Speaker 3: out and issue a brutal walloping on the bad guys.

1478
01:18:10,280 --> 01:18:12,040
Speaker 1: Oh yeah, they just beat the tar out of them.

1479
01:18:12,080 --> 01:18:15,200
Speaker 1: They just like take them down. It's like two hands

1480
01:18:15,240 --> 01:18:17,280
Speaker 1: that punch in at a time right in the face.

1481
01:18:17,720 --> 01:18:19,919
Speaker 1: They just drive them out. They're out the windows.

1482
01:18:20,080 --> 01:18:22,400
Speaker 3: They're like kicking them in the butt as they're going

1483
01:18:22,439 --> 01:18:23,320
Speaker 3: out the windows.

1484
01:18:23,920 --> 01:18:25,080
Speaker 1: So it's very satisfying.

1485
01:18:25,600 --> 01:18:27,760
Speaker 3: But then we see the henchmen go back to the

1486
01:18:27,760 --> 01:18:29,800
Speaker 3: mad Doctor and they're like, wellhy didn't you tell us

1487
01:18:29,840 --> 01:18:36,120
Speaker 3: those two girls were wrestlers. But after this, the police

1488
01:18:36,120 --> 01:18:38,479
Speaker 3: come up with the plan. The detectives are like, I

1489
01:18:38,560 --> 01:18:40,080
Speaker 3: know those men are going to come and try to

1490
01:18:40,160 --> 01:18:43,640
Speaker 3: kidnap you again because they want your brains obviously, So

1491
01:18:44,280 --> 01:18:48,920
Speaker 3: let's use the U two luchadoras as bait to draw

1492
01:18:49,040 --> 01:18:51,360
Speaker 3: out the mad doctor, you know. So we'll let you

1493
01:18:51,400 --> 01:18:54,080
Speaker 3: get kidnapped and then we'll follow close behind you and

1494
01:18:54,120 --> 01:18:55,200
Speaker 3: that way we'll catch him.

1495
01:18:55,400 --> 01:18:58,639
Speaker 1: All right, pretty standard, but seems all right. I mean,

1496
01:18:58,800 --> 01:19:00,920
Speaker 1: this is the first point in the picture there where

1497
01:19:00,960 --> 01:19:03,240
Speaker 1: I was like, really, our luchadors are gonna be bait,

1498
01:19:04,240 --> 01:19:07,120
Speaker 1: like they're the tough ones. But all right, we'll go

1499
01:19:07,160 --> 01:19:07,439
Speaker 1: with it.

1500
01:19:07,479 --> 01:19:09,240
Speaker 3: Well, I don't know it makes sense because they're the

1501
01:19:09,280 --> 01:19:11,080
Speaker 3: tough ones. I thought that was the whole one.

1502
01:19:11,120 --> 01:19:13,400
Speaker 1: That's true. Yeah, well that's true as well. I guess

1503
01:19:13,439 --> 01:19:15,679
Speaker 1: the thing is like This is the sort of scheme

1504
01:19:16,040 --> 01:19:20,280
Speaker 1: that would be employed in various other sort of serial

1505
01:19:20,720 --> 01:19:24,160
Speaker 1: action pictures of the day, you can imagine. So it

1506
01:19:24,200 --> 01:19:28,360
Speaker 1: feels like they're reusing a formula here. But yeah, like

1507
01:19:28,360 --> 01:19:29,880
Speaker 1: you say, it makes sense, and they're tough. They can

1508
01:19:29,880 --> 01:19:33,040
Speaker 1: stand up for themselves when things inevitably go wrong.

1509
01:19:33,439 --> 01:19:37,840
Speaker 3: Right, So they go out walking after midnight and then

1510
01:19:38,200 --> 01:19:41,680
Speaker 3: there comes here comes Gomar in his armor and he

1511
01:19:41,840 --> 01:19:44,439
Speaker 3: like grabs them. They get in the car just you know,

1512
01:19:44,600 --> 01:19:47,559
Speaker 3: the kneeja brains ladies. So they speed away to the

1513
01:19:47,560 --> 01:19:52,400
Speaker 3: Mad Doctor's secret hideout, pursued by the detectives once again.

1514
01:19:52,439 --> 01:19:56,080
Speaker 3: When everybody's gathered here in the Mad Doctor's lab, the

1515
01:19:56,120 --> 01:20:00,640
Speaker 3: Mad Doctor in his super creepy inquisitorhood, he's like, you

1516
01:20:00,720 --> 01:20:06,280
Speaker 3: did an excellent job, Gomar, excellent work. And Mike and

1517
01:20:06,360 --> 01:20:10,280
Speaker 3: Tommy track them down. They show up, They follow the

1518
01:20:10,280 --> 01:20:12,519
Speaker 3: car and they show up. They fight the Mad Doctor's henchman,

1519
01:20:12,640 --> 01:20:15,320
Speaker 3: but they are out numbered. Mike and Tommy not doing

1520
01:20:15,360 --> 01:20:17,280
Speaker 3: so hot. I mean, they put up a fight, but

1521
01:20:17,800 --> 01:20:21,160
Speaker 3: there's too many henchmen. Things look bad until Gloria and

1522
01:20:21,280 --> 01:20:24,040
Speaker 3: Ruby wake up. They were like laying on these operating

1523
01:20:24,080 --> 01:20:27,479
Speaker 3: tables and then they come to, they run in, beat

1524
01:20:27,520 --> 01:20:30,000
Speaker 3: up the henchmen and rescue the detectives.

1525
01:20:30,479 --> 01:20:33,080
Speaker 1: Yeah, so you end up taking back some of what

1526
01:20:33,120 --> 01:20:36,160
Speaker 1: I said here because they do whit more butt here

1527
01:20:36,520 --> 01:20:38,400
Speaker 1: and we get a nice Scooby Doo moment here.

1528
01:20:38,880 --> 01:20:42,080
Speaker 3: That's right. So they catch not the mad Doctor, but

1529
01:20:42,160 --> 01:20:45,400
Speaker 3: the Hinch Doctor, the second doctor, and they unmask him

1530
01:20:45,400 --> 01:20:49,160
Speaker 3: to reveal Wait a minute, we know this man. It's Boris,

1531
01:20:49,400 --> 01:20:52,240
Speaker 3: one of the guys who worked at the chemistry lab

1532
01:20:52,280 --> 01:20:52,919
Speaker 3: with Alice.

1533
01:20:53,400 --> 01:20:56,160
Speaker 1: Hmmm, all right, so now we're beginning to see how

1534
01:20:56,160 --> 01:20:57,599
Speaker 1: things come together here. Yeah.

1535
01:20:57,640 --> 01:21:00,760
Speaker 3: So then there is a police interrogation scene. I don't

1536
01:21:00,760 --> 01:21:03,679
Speaker 3: think this is how they do interrogations in real life,

1537
01:21:03,680 --> 01:21:06,439
Speaker 3: but like every character in the movie is in this room.

1538
01:21:06,960 --> 01:21:10,000
Speaker 3: They're all in the same room. All of the captured

1539
01:21:10,560 --> 01:21:13,680
Speaker 3: Mad Doctor henchmen are in the room, both detectives, the

1540
01:21:13,720 --> 01:21:18,960
Speaker 3: detective's boss, the professor, Gloria, and Ruby. Everybody's here.

1541
01:21:19,120 --> 01:21:21,599
Speaker 1: Well, they just didn't have one way glass technology yet,

1542
01:21:21,600 --> 01:21:21,960
Speaker 1: I guess.

1543
01:21:22,080 --> 01:21:25,439
Speaker 3: Yeah. So they initially think that this guy is the

1544
01:21:25,479 --> 01:21:28,519
Speaker 3: mad Doctor, but the professor suggests otherwise. They say, you

1545
01:21:28,560 --> 01:21:30,200
Speaker 3: know what, the professor.

1546
01:21:29,840 --> 01:21:31,880
Speaker 5: Is like, he's not the real mad Doctor.

1547
01:21:31,920 --> 01:21:34,759
Speaker 6: He must be covering up for him who's the real

1548
01:21:34,880 --> 01:21:35,519
Speaker 6: mad Doctor.

1549
01:21:35,960 --> 01:21:38,200
Speaker 3: I don't know why he suspects this, but the cops

1550
01:21:38,280 --> 01:21:40,519
Speaker 3: just kind of go with it, and they interrogate him

1551
01:21:40,520 --> 01:21:46,000
Speaker 3: on that, and Boris is about to reveal the real

1552
01:21:46,000 --> 01:21:49,280
Speaker 3: Mad Doctor's identity when he suddenly is like oh, and

1553
01:21:49,360 --> 01:22:02,679
Speaker 3: he gasps and collapses. So we get some autopsy results,

1554
01:22:03,040 --> 01:22:05,439
Speaker 3: and we learned that Boris was killed by some kind

1555
01:22:05,479 --> 01:22:08,920
Speaker 3: of tiny weapon, almost like a James Bond movie kind

1556
01:22:08,920 --> 01:22:13,000
Speaker 3: of weapon, a cylinder that fires a poison needle into

1557
01:22:13,040 --> 01:22:16,559
Speaker 3: the heart when someone bites down on it. So the

1558
01:22:16,600 --> 01:22:19,040
Speaker 3: true Mad Doctor, we find out, was in the room

1559
01:22:19,080 --> 01:22:22,360
Speaker 3: with them and had a cylinder in his mouth and

1560
01:22:22,439 --> 01:22:24,640
Speaker 3: must have bit down on the cylinder to shoot the

1561
01:22:24,640 --> 01:22:28,000
Speaker 3: poison needle into Boris's heart and then spit the cylinder

1562
01:22:28,040 --> 01:22:28,679
Speaker 3: out somewhere.

1563
01:22:28,960 --> 01:22:32,040
Speaker 1: All right, I like it. It's complicated, but but yeah,

1564
01:22:32,120 --> 01:22:34,599
Speaker 1: we have some spy gadgetry going on here.

1565
01:22:35,120 --> 01:22:37,400
Speaker 3: And we also learned that the real Mad Doctor escaped

1566
01:22:37,439 --> 01:22:40,479
Speaker 3: through a secret passageway with Gomar when the when the

1567
01:22:40,479 --> 01:22:46,559
Speaker 3: police came in, Yeah, footage not found, right, So they say, oh,

1568
01:22:46,760 --> 01:22:48,519
Speaker 3: we come back. We see the mad Doctor in his

1569
01:22:48,600 --> 01:22:51,400
Speaker 3: disguise and he's talking to his main hinchman, I guess,

1570
01:22:51,439 --> 01:22:54,280
Speaker 3: the one that the police didn't catch, and he says,

1571
01:22:54,320 --> 01:22:56,320
Speaker 3: you know, Boris tried to turn me in, but he

1572
01:22:56,439 --> 01:22:59,280
Speaker 3: paid dearly for his treachery. Once again, I have made

1573
01:22:59,280 --> 01:23:00,840
Speaker 3: the police look like fools.

1574
01:23:02,040 --> 01:23:02,240
Speaker 1: Rob.

1575
01:23:02,280 --> 01:23:05,360
Speaker 3: I just know they're standing really close in the scene. Why,

1576
01:23:05,520 --> 01:23:07,479
Speaker 3: I don't know. They're in a big room and they're

1577
01:23:07,479 --> 01:23:09,360
Speaker 3: standing almost like right at each other.

1578
01:23:09,920 --> 01:23:11,639
Speaker 1: Well, yeah, and it's a wide shot too. I guess

1579
01:23:11,680 --> 01:23:14,599
Speaker 1: it's the thing because you get used to seeing people

1580
01:23:14,640 --> 01:23:17,519
Speaker 1: having conversations way too close to each other in films,

1581
01:23:17,560 --> 01:23:21,040
Speaker 1: but oftentimes it's sort of that tighter shot here. You know,

1582
01:23:21,080 --> 01:23:23,519
Speaker 1: we could have had folks stand a little further back

1583
01:23:23,520 --> 01:23:25,040
Speaker 1: from each other here and it would have been fine.

1584
01:23:25,120 --> 01:23:29,120
Speaker 3: Yeah, there's so much negative space, I wonder. Oh but anyway,

1585
01:23:30,000 --> 01:23:32,640
Speaker 3: He's like, okay, so I punish people who betray me,

1586
01:23:32,760 --> 01:23:35,479
Speaker 3: and the Hinchman's like, I'm no stool pigeon chief, I'm loyal.

1587
01:23:35,840 --> 01:23:38,920
Speaker 3: So what's next for the mad Doctor, Well, reorganize the gang.

1588
01:23:38,960 --> 01:23:41,840
Speaker 3: And then he thinks I'm gonna eliminate those pesky detectives.

1589
01:23:42,040 --> 01:23:45,960
Speaker 3: Mike and his stupid sidekick will die. And then these

1590
01:23:45,960 --> 01:23:48,679
Speaker 3: were some good things from the English stub. He says,

1591
01:23:48,720 --> 01:23:51,360
Speaker 3: I'm going to make a good trap, and then he says,

1592
01:23:51,400 --> 01:23:53,639
Speaker 3: I'm sure his death is not going to be pretty.

1593
01:23:54,840 --> 01:23:56,840
Speaker 3: But the way he says good trap makes me think, wait,

1594
01:23:56,880 --> 01:23:59,360
Speaker 3: did he make a trap before? That was like not

1595
01:23:59,439 --> 01:24:00,200
Speaker 3: a good trap?

1596
01:24:00,680 --> 01:24:03,519
Speaker 1: You know, he's maybe he's just kind of building himself up.

1597
01:24:03,600 --> 01:24:05,320
Speaker 1: I'm going to make a good trap. I can do it.

1598
01:24:05,400 --> 01:24:06,920
Speaker 1: This is the goal I set for myself.

1599
01:24:07,240 --> 01:24:10,479
Speaker 3: So after this, Mike and Tommy visit the Luchadora Gym

1600
01:24:10,479 --> 01:24:13,479
Speaker 3: and they give special watches to Gloria and Ruby, which

1601
01:24:13,560 --> 01:24:17,120
Speaker 3: are we find out are transponder watches so that they

1602
01:24:17,120 --> 01:24:19,439
Speaker 3: can always be found. And we learned that Mike and

1603
01:24:19,479 --> 01:24:22,120
Speaker 3: Tommy are wearing them too, so you can activate them

1604
01:24:22,160 --> 01:24:24,080
Speaker 3: and they'll produce like a homing signal.

1605
01:24:24,720 --> 01:24:27,160
Speaker 1: So everybody's kind of engaged to each other now via

1606
01:24:27,240 --> 01:24:28,120
Speaker 1: side technology.

1607
01:24:28,960 --> 01:24:31,240
Speaker 3: Yeah, when they give them out, Gloria is like, hey,

1608
01:24:31,320 --> 01:24:37,879
Speaker 3: these are cute. There's more a tall short romance humor

1609
01:24:37,920 --> 01:24:42,240
Speaker 3: with Ruby and Tommy. She's like, Oh, I couldn't stand

1610
01:24:42,600 --> 01:24:45,440
Speaker 3: to be lost from you, my five foot lightning bolt.

1611
01:24:46,600 --> 01:24:48,920
Speaker 3: But what is the Mad Doctor's trapp going to be? Well,

1612
01:24:49,400 --> 01:24:52,559
Speaker 3: the Professor calls the police. He calls up Mike and

1613
01:24:52,720 --> 01:24:55,080
Speaker 3: says he's got to arrange a meeting with the detectives.

1614
01:24:55,320 --> 01:24:57,320
Speaker 3: But then the camera pulls back to reveal that he's

1615
01:24:57,320 --> 01:25:00,280
Speaker 3: calling at gunpoint. There are some bad guys pointing guns

1616
01:25:00,320 --> 01:25:03,920
Speaker 3: at him, and it turns out the Mad Doctor's goons

1617
01:25:03,960 --> 01:25:07,080
Speaker 3: are using this as a setup to catch Mike and Tommy.

1618
01:25:07,600 --> 01:25:09,920
Speaker 3: So the Mad Doctor catches them. He's like, you have

1619
01:25:10,000 --> 01:25:13,160
Speaker 3: interfered with my work. Take them to the death chamber.

1620
01:25:13,720 --> 01:25:15,600
Speaker 3: So what's the death chamber? Well, first they have to

1621
01:25:15,600 --> 01:25:17,599
Speaker 3: walk through the basement that's got all the upside down

1622
01:25:17,640 --> 01:25:20,519
Speaker 3: chairs in it. But then they throw them in a chamber,

1623
01:25:20,880 --> 01:25:24,840
Speaker 3: which Rob how would you describe this contraption? I loved

1624
01:25:24,840 --> 01:25:25,760
Speaker 3: it all right.

1625
01:25:25,840 --> 01:25:29,479
Speaker 1: So basically, we have the walls closing in here. This

1626
01:25:29,560 --> 01:25:31,080
Speaker 1: is one of the this is something we've seen in

1627
01:25:31,640 --> 01:25:37,120
Speaker 1: so many films, right, this is the trash compactor scene

1628
01:25:37,400 --> 01:25:40,840
Speaker 1: from Star Wars, you know, in Star Wars, and of

1629
01:25:40,840 --> 01:25:44,439
Speaker 1: course George Lucas was drawing on older cinematic traditions here,

1630
01:25:45,080 --> 01:25:48,080
Speaker 1: and we have two walls moving into to squash squash

1631
01:25:48,080 --> 01:25:51,160
Speaker 1: our heroes between them. Sometimes you get spikes thrown into

1632
01:25:51,160 --> 01:25:55,080
Speaker 1: the mix as well. And on the spike front, we

1633
01:25:55,160 --> 01:25:59,320
Speaker 1: do have a great example of that from Krawl. It

1634
01:25:59,400 --> 01:26:02,240
Speaker 1: was maybe not just two walls, but there was some

1635
01:26:02,280 --> 01:26:04,120
Speaker 1: spike action going on in that movie as well.

1636
01:26:04,200 --> 01:26:08,880
Speaker 3: Yes, yes, the bandits who end up allying with Oh, Crolls,

1637
01:26:08,960 --> 01:26:11,160
Speaker 3: not the hero, Crolls, the bad guy whatever his name is,

1638
01:26:11,200 --> 01:26:11,679
Speaker 3: the hero.

1639
01:26:11,640 --> 01:26:12,559
Speaker 1: No, crolls the planet.

1640
01:26:12,680 --> 01:26:16,200
Speaker 3: Crols the planet. That's right, Yeah, No, the bandits who

1641
01:26:16,800 --> 01:26:21,519
Speaker 3: Alan Armstrong's buddies. Wait, it is Alan Armstrong, isn't it.

1642
01:26:21,560 --> 01:26:23,519
Speaker 1: I remember, Yeah, Yeah, he's in there. He's inky.

1643
01:26:23,560 --> 01:26:26,160
Speaker 3: Yeah, those guys. They end up in a spike room

1644
01:26:26,280 --> 01:26:27,880
Speaker 3: that's got spikes coming out of the walls.

1645
01:26:28,160 --> 01:26:29,800
Speaker 1: Now. I had to look into this a little bit

1646
01:26:29,840 --> 01:26:31,719
Speaker 1: because I'm like, I wonder how far back this goes,

1647
01:26:32,680 --> 01:26:36,439
Speaker 1: And I'm not entirely sure. What's the first film to

1648
01:26:36,520 --> 01:26:39,880
Speaker 1: have walls moving in on our heroes? But it does

1649
01:26:39,920 --> 01:26:42,639
Speaker 1: show up in nineteen thirty five's The Raven. These are

1650
01:26:42,680 --> 01:26:45,760
Speaker 1: just blank walls that are going to squish our hero

1651
01:26:45,880 --> 01:26:48,840
Speaker 1: and the damsel in distress. But you also have red

1652
01:26:48,840 --> 01:26:52,040
Speaker 1: hot walls closing in. In Edgar Allan Poe's story The

1653
01:26:52,040 --> 01:26:54,920
Speaker 1: Pit in the Pendulum from eighteen forty two, So at

1654
01:26:54,920 --> 01:26:56,800
Speaker 1: the very least, I think we can safely say this

1655
01:26:56,840 --> 01:27:00,559
Speaker 1: is an idea that predates cinema. This film has its

1656
01:27:00,560 --> 01:27:02,759
Speaker 1: own unique take on it because we have a wall

1657
01:27:02,800 --> 01:27:06,160
Speaker 1: with spikes on one side and that's moving. On the

1658
01:27:06,200 --> 01:27:09,920
Speaker 1: other side, we have a stationary cage wall. But on

1659
01:27:09,960 --> 01:27:12,880
Speaker 1: the other side of that cage wall is Gomar, and

1660
01:27:12,960 --> 01:27:15,679
Speaker 1: Gomar is all riled up. He's reaching through the cage

1661
01:27:15,800 --> 01:27:19,120
Speaker 1: with his monster arms, trying to grab our hero. So

1662
01:27:19,600 --> 01:27:21,519
Speaker 1: you know, what are they gonna do. Are they gonna

1663
01:27:22,080 --> 01:27:24,320
Speaker 1: they're going to give in to Gomar and let him,

1664
01:27:24,400 --> 01:27:26,920
Speaker 1: you know, tear them to pieces, or are they gonna

1665
01:27:27,000 --> 01:27:29,720
Speaker 1: let the spikes skewer them? And if they don't make

1666
01:27:29,800 --> 01:27:31,640
Speaker 1: up their mind, they're going to get the worst of

1667
01:27:31,680 --> 01:27:32,280
Speaker 1: both worlds.

1668
01:27:32,520 --> 01:27:35,040
Speaker 3: Right, So they are trapped between a spike wall and

1669
01:27:35,080 --> 01:27:36,000
Speaker 3: a Gomar place.

1670
01:27:36,479 --> 01:27:39,200
Speaker 1: Yeah, just like the saying goes.

1671
01:27:39,640 --> 01:27:43,479
Speaker 3: But then we remember that while the detectives originally presented

1672
01:27:43,520 --> 01:27:46,439
Speaker 3: these watches to Gloria and Ruby as like something that

1673
01:27:46,479 --> 01:27:49,599
Speaker 3: could save them, tables are turned because they need help.

1674
01:27:49,680 --> 01:27:53,320
Speaker 3: So the detectives radio Gloria and Ruby with their watches.

1675
01:27:54,240 --> 01:27:57,200
Speaker 3: They activate a sound beacon so that the luchadoras can

1676
01:27:57,280 --> 01:28:00,640
Speaker 3: track them down, and track them down they do. When

1677
01:28:00,680 --> 01:28:04,800
Speaker 3: the Luchadoras arrive at the lab, the lab is covered

1678
01:28:04,840 --> 01:28:07,280
Speaker 3: in cobwebs. Like, wait a minute, they were just they

1679
01:28:07,280 --> 01:28:09,760
Speaker 3: were just there. It seems like a day before and

1680
01:28:09,800 --> 01:28:11,000
Speaker 3: it didn't have any cobwebs.

1681
01:28:11,479 --> 01:28:15,280
Speaker 1: Yeah. Yeah, these are some fast acting spiders, I guess. Yeah.

1682
01:28:15,560 --> 01:28:18,400
Speaker 3: But Gloria and Ruby to the rescue. They beat up

1683
01:28:18,400 --> 01:28:21,519
Speaker 3: the Mad Doctor's thugs and they free the helpless cop

1684
01:28:21,640 --> 01:28:26,240
Speaker 3: boyfriends and they get into a big fight there. They're

1685
01:28:26,439 --> 01:28:28,839
Speaker 3: they're they're sort of fighting their way out of the hideout,

1686
01:28:29,080 --> 01:28:32,360
Speaker 3: and in the end, Gloria Venus throws acid into the

1687
01:28:32,400 --> 01:28:35,360
Speaker 3: Mad Doctor's face. He's still masked, but he gets the

1688
01:28:35,400 --> 01:28:38,400
Speaker 3: acid on him, and the Mad Doctor screams, and then

1689
01:28:38,439 --> 01:28:42,400
Speaker 3: there's like a there's suddenly a raging fire and they say,

1690
01:28:42,439 --> 01:28:44,759
Speaker 3: oh no, the Mad Doctor. He's done for. He's trapped

1691
01:28:44,800 --> 01:28:47,160
Speaker 3: in the spurning building. We have to escape. No time

1692
01:28:47,200 --> 01:28:49,920
Speaker 3: to find out the Mad Doctor's real identity before we leave.

1693
01:28:50,400 --> 01:28:52,080
Speaker 1: But this is a big moment for Gloria. This is

1694
01:28:52,120 --> 01:28:57,280
Speaker 1: their first opportunity to actually physically strike out against the

1695
01:28:57,840 --> 01:28:59,600
Speaker 1: man who murdered her sister.

1696
01:28:59,520 --> 01:29:02,200
Speaker 3: Right she's she's got her revenge, or so she thinks,

1697
01:29:03,560 --> 01:29:07,160
Speaker 3: and here you're sport. Spoiler warning, The Mad Doctor's identity

1698
01:29:07,200 --> 01:29:09,160
Speaker 3: reveal is coming in just a moment, so if you

1699
01:29:09,240 --> 01:29:11,920
Speaker 3: don't want to know it, you can you can pause here.

1700
01:29:12,960 --> 01:29:16,320
Speaker 3: But so we have Gomar comes to the rescue. Surprisingly,

1701
01:29:16,400 --> 01:29:18,680
Speaker 3: he shows up. He drags the mad Doctor out of

1702
01:29:18,680 --> 01:29:20,600
Speaker 3: the building, so the Mad Doctor is not killed in

1703
01:29:20,640 --> 01:29:24,679
Speaker 3: the fire, and then we we cut to another scene

1704
01:29:25,080 --> 01:29:29,479
Speaker 3: where the professor and the professor he's doing a phone call.

1705
01:29:29,520 --> 01:29:31,720
Speaker 3: He calls in to check on Gloria. He's like, hey,

1706
01:29:31,760 --> 01:29:35,080
Speaker 3: how are you feeling, and then he says strangely, he.

1707
01:29:35,080 --> 01:29:36,880
Speaker 5: Says, well, I call it because I'd like to watch

1708
01:29:36,880 --> 01:29:38,160
Speaker 5: you wrestle again.

1709
01:29:38,640 --> 01:29:41,679
Speaker 3: And she offers to send him tickets. He doesn't need tickets.

1710
01:29:41,720 --> 01:29:44,120
Speaker 3: He I don't know why he called. Then he's just like,

1711
01:29:44,160 --> 01:29:45,920
Speaker 3: I just want to see you wrestle. So he we

1712
01:29:46,040 --> 01:29:49,320
Speaker 3: learn he's going to do that, and then suddenly there's

1713
01:29:49,360 --> 01:29:53,760
Speaker 3: a reveal. He turns his head and one half of

1714
01:29:53,800 --> 01:29:56,879
Speaker 3: the Professor's face is scarred like two face in Batman,

1715
01:29:56,960 --> 01:29:58,840
Speaker 3: and he says, I want vengeance.

1716
01:29:59,600 --> 01:30:03,960
Speaker 1: Yeah. Whole scene here is inside profile until he turns

1717
01:30:04,000 --> 01:30:06,920
Speaker 1: and takes his glasses off, and we see that that

1718
01:30:06,920 --> 01:30:10,000
Speaker 1: that he has in fact scarred by the acid, that

1719
01:30:10,400 --> 01:30:14,920
Speaker 1: the Professor all along has been the mad doctor. And

1720
01:30:15,520 --> 01:30:17,639
Speaker 1: like we said earlier on, you can kind of see

1721
01:30:17,640 --> 01:30:19,760
Speaker 1: this twist coming miles away.

1722
01:30:20,439 --> 01:30:23,280
Speaker 3: There's no other character it really could have been that

1723
01:30:23,320 --> 01:30:23,800
Speaker 3: I can think.

1724
01:30:23,840 --> 01:30:26,760
Speaker 1: Yeah, yeah, there wasn't a really they they did. They

1725
01:30:26,760 --> 01:30:28,680
Speaker 1: did some interesting things to try and throw you off

1726
01:30:28,680 --> 01:30:34,040
Speaker 1: the scent, but they never really developed or portrayed a

1727
01:30:34,320 --> 01:30:37,639
Speaker 1: proper additional suspect, Like who were we supposed to think

1728
01:30:37,640 --> 01:30:38,840
Speaker 1: it was Tommy? Now?

1729
01:30:39,080 --> 01:30:41,320
Speaker 3: I mean the only other character I think you could

1730
01:30:41,360 --> 01:30:44,400
Speaker 3: have because you see him with a mask on. The

1731
01:30:44,400 --> 01:30:47,680
Speaker 3: only character who like fits the physical profile might have

1732
01:30:47,760 --> 01:30:51,280
Speaker 3: been Armando. Maybe you know Maya, but I don't know.

1733
01:30:51,360 --> 01:30:53,479
Speaker 1: That it makes sense. There's no real evidence for that,

1734
01:30:53,960 --> 01:30:56,479
Speaker 1: you know, to be the case. So but still like

1735
01:30:56,800 --> 01:30:59,280
Speaker 1: seeing it coming not and knowing how it's going to

1736
01:30:59,360 --> 01:31:03,719
Speaker 1: roll out, it's still pretty great because Canado is terrific.

1737
01:31:03,760 --> 01:31:08,120
Speaker 1: He's been terrific the whole film as the Professor, but

1738
01:31:08,280 --> 01:31:12,520
Speaker 1: now he gets to go into just pure maniacal mode. Unmasked,

1739
01:31:12,760 --> 01:31:15,840
Speaker 1: half scarred, He's just a full blown super villain at

1740
01:31:15,840 --> 01:31:17,320
Speaker 1: this point and he's delightful.

1741
01:31:17,520 --> 01:31:19,840
Speaker 3: Yeah, I love it. And now he's only using his

1742
01:31:20,000 --> 01:31:23,000
Speaker 3: non James Mason voice, he's only using the mad doctor voice,

1743
01:31:23,040 --> 01:31:28,000
Speaker 3: the deep sonorous version. So he announces his plan. He's

1744
01:31:28,040 --> 01:31:31,080
Speaker 3: going to take Gomar's physical strength. He's going to transplant

1745
01:31:31,160 --> 01:31:34,439
Speaker 3: it into the body of a luchadora so he can

1746
01:31:34,520 --> 01:31:39,639
Speaker 3: create a murderous, superhuman luchadora to destroy Gloria Venus.

1747
01:31:40,520 --> 01:31:43,519
Speaker 1: So we're putting the medical goals on the back burner

1748
01:31:43,560 --> 01:31:46,559
Speaker 1: for the time being, and we're switching to vengeance mode here.

1749
01:31:46,920 --> 01:31:50,759
Speaker 3: Yeah, and he's like doing monologues into the camera. He says,

1750
01:31:50,920 --> 01:31:54,479
Speaker 3: she'll blow her body to pieces, Yes, a little killing

1751
01:31:54,520 --> 01:31:56,880
Speaker 3: in the ring for all the audience to see. And

1752
01:31:56,920 --> 01:32:00,360
Speaker 3: then he did, you know, cackling laughter. But it makes

1753
01:32:00,439 --> 01:32:02,880
Speaker 3: me think he's still maybe like he might have been

1754
01:32:02,960 --> 01:32:06,240
Speaker 3: kind of sincere about his hatred of wrestling from that line,

1755
01:32:06,320 --> 01:32:08,479
Speaker 3: like maybe he's part of his goal is to get

1756
01:32:08,479 --> 01:32:10,800
Speaker 3: revenge on Gloria Venus, but the other part is to

1757
01:32:10,920 --> 01:32:13,760
Speaker 3: make the audience feel bad for watching wrestling.

1758
01:32:13,840 --> 01:32:17,000
Speaker 1: Did you get out? Kind of because to carry out

1759
01:32:17,040 --> 01:32:21,040
Speaker 1: this plan of vengeance, and again, it's kind of an

1760
01:32:21,080 --> 01:32:23,559
Speaker 1: unwarranted vengeance because like, are you really allowed to have

1761
01:32:23,640 --> 01:32:26,559
Speaker 1: vengeance against the person who scarred you while you were

1762
01:32:26,600 --> 01:32:30,160
Speaker 1: trying to take their brain? I don't know. But at

1763
01:32:30,160 --> 01:32:32,839
Speaker 1: any rate, he's going to have to become a wrestling manager,

1764
01:32:33,000 --> 01:32:36,880
Speaker 1: a lucha libre manager, and wear a lucha libre mask

1765
01:32:37,080 --> 01:32:38,320
Speaker 1: in order to carry this out.

1766
01:32:38,520 --> 01:32:38,880
Speaker 5: I don't know.

1767
01:32:38,920 --> 01:32:41,519
Speaker 3: I think vengeance often works that way. I mean, okay,

1768
01:32:41,560 --> 01:32:45,400
Speaker 3: so Captain Ahab wants vengeance against Moby Dick, but he

1769
01:32:45,560 --> 01:32:48,000
Speaker 3: was trying to kill Moby Dick. He was the aggressor.

1770
01:32:48,760 --> 01:32:51,240
Speaker 3: He was, he was the initial attacker. I think that's

1771
01:32:51,320 --> 01:32:52,240
Speaker 3: just often how it is.

1772
01:32:52,280 --> 01:32:52,599
Speaker 1: People.

1773
01:32:53,040 --> 01:32:55,920
Speaker 3: It was your fault the whole time, but still you

1774
01:32:56,000 --> 01:32:58,040
Speaker 3: came out badly and now you want revenge.

1775
01:32:58,560 --> 01:33:00,720
Speaker 1: There's a good point. It's a good point. And like

1776
01:33:00,760 --> 01:33:03,320
Speaker 1: we they have this is the mad quest for revenge.

1777
01:33:03,360 --> 01:33:07,280
Speaker 1: Now it's all encompassing. You know, Gloria Venus wanted vengeance,

1778
01:33:07,360 --> 01:33:10,479
Speaker 1: she swore vengeance, but she's still was keeping up her

1779
01:33:10,560 --> 01:33:13,719
Speaker 1: day j yeah, in her social life.

1780
01:33:13,760 --> 01:33:16,559
Speaker 3: But so they do the procedure and they create the

1781
01:33:16,720 --> 01:33:22,120
Speaker 3: super luchadora named Vendetta, and so he tests her out.

1782
01:33:22,160 --> 01:33:25,040
Speaker 3: He says, like, destroy that table there, and she flips

1783
01:33:25,080 --> 01:33:28,200
Speaker 3: over the table and she's she's wearing Oh, this is

1784
01:33:28,280 --> 01:33:31,120
Speaker 3: now a masked luchadora. I don't think any of the

1785
01:33:31,200 --> 01:33:33,719
Speaker 3: luchadoras we've met so far have been masked.

1786
01:33:34,200 --> 01:33:37,880
Speaker 1: No, they hadn't, and it's it's a pretty It's also

1787
01:33:37,920 --> 01:33:40,320
Speaker 1: the first costume we see that has any pizazz to it,

1788
01:33:40,760 --> 01:33:43,320
Speaker 1: because then the mask has like a lightning bolt on it.

1789
01:33:44,200 --> 01:33:47,599
Speaker 1: Lower face is revealed in the mask, and then we

1790
01:33:47,640 --> 01:33:50,439
Speaker 1: get kind of a sparkly looking cake, which is very jaunty,

1791
01:33:50,640 --> 01:33:53,200
Speaker 1: even if the basic jumpsuit underneath is the same gray

1792
01:33:53,320 --> 01:33:54,639
Speaker 1: jumpsuit that everyone else has.

1793
01:33:55,080 --> 01:33:58,240
Speaker 3: All Right, so Vendetta is now on the scene, and

1794
01:33:58,520 --> 01:34:01,599
Speaker 3: we learned there's like a TV announcer saying, okay, she's

1795
01:34:01,640 --> 01:34:06,759
Speaker 3: called Vendetta. She's from Paris. Was there a big wrestling

1796
01:34:06,800 --> 01:34:08,200
Speaker 3: scene in Paris? Maybe there was.

1797
01:34:08,840 --> 01:34:12,080
Speaker 1: I think there was wrestling. There was wrestling in France

1798
01:34:12,120 --> 01:34:14,120
Speaker 1: at some point. I'm not sure what was going on

1799
01:34:14,160 --> 01:34:17,240
Speaker 1: there in sixty two, but huh, okayber Andre the Giant

1800
01:34:17,320 --> 01:34:19,120
Speaker 1: came from France. That's true.

1801
01:34:19,439 --> 01:34:21,880
Speaker 3: Yeah, I've just never heard of French wrestling before, but

1802
01:34:22,120 --> 01:34:24,080
Speaker 3: I guess it must have been a thing. But we

1803
01:34:24,200 --> 01:34:27,479
Speaker 3: learned that she challenges Gloria Venus for the championship, and

1804
01:34:27,720 --> 01:34:30,720
Speaker 3: there's gonna be The numbers here are fuzzy. They say

1805
01:34:30,720 --> 01:34:33,799
Speaker 3: first that they're fighting for a purse of two thousand,

1806
01:34:33,880 --> 01:34:37,360
Speaker 3: four hundred currency unspecified. They just say the number, and

1807
01:34:37,400 --> 01:34:39,479
Speaker 3: then later they say that the fight is for twenty

1808
01:34:39,479 --> 01:34:43,719
Speaker 3: five thousand dollars. Do you understand what's going on there?

1809
01:34:43,960 --> 01:34:46,200
Speaker 1: I'm not sure. I mean, you know, I probably shouldn't

1810
01:34:46,240 --> 01:34:48,680
Speaker 1: pick this apart too much because also, like this is

1811
01:34:48,720 --> 01:34:52,400
Speaker 1: the main event. Vendetta is complete unknown, They're just gonna

1812
01:34:52,800 --> 01:34:55,679
Speaker 1: reveal her and now she has a main event slot

1813
01:34:55,720 --> 01:35:00,000
Speaker 1: over everybody else. She instantly gets a challenge for the championship.

1814
01:35:00,120 --> 01:35:01,559
Speaker 1: I guess I assume does.

1815
01:35:01,439 --> 01:35:04,240
Speaker 3: The originally work like that, like you're not a rookie

1816
01:35:04,280 --> 01:35:06,960
Speaker 3: and you get to go fight stone cold or whatever?

1817
01:35:07,400 --> 01:35:08,960
Speaker 1: Well, I mean, I guess it does kind of work

1818
01:35:09,040 --> 01:35:12,200
Speaker 1: like that sometimes, But even for the like the real

1819
01:35:12,240 --> 01:35:15,200
Speaker 1: sports feel we're going for here, there has to be

1820
01:35:15,200 --> 01:35:16,960
Speaker 1: some sort of build up, right, some sort of a

1821
01:35:18,160 --> 01:35:21,200
Speaker 1: win lost record established, but now we're going straight for it.

1822
01:35:21,479 --> 01:35:23,360
Speaker 3: So there's a funny scene where they like sign the

1823
01:35:23,400 --> 01:35:26,880
Speaker 3: contract and oh, the Mad Doctor is there also wearing

1824
01:35:26,920 --> 01:35:30,000
Speaker 3: a Lucha mask for the contract signing scene, and he

1825
01:35:30,080 --> 01:35:32,439
Speaker 3: looks creepy in his his mask is teeth.

1826
01:35:32,960 --> 01:35:35,640
Speaker 1: Yeah yeah, has kind of a skull vibe going on.

1827
01:35:36,600 --> 01:35:39,960
Speaker 3: But we go to the match and when Vendetta enters

1828
01:35:39,960 --> 01:35:42,920
Speaker 3: the ring, she's just like kicking spectators in the face.

1829
01:35:44,400 --> 01:35:47,640
Speaker 1: Yeah. So finally in this match we get that that

1830
01:35:47,760 --> 01:35:52,600
Speaker 1: proper rudo technico vibe going on. One wrestler is clearly

1831
01:35:52,640 --> 01:35:55,439
Speaker 1: the villain and the other is clearly the hero. One

1832
01:35:55,479 --> 01:35:57,719
Speaker 1: is honorable and the other one is just all fighting

1833
01:35:57,880 --> 01:36:01,599
Speaker 1: and nastiness. Wants you know, not only wants to hurt

1834
01:36:01,720 --> 01:36:04,360
Speaker 1: her opponent, but will hurt anyone else that gets in

1835
01:36:04,400 --> 01:36:04,720
Speaker 1: her way.

1836
01:36:04,840 --> 01:36:08,799
Speaker 3: That's right, because we see Vendetta like suplexing the referee, right.

1837
01:36:09,360 --> 01:36:11,479
Speaker 1: Yeah, yeah, yeah, just I think throws the referee.

1838
01:36:11,560 --> 01:36:14,200
Speaker 3: Yeah, she eventually throws the referee out of the ring,

1839
01:36:15,000 --> 01:36:18,479
Speaker 3: and so oh he's Gloria done for. Well, ultimately, it's

1840
01:36:18,520 --> 01:36:21,760
Speaker 3: a movie where where Friendship comes to the rescue because

1841
01:36:21,800 --> 01:36:25,120
Speaker 3: Golden Ruby comes in to help her. She I don't

1842
01:36:25,120 --> 01:36:28,479
Speaker 3: know if she used the tag rope correctly, but Golden

1843
01:36:28,560 --> 01:36:31,479
Speaker 3: Ruby comes into the ring and together they beat up Vendetta.

1844
01:36:31,880 --> 01:36:34,680
Speaker 1: Oh you know where this is completely no rules at

1845
01:36:34,680 --> 01:36:36,720
Speaker 1: this point. This is a straight up run. I mean

1846
01:36:36,920 --> 01:36:41,679
Speaker 1: that basically any order in the match has fallen apart.

1847
01:36:41,720 --> 01:36:44,519
Speaker 1: I mean, and that was that was the Professor's plan

1848
01:36:44,600 --> 01:36:47,479
Speaker 1: all along. Right, It's like he doesn't want her beat

1849
01:36:47,520 --> 01:36:49,320
Speaker 1: in the ring. He wants her killed in the ring.

1850
01:36:49,720 --> 01:36:53,680
Speaker 3: Right, But ultimately this is not the final showdown. I

1851
01:36:53,760 --> 01:36:56,360
Speaker 3: kind of wish they had somehow found a way to

1852
01:36:56,400 --> 01:36:59,280
Speaker 3: do the final like ultimate showdown in the ring. Instead,

1853
01:36:59,320 --> 01:37:04,280
Speaker 3: the action moves elsewhere because the Mad Doctor has to

1854
01:37:04,360 --> 01:37:06,400
Speaker 3: run away, I think, because the police arrives. So he's like,

1855
01:37:06,439 --> 01:37:09,280
Speaker 3: oh no, and he runs away, and then he summons

1856
01:37:09,400 --> 01:37:12,599
Speaker 3: Vendetta to help him, and they both end up climbing

1857
01:37:12,640 --> 01:37:15,280
Speaker 3: a water tower and the police put like, you know,

1858
01:37:16,000 --> 01:37:19,080
Speaker 3: high beams on them. They put like lights up on them,

1859
01:37:19,439 --> 01:37:22,559
Speaker 3: and Mike climbs up the water tower to I guess,

1860
01:37:22,600 --> 01:37:24,719
Speaker 3: tell them to come down or something. But they start

1861
01:37:24,760 --> 01:37:27,280
Speaker 3: attacking Mike and they're like stomping on his fingers as

1862
01:37:27,280 --> 01:37:29,760
Speaker 3: he's hanging on for dear life. So what do they

1863
01:37:29,800 --> 01:37:31,479
Speaker 3: have to do. Well, they've got to they've got to

1864
01:37:31,479 --> 01:37:36,120
Speaker 3: shoot them. So Tommy shoots the Mad Doctor and Vendetta

1865
01:37:36,200 --> 01:37:39,000
Speaker 3: with a rifle and that's the end. I feel like

1866
01:37:39,040 --> 01:37:42,040
Speaker 3: that's kind of an unsatisfying ending to this. I wish

1867
01:37:42,040 --> 01:37:44,320
Speaker 3: they'd had a different kind of final confrontation.

1868
01:37:45,160 --> 01:37:48,160
Speaker 1: Yeah, I absolutely agree. I feel like the ending here

1869
01:37:48,240 --> 01:37:51,360
Speaker 1: is the ultimate Week Week link because it ends up

1870
01:37:51,360 --> 01:37:54,200
Speaker 1: taking place outside the Ring after we've built up to

1871
01:37:54,280 --> 01:37:57,160
Speaker 1: that in ring encounter, and.

1872
01:37:57,280 --> 01:37:59,240
Speaker 3: Then doesn't involve the main characters.

1873
01:37:59,360 --> 01:38:02,000
Speaker 1: Yeah, it doesn't involve our lutadoras at all. It's just

1874
01:38:02,400 --> 01:38:06,439
Speaker 1: as police shooting the villains off a water tower. Yeah,

1875
01:38:06,840 --> 01:38:09,679
Speaker 1: so like our villains end up looking a bit dumber

1876
01:38:09,920 --> 01:38:12,559
Speaker 1: for having gone up there, and then it's just kind

1877
01:38:12,600 --> 01:38:15,599
Speaker 1: of they're just kind of dispatched with ease, and then

1878
01:38:15,600 --> 01:38:17,000
Speaker 1: it's the end of the picture. So I wish they

1879
01:38:17,000 --> 01:38:19,599
Speaker 1: had done something something a little different here at the end.

1880
01:38:19,760 --> 01:38:22,760
Speaker 3: I agree. I think this movie overall is deserving of

1881
01:38:22,800 --> 01:38:25,240
Speaker 3: a much better ending confrontation. I feel like they could

1882
01:38:25,240 --> 01:38:27,040
Speaker 3: have found a way to make it all happen in

1883
01:38:27,080 --> 01:38:28,360
Speaker 3: the Ring, but I don't know.

1884
01:38:28,439 --> 01:38:31,040
Speaker 1: Yeah, or if they had to go to one last location,

1885
01:38:31,600 --> 01:38:34,719
Speaker 1: I don't know, maybe a secondary layer, Maybe it's a

1886
01:38:34,880 --> 01:38:38,320
Speaker 1: they try to there's a getaway car, a submarine, I

1887
01:38:38,320 --> 01:38:40,240
Speaker 1: don't know. There's so many places you could go why

1888
01:38:40,280 --> 01:38:41,040
Speaker 1: the water tower.

1889
01:38:41,479 --> 01:38:44,200
Speaker 3: Yeah, you're totally right, And then it wraps up so quick.

1890
01:38:44,240 --> 01:38:46,599
Speaker 3: After that, the mad doctor like falls to his death

1891
01:38:46,680 --> 01:38:50,559
Speaker 3: off the water tower, and I think the detective comes

1892
01:38:50,600 --> 01:38:53,360
Speaker 3: in and he says to Gloria Venus, it's all over.

1893
01:38:53,439 --> 01:38:59,240
Speaker 3: Now your sister has been avenged, the end, and that's it.

1894
01:38:59,320 --> 01:39:01,759
Speaker 1: I do like that about a lot of these old pictures.

1895
01:39:01,960 --> 01:39:04,519
Speaker 1: When it's time to close up to the shop, they

1896
01:39:04,640 --> 01:39:06,559
Speaker 1: just turn the sign around and near out the door.

1897
01:39:06,960 --> 01:39:09,920
Speaker 3: Well, I'm gonna say I really had a great time

1898
01:39:10,080 --> 01:39:12,519
Speaker 3: with this movie. Doctor Doomed tremendously fun.

1899
01:39:13,280 --> 01:39:16,640
Speaker 1: Yeah, yeah, ending aside is a lot of fun, fun performers,

1900
01:39:17,200 --> 01:39:19,720
Speaker 1: well shot. Like we've been saying, you know, nice, nice,

1901
01:39:19,720 --> 01:39:22,759
Speaker 1: attractive black and white, because a lot of the film

1902
01:39:22,800 --> 01:39:25,920
Speaker 1: is about like creeping around in alleys and creeping all

1903
01:39:25,960 --> 01:39:30,120
Speaker 1: around in mad science layers. So the black and white

1904
01:39:30,120 --> 01:39:32,120
Speaker 1: fits it really well and they do a good job

1905
01:39:32,160 --> 01:39:32,439
Speaker 1: with it.

1906
01:39:33,439 --> 01:39:36,120
Speaker 3: I think we have gone on really long about this one.

1907
01:39:36,479 --> 01:39:38,479
Speaker 1: Yeah, yeah, yeah, we may have to cut some of

1908
01:39:38,520 --> 01:39:44,720
Speaker 1: my diatribes there about Lucia Libra history there, but at

1909
01:39:44,720 --> 01:39:46,599
Speaker 1: any rate, it was fun to return to the world

1910
01:39:46,760 --> 01:39:50,000
Speaker 1: of lucha in this picture. So if you enjoyed this

1911
01:39:50,040 --> 01:39:52,040
Speaker 1: one and you didn't listen to our episode about Santo

1912
01:39:52,080 --> 01:39:54,240
Speaker 1: and the Treasure of Dracula, go back and listen to

1913
01:39:54,240 --> 01:39:56,880
Speaker 1: that one, because you'll probably enjoy it as well. Just

1914
01:39:56,920 --> 01:40:00,559
Speaker 1: a reminder that we're primarily a science podcast here. It's

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Speaker 1: saying science for the most part, not mad science. And

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Speaker 1: with it we have our core episodes of Stuff to

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Speaker 1: Blow your Mind publishing and the Stuff to Blow your

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Speaker 1: Mind podcast feed on Tuesdays and Thursdays, but on Fridays

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Speaker 1: we set aside most serious concerns to just talk about

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Speaker 1: a weird film. If you want to see a complete

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Speaker 1: list of all the movies we've discussed on Weird House Cinema, well,

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Speaker 1: you can go to a couple of places. I blog

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Speaker 1: about these films at s Immuta music dot com. But

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Speaker 1: also if you use letterbox, that's L E T E

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Speaker 1: R B O x D dot com. We have a

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Speaker 1: profile there. The profile is weird House. You can look

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Speaker 1: us up. We have a list there and you can

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Speaker 1: see all the all the movies we've covered, the poster

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Speaker 1: arts cascading across the screen, and you can sort through them.

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Speaker 1: You can look at them by by decade, by genre,

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Speaker 1: that sort of thing. It's pretty fun to toy around with.

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Speaker 3: Huge thanks to our audio producer Jjposway. If you would

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Speaker 3: like to get in touch with us with feedback on

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Speaker 3: this episode or any other, to suggest a topic for

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Speaker 3: the future, or just to say hello, you can email

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Speaker 3: us at contact at stuff to Blow your Mind dot com.

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Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

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Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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Speaker 2: or wherever you listen to your favorite shows.