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

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Speaker 2: Hey, welcome to Weird House Cinema.

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

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Speaker 3: on today's episode of Weird House Cinema, we are going

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 3: creature attacks London is just fundamentally hilarious.

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Speaker 2: Yeah. I'm not sure quite what it is, because you

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Speaker 2: do find giant monster kaiju movies in various film cultures,

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Speaker 2: and it doesn't feel inherently out of place in other

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Speaker 2: film traditions. But yeah, there's something about the British setting

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Speaker 2: and all the British actors. I don't know it. It

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Speaker 2: makes it unique, and it does maybe make it a

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Speaker 2: little bit hilarious unintentionally.

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

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

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

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

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

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

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

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

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

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

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Speaker 3: and it is really pleasurable to watch.

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Speaker 2: Yeah, I mean, it's the basic formula in play here.

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Speaker 2: Don't go into Gorgo expecting something drastically different from any

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Speaker 2: other giant monster movie that you've seen, but it is

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Speaker 2: well executed. There are a lot of solid talents that

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Speaker 2: were involved in making this film, and it does find

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Speaker 2: some places to do things that, if not entirely unique,

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Speaker 2: at least they come up with an interesting palette with

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Speaker 2: which to paint it.

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

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

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

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

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

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

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Speaker 3: of what is Gorgo? Right? So, Godzilla is a giant

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

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

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

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

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

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Speaker 3: toothy monster with a similar bipedal posture to Godzilla, who

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

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

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

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

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Speaker 3: at least at first.

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Speaker 4: Yeah.

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Speaker 2: And I would also add that he has pretty much

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Speaker 2: has the body of a rock'm sockem robot, not in

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Speaker 2: the sense that it's metallic, but in the basic posture

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Speaker 2: and proportions. It looks like he's ready to throw some punches,

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Speaker 2: and I guess ultimately does throw some punches at major

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Speaker 2: London landmarks.

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

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

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Speaker 2: Yeah, now, if there I had plenty of scenes later

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Speaker 2: in the film to stare at this monster and try

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Speaker 2: and cope with some headcanon for everything I'm seeing. And

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Speaker 2: I will say the teeth. The more I looked at them,

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Speaker 2: the more I started thinking, well, these are like filter

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Speaker 2: feeding teeth, Like this is an aquatic organism that's had

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Speaker 2: millions and millions of years to sort of evolve. Maybe

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Speaker 2: it's a filter feeder. Maybe that's what those teeth are

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Speaker 2: all about.

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

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

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

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

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

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

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

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Speaker 3: souls or the beleen of a filter feeder. That's a

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Speaker 3: good connection.

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Speaker 2: Rob, thank you. But you know this is not the

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Speaker 2: only the only connection between this monster and in the

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Speaker 2: world of actual terrestrial biology, because the creature's name, Gorgo

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Speaker 2: is allegedly based on an actual dinosaur, the Gorgosaurus.

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Speaker 3: Now they don't say that in the movie. In the

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

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

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

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

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Speaker 3: he named the creature Gorgo after the gorgon Medusa. So

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

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

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Speaker 3: after this dinosaur.

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Speaker 2: Yeah, so this might have been something that was more

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Speaker 2: of a stronger connection at some earlier phase of production.

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Speaker 2: It could also be something that's been kind of added

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Speaker 2: after the fact. But the truth is there is a gorgosaurus.

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Speaker 2: The gorgosaurus was not named after this movie. This is

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Speaker 2: the It literally means fierce lizard. This creature lived during

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Speaker 2: the Late Cretaceous period eighty to seventy three million years

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Speaker 2: ago in parts of what is now the United States

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Speaker 2: and Canada, So you know, I guess its range wouldn't

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Speaker 2: actually have extended over to the British Isles. But anyway,

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Speaker 2: it was a large therapod and we have at least

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Speaker 2: twelve complete or near complete skulls and various partial skeletons

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Speaker 2: to go off of. It was a tyrannosaur, not as

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Speaker 2: big as a t rex, but still quite impressive at

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Speaker 2: eight to nine meters or twenty six to thirty feet

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Speaker 2: in length. It was first described and named by Canadian

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Speaker 2: paleontologist Lawrence Lamb that's not spelled like my name is

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Speaker 2: Lambe in nineteen fourteen, and the Gorgo part of the

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Speaker 2: name fierce is in fact related to the ancient Greek

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Speaker 2: word gorgos, which means grim. Or dreadful reflected in the

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Speaker 2: naming of the mythical gorgons.

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

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

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Speaker 3: same place.

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Speaker 2: Yes, And you know, if this strikes a chord with

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Speaker 2: anyone out there, you're like, where have I heard about

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Speaker 2: gorgosaurus recently? Well, the gorgosaars actually just made the news

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Speaker 2: last month. This was reported about in the New York

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Speaker 2: Times under their Ancient Meat Reporting desk. This concerns a

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Speaker 2: seventy five million year old Gorgosaurus fossil. It was discovered

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Speaker 2: with fossilized stomach contents. This was the first, apparently for

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Speaker 2: a tyrannosaur. It was a juvenile and the stomach contents

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Speaker 2: were the hind limbs of two small feathered dinosaurs. According

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Speaker 2: to Michael Greshkoh in his New York Times article covering

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Speaker 2: a study authored by Francois Therein, the curator of Dinosaur

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Speaker 2: paleo Ecology at the Royal Tyreel Museum in Alberta, they

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Speaker 2: said that if it had grown to adulthood, it would

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Speaker 2: have liked we moved on to much bigger prey. But

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Speaker 2: as a smaller tritter, it was having to eat the

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Speaker 2: legs of various bird creatures. So at any rate, gorgosar

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Speaker 2: is still making the headlines at least, you know, as

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Speaker 2: far as stories about ancient meat and an ancient chicken

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Speaker 2: legs ghosts.

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

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

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

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Speaker 3: spindly creature than the gorgo of the film, which is

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

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

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

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

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Speaker 2: Right right, But before you gorgo fans look up this

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Speaker 2: article and say this is not accurate, let me suggest

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Speaker 2: that the gorgo that we see in this movie has

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Speaker 2: again evolved for life in an aquatic setting over millions

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Speaker 2: of years. So he has kind of like that whale

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Speaker 2: body going on. Ah, So, if we're being generous, we

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Speaker 2: might say, well it kind of makes sense.

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Speaker 3: That's right, Yes, the gorgo's body has evolved for insulation purposes.

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Speaker 2: Yeah, so a little science there, but believe me, the

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Speaker 2: science is not necessary for your appreciation and understanding of

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Speaker 2: this movie.

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

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

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

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

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

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

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

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

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

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

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Speaker 3: that category, I would call Kaiju the defender. Good examples

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Speaker 3: here would be the later sequels involving almost any of

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Speaker 3: the popular Kaiju monsters, monsters like Godzilla and GAMMERA. This

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Speaker 3: is a variation that arises in which the giant monster

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Speaker 3: that was once the destroyer must now defend us from

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

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Speaker 3: new giant monster that is meaner and more spiny. And

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Speaker 3: I would argue that the emergence of Kaiju the Defender

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

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Speaker 3: a broader trend that's not just in giant monster movies.

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Speaker 3: But it's this trend where if you have a series

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Speaker 3: of movies all about the same focal character, that character

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Speaker 3: will almost always become more friendly and approachable over time,

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

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

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

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

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

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

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

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

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

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

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Speaker 2: Yeah, it becomes more of like a pee wee herman

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Speaker 2: kind of a character as opposed to just a nightmare

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Speaker 2: monster from your mind, that sort of thing.

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

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

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

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

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

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

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

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Speaker 3: that it has been mistreated by humankind.

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Speaker 2: Yeah, and obviously there are numerous sub classifications that we

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Speaker 2: could play out here, but well, one that comes to

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Speaker 2: mind as well as essentially the ware Kaiju option. So

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Speaker 2: not an amazing colossal situation where just a human gets

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Speaker 2: big and then does big stuff, but a situation where

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Speaker 2: a protagonist transforms into a giant monster that is distinct

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Speaker 2: from just a giant human. The twenty sixteen film Colossal

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Speaker 2: starring Anne Hathaway comes to mind that has a fun

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Speaker 2: twist on this concept. And there's also nineteen sixty five's

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Speaker 2: Frankenstein versus Beragon that involves something like this as well,

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Speaker 2: with a small boy transforming into a giant Frankenstein's monster.

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

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

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Speaker 3: Hathway the one who transforms into a giant monster?

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Speaker 2: Yes she is, or it's a spoilers If you haven't

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Speaker 2: seen this, just skip like you know, a few minutes ahead.

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Speaker 2: But the basic concept, if memory serves, is that she

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Speaker 2: has a spells where she becomes the monster or controls

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Speaker 2: the monster with her impulses, but is not conscious of

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Speaker 2: the fact. So it's not a physical transformation. Uh, it's

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Speaker 2: it's it's something else, it's it's it's a very fun film.

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Speaker 2: It's it's it's it's a comedy, but it has a

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Speaker 2: giant monster and it has a number of wonderful actors

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Speaker 2: in it, well worth checking out.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 3: who think that launching, you know, some more bombs at

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Speaker 3: them will finally solve the problem.

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Speaker 2: Right right, It's ultimately going to be a draw, and

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Speaker 2: you realize, well, we can't really oppose Gorgo anymore, we

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Speaker 2: must form an alliance with Gorgo. Clearly, if they'd made

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Speaker 2: more Gorgo movies, it would have been Gorgo protecting the

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Speaker 2: British Isles from some other menace.

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

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

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

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

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Speaker 3: were comics made in the wake of that. And I

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

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

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

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Speaker 3: see in these other monsters. Because in the first issue,

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

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

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

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Speaker 3: world from communism.

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Speaker 2: Yeah. Yeah, these covers are definitely worth looking up. I

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Speaker 2: was surprised because I think I'd run across the idea

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Speaker 2: before that there was some sort of a comic book adaptation,

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Speaker 2: and that alone is not surprising. I was thinking, oh,

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Speaker 2: it's a one off, you know, they did a comic

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Speaker 2: book adaptation of the movie. But no, it's like it's

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Speaker 2: a whole run with Gorgo fighting various threats, including communism

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Speaker 2: and giant squidsed it, you know, it's that sort of thing,

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Speaker 2: big furry monsters with horns on their head, cyclopses, you

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Speaker 2: name it.

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

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

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

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

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

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

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

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

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Speaker 3: on his face.

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Speaker 2: Yeah, yeah, And I assume this one is basically an

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Speaker 2: adaptation of the picture, or you know, an abbreviation of

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Speaker 2: it anyway.

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

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

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

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

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

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

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

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

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

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

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Speaker 3: the world.

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Speaker 2: Yeah. Like, clearly, Gorgo is a force of nature that

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Speaker 2: is going to be potentially exploited by bad actors in

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Speaker 2: the human realm, and therefore that the real villains are

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Speaker 2: the mad scientists.

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

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Speaker 3: got the tide Gorgo clashes with the sea beast, where

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

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Speaker 3: he's just wrestling with another giant monster. This looks like

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Speaker 3: some kind of octopus inspired type creature, though. I have

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Speaker 3: to say the illustration is funny because it looks like

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Speaker 3: they're about to kiss. Doesn't it like Gorgo's even sort

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

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Speaker 3: gonna dip him for a kiss.

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Speaker 4: Yeah. Yeah.

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Speaker 2: It says Gorgo clashes with the Sea Beast and the

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Speaker 2: Unforgettable the day Manhattan died, which raises all sorts of questions.

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Speaker 2: Why is Gorgo going over to Manhattan? Is like, is

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Speaker 2: there like a Gorgo sharing program or treaty between the

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Speaker 2: UK and the United States At this point, I'm not sure.

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

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Speaker 3: uh oh it's in the movie. Yeah, And then it

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Speaker 3: goes on. So, like I included issue number ten, there's

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Speaker 3: more fighting that looks kind of like kissing. This is

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Speaker 3: where Gorgo is fighting the Venusian Terror. It says they

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Speaker 3: came from an alien world bent on destroying Earth and

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Speaker 3: it's an inhabitants. Could even the mighty Gorgo stop them?

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Speaker 3: Don't miss the Venusian Terror? What is the Venusian Terror? Well,

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Speaker 3: you see a couple of flying saucers in the background

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Speaker 3: that almost kind of look like they have eyes, like

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Speaker 3: they're kind of placid, smiley faces. But then the Venusian

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Speaker 3: Monster is a cyclops being with a long yellow snake tongue,

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Speaker 3: one big eye, and one big horn on the top

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Speaker 3: of his head.

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Speaker 2: Yep, and he's licking Gorgo in the face. It really

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Speaker 2: seems like maybe this is a big misunderstanding. The Venusian

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Speaker 2: Tear doesn't really want to hurt anyone. He just wants

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Speaker 2: a little snuggling, a little little face licking.

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

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

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

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

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

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

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

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

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Speaker 3: with uh together, we will destroy all imperialistic nations. UH

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Speaker 3: and Gorgo, I guess, is gonna gonna prevent that.

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Speaker 2: Yeah, Gorgo's politics are fully explored in this this particular issue.

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Speaker 3: I'm sure, yeah, but.

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Speaker 2: All of that comes later. This movie is about then

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Speaker 2: this would be my my elevator pitch. It's the British

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Speaker 2: Isles versus giant monster, that is exactly it. All right, well,

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Speaker 2: let's go ahead and have that trailer audio so everyone

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Speaker 2: can hear some of the destruction that's coming their way.

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Speaker 5: Foh, a picture of our time? How's ever unleashed? Shut

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Speaker 5: spectacle of such scope? But realism? How's up from the

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Speaker 5: depths of prehistoric mystery? Rages gorgo? The headlines of the

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Speaker 5: world plays the fabulous star, this monster from another age

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Speaker 5: can pull it drops up the mass subutionan cavern by

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Speaker 5: unprecedented volcanic action, and the headlines screamed the story of

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Speaker 5: the reckless skin divers who capture the monster and put

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Speaker 5: it on exhibition.

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Speaker 4: Sam hop their nets. You're doing they take it easy.

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Speaker 4: I can't do. Then go back to see way belongs?

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Speaker 4: Why maybe to see they're silly skins for you? Hoorray Gorgo.

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Speaker 5: But the headlines do not record the story of the

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Speaker 5: little boy who had a curious sympathy and understanding for

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Speaker 5: the fantastic creature. What strange secret. Does he know that

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Speaker 5: scientists only suspect you're.

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Speaker 1: Trying to say, there may be a fully grown one

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Speaker 1: of these things around somewhere, Hobbig.

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Speaker 4: Would a full grown one be an approximate guess? The infant.

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Speaker 5: The adult that'll make it eighty two hundred feet tall,

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Speaker 5: wreaking terrible nance against the civilization that has captured its offspring,

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Speaker 5: ring over the cities of the world, has millions flee.

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Speaker 5: It's awesome, terry. Nothing can summit defying the porce of

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Speaker 5: the army, the might of the navy.

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Speaker 4: Man of Momotari, ready to or from Father file Man, even.

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Speaker 5: The fury of the jets, and rising crescendial sights never

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Speaker 5: before beheld by human eyes, and adventures never before experienced

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Speaker 5: by any man or woman.

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Speaker 2: All right, Well, if you want to go out and

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Speaker 2: watch gorgo before proceeding with this episode. It is widely

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Speaker 2: available in physical and digital formats and on multiple streaming platforms.

386
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Speaker 2: You can even grab it on Blu Ray and again.

387
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Speaker 2: The film was also covered by Mystery Science Theater three

388
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Speaker 2: thousand in a nineteen ninety eight episode, and I think

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Speaker 2: that's available in different formats as well. All Right, let's

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Speaker 2: talk about the people behind this film, starting at the

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Speaker 2: top with the director, Eugene Lourie born nineteen oh three

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Speaker 2: died nineteen ninety one, Russian born French art director and

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Speaker 2: ultimately director. His production design work goes back to the

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Speaker 2: early nineteen thirties, but his first directorial credit was nineteen

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Speaker 2: fifty three's The Beast from twenty thousand fathoms. This one,

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Speaker 2: of course, has a an X ray Harry Housen lizard

397
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Speaker 2: in it, giant lizard monster the terrorizes the city and

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Speaker 2: in one memorable scene, eats a cop.

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

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Speaker 2: I think it's New York. This is what I've never

401
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Speaker 2: seen in full, but I've certainly seen the monster clips.

402
00:23:16,320 --> 00:23:20,400
Speaker 2: Anytime you see Harry Howsen retrospective, you're going to see

403
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Speaker 2: clips from this film for sure. And this movie was

404
00:23:23,280 --> 00:23:26,360
Speaker 2: a hit. Seems to have cemented Laurie as a giant

405
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Speaker 2: monster director, and he followed this up with nineteen fifty

406
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Speaker 2: eight's The Colossus of New York. This is about a

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Speaker 2: giant robot body that has a dead boy's brain in it.

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00:23:36,760 --> 00:23:40,480
Speaker 2: I included a still for you here. Joe ofv said robot.

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

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

411
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Speaker 3: from what I understand, it's a similar concept to Tammy

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00:23:48,840 --> 00:23:51,320
Speaker 3: and the t Rex, except instead of a t rex body,

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

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Speaker 2: Then there's also nineteen fifty nine's The Giant Behemoth. This

415
00:23:59,320 --> 00:24:02,720
Speaker 2: has another giant dinosaur in it, less memorable, not a

416
00:24:02,800 --> 00:24:06,320
Speaker 2: rat Harry House in Creation. And then he also did

417
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Speaker 2: an episode of the nineteen fifty nine TV series World

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Speaker 2: of Giants. This was an incredible Shrinking Man inspired show.

419
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Speaker 2: I couldn't find details on the specific episode he did

420
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Speaker 2: and what kind of giant aka normal sized insect or

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Speaker 2: what have you might have been featured in that episode. Now,

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00:24:24,880 --> 00:24:27,639
Speaker 2: Michael Weldon and his Psychotronic Movie Guides points out that

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Speaker 2: the success of nineteen fifty threes Beast was actually an

424
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Speaker 2: inspiration on fifty four's Godzilla, and I've read elsewhere that

425
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Speaker 2: Godzilla was also inspired by the commercial success of a

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Speaker 2: nineteen fifty two re release of nineteen thirty three's King Kong.

427
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Speaker 2: So you can think of those two films as two

428
00:24:46,680 --> 00:24:53,159
Speaker 2: primary predecessors to Godzilla, and therefore the vast world of

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00:24:53,240 --> 00:24:57,320
Speaker 2: Kaiju that we have before us. So that's the director.

430
00:24:58,080 --> 00:25:00,639
Speaker 2: A couple of writers attached to this. There's Robert L.

431
00:25:00,760 --> 00:25:03,040
Speaker 2: Richards who of nineteen oh nine through nineteen eighty four,

432
00:25:03,200 --> 00:25:07,640
Speaker 2: American writer of mostly westerns. Another one of these individuals

433
00:25:08,000 --> 00:25:12,040
Speaker 2: who lost their Hollywood career due to the blacklist during

434
00:25:12,040 --> 00:25:15,359
Speaker 2: this time period. Daniel James as the other writer of

435
00:25:15,440 --> 00:25:18,320
Speaker 2: nineteen eleven through nineteen eighty eight, also blacklisted from Hollywood

436
00:25:18,359 --> 00:25:22,000
Speaker 2: for his political views. He worked as an uncredited writer

437
00:25:22,200 --> 00:25:25,000
Speaker 2: on the Beast from twenty thousand Fathoms as well as

438
00:25:25,080 --> 00:25:28,320
Speaker 2: The Giant Behemoth served as Early in his career, he

439
00:25:28,320 --> 00:25:31,359
Speaker 2: had served as assistant director on the nineteen forty Charlie

440
00:25:31,440 --> 00:25:34,600
Speaker 2: Chaplin movie The Great Dictator. All right, let's get into

441
00:25:34,640 --> 00:25:37,680
Speaker 2: the cast. The towering lead man in this is Bill

442
00:25:37,800 --> 00:25:40,159
Speaker 2: Travers playing the character Joe Ryan.

443
00:25:40,800 --> 00:25:43,199
Speaker 3: There's really there are really sort of two leads in

444
00:25:43,240 --> 00:25:46,679
Speaker 3: this movie. There's Sam and Joe the characters. And you know,

445
00:25:46,760 --> 00:25:50,200
Speaker 3: one is Bill Travers and the other is William Sylvester.

446
00:25:50,359 --> 00:25:53,600
Speaker 3: And I was thinking them as Bill trav and Bill sill.

447
00:25:54,119 --> 00:25:56,880
Speaker 2: Well obviously for the lead. And I mean in terms

448
00:25:56,880 --> 00:25:59,160
Speaker 2: of billing and in terms of height and maybe that's

449
00:25:59,160 --> 00:26:02,159
Speaker 2: all they decided on it. Big Bill Travers is your

450
00:26:02,240 --> 00:26:05,960
Speaker 2: lead here. He lived nineteen twenty two through nineteen ninety four. Yeah,

451
00:26:05,960 --> 00:26:07,080
Speaker 2: I looked it up. I was like, how tall was

452
00:26:07,119 --> 00:26:11,119
Speaker 2: this guy? Apparently six six, so that's that's that's a

453
00:26:11,119 --> 00:26:15,480
Speaker 2: big guy by most standards, and it's clear in the film,

454
00:26:15,520 --> 00:26:17,720
Speaker 2: you know, this is this guy's he's almost as tall

455
00:26:17,720 --> 00:26:21,359
Speaker 2: as Gorgo basically. But anyway, British leading man and animal

456
00:26:21,440 --> 00:26:24,719
Speaker 2: rights activists who mostly worked in mainstream dramas, with this

457
00:26:24,840 --> 00:26:27,560
Speaker 2: being I believe his only sci fi or horror film.

458
00:26:28,080 --> 00:26:30,600
Speaker 2: Everything else is more, you know, traditional real world sort

459
00:26:30,600 --> 00:26:34,320
Speaker 2: of stuff. His most famous and ultimately most influential film

460
00:26:34,640 --> 00:26:37,679
Speaker 2: was nineteen sixty six Is Born Free. This was an

461
00:26:37,680 --> 00:26:41,639
Speaker 2: adaptation of George and Joy Adamson's book about their experiences

462
00:26:41,720 --> 00:26:44,840
Speaker 2: raising a lion cub in Kenya, and it led to

463
00:26:44,920 --> 00:26:47,200
Speaker 2: a kind of spiritual follow up with the same stars

464
00:26:47,240 --> 00:26:51,080
Speaker 2: called Ring of Bright Water in nineteen sixty nine. Bill

465
00:26:51,119 --> 00:26:54,080
Speaker 2: Travers's wife, Virginia mckinnab born nineteen thirty one, was was

466
00:26:54,080 --> 00:26:56,520
Speaker 2: his co star in both of those pictures, and their

467
00:26:56,560 --> 00:26:59,359
Speaker 2: experience with the with the films, especially the first one,

468
00:26:59,440 --> 00:27:02,760
Speaker 2: Born Free this open apparently opened up their eyes to

469
00:27:02,840 --> 00:27:06,320
Speaker 2: various challenges concerning captive wild animals in the world, and

470
00:27:06,400 --> 00:27:09,840
Speaker 2: they created the Born Free Foundation in nineteen eighty four,

471
00:27:10,359 --> 00:27:13,960
Speaker 2: which is still very active. It works to quote ensure

472
00:27:14,000 --> 00:27:16,840
Speaker 2: that all wild animals, whether living in captivity or in

473
00:27:16,880 --> 00:27:19,679
Speaker 2: the wild, are treated with compassion and respect and are

474
00:27:19,680 --> 00:27:22,399
Speaker 2: able to live their lives according to their needs. And

475
00:27:22,440 --> 00:27:25,440
Speaker 2: you can learn more about that organization at Bornfree dot

476
00:27:25,560 --> 00:27:26,520
Speaker 2: org dot UK.

477
00:27:27,280 --> 00:27:32,240
Speaker 3: That's interesting given the themes of Gorgo. Yeah, correct me

478
00:27:32,240 --> 00:27:33,919
Speaker 3: if I'm wrong. I don't think I heard you mentioned

479
00:27:33,920 --> 00:27:39,440
Speaker 3: Gorgo as a cited inspiration for this activism, But Gorgo

480
00:27:39,560 --> 00:27:43,280
Speaker 3: also has themes of animal rights and captivity.

481
00:27:43,680 --> 00:27:45,480
Speaker 2: I mean, maybe it was there in the background, and

482
00:27:45,520 --> 00:27:49,920
Speaker 2: maybe Gorgo is what pushed it over the edge, but no,

483
00:27:50,080 --> 00:27:53,560
Speaker 2: they never mentioned Gorgo with It's not the Gorgo Foundation,

484
00:27:53,640 --> 00:27:54,880
Speaker 2: it's the Born Free Foundation.

485
00:27:55,840 --> 00:27:56,000
Speaker 4: Now.

486
00:27:56,040 --> 00:27:58,560
Speaker 3: I say this not to tarnish his acting or his

487
00:27:58,960 --> 00:28:02,439
Speaker 3: activism by soiation, but there's kind of an elephant in

488
00:28:02,480 --> 00:28:04,320
Speaker 3: the room with this guy, which I know of being

489
00:28:04,320 --> 00:28:08,000
Speaker 3: brought up multiple times independently when talking about this movie

490
00:28:08,800 --> 00:28:11,480
Speaker 3: with people, which is that in some shots he kind

491
00:28:11,480 --> 00:28:15,000
Speaker 3: of looks like Steven Sagall here it helps that he's tall.

492
00:28:15,080 --> 00:28:17,840
Speaker 3: Sometimes at like certain angles, he makes a kind of

493
00:28:17,840 --> 00:28:22,560
Speaker 3: Stephen Sagall face. And there's also a kind of energy

494
00:28:22,760 --> 00:28:25,560
Speaker 3: that I don't know if this exactly makes sense, rob

495
00:28:25,600 --> 00:28:28,080
Speaker 3: but like the fact that he doesn't take off his

496
00:28:28,160 --> 00:28:31,200
Speaker 3: captain's hat even when they come on board land that

497
00:28:31,720 --> 00:28:33,080
Speaker 3: kind of has a sigall thing too.

498
00:28:33,840 --> 00:28:37,040
Speaker 2: Okay, all right, fair enough, fair enough. Now you mentioned

499
00:28:37,080 --> 00:28:40,720
Speaker 2: that William Sylvester plays the other main character in the

500
00:28:40,800 --> 00:28:44,120
Speaker 2: character Sam Slade, And this is a guy that I

501
00:28:44,160 --> 00:28:46,440
Speaker 2: think a lot of people will recognize he was. He

502
00:28:46,480 --> 00:28:49,360
Speaker 2: lived nineteen twenty two through nineteen ninety five. His most

503
00:28:49,360 --> 00:28:53,240
Speaker 2: recognizable role is that of doctor Haywood R. Floyd in

504
00:28:53,320 --> 00:28:56,400
Speaker 2: Stanley Cooper It's nineteen sixty eight masterpiece two thousand and one,

505
00:28:56,400 --> 00:28:57,200
Speaker 2: a Space Odyssey.

506
00:28:57,560 --> 00:28:59,719
Speaker 3: So he is the character in two thousand and one

507
00:29:00,040 --> 00:29:04,160
Speaker 3: who we see him when we first transition from the

508
00:29:04,160 --> 00:29:07,600
Speaker 3: prologue into the future. He's like taking a shuttle to

509
00:29:07,680 --> 00:29:12,200
Speaker 3: the moon and then arrives there to investigate the anomaly

510
00:29:12,360 --> 00:29:14,240
Speaker 3: found buried on the moon. Is that right?

511
00:29:14,960 --> 00:29:17,479
Speaker 2: Yeah? Yeah, So it's you see him early in the film,

512
00:29:17,640 --> 00:29:20,280
Speaker 2: and he is I mean not too early, because early

513
00:29:20,400 --> 00:29:26,000
Speaker 2: enough you're only seeing hominids and tapers and so forth.

514
00:29:26,080 --> 00:29:29,800
Speaker 2: But yeah, one of the first modern humans you encounter.

515
00:29:30,200 --> 00:29:32,680
Speaker 2: And I don't know about anyone else, but like watching

516
00:29:32,720 --> 00:29:35,240
Speaker 2: this film and recognizing him from two thousand and one,

517
00:29:35,560 --> 00:29:38,560
Speaker 2: it kind of added a little extra class to this picture,

518
00:29:38,920 --> 00:29:41,200
Speaker 2: you know, like like two thousand and one can't help

519
00:29:41,280 --> 00:29:43,920
Speaker 2: but where it we could rub off on any other picture.

520
00:29:43,960 --> 00:29:46,080
Speaker 2: You see some of the various actors from that film.

521
00:29:46,120 --> 00:29:48,800
Speaker 3: Yet though, of course Gorgo did come first, so you

522
00:29:48,840 --> 00:29:52,080
Speaker 3: could look at it as Bill silll bringing that class

523
00:29:52,080 --> 00:29:54,640
Speaker 3: of Gorgo into the production of two thousand and one.

524
00:29:55,200 --> 00:29:58,120
Speaker 2: Certainly, you certainly could, but you know, it wasn't all

525
00:29:58,280 --> 00:30:02,320
Speaker 2: like generational, all time best sci fi films for William Sylvester.

526
00:30:02,520 --> 00:30:05,120
Speaker 2: Other folks might recognize him from the TV series Gemini

527
00:30:05,200 --> 00:30:08,880
Speaker 2: Man and the TV movie from seventy six as well

528
00:30:09,160 --> 00:30:12,000
Speaker 2: writing with Death. This was pieced together from I think

529
00:30:12,200 --> 00:30:14,600
Speaker 2: like a couple of episodes of Gemini Man and was

530
00:30:14,640 --> 00:30:16,560
Speaker 2: featured on Mystery Science Theater three thousand.

531
00:30:16,920 --> 00:30:20,160
Speaker 3: Oh yeah, I have vague memories of that one.

532
00:30:20,200 --> 00:30:23,440
Speaker 2: His other credits include nineteen sixty four's Devil Doll, sixty

533
00:30:23,440 --> 00:30:25,600
Speaker 2: five's Devils of Darkness, and he also pops up in

534
00:30:25,680 --> 00:30:27,240
Speaker 2: nineteen seventy eights Heaven Can Wait.

535
00:30:28,400 --> 00:30:30,920
Speaker 3: You know, there's only so much that is demanded of

536
00:30:30,960 --> 00:30:34,120
Speaker 3: the actors in Gorgo, But I think I would say

537
00:30:34,360 --> 00:30:37,680
Speaker 3: William Sylvester stands out in this movie as doing maybe

538
00:30:37,680 --> 00:30:39,320
Speaker 3: the most with his role of anyone.

539
00:30:39,840 --> 00:30:42,440
Speaker 2: Yeah, and he gets the smoke a lot. Let just

540
00:30:42,480 --> 00:30:43,400
Speaker 2: smoke a lot.

541
00:30:43,720 --> 00:30:46,600
Speaker 3: He's the one who we first see really seeming to

542
00:30:46,640 --> 00:30:50,120
Speaker 3: feel bad about what's happening to Gorgo, apart from a

543
00:30:50,200 --> 00:30:52,080
Speaker 3: child actor who we'll talk about in a bit.

544
00:30:52,360 --> 00:30:54,280
Speaker 2: All right. A couple other characters of note. We have

545
00:30:54,560 --> 00:30:59,200
Speaker 2: Professor Hendrix, played by Joseph o'connorteen ten through two thousand

546
00:30:59,200 --> 00:31:03,240
Speaker 2: and one, Irish actor and playwright with extensive Shakespearean stage credits.

547
00:31:03,640 --> 00:31:07,239
Speaker 2: His films include nineteen sixty four's The Gorgon, so it's

548
00:31:07,280 --> 00:31:09,720
Speaker 2: in both Gorgo and The Gorgon. This is the Terence

549
00:31:09,760 --> 00:31:13,720
Speaker 2: Fisher Hammer film, starring both Peter Cushing and Christopher Lee.

550
00:31:14,200 --> 00:31:16,960
Speaker 2: He was in nineteen sixty nine's And of the Thousand Days,

551
00:31:17,320 --> 00:31:21,720
Speaker 2: ninety eight's Elizabeth, nineteen ninety nine's The Messenger And This

552
00:31:21,800 --> 00:31:24,480
Speaker 2: is pretty cool too. He served as the narrator in

553
00:31:24,560 --> 00:31:27,360
Speaker 2: the voice of the ERSKKX in nineteen eighty two's The

554
00:31:27,440 --> 00:31:30,959
Speaker 2: Dark Crystal. Oh wow, yeah, So that voice you hear

555
00:31:31,000 --> 00:31:32,800
Speaker 2: at the end, that's Joseph O'Connor.

556
00:31:33,000 --> 00:31:33,800
Speaker 3: I had no idea.

557
00:31:34,080 --> 00:31:36,520
Speaker 2: All right, So that's Professor Hendrix. And then there's this

558
00:31:36,600 --> 00:31:37,440
Speaker 2: character Dorkin.

559
00:31:37,760 --> 00:31:39,720
Speaker 3: Oh what a skiz?

560
00:31:40,360 --> 00:31:43,400
Speaker 2: Yeah. Dorkan is played by Martin Benson, who lived nineteen

561
00:31:43,400 --> 00:31:47,840
Speaker 2: eighteen through twenty ten. English character actor whose credits include

562
00:31:48,000 --> 00:31:50,960
Speaker 2: nineteen fifty six Is the King and I sixty three's Cleopatra,

563
00:31:51,040 --> 00:31:54,040
Speaker 2: sixty four is a Shot in the Dark, sixty nine's Goldfinger.

564
00:31:54,120 --> 00:31:57,480
Speaker 2: He plays one of the mobsters that the villain in

565
00:31:57,560 --> 00:32:01,800
Speaker 2: that is involved in his to radiate a bunch of gold.

566
00:32:02,160 --> 00:32:06,560
Speaker 3: I believe he is the guy who objects to Goldfingers

567
00:32:06,600 --> 00:32:10,120
Speaker 3: plan and they're like, oh, oh, you know, that's fine,

568
00:32:10,160 --> 00:32:11,560
Speaker 3: you don't have to be part of this. So they

569
00:32:11,560 --> 00:32:13,240
Speaker 3: go put him in a car, and then they put

570
00:32:13,240 --> 00:32:14,600
Speaker 3: the car in a trash compactor.

571
00:32:16,440 --> 00:32:19,240
Speaker 2: Classic. All right, then you got seventy six is the Omen,

572
00:32:19,400 --> 00:32:23,600
Speaker 2: seventy sevens Jesus of Nazareth in nineteen ninety nine's Angela's Ashes.

573
00:32:23,680 --> 00:32:25,720
Speaker 2: So yeah, I don't think he was ever. He was

574
00:32:25,760 --> 00:32:28,000
Speaker 2: a very much a character actor, often like a little

575
00:32:28,000 --> 00:32:31,160
Speaker 2: further down in the listings, but had major roles in

576
00:32:31,200 --> 00:32:32,280
Speaker 2: a number of big pictures.

577
00:32:32,760 --> 00:32:38,200
Speaker 3: Dorkin is the greedy, unscrupulous circus proprietor in this film

578
00:32:38,440 --> 00:32:41,800
Speaker 3: who exploits Gorgo for profit, and I think Benson does

579
00:32:41,800 --> 00:32:44,080
Speaker 3: a great job with this role. He's like he's out

580
00:32:44,160 --> 00:32:48,520
Speaker 3: Carnival barking about how you know, oh, we the Irish

581
00:32:48,520 --> 00:32:50,880
Speaker 3: government may soon put a stop to what we're doing

582
00:32:50,920 --> 00:32:53,840
Speaker 3: to Gorgo, so come and get your tickets now while

583
00:32:53,840 --> 00:32:55,040
Speaker 3: there's still a chance.

584
00:32:55,120 --> 00:32:59,080
Speaker 2: There's a window for Gorgo exploitation. Yeah, all right. I'm

585
00:32:59,080 --> 00:33:00,480
Speaker 2: not going to go into a lot of d tail here,

586
00:33:00,520 --> 00:33:03,720
Speaker 2: but it is worth noting that in small uncredited roles

587
00:33:03,760 --> 00:33:07,160
Speaker 2: we also have future UFO lead Ed Bishop who lived

588
00:33:07,200 --> 00:33:09,880
Speaker 2: thirty two through two thousand and five. And then we

589
00:33:10,000 --> 00:33:15,000
Speaker 2: also have Nigel Green, John Wood, Fred Wood. All three

590
00:33:15,440 --> 00:33:17,520
Speaker 2: would later go would go on to be bigger name

591
00:33:17,560 --> 00:33:20,800
Speaker 2: actors there and there. I wasn't able to spot most

592
00:33:20,840 --> 00:33:23,040
Speaker 2: of them. I think I spotted one or both of

593
00:33:23,080 --> 00:33:26,080
Speaker 2: the Woods. And then as far as the monsters go,

594
00:33:26,400 --> 00:33:28,680
Speaker 2: there's a stunt man by the name of Dave Wilding

595
00:33:28,800 --> 00:33:31,480
Speaker 2: inside the monster suit. I couldn't find out much about him,

596
00:33:31,480 --> 00:33:33,800
Speaker 2: but I do like to acknowledge the person wearing the

597
00:33:33,800 --> 00:33:37,560
Speaker 2: monster suit whenever possible. All right, now, behind the scenes,

598
00:33:37,720 --> 00:33:40,960
Speaker 2: you actually have a number of notable names here. We'll

599
00:33:41,000 --> 00:33:43,200
Speaker 2: try not to spend too much time on him here.

600
00:33:43,240 --> 00:33:46,400
Speaker 2: But the cinematographer for this was Freddie Young, who lived

601
00:33:46,440 --> 00:33:49,880
Speaker 2: nineteen oh two through nineteen ninety eight, British cinematographer best

602
00:33:49,920 --> 00:33:53,240
Speaker 2: known for his Oscar winning work on David Lean's films

603
00:33:53,320 --> 00:33:57,360
Speaker 2: Lawrence of Arabia from sixty two, Doctor Shivago from sixty five,

604
00:33:57,640 --> 00:34:01,120
Speaker 2: and Ryan's Daughter from nineteen seventy. This is right before

605
00:34:01,280 --> 00:34:02,440
Speaker 2: Lawrence of Arabia.

606
00:34:02,760 --> 00:34:03,280
Speaker 3: Wow.

607
00:34:03,600 --> 00:34:06,480
Speaker 2: He also worked on sixty seven's You Only Lived Twice,

608
00:34:06,680 --> 00:34:10,120
Speaker 2: seventy one's Nicholas and Alexandra, and nineteen seventy two's The

609
00:34:10,200 --> 00:34:11,400
Speaker 2: Asphcs Wow.

610
00:34:11,520 --> 00:34:15,720
Speaker 3: Freddy got around. Yeah, big name, big name. Yeah.

611
00:34:16,000 --> 00:34:18,800
Speaker 2: Another one, Elliott Scott was the art director on this

612
00:34:18,880 --> 00:34:21,799
Speaker 2: so of nineteen fifteen through nineteen ninety three. He'd worked

613
00:34:21,800 --> 00:34:24,800
Speaker 2: previously on nineteen fifty eight's Tom Thumb, which was a

614
00:34:24,960 --> 00:34:27,920
Speaker 2: kind of a big special effects feature of the time period.

615
00:34:27,920 --> 00:34:30,560
Speaker 2: I believe he went on to work as art director

616
00:34:30,600 --> 00:34:33,240
Speaker 2: on such films as sixty four's Children of the Damned,

617
00:34:33,600 --> 00:34:36,839
Speaker 2: nineteen seventies No Blade of Grass, and he served as

618
00:34:36,840 --> 00:34:40,280
Speaker 2: production designer on a ton of big films nineteen eighties

619
00:34:40,840 --> 00:34:43,880
Speaker 2: The Water in the Woods, eighty one's Dragon Slayer, eighty

620
00:34:43,880 --> 00:34:47,560
Speaker 2: three's The Pirates of Penzance, eighty four's Indiana Jones, and

621
00:34:47,560 --> 00:34:50,080
Speaker 2: The Temple of Doom eighty six is Labyrinth eighty eights,

622
00:34:50,080 --> 00:34:53,400
Speaker 2: who framed Roger Rabbit and nineteen eighty nine's Indiana Jones

623
00:34:53,400 --> 00:34:54,920
Speaker 2: in the Last Crusade, Oh Jam.

624
00:34:55,040 --> 00:34:56,800
Speaker 3: A lot of high profile work. Wow.

625
00:34:57,239 --> 00:35:01,399
Speaker 2: Yeah. Then we have Tom Howard Special Photographic Effects, lived

626
00:35:01,440 --> 00:35:03,960
Speaker 2: nineteen ten through nineteen eighty five. It was a visual

627
00:35:04,320 --> 00:35:06,880
Speaker 2: effects expert who worked on a number of award winning

628
00:35:06,880 --> 00:35:11,640
Speaker 2: and legendary special effects film including Tom Thumb, nineteen sixty

629
00:35:11,680 --> 00:35:14,799
Speaker 2: three's The Haunting and nineteen sixty eight two thousand and

630
00:35:14,840 --> 00:35:17,040
Speaker 2: one A Space Odyssey. As we'll discuss, there are a

631
00:35:17,080 --> 00:35:19,120
Speaker 2: lot of monster suit effects in this, a lot of

632
00:35:19,160 --> 00:35:22,040
Speaker 2: like miniature set effects, but there's also a fair amount

633
00:35:22,080 --> 00:35:25,240
Speaker 2: of chroma key replacement stuff, you know, like blue green

634
00:35:26,280 --> 00:35:29,239
Speaker 2: screen type of effects. I'm thinking especially early on in

635
00:35:29,280 --> 00:35:32,040
Speaker 2: the film when you know, however, two main characters out

636
00:35:32,040 --> 00:35:35,400
Speaker 2: on the water about to go scuba diving, Like clearly

637
00:35:35,880 --> 00:35:39,560
Speaker 2: they did some combination of on location and sat with

638
00:35:39,680 --> 00:35:43,200
Speaker 2: the ocean thrown in the background. And then finally the

639
00:35:43,239 --> 00:35:46,520
Speaker 2: score is by and I may not be pronouncing this correctly.

640
00:35:46,760 --> 00:35:51,160
Speaker 2: Angelo Francisco Lavagnino, who lived nineteen oh nine through nineteen

641
00:35:51,200 --> 00:35:54,760
Speaker 2: eighty seven, an Italian composer whose other scores include nineteen

642
00:35:54,800 --> 00:35:57,960
Speaker 2: fifty five Lost Continent and a whole slew of Spaghetti

643
00:35:58,000 --> 00:36:01,680
Speaker 2: Westerns and Sword and Sandal epic. His score for Lost

644
00:36:01,680 --> 00:36:04,239
Speaker 2: Continent was a winner at the Cannes Film Festival. So

645
00:36:04,840 --> 00:36:07,960
Speaker 2: you know, it's a it's a fine, sweeping orchestral score here.

646
00:36:08,719 --> 00:36:12,960
Speaker 2: It fits the grandeur that is Gorgo. But that's about

647
00:36:13,000 --> 00:36:13,799
Speaker 2: all I can say for it.

648
00:36:14,080 --> 00:36:17,880
Speaker 3: Yeah, well, sometimes it's funny because clearly something it's trying

649
00:36:17,920 --> 00:36:21,960
Speaker 3: to do, especially at the beginning, is blend this thundering,

650
00:36:22,400 --> 00:36:26,880
Speaker 3: you know, suite of monster horns with the lilting Irish

651
00:36:26,880 --> 00:36:30,880
Speaker 3: folk melodies. And you know, I'd say it does that

652
00:36:30,920 --> 00:36:34,520
Speaker 3: fairly successfully. Though it's a kind of amusing thing to hear.

653
00:36:43,080 --> 00:36:46,120
Speaker 3: So I guess we're transitioning to the plot now. And

654
00:36:46,880 --> 00:36:51,600
Speaker 3: the movie opens with that score. That that combines like

655
00:36:51,640 --> 00:36:54,200
Speaker 3: the you know, the the dramatic monster music with the

656
00:36:54,239 --> 00:36:58,040
Speaker 3: Irish sounding folk melody, and that is playing while we

657
00:36:58,080 --> 00:37:02,040
Speaker 3: see the titles and the type is there are such

658
00:37:02,280 --> 00:37:06,120
Speaker 3: like block letters in the title here. I love the

659
00:37:07,840 --> 00:37:11,319
Speaker 3: heaviness of it, like you can imagine the teams that

660
00:37:11,360 --> 00:37:14,080
Speaker 3: built the Pyramids putting together the Gorgo title.

661
00:37:14,719 --> 00:37:18,040
Speaker 2: That's right. Yeah, when they drop the title Gorgo here,

662
00:37:18,160 --> 00:37:20,680
Speaker 2: it is like a thousand feet tall. It's like a

663
00:37:20,719 --> 00:37:24,759
Speaker 2: biblical epic font. It looks like it should be comically

664
00:37:24,920 --> 00:37:27,160
Speaker 2: Monty Python style crushing something.

665
00:37:28,040 --> 00:37:28,600
Speaker 3: And then.

666
00:37:29,960 --> 00:37:32,680
Speaker 2: This alone was amazing. But then they kept using it

667
00:37:32,760 --> 00:37:35,040
Speaker 2: like smaller of course, but they kept using it for

668
00:37:35,080 --> 00:37:36,520
Speaker 2: the rest of the credits, and I loved.

669
00:37:36,360 --> 00:37:39,960
Speaker 3: It strong choice. So the action begins with a steamship

670
00:37:40,000 --> 00:37:43,120
Speaker 3: out on the sea and we see the men of

671
00:37:43,120 --> 00:37:45,840
Speaker 3: the crew all looking out over the sea with concern.

672
00:37:46,120 --> 00:37:48,719
Speaker 3: Something is troubling them. And then we see what they're

673
00:37:48,719 --> 00:37:51,640
Speaker 3: looking at. Far out in the distance, there is a

674
00:37:51,680 --> 00:37:54,920
Speaker 3: patch of ocean that appears to be at a rolling boil.

675
00:37:55,239 --> 00:38:00,560
Speaker 3: It is this giant, white, frothy mass swirling around ominously,

676
00:38:01,440 --> 00:38:04,480
Speaker 3: and soon a diver in scuba gear comes up to

677
00:38:04,560 --> 00:38:06,640
Speaker 3: the ladder on the side of the ship. From the

678
00:38:06,680 --> 00:38:09,719
Speaker 3: water and from the diver, we learn that these are

679
00:38:09,840 --> 00:38:14,280
Speaker 3: salvage operators, and while they're certainly worried about the boiling ocean,

680
00:38:14,520 --> 00:38:16,799
Speaker 3: there is money to be made. A shipwreck worth a

681
00:38:16,880 --> 00:38:22,640
Speaker 3: fortune is down below, so the dive continues until disaster strikes.

682
00:38:23,120 --> 00:38:27,280
Speaker 3: The boiling region of the ocean suddenly irrupts. Something comes

683
00:38:27,280 --> 00:38:29,400
Speaker 3: out of it looks kind of like a volcanic mountain

684
00:38:29,440 --> 00:38:32,440
Speaker 3: top poking up out of the water, and the ship

685
00:38:32,520 --> 00:38:36,160
Speaker 3: is rocked by brutal waves. It nearly turns over. We

686
00:38:36,239 --> 00:38:39,760
Speaker 3: see cargo from the deck being washed overboard, sailors fighting

687
00:38:39,760 --> 00:38:43,239
Speaker 3: to keep the vessel afloat, and the boat is nearly destroyed.

688
00:38:43,800 --> 00:38:46,320
Speaker 3: And then we cut to the next morning. The violence

689
00:38:46,320 --> 00:38:49,240
Speaker 3: has subsided, but the ship is very damaged. Its engine

690
00:38:49,239 --> 00:38:52,280
Speaker 3: has taken on water. We see this giant propeller making

691
00:38:52,320 --> 00:38:56,800
Speaker 3: a weak effort to spin, and here assessing the problem,

692
00:38:57,040 --> 00:38:59,360
Speaker 3: we meet our two main characters. Actually I guess we

693
00:38:59,440 --> 00:39:01,520
Speaker 3: met them before. We sort of get to know them.

694
00:39:01,719 --> 00:39:04,840
Speaker 3: So there is Captain Joe Ryan played by Bill Trevers,

695
00:39:04,920 --> 00:39:07,760
Speaker 3: and then there is the first mate, Sam Slade, played

696
00:39:07,760 --> 00:39:11,960
Speaker 3: by William Sylvester. Now Honestly, the first time I watched this,

697
00:39:12,040 --> 00:39:14,480
Speaker 3: though they don't look the same, I couldn't tell much

698
00:39:14,480 --> 00:39:16,720
Speaker 3: of a difference between these two guys. I didn't really

699
00:39:17,600 --> 00:39:19,560
Speaker 3: separate them. In my mind. They were just like the

700
00:39:19,560 --> 00:39:23,480
Speaker 3: two Salvage guys. Captain Joe is the taller guy. He's

701
00:39:23,520 --> 00:39:28,719
Speaker 3: the guy wearing the captain's hat. But but on rewatch

702
00:39:28,920 --> 00:39:31,680
Speaker 3: I could see more of the differences between their characters.

703
00:39:32,200 --> 00:39:34,640
Speaker 2: Yeah, this film doesn't set them up as being like

704
00:39:35,160 --> 00:39:38,319
Speaker 2: an antagonistic to each other. Like they clearly have a

705
00:39:38,360 --> 00:39:41,080
Speaker 2: great working relationship, and therefore they line up on a

706
00:39:41,080 --> 00:39:43,719
Speaker 2: lot of things. You know, another film might have gone

707
00:39:43,719 --> 00:39:45,680
Speaker 2: in a different direction, where you know, one of them's good,

708
00:39:45,760 --> 00:39:48,120
Speaker 2: one of them's bad. You know, one of them wants

709
00:39:48,160 --> 00:39:50,160
Speaker 2: to cut corners and the other one is buy the book,

710
00:39:50,200 --> 00:39:51,920
Speaker 2: and it's not really what we have.

711
00:39:51,920 --> 00:39:54,200
Speaker 3: Here, certainly not in the beginning. They do have more

712
00:39:54,200 --> 00:39:55,960
Speaker 3: differences later on in the film.

713
00:39:56,360 --> 00:39:59,080
Speaker 2: Yeah, because you throw a giant monster into a relationship,

714
00:39:59,120 --> 00:40:02,080
Speaker 2: even a working, reallytionship, and it changes everything that's right.

715
00:40:03,360 --> 00:40:05,799
Speaker 3: So Sam and Joe figured that the boat is going

716
00:40:05,880 --> 00:40:08,040
Speaker 3: to take three or four days to repair, and they're

717
00:40:08,080 --> 00:40:10,040
Speaker 3: out of fresh water, so they need to go ashore

718
00:40:10,080 --> 00:40:13,080
Speaker 3: at the nearest port, which is on a small island

719
00:40:13,680 --> 00:40:16,040
Speaker 3: where they're off the coast of Ireland by the way,

720
00:40:16,400 --> 00:40:19,879
Speaker 3: but it's a small island called Nara, and so our

721
00:40:19,920 --> 00:40:22,960
Speaker 3: salvage buddies take a dinghy into the port and along

722
00:40:23,000 --> 00:40:26,520
Speaker 3: the way we see some kind of strange creatures that

723
00:40:26,600 --> 00:40:30,360
Speaker 3: appear to be dead floating in the water. They're like

724
00:40:30,560 --> 00:40:34,120
Speaker 3: weird floating. I mean, we see these models. At one point,

725
00:40:34,360 --> 00:40:36,799
Speaker 3: Bill Travers like picks one up out of the water

726
00:40:36,880 --> 00:40:39,000
Speaker 3: and holds it up for us to see, and they're

727
00:40:39,000 --> 00:40:42,160
Speaker 3: like these rubber fish that I think have legs and

728
00:40:42,200 --> 00:40:44,400
Speaker 3: they have things poking out of their eyes.

729
00:40:45,160 --> 00:40:49,440
Speaker 2: Yeah, big rubber monster fish everywhere, like weird enough looking

730
00:40:49,520 --> 00:40:51,520
Speaker 2: that you would have it seems like it would have

731
00:40:51,520 --> 00:40:54,400
Speaker 2: been more alarming, but I guess yeah, they're just like, well,

732
00:40:54,400 --> 00:40:56,880
Speaker 2: these are strange, not familiar with this species.

733
00:40:57,280 --> 00:41:00,000
Speaker 3: Yeah, Bill Travs says, never seen anything like that before,

734
00:41:00,239 --> 00:41:01,359
Speaker 3: and then just throws it back.

735
00:41:01,719 --> 00:41:03,480
Speaker 2: Yeah, they pick one up, look at it, throw it

736
00:41:03,480 --> 00:41:03,759
Speaker 2: back in.

737
00:41:04,200 --> 00:41:06,360
Speaker 3: But I don't know, maybe when you're a salvage operator,

738
00:41:06,400 --> 00:41:08,759
Speaker 3: you are just constantly seeing things like, oh, that's a

739
00:41:08,760 --> 00:41:10,600
Speaker 3: weird thing from the ocean, don't know what that is.

740
00:41:11,040 --> 00:41:13,880
Speaker 2: Yeah, a cryptozoology hadn't been invented yet, so you couldn't

741
00:41:13,920 --> 00:41:15,600
Speaker 2: like take a picture of it and claim that it's

742
00:41:15,640 --> 00:41:17,960
Speaker 2: a you know, some sort of fantastic creature. They're just like, well,

743
00:41:18,040 --> 00:41:22,319
Speaker 2: that's expected. Really, it's a chupacapra. It's got to be so.

744
00:41:22,440 --> 00:41:22,640
Speaker 5: Yeah.

745
00:41:22,680 --> 00:41:25,640
Speaker 3: They determined that the whole ocean floor must have been

746
00:41:25,640 --> 00:41:28,760
Speaker 3: torn up by what appeared to be a volcanic corruption,

747
00:41:28,920 --> 00:41:31,279
Speaker 3: the thing that damaged their boat. But they dock, they

748
00:41:31,280 --> 00:41:33,880
Speaker 3: meet some local fishermen who are not very friendly and

749
00:41:33,920 --> 00:41:36,440
Speaker 3: mostly don't speak English. They just kind of cuss them

750
00:41:36,480 --> 00:41:40,800
Speaker 3: out in Gaelic, and eventually they come to a house

751
00:41:40,880 --> 00:41:43,279
Speaker 3: where they meet a little boy who will become another

752
00:41:43,360 --> 00:41:46,080
Speaker 3: one of the main characters of this movie. The boy

753
00:41:46,400 --> 00:41:50,319
Speaker 3: is Sean. He is introduced as an orphan boy who

754
00:41:50,360 --> 00:41:53,919
Speaker 3: assists the harbormaster mccarton. And you know what, I give

755
00:41:53,920 --> 00:41:56,080
Speaker 3: credit to this child actor. He does a much better

756
00:41:56,160 --> 00:41:59,320
Speaker 3: job than you might expect with his role. But also

757
00:41:59,480 --> 00:42:02,319
Speaker 3: they have him dressed up in some funny clothes. When

758
00:42:02,360 --> 00:42:05,040
Speaker 3: we were watching it, Rachel was observing that, like they

759
00:42:05,120 --> 00:42:08,880
Speaker 3: just have shown in these gigantic clothes, like he's wearing

760
00:42:08,880 --> 00:42:11,960
Speaker 3: this huge sweater tucked into huge pants.

761
00:42:12,719 --> 00:42:16,200
Speaker 2: Yeah. Yeah, but yeah, he does become important. He's an

762
00:42:16,200 --> 00:42:19,200
Speaker 2: important character, not just a one off. And as we

763
00:42:19,280 --> 00:42:22,080
Speaker 2: kind of alluded to earlier, Yeah, this whole first act

764
00:42:22,160 --> 00:42:25,080
Speaker 2: has kind of a full car vibe to it. A

765
00:42:25,200 --> 00:42:29,480
Speaker 2: solid mysterious atmosphere is rolled out, and i'd say they

766
00:42:29,480 --> 00:42:33,360
Speaker 2: also venture into sort of like soft lovecrafty and othering

767
00:42:33,400 --> 00:42:36,920
Speaker 2: of the Irish here with this whole like, oh, they

768
00:42:37,040 --> 00:42:40,399
Speaker 2: can't understand them. There's something creepy going on here in

769
00:42:40,440 --> 00:42:44,520
Speaker 2: this this Irish village, which I mean, as we'll find out,

770
00:42:44,520 --> 00:42:48,040
Speaker 2: nothing really that creepy is going on, but they kind

771
00:42:48,040 --> 00:42:49,920
Speaker 2: of create this air of mystery.

772
00:42:50,480 --> 00:42:53,200
Speaker 3: Well, yeah, the way they're first introduced, you might expect

773
00:42:53,200 --> 00:42:55,200
Speaker 3: that the like, all the people on the island are

774
00:42:55,239 --> 00:42:58,040
Speaker 3: part of a cult that worships Gorgo or something. That's

775
00:42:58,080 --> 00:43:01,280
Speaker 3: not the case. They're no, Like, they're just as baffled

776
00:43:01,280 --> 00:43:04,120
Speaker 3: and terrified by Gorgo as anybody else, it seems.

777
00:43:04,480 --> 00:43:05,600
Speaker 2: Yeah.

778
00:43:05,640 --> 00:43:09,320
Speaker 3: But anyway, so Sean invites our heroes into the harbor

779
00:43:09,400 --> 00:43:13,239
Speaker 3: Master's cabin and he informs them that Macarton is not

780
00:43:13,480 --> 00:43:16,200
Speaker 3: that the harbor Master mccarton is not actually a local

781
00:43:16,960 --> 00:43:20,600
Speaker 3: Sean says, instead a city man, he is a government man,

782
00:43:20,840 --> 00:43:26,160
Speaker 3: calls himself an archaeologist. So I was a little confused

783
00:43:26,160 --> 00:43:30,480
Speaker 3: by this. Macarton is simultaneously the harbor master and a

784
00:43:30,520 --> 00:43:31,800
Speaker 3: working archaeologist.

785
00:43:33,040 --> 00:43:34,840
Speaker 2: Yeah, I feel like a lot of roles were combined

786
00:43:34,880 --> 00:43:37,839
Speaker 2: into this was originally just going to be the whole

787
00:43:37,880 --> 00:43:41,120
Speaker 2: movie is tinkering around in the small village.

788
00:43:42,560 --> 00:43:44,920
Speaker 3: That's a good point this in an earlier draft. I

789
00:43:44,960 --> 00:43:47,560
Speaker 3: wonder if this was two different characters that were combined

790
00:43:47,600 --> 00:43:51,960
Speaker 3: into one. Yeah, could have been anyway. Sean says he

791
00:43:52,040 --> 00:43:55,200
Speaker 3: works for mccarton, quote, cleaning up the things he finds,

792
00:43:55,600 --> 00:43:57,960
Speaker 3: and Sean asks if they want to see these things

793
00:43:58,040 --> 00:44:01,000
Speaker 3: that he cleans up for mccarton. It turns out McCartin

794
00:44:01,320 --> 00:44:03,560
Speaker 3: is he's got like a back room where he is

795
00:44:03,600 --> 00:44:08,439
Speaker 3: piling up a secret stash of priceless Viking artifacts left

796
00:44:08,440 --> 00:44:11,560
Speaker 3: over from a great sea battle a thousand years ago

797
00:44:11,640 --> 00:44:15,040
Speaker 3: when the Irish drove off the Vikings and sank their ships.

798
00:44:15,719 --> 00:44:19,760
Speaker 3: And Sean says that apparently fighting in the Irish's corner

799
00:44:20,080 --> 00:44:23,960
Speaker 3: was a sea spirit called Ogre, and he points up

800
00:44:24,000 --> 00:44:26,719
Speaker 3: to a figure of like a dragon head that I

801
00:44:26,719 --> 00:44:29,000
Speaker 3: guess is supposed to be a representation of Ogra.

802
00:44:30,200 --> 00:44:31,719
Speaker 2: It's a nice shock. I mean, in a way, it

803
00:44:31,800 --> 00:44:33,400
Speaker 2: kind of reminds me of the early scenes in The

804
00:44:33,440 --> 00:44:36,279
Speaker 2: Exorcist where we haven't seen anything demonic yet we see

805
00:44:36,280 --> 00:44:39,480
Speaker 2: that statue of Bazoo Zoo and it's you know, it's

806
00:44:39,520 --> 00:44:41,719
Speaker 2: ominous and really one of the creepier moments of a

807
00:44:41,719 --> 00:44:44,680
Speaker 2: film that you know, in its later stages is less

808
00:44:44,680 --> 00:44:48,080
Speaker 2: concerned with being subtly creepy and more in your face.

809
00:44:48,440 --> 00:44:51,319
Speaker 3: Yeah, the dogs are fighting in the rubbish heep well

810
00:44:51,560 --> 00:44:53,200
Speaker 3: while he's looking at the statue. Yeah.

811
00:44:53,320 --> 00:44:55,080
Speaker 2: Yeah, And in a similar way, this is a movie

812
00:44:55,120 --> 00:44:57,480
Speaker 2: that is going to be very in your face later on,

813
00:44:58,160 --> 00:45:00,920
Speaker 2: But at this point we haven't I've seen the monster,

814
00:45:01,000 --> 00:45:04,160
Speaker 2: and we just have this nice subtle idea, you know,

815
00:45:04,239 --> 00:45:07,400
Speaker 2: the sort of the mythic potency of the idea.

816
00:45:07,480 --> 00:45:10,120
Speaker 3: So just then in the artifact room, they are interrupted

817
00:45:10,160 --> 00:45:14,520
Speaker 3: by mccarton, the city man. Mccarton is borderline hostile from

818
00:45:14,560 --> 00:45:17,280
Speaker 3: the get go. He seems to be wanting to protect

819
00:45:17,320 --> 00:45:21,000
Speaker 3: his stash of Viking stuff, and he says, by orders

820
00:45:21,040 --> 00:45:23,359
Speaker 3: of the local authorities, no ship is allowed to put

821
00:45:23,360 --> 00:45:25,800
Speaker 3: into port at Nara for more than twenty four hours

822
00:45:25,800 --> 00:45:29,120
Speaker 3: without a permit, so Joe and Sam plead for help.

823
00:45:29,280 --> 00:45:31,680
Speaker 3: After all, he's like, you know, the ocean boiled, something

824
00:45:31,680 --> 00:45:34,319
Speaker 3: wrecked our engine. But mccarton will not budge on this.

825
00:45:34,400 --> 00:45:38,040
Speaker 3: He's like, I don't make the rules. It's never established

826
00:45:38,040 --> 00:45:40,959
Speaker 3: who does make the rules. But they cannot come into

827
00:45:41,000 --> 00:45:44,400
Speaker 3: port except to get some water and leave. So on

828
00:45:44,480 --> 00:45:47,200
Speaker 3: the way back to their ship, Sam and Joe run

829
00:45:47,280 --> 00:45:50,919
Speaker 3: into some local boats who at first cuss them out

830
00:45:50,920 --> 00:45:54,040
Speaker 3: in Gaelic and then report that they are waiting for

831
00:45:54,080 --> 00:45:56,239
Speaker 3: some divers to come up, and when one of the

832
00:45:56,320 --> 00:45:59,200
Speaker 3: divers does turn up, he is dead, so they pull

833
00:45:59,280 --> 00:46:01,759
Speaker 3: him on board the and Sam looks at the dead

834
00:46:01,840 --> 00:46:05,360
Speaker 3: diver and concludes that he died of fright. And I

835
00:46:05,360 --> 00:46:07,400
Speaker 3: always wonder how you can tell that in movies just

836
00:46:07,400 --> 00:46:08,360
Speaker 3: by looking at people.

837
00:46:09,040 --> 00:46:12,960
Speaker 2: Yeah, yeah, without like a Star Trek medical scanner device.

838
00:46:13,640 --> 00:46:17,920
Speaker 2: Usually sometimes there's a vision that they make it abundantly clear,

839
00:46:18,040 --> 00:46:20,759
Speaker 2: like suddenly the hair is turned white, or they're like

840
00:46:20,840 --> 00:46:25,200
Speaker 2: severe distortions allah the ring. But for the most part,

841
00:46:25,239 --> 00:46:27,000
Speaker 2: in films like this, it's like I touch him on

842
00:46:27,040 --> 00:46:28,560
Speaker 2: the neck, he's dead, Jim.

843
00:46:29,239 --> 00:46:32,040
Speaker 3: So we get a diving scene next, Sam and Joe

844
00:46:32,040 --> 00:46:34,759
Speaker 3: are on the case. They're trying to figure out. What

845
00:46:34,800 --> 00:46:36,160
Speaker 3: are they trying to figure out? I don't know. They

846
00:46:36,200 --> 00:46:38,600
Speaker 3: go down to investigate, I think, what could have scared

847
00:46:38,640 --> 00:46:40,279
Speaker 3: the diver that killed him.

848
00:46:40,840 --> 00:46:43,560
Speaker 2: And they also are just suspicious. They they're suspicious of

849
00:46:43,600 --> 00:46:47,239
Speaker 2: this archaeologists. They're like, something is up, and we want

850
00:46:47,239 --> 00:46:49,799
Speaker 2: to find out what is up and what he's up to,

851
00:46:50,120 --> 00:46:52,480
Speaker 2: and that's why they're going freelance here.

852
00:46:52,480 --> 00:46:55,040
Speaker 3: That's right. So they just they like scoop it down.

853
00:46:55,239 --> 00:46:57,279
Speaker 3: And I really like in this scene that they just

854
00:46:57,360 --> 00:47:00,760
Speaker 3: kind of see gorgo. He's just down there swim swimming around.

855
00:47:00,960 --> 00:47:02,879
Speaker 3: The water is murky, so you don't get a great

856
00:47:02,920 --> 00:47:04,680
Speaker 3: look at him yet, but you just see this like

857
00:47:04,800 --> 00:47:08,000
Speaker 3: lizard rat swimming through the water. And they come back up.

858
00:47:08,040 --> 00:47:10,920
Speaker 3: They're sitting there in their scuba gear smoking cigarettes and

859
00:47:11,000 --> 00:47:13,319
Speaker 3: Joe says, what did you see? Sam? And Sam says,

860
00:47:13,360 --> 00:47:15,239
Speaker 3: I don't know, but whatever it was, and never want

861
00:47:15,280 --> 00:47:19,640
Speaker 3: to see it again. Unfortunately you will in the next scene.

862
00:47:20,160 --> 00:47:23,320
Speaker 3: So later on the salvage ship, they're bringing aboard barrels.

863
00:47:23,360 --> 00:47:25,279
Speaker 3: I think this is the fresh water they asked for,

864
00:47:25,920 --> 00:47:29,000
Speaker 3: and Sean the child shows up on the boat. He

865
00:47:29,080 --> 00:47:32,000
Speaker 3: says that mccarton wants to see them, and then he

866
00:47:32,120 --> 00:47:35,799
Speaker 3: also says that the permit is a heathen lie. I

867
00:47:35,840 --> 00:47:37,719
Speaker 3: didn't know exactly what this meant.

868
00:47:37,920 --> 00:47:40,000
Speaker 2: Yeah, but Sean is ready to sell out his village

869
00:47:40,040 --> 00:47:42,879
Speaker 2: to any outsider salvage crew that is just halfway nice

870
00:47:42,920 --> 00:47:43,080
Speaker 2: to it.

871
00:47:43,480 --> 00:47:46,960
Speaker 3: Yeah, there's nothing so far to establish that Joe and

872
00:47:47,000 --> 00:47:48,719
Speaker 3: Sam are nice people like they.

873
00:47:48,840 --> 00:47:53,480
Speaker 2: They're like everybody's in the business of finding stuff lost

874
00:47:53,520 --> 00:47:57,359
Speaker 2: on the seafloor and stealing it for your own purposes. Yeah,

875
00:47:57,960 --> 00:48:02,200
Speaker 2: but it's implied that these eyes are okay, whereas the

876
00:48:02,320 --> 00:48:04,520
Speaker 2: archaeologist is clearly up to no good.

877
00:48:04,680 --> 00:48:07,560
Speaker 3: He's a city man. Yeah, Yeah, are Sam and Joe

878
00:48:07,600 --> 00:48:09,879
Speaker 3: not citymen? What makes one a city man?

879
00:48:10,760 --> 00:48:12,320
Speaker 2: I guess they're they're they're semen.

880
00:48:13,000 --> 00:48:15,360
Speaker 3: They're navy men, right, Okay, Yeah, there are men of

881
00:48:15,400 --> 00:48:19,360
Speaker 3: the salt. Yeah, of the salt in the wind. Okay.

882
00:48:19,400 --> 00:48:23,560
Speaker 3: So the next thing that happens is the atmosphere gets

883
00:48:23,560 --> 00:48:26,359
Speaker 3: pretty cool, like the locals appear to be preparing for

884
00:48:26,400 --> 00:48:28,960
Speaker 3: something weird. I would say this scene is like a

885
00:48:29,040 --> 00:48:33,040
Speaker 3: cross between Jaws and The Wicker Man. We see locals

886
00:48:33,080 --> 00:48:38,160
Speaker 3: loading into boats rowboats with flaming torches and harpoons and

887
00:48:38,360 --> 00:48:41,600
Speaker 3: one harpooneer spies something in the water and then lets

888
00:48:41,600 --> 00:48:44,560
Speaker 3: his dart fly, and then we see Gorgo. We see

889
00:48:44,600 --> 00:48:48,160
Speaker 3: this head, this like rat lizard type head pop up

890
00:48:48,200 --> 00:48:51,400
Speaker 3: out of the water with red eyes, with a with

891
00:48:51,480 --> 00:48:55,400
Speaker 3: a harpoon I think stuck in his eye, and Sean

892
00:48:55,640 --> 00:48:59,720
Speaker 3: informs us that this is Ogre, this is the sea spirit.

893
00:49:00,280 --> 00:49:02,680
Speaker 3: So then we get kind of a battle scene that

894
00:49:02,800 --> 00:49:06,719
Speaker 3: is Ogre versus the boat Posse. And then after this,

895
00:49:06,800 --> 00:49:09,480
Speaker 3: Ogre comes on shore and attacks the harbor. He's like

896
00:49:09,520 --> 00:49:13,319
Speaker 3: stomping around smashing things, and mccarton seems to be in

897
00:49:13,400 --> 00:49:16,319
Speaker 3: command of the locals. He's like he's like commanding a

898
00:49:16,320 --> 00:49:19,400
Speaker 3: group of men with rifles who get into formation and

899
00:49:19,440 --> 00:49:22,520
Speaker 3: shoot at Ogra. But does it do anything, of course not.

900
00:49:23,280 --> 00:49:25,800
Speaker 2: How did they control the monster in ancient times? I

901
00:49:25,880 --> 00:49:30,200
Speaker 2: feel like like ultimately, the the the alluded to backstory

902
00:49:30,719 --> 00:49:33,239
Speaker 2: is far more fascinating than anything we get into later

903
00:49:33,280 --> 00:49:35,680
Speaker 2: on in the film, Like what was that encounter like

904
00:49:35,760 --> 00:49:39,560
Speaker 2: between the Irish and their monster and the Viking invaders?

905
00:49:39,600 --> 00:49:41,600
Speaker 2: Like I want to see that prequel.

906
00:49:41,840 --> 00:49:44,120
Speaker 3: Yeah, we never really learned any more about that, do we?

907
00:49:44,719 --> 00:49:47,520
Speaker 2: Yeah, maybe they controlled the monster with religion. That's that

908
00:49:47,600 --> 00:49:50,040
Speaker 2: would that would make sense, That would be interesting.

909
00:49:50,600 --> 00:49:51,920
Speaker 3: But I do like a lot of the way this

910
00:49:52,040 --> 00:49:54,719
Speaker 3: scene looks like. There are some shots of, you know,

911
00:49:54,960 --> 00:49:59,160
Speaker 3: from a distance, of the monster, the monster sort of

912
00:49:59,640 --> 00:50:01,719
Speaker 3: walking through the harbor, and then you see all the

913
00:50:01,760 --> 00:50:05,160
Speaker 3: people running around with their fires and torches trying to

914
00:50:05,200 --> 00:50:09,160
Speaker 3: stand off against him. Is a It's actually a surprisingly

915
00:50:09,400 --> 00:50:12,880
Speaker 3: dark and cool looking scene. Yeah, I agree, But of

916
00:50:12,920 --> 00:50:16,120
Speaker 3: course the locals are completely ineffective at repelling the creature.

917
00:50:16,480 --> 00:50:20,640
Speaker 3: Their harpoons and bullets do nothing. But the outsider Sam

918
00:50:20,680 --> 00:50:23,440
Speaker 3: and Joe they have an idea. They have the idea

919
00:50:23,480 --> 00:50:27,640
Speaker 3: of throwing sticks at Gorgo. Technically, they throw flaming torches

920
00:50:27,760 --> 00:50:31,040
Speaker 3: at Gorgo or Ogra, whatever the creature is called at

921
00:50:31,040 --> 00:50:33,719
Speaker 3: this point. I can't remember what we specified so far.

922
00:50:33,880 --> 00:50:35,960
Speaker 3: So far, but to be clear, nobody in the movie

923
00:50:36,040 --> 00:50:38,680
Speaker 3: has said the word Gorgo yet. That name will come later.

924
00:50:39,080 --> 00:50:41,800
Speaker 3: So they throw some torches. Gorgo gets the torches stuck

925
00:50:41,800 --> 00:50:45,600
Speaker 3: in his teeth. Then he squeals, walks backwards into the water,

926
00:50:45,760 --> 00:50:48,200
Speaker 3: almost as if moving in reverse I think this actually

927
00:50:48,280 --> 00:50:51,320
Speaker 3: is a reverse shot, and then sinks back into the waves.

928
00:50:51,920 --> 00:50:53,000
Speaker 2: So they drove him away.

929
00:50:53,160 --> 00:50:57,919
Speaker 3: It worked right, And after the attack, the locals are

930
00:50:58,239 --> 00:51:02,600
Speaker 3: mad at mccarton and I wasn't your wily? Is Gorgo

931
00:51:02,719 --> 00:51:04,680
Speaker 3: his fault? Don't see any reason to think so?

932
00:51:05,320 --> 00:51:05,400
Speaker 4: No?

933
00:51:05,600 --> 00:51:07,880
Speaker 2: I mean, I mean, we know the viewer knows that

934
00:51:07,960 --> 00:51:11,080
Speaker 2: this probably has something to do with the volcanic activity, yeah,

935
00:51:11,120 --> 00:51:13,680
Speaker 2: and that they're thinking, oh, it's because he's still in

936
00:51:13,719 --> 00:51:17,400
Speaker 2: all that Viking gold, but that, I mean, did it

937
00:51:17,680 --> 00:51:21,759
Speaker 2: unless you're going to make some sort of crazy hypothesis

938
00:51:21,800 --> 00:51:24,920
Speaker 2: in which the theft of Viking gold from the seafloor

939
00:51:25,320 --> 00:51:27,120
Speaker 2: caused some sort of volcanic reaction.

940
00:51:27,480 --> 00:51:30,400
Speaker 3: There's no indication of that in the film or and also,

941
00:51:30,680 --> 00:51:32,839
Speaker 3: from what I can tell, no indication that Gorgo cares

942
00:51:32,880 --> 00:51:35,920
Speaker 3: about the Viking artifacts or the gold anyway. So the

943
00:51:35,960 --> 00:51:38,279
Speaker 3: locals are mad at mccarton. They start saying, hey, we

944
00:51:38,360 --> 00:51:41,040
Speaker 3: want to leave with Sam and Joe on their salvage

945
00:51:41,040 --> 00:51:44,439
Speaker 3: ship when it's repaired, but mccarton tries to talk them

946
00:51:44,560 --> 00:51:48,040
Speaker 3: out of that, and eventually Sam and Joe retreat with

947
00:51:48,400 --> 00:51:52,120
Speaker 3: mccarton into his harbor master's shack to discuss a deal.

948
00:51:52,800 --> 00:51:56,160
Speaker 3: They know that mcarton is secretly trying to protect the

949
00:51:56,239 --> 00:51:59,440
Speaker 3: Viking treasure which I guess he plans to keep for himself.

950
00:52:00,360 --> 00:52:02,799
Speaker 3: That he has a safe full of what looked like

951
00:52:02,880 --> 00:52:03,759
Speaker 3: Holy Grails.

952
00:52:04,680 --> 00:52:07,280
Speaker 2: Yeah, yeah, different Holy Grail prototypes in there.

953
00:52:07,760 --> 00:52:10,320
Speaker 3: Yeah, he's got like I can see at least fifteen

954
00:52:10,360 --> 00:52:13,880
Speaker 3: Holy Grails in there. And Sam and Joe offer a trade.

955
00:52:14,040 --> 00:52:17,239
Speaker 3: They say, if mccarton pays them off in some of

956
00:52:17,280 --> 00:52:19,960
Speaker 3: the Viking gold, they will get rid of the monster

957
00:52:20,080 --> 00:52:23,279
Speaker 3: for him. So they make a deal. So they leave,

958
00:52:23,360 --> 00:52:26,759
Speaker 3: but then Sean the kid, follows them and he does

959
00:52:26,800 --> 00:52:29,720
Speaker 3: not like the idea of them catching ogra. He catches

960
00:52:29,800 --> 00:52:32,919
Speaker 3: up to them and he says, it's a bad thing.

961
00:52:32,960 --> 00:52:36,560
Speaker 3: You're doing a terrible bad thing, mister Ryan. And then

962
00:52:37,040 --> 00:52:39,239
Speaker 3: Joe Ryan kneels next to the kid. He says, why

963
00:52:39,239 --> 00:52:41,920
Speaker 3: don't you call me Joe? And Sean says okay Joe,

964
00:52:42,080 --> 00:52:49,479
Speaker 3: And Joe says okay Sean. End of conversation. So next

965
00:52:49,480 --> 00:52:52,200
Speaker 3: time a child accuses you of doing evil, just remember

966
00:52:52,320 --> 00:52:55,480
Speaker 3: you get on a first name basis. It'll totally distract them.

967
00:52:55,760 --> 00:52:58,560
Speaker 2: But I love the setup here, Like we're really cooking

968
00:52:58,640 --> 00:53:01,719
Speaker 2: with gas now. The idea is that these guys are

969
00:53:01,760 --> 00:53:06,400
Speaker 2: going to catch the monster in order to make that

970
00:53:06,480 --> 00:53:09,959
Speaker 2: sweet Viking gold, and so this is the challenge ahead

971
00:53:09,960 --> 00:53:11,920
Speaker 2: of them. There's no indication that they actually have the

972
00:53:11,920 --> 00:53:14,480
Speaker 2: ability to do this, but they're going to set out

973
00:53:14,520 --> 00:53:15,400
Speaker 2: and try to do it anyway.

974
00:53:15,560 --> 00:53:17,840
Speaker 3: That's right. Well, at first they're like, how would you

975
00:53:17,880 --> 00:53:20,480
Speaker 3: even kill a creature like that? Maybe you'd use dynamite

976
00:53:20,560 --> 00:53:23,279
Speaker 3: or something, But then they consider, actually, what is a

977
00:53:23,320 --> 00:53:26,719
Speaker 3: creature like that worth alive? Maybe it's worth more alive.

978
00:53:27,040 --> 00:53:31,120
Speaker 3: So from here we move on to the Bathisphere scene.

979
00:53:31,719 --> 00:53:34,600
Speaker 3: Though this bathisphere is not a sphere, it is not spherical,

980
00:53:34,640 --> 00:53:40,040
Speaker 3: it's sort of the bathist cylinder, and Joe gets into

981
00:53:40,080 --> 00:53:43,280
Speaker 3: this metal contraption with some portholes on it that looks

982
00:53:43,320 --> 00:53:49,080
Speaker 3: incredibly small inside, and I don't know, this is a

983
00:53:49,160 --> 00:53:53,879
Speaker 3: cool scene concept, though it doesn't look as amazing as

984
00:53:53,880 --> 00:53:54,719
Speaker 3: I think it could have.

985
00:53:55,719 --> 00:53:58,719
Speaker 2: Weldon points out that this section of the film is

986
00:53:58,719 --> 00:54:00,880
Speaker 2: pretty much a direct remake of a scene in the

987
00:54:00,880 --> 00:54:03,160
Speaker 2: Beast from twenty thousand fathoms, and so I had to

988
00:54:03,160 --> 00:54:05,160
Speaker 2: look it up because again I've only really seen the

989
00:54:05,160 --> 00:54:09,120
Speaker 2: monster sequences from that movie. And indeed there's another Bathisphere

990
00:54:09,719 --> 00:54:12,279
Speaker 2: segment that you can watch. So they basically were like,

991
00:54:12,320 --> 00:54:15,480
Speaker 2: well that worked last time. Let's do it again. But yeah,

992
00:54:15,520 --> 00:54:18,279
Speaker 2: to your point, I think it works better in the

993
00:54:18,280 --> 00:54:21,120
Speaker 2: mind that it does on screen, at least by modern standards.

994
00:54:21,120 --> 00:54:23,520
Speaker 2: I don't know, maybe this was a lot more impressive

995
00:54:23,560 --> 00:54:24,040
Speaker 2: at the time.

996
00:54:24,520 --> 00:54:27,160
Speaker 3: Also, the Bathistphere in this movie is like a tartist

997
00:54:27,200 --> 00:54:29,279
Speaker 3: and that it is much bigger on the inside than

998
00:54:29,320 --> 00:54:33,080
Speaker 3: on the outside. We see Joe Ryan inside there, and

999
00:54:33,120 --> 00:54:36,520
Speaker 3: I don't know, it's quite roomy actually on the inside though.

1000
00:54:36,400 --> 00:54:39,680
Speaker 2: Yeah, especially because that's how big this actor is. Again, Yeah,

1001
00:54:39,719 --> 00:54:41,879
Speaker 2: he has he has so much room. And if you're

1002
00:54:41,920 --> 00:54:44,520
Speaker 2: curious about all this, we did some episodes of stuff

1003
00:54:44,560 --> 00:54:46,080
Speaker 2: to blow your mind back in the day about the

1004
00:54:46,080 --> 00:54:50,040
Speaker 2: Bathistphere and about the construction of it and the size

1005
00:54:50,080 --> 00:54:54,200
Speaker 2: of it and some of the amazing observations that were

1006
00:54:54,239 --> 00:54:56,839
Speaker 2: made with it. It's an amazing story and I can

1007
00:54:56,880 --> 00:54:59,480
Speaker 2: totally understand wanting to capture that in the film, and

1008
00:54:59,520 --> 00:55:01,279
Speaker 2: I guess to a certain extent they do. Like I

1009
00:55:01,400 --> 00:55:06,319
Speaker 2: like the idea of the small capsule being lowered into

1010
00:55:06,360 --> 00:55:10,360
Speaker 2: this vast, unexplored world, like a that world is vast

1011
00:55:10,440 --> 00:55:16,239
Speaker 2: and as large scale as your giant monsters, though being

1012
00:55:16,360 --> 00:55:20,080
Speaker 2: very much an outsider in it. In this vulnerable little capsule.

1013
00:55:20,480 --> 00:55:22,719
Speaker 3: Well, I mean, the thing to remember about the Bathisphere

1014
00:55:22,880 --> 00:55:25,200
Speaker 3: is that it has no propulsion of its own, so

1015
00:55:25,239 --> 00:55:27,719
Speaker 3: it's just dangling by this cable. So if it were

1016
00:55:27,760 --> 00:55:31,439
Speaker 3: to somehow drop that, that's it. You're not coming back up.

1017
00:55:31,760 --> 00:55:31,960
Speaker 4: Yeah.

1018
00:55:32,400 --> 00:55:35,719
Speaker 3: Well, anyway, so they send Joe down there, and they

1019
00:55:35,719 --> 00:55:39,759
Speaker 3: make contact. There's a Gorgo attack. Gorgo attacks the Bathisphere

1020
00:55:39,760 --> 00:55:42,920
Speaker 3: and oh you hear these like tin cam crunching sounds

1021
00:55:42,920 --> 00:55:45,279
Speaker 3: and you see water spraying on the inside, but there

1022
00:55:45,360 --> 00:55:48,960
Speaker 3: is not a catastrophic implosion. Joe is not killed. Instead,

1023
00:55:49,000 --> 00:55:51,640
Speaker 3: the ship successfully traps Gorgo in a net.

1024
00:55:52,200 --> 00:55:56,640
Speaker 2: It's kind of a lackluster finished to that though, because

1025
00:55:56,640 --> 00:55:59,399
Speaker 2: it's like the bathysphere, oh, high technology, and then they

1026
00:55:59,440 --> 00:56:01,600
Speaker 2: just use a net. Just yeah, yeah, yeah.

1027
00:56:01,640 --> 00:56:04,359
Speaker 3: And then we get some news reports and I can't

1028
00:56:04,400 --> 00:56:07,759
Speaker 3: remember what we've said about this already, but from here

1029
00:56:07,840 --> 00:56:11,280
Speaker 3: on out the movie will become highly reliant on news

1030
00:56:11,360 --> 00:56:16,000
Speaker 3: reports for both plot exposition and for exploration of themes.

1031
00:56:17,120 --> 00:56:19,759
Speaker 3: We're just going to get reporters telling us what's going

1032
00:56:19,800 --> 00:56:22,080
Speaker 3: on and what it means, over and over.

1033
00:56:22,760 --> 00:56:25,840
Speaker 2: Yeah, it basically goes all Santa Claus conquers the Martians

1034
00:56:25,840 --> 00:56:28,839
Speaker 2: for a bit here where it's yeah, a bunch of newscasts,

1035
00:56:29,280 --> 00:56:34,120
Speaker 2: expert interviews, and of course our all time favorite stock footage.

1036
00:56:34,120 --> 00:56:37,160
Speaker 2: So much stock footage, though at least this time around

1037
00:56:37,280 --> 00:56:40,520
Speaker 2: it's British military stock footage, which has, you know, a

1038
00:56:40,520 --> 00:56:43,320
Speaker 2: different texture to it compared to the like nineteen fifties

1039
00:56:43,320 --> 00:56:46,600
Speaker 2: and sixties US military stock footage that you see in

1040
00:56:46,680 --> 00:56:47,879
Speaker 2: so many films of that era.

1041
00:56:48,520 --> 00:56:51,439
Speaker 3: Yeah, we haven't gotten exactly to the point where stock

1042
00:56:51,440 --> 00:56:55,160
Speaker 3: footage becomes super prevalent yet, that'll come a little later.

1043
00:56:55,920 --> 00:56:57,960
Speaker 3: And it's into the second act. Right now, we're at

1044
00:56:57,960 --> 00:57:02,399
Speaker 3: the at the like peak newscast stuff. So we get

1045
00:57:02,440 --> 00:57:06,800
Speaker 3: a newscast where this guy at a desk explains what's happening.

1046
00:57:06,800 --> 00:57:09,040
Speaker 3: He says, the headlines of the entire world are being

1047
00:57:09,120 --> 00:57:12,600
Speaker 3: monopolized by the news of the capture of a fantastic monster,

1048
00:57:12,760 --> 00:57:16,920
Speaker 3: seemingly of prehistoric origin off the coast of Ireland. Puzzled

1049
00:57:16,960 --> 00:57:20,000
Speaker 3: scientists are already speculating that the monster may have been

1050
00:57:20,040 --> 00:57:24,920
Speaker 3: released from some vast suboceanic cavern far beneath Earth's crust

1051
00:57:25,280 --> 00:57:29,360
Speaker 3: by unprecedented volcanic eruptions which occurred in the area last

1052
00:57:29,400 --> 00:57:32,760
Speaker 3: week and then meanwhile, we also get this other guy who,

1053
00:57:33,400 --> 00:57:35,880
Speaker 3: like we cut to a different newscaster who says some

1054
00:57:36,000 --> 00:57:39,000
Speaker 3: scientific authorities are suggesting that the whole thing is merely

1055
00:57:39,040 --> 00:57:46,320
Speaker 3: an elaborate Irish hoax. Nevertheless, the Irish government are sending

1056
00:57:46,320 --> 00:57:50,040
Speaker 3: two of their top paleontologists to claim the creature for

1057
00:57:50,160 --> 00:57:52,440
Speaker 3: Ireland if it does exist.

1058
00:57:54,080 --> 00:57:56,640
Speaker 2: I also have to throw in here that, you know,

1059
00:57:57,080 --> 00:58:00,160
Speaker 2: I think all organisms are of prehistoric origin, if you

1060
00:58:00,160 --> 00:58:01,960
Speaker 2: want to be technical about it. So I don't really

1061
00:58:02,000 --> 00:58:04,200
Speaker 2: know what that means. What do you mean of prehistoric origin?

1062
00:58:04,440 --> 00:58:06,280
Speaker 2: I know what they're getting at, but I'm just not

1063
00:58:06,280 --> 00:58:07,080
Speaker 2: sure it makes sense.

1064
00:58:07,360 --> 00:58:10,160
Speaker 3: You know, We've watched a lot of movies with plot

1065
00:58:10,200 --> 00:58:14,120
Speaker 3: exposition via like a newsdesk segment, and I feel like

1066
00:58:14,160 --> 00:58:16,120
Speaker 3: at some point we should go back and rank the

1067
00:58:16,560 --> 00:58:19,200
Speaker 3: newscaster segments. I'm want to say, these guys, they're no

1068
00:58:19,280 --> 00:58:19,920
Speaker 3: Dick Cutting.

1069
00:58:20,440 --> 00:58:20,560
Speaker 4: Now.

1070
00:58:21,640 --> 00:58:25,000
Speaker 3: What was he that he was in a creature with

1071
00:58:25,040 --> 00:58:25,720
Speaker 3: the atom brain?

1072
00:58:25,840 --> 00:58:26,000
Speaker 4: Right?

1073
00:58:26,080 --> 00:58:29,680
Speaker 3: He was? Yes, yeah, he's the Walter cronkind of monster attacks.

1074
00:58:29,720 --> 00:58:33,760
Speaker 3: Always always trust Dick Cutting. Let's see here. Oh yeah.

1075
00:58:33,800 --> 00:58:36,040
Speaker 3: Then we get the transport segments, so we see gorgo

1076
00:58:36,160 --> 00:58:38,280
Speaker 3: on the salvage ship, he's like tied up in ropes

1077
00:58:38,280 --> 00:58:42,960
Speaker 3: and nets. He's being taken somewhere. The scientists from Dublin

1078
00:58:43,040 --> 00:58:45,880
Speaker 3: who were mentioned in the news report, they arrive on

1079
00:58:45,920 --> 00:58:49,120
Speaker 3: the boat and they say, this animal is of enormous

1080
00:58:49,120 --> 00:58:52,320
Speaker 3: scientific value. You must take it to Dublin immediately, and

1081
00:58:52,440 --> 00:58:55,600
Speaker 3: its skin must be kept wet. But then, when the

1082
00:58:55,600 --> 00:58:59,080
Speaker 3: scientists are out of earshot Sam and Joe, one of

1083
00:58:59,120 --> 00:59:01,919
Speaker 3: them pulls out like a letter they got, I think,

1084
00:59:03,040 --> 00:59:06,920
Speaker 3: which is a better offer. It is from Dorkin's circus

1085
00:59:06,920 --> 00:59:10,320
Speaker 3: in London, and they say that Dorkin is offering them

1086
00:59:10,440 --> 00:59:14,920
Speaker 3: thirty thousand against fifty percent of the gross. So are

1087
00:59:14,960 --> 00:59:17,800
Speaker 3: these hardened mercenaries going to turn gorgo over to the

1088
00:59:17,800 --> 00:59:21,480
Speaker 3: clutches of science for a pittance of compensation. Hell no, no,

1089
00:59:21,520 --> 00:59:23,520
Speaker 3: they're gonna go. They're going to send him to the

1090
00:59:23,560 --> 00:59:28,040
Speaker 3: circus of Dorkin. So they set the course for London.

1091
00:59:28,520 --> 00:59:31,520
Speaker 3: I think the scientists from Dublin are still on the

1092
00:59:31,600 --> 00:59:35,080
Speaker 3: ship as the ship is like departing, like going in

1093
00:59:35,120 --> 00:59:39,320
Speaker 3: the other direction to take the monster to London. So

1094
00:59:39,960 --> 00:59:44,560
Speaker 3: I assume they're protesting the entire time. Oh also, Sean

1095
00:59:44,680 --> 00:59:48,000
Speaker 3: comes along on the ship and I don't know why,

1096
00:59:48,040 --> 00:59:50,320
Speaker 3: but he's on the ship now. I think he has

1097
00:59:50,400 --> 00:59:53,720
Speaker 3: now just become the ward of Sam and Joe and

1098
00:59:54,760 --> 00:59:57,560
Speaker 3: Sean comes to Oh. He comes out in the middle

1099
00:59:57,600 --> 00:59:59,680
Speaker 3: of the night and talks to Gorgo. He's like, I

1100
00:59:59,720 --> 01:00:01,960
Speaker 3: came to let you go back to the sea, and

1101
01:00:02,040 --> 01:00:04,920
Speaker 3: tries to release him. But then Joe comes out and

1102
01:00:04,960 --> 01:00:07,640
Speaker 3: gets mad at Sean and he says, you little nuthead,

1103
01:00:07,920 --> 01:00:10,600
Speaker 3: I have a gutton notion to toss you over the side.

1104
01:00:11,160 --> 01:00:14,000
Speaker 2: But we get a little bit of the natural affinity

1105
01:00:14,760 --> 01:00:17,680
Speaker 2: that a young child has for a giant monster. You know.

1106
01:00:17,760 --> 01:00:20,320
Speaker 2: This is of course something recently see especially in the

1107
01:00:20,360 --> 01:00:22,960
Speaker 2: Gamera and movies. Gamera is a friend to children.

1108
01:00:23,360 --> 01:00:26,120
Speaker 3: It's never established that Gorgo is a friend to all children,

1109
01:00:26,160 --> 01:00:29,200
Speaker 3: but Sean is like naturally drawn to Gorgo. There are

1110
01:00:29,240 --> 01:00:35,040
Speaker 3: scenes later where Gorgo spoiler Gorgo's mother is destroying London

1111
01:00:35,160 --> 01:00:37,960
Speaker 3: and Sean while all the crowds are running away, Sean

1112
01:00:38,120 --> 01:00:39,200
Speaker 3: runs toward.

1113
01:00:39,600 --> 01:00:42,520
Speaker 2: Kids get Kaijuk. They understand that's part of the connection.

1114
01:00:51,720 --> 01:00:54,520
Speaker 3: So anyway, Joe and Sam they put armed guards on Gorgo.

1115
01:00:54,800 --> 01:00:57,520
Speaker 3: They say, if that thing moves, start shooting, But why

1116
01:00:57,560 --> 01:00:59,800
Speaker 3: would they do that? Isn't like this thing being a

1117
01:00:59,800 --> 01:01:04,280
Speaker 3: lot their meal ticket as so Gorgo I think kills

1118
01:01:04,280 --> 01:01:06,800
Speaker 3: a guard in the middle of the night. And they

1119
01:01:06,840 --> 01:01:09,880
Speaker 3: also mentioned that Gorgo is dripping some kind of phosphorescent

1120
01:01:10,000 --> 01:01:13,000
Speaker 3: ooze into the water as they travel that won't come

1121
01:01:13,040 --> 01:01:17,720
Speaker 3: back Later. They arrive in London and we get a

1122
01:01:17,720 --> 01:01:21,240
Speaker 3: bunch of shots of London and some things that are interesting.

1123
01:01:21,360 --> 01:01:23,800
Speaker 3: Rob I included one screenshot for you to look at here,

1124
01:01:23,840 --> 01:01:27,200
Speaker 3: because what we're looking at is like in the background

1125
01:01:27,280 --> 01:01:30,800
Speaker 3: a real shot of the Thames with like the Tower

1126
01:01:30,840 --> 01:01:33,680
Speaker 3: Bridge in the background. But then in the foreground there

1127
01:01:33,840 --> 01:01:37,120
Speaker 3: is a it's supposed to be a tent, like a

1128
01:01:37,120 --> 01:01:39,880
Speaker 3: circus tent that says Gorgo over the top of it,

1129
01:01:39,960 --> 01:01:42,520
Speaker 3: so now we're actually seeing the name. And then there

1130
01:01:42,560 --> 01:01:46,720
Speaker 3: are painted cutouts of people in front of the circus tent,

1131
01:01:46,840 --> 01:01:50,160
Speaker 3: so they're not actors. They're like stands of people. But

1132
01:01:50,200 --> 01:01:52,640
Speaker 3: it cuts away pretty quickly, so if you weren't able

1133
01:01:52,680 --> 01:01:55,919
Speaker 3: to pause, you might think they were really standing there. Yeah,

1134
01:01:55,960 --> 01:01:58,200
Speaker 3: it's just a quick mat painting here. It's not in

1135
01:01:58,240 --> 01:02:03,480
Speaker 3: there interesting. So there's some conflict here. When they arrive

1136
01:02:03,560 --> 01:02:06,640
Speaker 3: in London, the scientists from Dublin are mad that Sam

1137
01:02:06,640 --> 01:02:09,000
Speaker 3: and Joe have decided to sell the animal to Dorkin

1138
01:02:09,080 --> 01:02:11,400
Speaker 3: instead of handing it over for research, and they point

1139
01:02:11,400 --> 01:02:14,200
Speaker 3: out that it may be carrying unknown diseases or parasites.

1140
01:02:14,240 --> 01:02:17,160
Speaker 3: It hasn't been studied yet, but Dorkin has got that

1141
01:02:17,280 --> 01:02:20,680
Speaker 3: sweet cash for them. And Dorkin also makes assurances to

1142
01:02:20,760 --> 01:02:24,240
Speaker 3: the scientists. He's like, don't worry, you know, we'll we'll

1143
01:02:24,280 --> 01:02:27,560
Speaker 3: be giving you every opportunity to study the creature while

1144
01:02:27,600 --> 01:02:29,840
Speaker 3: it is held in a concrete pit for the gaulking

1145
01:02:29,880 --> 01:02:34,680
Speaker 3: crowds I'm selling tickets to. And Dorkin is a real

1146
01:02:34,880 --> 01:02:38,800
Speaker 3: like pencil mustache, bow tie wearing money freak.

1147
01:02:39,360 --> 01:02:39,520
Speaker 4: Yeah.

1148
01:02:39,600 --> 01:02:43,080
Speaker 2: Yeah, it's very clear that he is a villain in

1149
01:02:43,120 --> 01:02:46,280
Speaker 2: this picture. We're not giving a lot of reason to

1150
01:02:46,480 --> 01:02:47,760
Speaker 2: sympathize with this case.

1151
01:02:48,200 --> 01:02:51,440
Speaker 3: Oh and then we get the gorgo in chains parade

1152
01:02:51,480 --> 01:02:54,920
Speaker 3: through London. I think this scene was amazing. So there

1153
01:02:55,040 --> 01:02:58,360
Speaker 3: is like this parade of trucks or lories I guess

1154
01:02:59,160 --> 01:03:01,840
Speaker 3: that say dork In circus and say Gorgo on them.

1155
01:03:01,840 --> 01:03:04,320
Speaker 3: And one of them is like a flatbed truck that

1156
01:03:04,480 --> 01:03:08,000
Speaker 3: has Gorgo on the trailer and he's like wrapped in

1157
01:03:08,040 --> 01:03:11,760
Speaker 3: a big tarp that says Gorgo covered in chains, and

1158
01:03:11,960 --> 01:03:14,160
Speaker 3: it feels like it's like tied to Saint Dronicus, like

1159
01:03:14,200 --> 01:03:16,360
Speaker 3: marching into Rome with the Queen of the Goths in

1160
01:03:16,400 --> 01:03:20,000
Speaker 3: a cage. But it's all for Dorkin. And and I

1161
01:03:20,000 --> 01:03:23,000
Speaker 3: guess it was Dorkin's idea to call the creature Gorgo

1162
01:03:23,160 --> 01:03:25,360
Speaker 3: because it's written on all of his circus stuff.

1163
01:03:25,840 --> 01:03:27,640
Speaker 2: Well he knows you got to brand it, so that

1164
01:03:27,680 --> 01:03:30,520
Speaker 2: makes sense. And yeah, this this whole sequence is pretty

1165
01:03:30,520 --> 01:03:33,960
Speaker 2: great because it's it's it's weird h And also you

1166
01:03:34,000 --> 01:03:38,600
Speaker 2: get lots of period shots of London. I really enjoy

1167
01:03:38,760 --> 01:03:42,680
Speaker 2: just seeing all of like the neon and the signage

1168
01:03:42,760 --> 01:03:45,040
Speaker 2: and so forth. So this this is a lot of fun.

1169
01:03:45,200 --> 01:03:48,080
Speaker 3: Yeah, and these are real location shots. So they actually

1170
01:03:48,120 --> 01:03:50,080
Speaker 3: must have like driven a truck with a thing that

1171
01:03:50,120 --> 01:03:52,920
Speaker 3: said Gorgo on it in front of Buckingham Palace and

1172
01:03:52,960 --> 01:03:57,480
Speaker 3: stuff like that. And the we get another news cast

1173
01:03:57,920 --> 01:04:00,480
Speaker 3: that's saying we bring you the u and our most

1174
01:04:00,520 --> 01:04:03,760
Speaker 3: unusual telecast today, we bring you the arrival of Gorgo.

1175
01:04:04,360 --> 01:04:07,160
Speaker 3: This creature, which should have been extinct ten million years ago,

1176
01:04:07,280 --> 01:04:10,439
Speaker 3: is truly an awesome sight as it is transported through

1177
01:04:10,480 --> 01:04:13,440
Speaker 3: the streets of modern London on its way to Battersea

1178
01:04:13,520 --> 01:04:16,200
Speaker 3: Park and there's a big sign for Gordon's Gin in

1179
01:04:16,240 --> 01:04:18,680
Speaker 3: the background, so it's just ads all over the place

1180
01:04:19,280 --> 01:04:23,120
Speaker 3: and the newscast goes on. Of course, Londoners are notoriously skeptical,

1181
01:04:23,400 --> 01:04:26,280
Speaker 3: and a good many we've spoken to still seem to

1182
01:04:26,320 --> 01:04:29,000
Speaker 3: think it's some kind of circus stunt. But the animal

1183
01:04:29,080 --> 01:04:32,440
Speaker 3: is real, take my word for it. And they go

1184
01:04:32,480 --> 01:04:35,640
Speaker 3: on to it to say, well, the streets have been cleared,

1185
01:04:35,720 --> 01:04:39,000
Speaker 3: but you know, rest assured there is no danger. The

1186
01:04:39,040 --> 01:04:42,400
Speaker 3: animal has been given a large dose of tranquilizer and

1187
01:04:42,480 --> 01:04:45,000
Speaker 3: actually being so close to this thing, I could do

1188
01:04:45,080 --> 01:04:48,720
Speaker 3: with a large dose of tranquilizer myself. But jokes aside,

1189
01:04:48,760 --> 01:04:53,080
Speaker 3: the animal has killed a number of persons already. Oh

1190
01:04:53,160 --> 01:04:56,080
Speaker 3: and finally, this is also the newscast where when the

1191
01:04:56,120 --> 01:04:58,959
Speaker 3: guy is saying, oh, we've arrived at Battersea Park where

1192
01:04:59,000 --> 01:05:02,040
Speaker 3: Gorgo as he called we don't know why, will be

1193
01:05:02,120 --> 01:05:06,960
Speaker 3: exhibited to the public, and Gorgo is like, you can

1194
01:05:07,000 --> 01:05:09,520
Speaker 3: just straight up see Gorgo on the back of the truck,

1195
01:05:09,600 --> 01:05:12,040
Speaker 3: like his eyes are open and they're glowing red, but

1196
01:05:12,080 --> 01:05:16,240
Speaker 3: he's all tied down, and Gorgo in captivity like this

1197
01:05:16,320 --> 01:05:20,480
Speaker 3: does look very pitiable, like they they achieve in tugging

1198
01:05:20,480 --> 01:05:22,840
Speaker 3: on the heart strings, Like I'm already feeling bad for

1199
01:05:22,920 --> 01:05:25,400
Speaker 3: Gorgo and they haven't even really gotten to the part

1200
01:05:25,440 --> 01:05:27,520
Speaker 3: where you're supposed to feel super bad for him.

1201
01:05:27,560 --> 01:05:30,680
Speaker 2: Yet you know, I can't help but feel as cool

1202
01:05:30,680 --> 01:05:33,000
Speaker 2: as these scenes are, Dorkin's kind of given it away here,

1203
01:05:33,400 --> 01:05:37,000
Speaker 2: like everyone gets a free peak at Gorgo and then

1204
01:05:37,000 --> 01:05:40,120
Speaker 2: he's gonna sell tickets to have Gorgo do more than

1205
01:05:40,280 --> 01:05:41,360
Speaker 2: just be present.

1206
01:05:41,720 --> 01:05:44,280
Speaker 3: I don't know that's a good point, yeah, Dorkin, You

1207
01:05:44,320 --> 01:05:46,640
Speaker 3: would think he'd be keeping more of a lid on it,

1208
01:05:46,800 --> 01:05:49,880
Speaker 3: or maybe just trying to give people the tiniest tease

1209
01:05:50,000 --> 01:05:52,080
Speaker 3: so that they will have to come pay for a ticket.

1210
01:05:52,080 --> 01:05:54,640
Speaker 3: But no, like you can see you can see Gorgo's

1211
01:05:54,640 --> 01:05:56,840
Speaker 3: face on the truck, because.

1212
01:05:56,600 --> 01:06:00,200
Speaker 2: We know from King Kong that like a ticketed King

1213
01:06:00,240 --> 01:06:04,520
Speaker 2: Kong presentation consists of King Kong chained on stage and

1214
01:06:04,560 --> 01:06:08,800
Speaker 2: there's not much to it. I remember The Simpsons Tree

1215
01:06:08,840 --> 01:06:11,440
Speaker 2: House of Horror has some jokes kind of alluding to

1216
01:06:11,480 --> 01:06:13,520
Speaker 2: this fact that, like, like, what was the rest of

1217
01:06:13,560 --> 01:06:15,840
Speaker 2: the show going to consist of? You just sit there

1218
01:06:16,080 --> 01:06:20,560
Speaker 2: looking at King Kong? But you know, what's the Gorgo show?

1219
01:06:20,600 --> 01:06:24,800
Speaker 2: Going to consist of is there an opening act, is

1220
01:06:24,840 --> 01:06:27,640
Speaker 2: there some sort of a finale you're working towards. Is

1221
01:06:27,680 --> 01:06:29,720
Speaker 2: he going to do any tricks or is he just

1222
01:06:29,760 --> 01:06:31,840
Speaker 2: going to be tied up more or less like he

1223
01:06:32,000 --> 01:06:33,440
Speaker 2: is in this whole sequence.

1224
01:06:33,760 --> 01:06:39,640
Speaker 3: He was supposed to read Gorgo then puppet show. Yeah,

1225
01:06:39,840 --> 01:06:42,800
Speaker 3: but so oh and we see so like for some reason,

1226
01:06:43,320 --> 01:06:47,480
Speaker 3: Sam and Joe are still involved and they don't just

1227
01:06:47,520 --> 01:06:50,200
Speaker 3: like hand Gorgo off to Dorkin at the port and

1228
01:06:50,240 --> 01:06:53,240
Speaker 3: then take their money and go. They're like they seem

1229
01:06:53,280 --> 01:06:56,600
Speaker 3: to be Gorgo's full time caretakers.

1230
01:06:56,640 --> 01:07:00,640
Speaker 2: Now, yeah, despite having no qualifications, no call professions for

1231
01:07:00,640 --> 01:07:01,080
Speaker 2: this at all.

1232
01:07:01,320 --> 01:07:05,080
Speaker 3: Right, they're salvage divers. What they what do they know

1233
01:07:05,120 --> 01:07:09,360
Speaker 3: about Gorgo? But Joe Ryan still has his captain's hat on,

1234
01:07:09,440 --> 01:07:12,960
Speaker 3: by the way. But there's like a Dorkin press conference

1235
01:07:13,400 --> 01:07:15,560
Speaker 3: and this is the part where one of the reporters

1236
01:07:15,600 --> 01:07:17,240
Speaker 3: is like, you know, is it true that you stole

1237
01:07:17,280 --> 01:07:20,120
Speaker 3: this from the Irish government and Dorkin is like, yeah,

1238
01:07:20,320 --> 01:07:21,960
Speaker 3: they may take it back soon. So you've got to

1239
01:07:21,960 --> 01:07:24,920
Speaker 3: get your tickets to see Gorgo today while it's still here.

1240
01:07:26,160 --> 01:07:28,360
Speaker 3: So yeah, like we said, Joe and Sam, they're still

1241
01:07:28,360 --> 01:07:32,320
Speaker 3: involved in handling Gorgo, and during transport they're trying to

1242
01:07:32,360 --> 01:07:35,600
Speaker 3: put it in its enclosure, and Gorko is awakened from

1243
01:07:35,640 --> 01:07:40,800
Speaker 3: his tranquilizer slumber by camera flashes of irresponsible reporters. That

1244
01:07:40,840 --> 01:07:43,720
Speaker 3: seems familiar. Was that in King Kong? I think maybe

1245
01:07:43,720 --> 01:07:47,640
Speaker 3: it was? And there is a brief Gorgo rampage at

1246
01:07:47,640 --> 01:07:51,200
Speaker 3: the circus where he is eventually driven back. He's driven

1247
01:07:51,240 --> 01:07:54,960
Speaker 3: into his concrete pit by men with flame throwers. There

1248
01:07:55,000 --> 01:07:58,400
Speaker 3: seems to be a theme that fires Gorgo's weakness, but

1249
01:07:58,800 --> 01:08:01,040
Speaker 3: Gorgo kills some people with this tail on the way

1250
01:08:01,040 --> 01:08:04,800
Speaker 3: back to his concrete pit, including a friend of Joe

1251
01:08:04,800 --> 01:08:09,040
Speaker 3: and Sam's named Mike, and Sam seems more disturbed by

1252
01:08:09,040 --> 01:08:12,400
Speaker 3: this than Joe does. But eventually they get Gorgo locked away,

1253
01:08:12,840 --> 01:08:14,840
Speaker 3: and then we're just treated to some shots of like

1254
01:08:15,200 --> 01:08:18,360
Speaker 3: London having Gorgo fever. So there are double decker buses

1255
01:08:18,560 --> 01:08:21,240
Speaker 3: that all say Gorgo on the side of them. We

1256
01:08:21,320 --> 01:08:24,559
Speaker 3: see the I guess it's Piccadilly Circus maybe, or you know,

1257
01:08:24,600 --> 01:08:27,080
Speaker 3: some like streets of London where there are just Gorgo

1258
01:08:27,240 --> 01:08:29,960
Speaker 3: signs all over the place, next to big posters for

1259
01:08:30,760 --> 01:08:35,200
Speaker 3: schweps and Gordon's gin and stuff. We see fireworks for Gorgo.

1260
01:08:35,360 --> 01:08:39,360
Speaker 3: There's cotton candy and rides at the circus and Dorkin

1261
01:08:39,560 --> 01:08:42,599
Speaker 3: is out like barking in front of the circus entrance, saying,

1262
01:08:42,640 --> 01:08:45,400
Speaker 3: everyone in the world is talking about Gorgo, but only

1263
01:08:45,479 --> 01:08:48,240
Speaker 3: you can see him. Only five shillings ladies and gentlemen,

1264
01:08:49,120 --> 01:08:51,040
Speaker 3: and they're you know, they're selling ice cream and stuff.

1265
01:08:51,080 --> 01:08:54,719
Speaker 3: And we see all of the British circus goers standing

1266
01:08:54,760 --> 01:08:57,439
Speaker 3: at the edge of this concrete pit where Gorgo is

1267
01:08:57,479 --> 01:09:00,320
Speaker 3: in chain, standing in like a puddle of water. They're

1268
01:09:00,360 --> 01:09:03,559
Speaker 3: all eating cotton candy and bananas and gaulking at this

1269
01:09:03,680 --> 01:09:05,960
Speaker 3: creature and just poor Gorgo.

1270
01:09:07,080 --> 01:09:09,519
Speaker 2: Yeah, yeah, you feel a lot of sympathy for the

1271
01:09:09,560 --> 01:09:11,439
Speaker 2: monster at this point, because yeah, he's just he's in

1272
01:09:11,439 --> 01:09:15,439
Speaker 2: this pit and people are gawking at him, and he

1273
01:09:15,520 --> 01:09:18,559
Speaker 2: does not belong here. Gorgo was born.

1274
01:09:18,400 --> 01:09:21,400
Speaker 3: Free, exactly, and he's also he's supposed to be in

1275
01:09:21,439 --> 01:09:23,960
Speaker 3: the sea. This is a point that Sean makes multiple times.

1276
01:09:24,520 --> 01:09:27,280
Speaker 3: It's not just that he's in captivity, that's bad enough,

1277
01:09:27,520 --> 01:09:30,639
Speaker 3: but he's being kept on land and like hosed down

1278
01:09:30,680 --> 01:09:34,320
Speaker 3: with water. Gorgo is a sea creature. And we get

1279
01:09:34,320 --> 01:09:36,639
Speaker 3: a scene where we see how Sam and Joe are

1280
01:09:36,680 --> 01:09:39,760
Speaker 3: dealing with their success differently. Joe is like living it up.

1281
01:09:39,800 --> 01:09:41,600
Speaker 3: We see he's got like a nice new suit on

1282
01:09:41,960 --> 01:09:46,280
Speaker 3: and he seems to be flashing his wealth. And Sam, meanwhile,

1283
01:09:46,640 --> 01:09:50,320
Speaker 3: is shown apparently just like hiding in a trailer at

1284
01:09:50,320 --> 01:09:54,240
Speaker 3: the circus where perhaps Sean is living. Like Sean the

1285
01:09:54,320 --> 01:09:58,000
Speaker 3: kid is seen sleeping there. Again, it's not exactly clear,

1286
01:09:58,000 --> 01:10:00,680
Speaker 3: but it almost suggests that like Sam and Joe have

1287
01:10:00,760 --> 01:10:04,679
Speaker 3: adopted Sean, maybe like they are taking care of him now.

1288
01:10:05,400 --> 01:10:11,559
Speaker 3: And Sam is seen drinking heavily and he says and

1289
01:10:11,640 --> 01:10:14,720
Speaker 3: like Joe comes in and says, hey, you know, how

1290
01:10:14,720 --> 01:10:17,040
Speaker 3: about coming out and having a few drinks, And Sam's like,

1291
01:10:17,080 --> 01:10:19,879
Speaker 3: I'm having a few drinks right now. Sam is clearly

1292
01:10:20,200 --> 01:10:23,559
Speaker 3: not happy with how things are going. And Joe is like,

1293
01:10:23,600 --> 01:10:26,280
Speaker 3: stop having feelings. Let's just take the money and you know,

1294
01:10:26,360 --> 01:10:29,160
Speaker 3: be happy. But Sam has a Sam has a bad

1295
01:10:29,240 --> 01:10:32,400
Speaker 3: premonition about everything. He's like, something bad's gonna happen. I

1296
01:10:32,439 --> 01:10:35,320
Speaker 3: can just feel it. And suddenly, and what do you know,

1297
01:10:35,439 --> 01:10:38,240
Speaker 3: it's it's prescient. Because they get a phone call and

1298
01:10:38,280 --> 01:10:41,639
Speaker 3: it's an urgent meeting with the scientists from Dublin and

1299
01:10:41,680 --> 01:10:44,479
Speaker 3: they're like, hey, we figured something out. The creature you

1300
01:10:44,560 --> 01:10:50,720
Speaker 3: captured is not an adult specimen. Yeah, whoops, not an

1301
01:10:50,760 --> 01:10:53,760
Speaker 3: adult specimen. And then Sam says, you mean it isn't

1302
01:10:53,800 --> 01:10:58,439
Speaker 3: fully grown. They say no, in fact, it's it's very

1303
01:10:58,479 --> 01:11:01,599
Speaker 3: early in infancy. They're like, okay, well, what would an

1304
01:11:01,640 --> 01:11:04,639
Speaker 3: adult look like? And then they open up this page

1305
01:11:04,640 --> 01:11:07,120
Speaker 3: where they just like put a finger down on this

1306
01:11:07,200 --> 01:11:11,559
Speaker 3: illustration of two gorgo skeletons that are exactly the same,

1307
01:11:11,640 --> 01:11:14,040
Speaker 3: but one is like ten times bigger than the other.

1308
01:11:14,520 --> 01:11:17,880
Speaker 2: And it's you know, it's not quite an actual Gorgosaurus

1309
01:11:18,640 --> 01:11:20,800
Speaker 2: skeleton that they have illustrated here, but it is more

1310
01:11:20,840 --> 01:11:25,879
Speaker 2: in keeping with a realistic This may be another dinosaur

1311
01:11:25,920 --> 01:11:29,720
Speaker 2: species that they're just using the skeleton illustration from, but

1312
01:11:30,640 --> 01:11:33,679
Speaker 2: it is very hard to imagine the monster that we've

1313
01:11:33,720 --> 01:11:39,000
Speaker 2: seen having this skeleton at the center of it. There's

1314
01:11:39,040 --> 01:11:40,240
Speaker 2: a lot of meat on those bones.

1315
01:11:40,640 --> 01:11:43,120
Speaker 3: Yeah, and they're upset. They're like, wow, that would make

1316
01:11:43,160 --> 01:11:46,919
Speaker 3: the adult nearly two hundred feet tall, and the scientists

1317
01:11:47,000 --> 01:11:50,600
Speaker 3: are like, yep, so obviously we got to notify the authorities.

1318
01:11:51,000 --> 01:11:53,559
Speaker 3: And Joe responds by saying, what are you trying to do?

1319
01:11:53,640 --> 01:11:55,679
Speaker 3: Stir up a whole hornet's nest because of a few

1320
01:11:55,720 --> 01:11:58,840
Speaker 3: calculations on a piece of paper. Nuts to that, Nuts

1321
01:11:58,880 --> 01:12:02,439
Speaker 3: to that, I say. Then next we see Gorgo back

1322
01:12:02,479 --> 01:12:05,360
Speaker 3: in his enclosure. So he's he's in this concrete pit

1323
01:12:05,439 --> 01:12:08,559
Speaker 3: and it's surrounded by electric fencing, but we see Gorgo

1324
01:12:08,680 --> 01:12:15,080
Speaker 3: testing the fences for weaknesses systematically. He remembers clever Girl exactly. Meanwhile,

1325
01:12:15,120 --> 01:12:20,240
Speaker 3: back on Nara Island, remember Macarton, the corrupt archaeologist and

1326
01:12:20,479 --> 01:12:23,559
Speaker 3: harbor master. While we see him in his harbor master shack,

1327
01:12:23,760 --> 01:12:27,519
Speaker 3: just examining his precious Viking gold with a magnifying glass.

1328
01:12:27,800 --> 01:12:29,800
Speaker 3: I guess this is all he does in his free time.

1329
01:12:30,479 --> 01:12:33,640
Speaker 3: And he's sitting there, and then suddenly a Gorgo like

1330
01:12:33,800 --> 01:12:36,840
Speaker 3: creature rises up out of the sea and attacks Nara

1331
01:12:37,400 --> 01:12:42,400
Speaker 3: and McMartin or mccarton is crushed, and so, oh, you

1332
01:12:42,439 --> 01:12:45,719
Speaker 3: know what's next. This is Gorgo's mom and the Gorgo

1333
01:12:45,800 --> 01:12:47,639
Speaker 3: matriarch is on the way to London.

1334
01:12:48,200 --> 01:12:49,800
Speaker 2: Oh man, he messed up.

1335
01:12:49,840 --> 01:12:53,080
Speaker 3: Now humans, So we see all the British radio operators

1336
01:12:53,160 --> 01:12:55,880
Speaker 3: naval authorities. They're trying to make contact with Nara Island,

1337
01:12:56,040 --> 01:12:59,240
Speaker 3: but not a word from them. And then so the

1338
01:12:59,280 --> 01:13:01,120
Speaker 3: next thing is, let's see if we can use our

1339
01:13:01,160 --> 01:13:05,200
Speaker 3: precious national stock footage reserves to figure out what's going on.

1340
01:13:05,880 --> 01:13:10,280
Speaker 3: So we see lots of naval engagements, so stock footage

1341
01:13:10,280 --> 01:13:14,080
Speaker 3: of like battleships moving their guns around and firing into

1342
01:13:14,080 --> 01:13:17,720
Speaker 3: the water and chugging along, and then close ups of

1343
01:13:17,840 --> 01:13:21,760
Speaker 3: just admirals with binoculars looking out over the water. There

1344
01:13:21,840 --> 01:13:25,679
Speaker 3: is a naval engagement between a battleship and Gorgo's mother.

1345
01:13:25,800 --> 01:13:27,360
Speaker 3: Who do you think is going to prevail here?

1346
01:13:28,000 --> 01:13:29,799
Speaker 2: Yeah, it's going to be the monster.

1347
01:13:30,600 --> 01:13:33,160
Speaker 3: But of course we see the authorities back in London

1348
01:13:33,200 --> 01:13:37,400
Speaker 3: making these gloating statements about how the creature was undoubtedly destroyed,

1349
01:13:37,439 --> 01:13:39,600
Speaker 3: you know, it could not possibly be a match for

1350
01:13:39,640 --> 01:13:42,240
Speaker 3: our navy. But then they get a phone call and

1351
01:13:42,280 --> 01:13:43,840
Speaker 3: we see this guy on the phone. He's like, oh,

1352
01:13:43,920 --> 01:13:47,840
Speaker 3: really capsized. O don't know. So they're getting the bad

1353
01:13:47,880 --> 01:13:51,360
Speaker 3: news and they figure out that the creature is Gorgo's

1354
01:13:51,400 --> 01:13:54,960
Speaker 3: mother and it is on the way to London following

1355
01:13:55,080 --> 01:13:58,439
Speaker 3: a trail left in the sea, the ooze that had

1356
01:13:58,479 --> 01:14:01,480
Speaker 3: been dripping off of Gorgo. They traveled by boat.

1357
01:14:01,720 --> 01:14:04,160
Speaker 2: M She's coming after him.

1358
01:14:04,240 --> 01:14:06,519
Speaker 3: So what are you gonna do? We've got a bigger

1359
01:14:06,560 --> 01:14:09,799
Speaker 3: you know, ten times bigger monster on the way, Sam

1360
01:14:09,840 --> 01:14:12,640
Speaker 3: has an idea, as Sam says, well, we got to

1361
01:14:12,840 --> 01:14:14,920
Speaker 3: turn Gorgo loose. We got to let him loose and

1362
01:14:14,960 --> 01:14:16,680
Speaker 3: send him back to the sea while we've still got

1363
01:14:16,720 --> 01:14:19,960
Speaker 3: a chance. But Dorkin and Joe do not want to

1364
01:14:20,000 --> 01:14:23,880
Speaker 3: lose out on their profits. Joe says, what's the matter

1365
01:14:23,920 --> 01:14:26,120
Speaker 3: with you? This is the twentieth century. There must be

1366
01:14:26,160 --> 01:14:30,320
Speaker 3: some way of handling an overgrown animal. And the admirals

1367
01:14:30,320 --> 01:14:33,639
Speaker 3: give assurances that there will be no problem stopping this creature.

1368
01:14:33,840 --> 01:14:36,400
Speaker 3: So like the authorities are like, no, no, no, don't

1369
01:14:36,439 --> 01:14:39,439
Speaker 3: don't release Gorgo. You keep making money at the circus.

1370
01:14:39,760 --> 01:14:43,680
Speaker 3: We will defeat the monster. And then later that night

1371
01:14:43,720 --> 01:14:46,519
Speaker 3: we see Sam. Sam like gets drunk and tries to

1372
01:14:46,560 --> 01:14:49,280
Speaker 3: release Gorgo and this leads to a fight with Joe

1373
01:14:49,320 --> 01:14:52,559
Speaker 3: in which Sam is knocked unconscious and Gorgo is not released.

1374
01:14:53,320 --> 01:14:57,000
Speaker 3: Sean is just here like watching these adults fight. And

1375
01:14:57,040 --> 01:15:00,680
Speaker 3: then Gorgo's mother arrives, and from here until the end

1376
01:15:00,680 --> 01:15:03,280
Speaker 3: of the movie, it is just a long series of

1377
01:15:03,439 --> 01:15:08,000
Speaker 3: Mother Gorgo attacks Mother Gorgo versus more of the British Navy.

1378
01:15:08,080 --> 01:15:11,599
Speaker 3: They launched torpedoes, they bombard her with heavy guns, They

1379
01:15:11,640 --> 01:15:15,519
Speaker 3: drop depth charges all to no effect. She penetrates the defense,

1380
01:15:15,640 --> 01:15:18,880
Speaker 3: swims up the estuary, up the river, and she's coming

1381
01:15:18,920 --> 01:15:23,160
Speaker 3: for Battersea Park. There's a scene where she's like coming

1382
01:15:23,240 --> 01:15:25,320
Speaker 3: up into the harbor. I guess this is on the

1383
01:15:25,439 --> 01:15:29,400
Speaker 3: river in London, and the military tries to stop her

1384
01:15:29,400 --> 01:15:32,320
Speaker 3: by dumping petrol in the river and setting it on fire,

1385
01:15:32,439 --> 01:15:35,480
Speaker 3: and she clearly doesn't like that, but she is not deterred,

1386
01:15:36,080 --> 01:15:39,040
Speaker 3: and Robbi caught a picture. There's one scene where it

1387
01:15:39,120 --> 01:15:42,360
Speaker 3: just cuts to these random onlookers who are like watching

1388
01:15:42,479 --> 01:15:46,240
Speaker 3: mother Gorgo gets set on fire with these faces like wow,

1389
01:15:46,360 --> 01:15:47,000
Speaker 3: so cool.

1390
01:15:47,680 --> 01:15:50,519
Speaker 2: Yeah, And we also get a burning man stunt in

1391
01:15:50,560 --> 01:15:53,479
Speaker 2: all of this, which was also quite terrifying.

1392
01:15:54,040 --> 01:15:56,200
Speaker 3: Oh is that? Wait, what do you have in mind?

1393
01:15:56,439 --> 01:15:59,280
Speaker 3: Somebody in the Gorgo suit or a human.

1394
01:15:59,640 --> 01:16:01,680
Speaker 2: Human at some point in all of this. I mean,

1395
01:16:01,680 --> 01:16:05,679
Speaker 2: there's a some of the chaos kind of melts together

1396
01:16:05,920 --> 01:16:08,000
Speaker 2: in my mind, but I distinctly remember at least one

1397
01:16:08,040 --> 01:16:10,519
Speaker 2: shot of a man on fire.

1398
01:16:10,960 --> 01:16:13,360
Speaker 3: Oh interesting, I don't recall that, but I believe you.

1399
01:16:13,400 --> 01:16:15,519
Speaker 3: There are a lot of effects back to back here,

1400
01:16:15,560 --> 01:16:18,400
Speaker 3: so they kind of like they wash over you at

1401
01:16:18,439 --> 01:16:21,479
Speaker 3: some point. But we see the army and civil defense

1402
01:16:21,520 --> 01:16:25,240
Speaker 3: authorities making emergency announcements. They start clearing out the streets.

1403
01:16:25,280 --> 01:16:28,720
Speaker 3: They're running around on bullhorn saying don't panic, you will

1404
01:16:28,720 --> 01:16:32,240
Speaker 3: be notified when the emergency is over. These shots of

1405
01:16:32,280 --> 01:16:35,000
Speaker 3: people running around, there are tanks in the streets. We

1406
01:16:35,000 --> 01:16:38,559
Speaker 3: see officials discuss the possibility of using atomic weapons, but

1407
01:16:38,600 --> 01:16:42,599
Speaker 3: they decide against it wisely. And then we see Gorgo's

1408
01:16:42,640 --> 01:16:45,120
Speaker 3: mother just smashing landmarks. So she comes up on the

1409
01:16:45,160 --> 01:16:49,320
Speaker 3: tower bridge smashes it. At some point we get close

1410
01:16:49,400 --> 01:16:51,800
Speaker 3: ups on these British soldiers and I'm like, why do

1411
01:16:51,880 --> 01:16:54,679
Speaker 3: they look like they're outfitted to go fight in World

1412
01:16:54,680 --> 01:16:55,200
Speaker 3: War One?

1413
01:16:56,520 --> 01:16:58,920
Speaker 2: I assume this was the standard uniform of the day.

1414
01:16:59,479 --> 01:17:00,799
Speaker 2: Gorgo would get it right.

1415
01:17:01,880 --> 01:17:06,439
Speaker 3: I believe it. Yeah, they It is surprisingly antiquated, looking

1416
01:17:06,520 --> 01:17:09,519
Speaker 3: like uniforms and helmets. But maybe that that was the

1417
01:17:09,600 --> 01:17:13,599
Speaker 3: outfit in sixty one. Yeah, but you know, nothing nothing

1418
01:17:13,640 --> 01:17:17,160
Speaker 3: stopping mother Gorgo. So, as we were talking about earlier,

1419
01:17:18,000 --> 01:17:20,519
Speaker 3: the city smashing does go on for a long time

1420
01:17:20,640 --> 01:17:23,600
Speaker 3: and it gets somewhat tedious. I would say this is

1421
01:17:24,040 --> 01:17:25,760
Speaker 3: I would say, kind of a low point for a

1422
01:17:25,760 --> 01:17:28,160
Speaker 3: lot of giant monster movies, and it's a tough balance,

1423
01:17:28,200 --> 01:17:31,400
Speaker 3: because in a way, the city smashing is what you're

1424
01:17:31,400 --> 01:17:33,280
Speaker 3: there for. That's a part of the part of the

1425
01:17:33,320 --> 01:17:35,840
Speaker 3: appeal of the movie. On the other hand, in a

1426
01:17:35,880 --> 01:17:38,479
Speaker 3: lot of these movies, there's just more of it than

1427
01:17:38,520 --> 01:17:39,519
Speaker 3: you actually need.

1428
01:17:40,600 --> 01:17:43,760
Speaker 2: His eyes are always bigger than your stomach. Yeah, yeah,

1429
01:17:43,760 --> 01:17:45,519
Speaker 2: this looks great, and they're like, oh wow, it's still

1430
01:17:45,560 --> 01:17:48,680
Speaker 2: it's still happenings, still going. But you know that the

1431
01:17:48,760 --> 01:17:53,040
Speaker 2: really memorable moments are, of course, when the monster keys

1432
01:17:53,080 --> 01:17:55,160
Speaker 2: in on a particular landmark and we do get some

1433
01:17:55,200 --> 01:17:56,000
Speaker 2: of that action here.

1434
01:17:56,280 --> 01:17:59,200
Speaker 3: Yeah, exactly. So this one has the same issue a

1435
01:17:59,240 --> 01:18:02,360
Speaker 3: lot of these movies do. The smashing I think goes

1436
01:18:02,360 --> 01:18:04,760
Speaker 3: on a little too long. There's a surplus of it.

1437
01:18:04,840 --> 01:18:07,760
Speaker 3: But on the other hand, as we said earlier, it's

1438
01:18:08,040 --> 01:18:10,320
Speaker 3: superb model work. I love the way a lot of

1439
01:18:10,320 --> 01:18:14,360
Speaker 3: this looks. It's very tactle and pleasurable smashing to observe.

1440
01:18:14,960 --> 01:18:18,640
Speaker 3: At one point, I think actually the army like accidentally

1441
01:18:18,720 --> 01:18:22,960
Speaker 3: shoots Big Ben or the clock tower, they like launch

1442
01:18:22,960 --> 01:18:26,840
Speaker 3: a missile through it, trying to hit Mother Gorgo. So

1443
01:18:26,960 --> 01:18:28,519
Speaker 3: you know, how do you think this is going to end? Well,

1444
01:18:28,520 --> 01:18:32,040
Speaker 3: the power of tanks and guns and bombs stop Gorgo's mother.

1445
01:18:32,800 --> 01:18:36,640
Speaker 3: What do you think. No, So we see, you know,

1446
01:18:36,640 --> 01:18:39,120
Speaker 3: our characters running around trying to get out of Harm's way.

1447
01:18:39,160 --> 01:18:43,320
Speaker 3: At one point, Sean is like drawn to Gorgo's mother.

1448
01:18:43,479 --> 01:18:46,360
Speaker 3: He's like approaching her when everybody else is fleeing, and

1449
01:18:46,400 --> 01:18:48,719
Speaker 3: we see Joe have kind of a hero turn. Joe

1450
01:18:48,800 --> 01:18:52,160
Speaker 3: has been the selfish, the more selfish, greedy one in

1451
01:18:52,200 --> 01:18:55,760
Speaker 3: this act so far, but when Sean is in Harm's way,

1452
01:18:55,840 --> 01:18:57,680
Speaker 3: Joe goes to rescue him and bring him out of

1453
01:18:57,680 --> 01:19:00,960
Speaker 3: Harm's way, and we see Joe and Sean they're chased

1454
01:19:01,000 --> 01:19:04,080
Speaker 3: into the underground and then the tunnels are collapsing and flooding,

1455
01:19:04,120 --> 01:19:05,000
Speaker 3: but they make it out.

1456
01:19:05,320 --> 01:19:09,680
Speaker 2: Yeah, this segment with in the tunnels I thought was

1457
01:19:09,840 --> 01:19:13,400
Speaker 2: very effective, like in general, all of the monster destruction

1458
01:19:13,520 --> 01:19:16,560
Speaker 2: going on, even though, like you said, there is a

1459
01:19:16,600 --> 01:19:18,640
Speaker 2: lot of it, but we do cut to all of

1460
01:19:18,720 --> 01:19:22,519
Speaker 2: these scenes of the crowds in full panic mode and

1461
01:19:22,560 --> 01:19:24,880
Speaker 2: like the street level understanding of the destruction and then

1462
01:19:24,920 --> 01:19:28,800
Speaker 2: our character level understanding of the destruction, and that does

1463
01:19:28,840 --> 01:19:31,400
Speaker 2: make it feel a lot more real. And there's one

1464
01:19:31,479 --> 01:19:35,280
Speaker 2: segment in particular where Joe and Sean are just in

1465
01:19:35,320 --> 01:19:39,280
Speaker 2: there in the crowd crush. Everyone's just going down into

1466
01:19:39,320 --> 01:19:42,439
Speaker 2: the tunnels, into the subway tunnels there, and there's this

1467
01:19:42,600 --> 01:19:47,040
Speaker 2: terrifying scene where like they make it into the tunnels

1468
01:19:47,080 --> 01:19:51,479
Speaker 2: proper and behind them again crowds of people and then

1469
01:19:51,760 --> 01:19:55,639
Speaker 2: the ceiling collapses like gorgo just destroys all of them

1470
01:19:55,640 --> 01:19:59,040
Speaker 2: and like hundreds of people die. It's you know, the

1471
01:20:00,240 --> 01:20:02,599
Speaker 2: it would seem to be the case anyway, and only

1472
01:20:02,960 --> 01:20:05,400
Speaker 2: Joe and Sean make it out, And I was like,

1473
01:20:05,400 --> 01:20:07,839
Speaker 2: well that that was effective, Like that made me feel

1474
01:20:07,920 --> 01:20:11,639
Speaker 2: the chaos and the destruction of these sequences. So it's

1475
01:20:11,760 --> 01:20:14,800
Speaker 2: not just man in rubber suit fall on bridge.

1476
01:20:15,120 --> 01:20:18,120
Speaker 3: Yeah, I would emphasize that, like nothing this year does

1477
01:20:18,160 --> 01:20:21,479
Speaker 3: not look funny, Like this is a the way it's

1478
01:20:21,560 --> 01:20:26,680
Speaker 3: visually realized. These scenes are very like dark and grim. Yeah,

1479
01:20:26,760 --> 01:20:28,840
Speaker 3: So of course as the chaos is going on, we

1480
01:20:28,920 --> 01:20:31,519
Speaker 3: get a lot more radio reports, you know, like the

1481
01:20:31,800 --> 01:20:34,799
Speaker 3: radio reporter says like Piccadilly the heart of London. Words

1482
01:20:34,840 --> 01:20:37,240
Speaker 3: can't describe it. There's been nothing like it, not even

1483
01:20:37,240 --> 01:20:39,840
Speaker 3: in the worst of the blitz. This section is a

1484
01:20:39,920 --> 01:20:44,120
Speaker 3: complete shambles, people running mad with fear, and we see

1485
01:20:44,200 --> 01:20:46,439
Speaker 3: on the street level there's like a there's an end

1486
01:20:46,439 --> 01:20:49,400
Speaker 3: Times profit who's wearing a sign that says repent, the

1487
01:20:49,479 --> 01:20:53,920
Speaker 3: end is nigh, And we see the admirals and the

1488
01:20:54,000 --> 01:20:56,320
Speaker 3: Dublin scientists trying to come up with a plan to

1489
01:20:56,479 --> 01:21:00,839
Speaker 3: like electrocute Mother Gorgo. The admirals like, how much voltage

1490
01:21:00,840 --> 01:21:03,320
Speaker 3: will we need and the Dublin scientist is like, uh,

1491
01:21:04,040 --> 01:21:07,599
Speaker 3: two to three million volts but that's only a guess. Yeah,

1492
01:21:08,160 --> 01:21:10,240
Speaker 3: then why do you even say it?

1493
01:21:10,080 --> 01:21:12,200
Speaker 2: And it really they do a great job of making

1494
01:21:12,240 --> 01:21:15,040
Speaker 2: it feel rather hopeless because at this point there's just

1495
01:21:15,120 --> 01:21:17,920
Speaker 2: no real plan. Uh, and it seems like nothing is

1496
01:21:17,960 --> 01:21:22,400
Speaker 2: going to stop the absolute destruction of the city unless

1497
01:21:22,439 --> 01:21:25,719
Speaker 2: they were maybe to do something like release little Gorgo,

1498
01:21:26,360 --> 01:21:27,800
Speaker 2: which nobody is actually doing.

1499
01:21:28,080 --> 01:21:31,599
Speaker 3: Yeah, like Sam suggested before this all started, Sam was right.

1500
01:21:31,760 --> 01:21:35,160
Speaker 3: Sam was right. Uh, so they've got this plan. You know,

1501
01:21:35,200 --> 01:21:37,880
Speaker 3: we get a lot of moralizing from the radio reporters

1502
01:21:37,920 --> 01:21:42,240
Speaker 3: talking about, you know, the wire all the electricity of

1503
01:21:42,280 --> 01:21:45,920
Speaker 3: London has been redirected to the wires to this animal

1504
01:21:46,040 --> 01:21:48,599
Speaker 3: small enclosure. Will it be enough? Will it be enough

1505
01:21:48,600 --> 01:21:51,439
Speaker 3: to stop this huge beast? Where will the miracle be

1506
01:21:51,479 --> 01:21:54,479
Speaker 3: granted or will it be yet another of man's puny

1507
01:21:54,560 --> 01:21:58,440
Speaker 3: efforts to oppose this irresistible force of ancient nature.

1508
01:21:59,280 --> 01:22:03,160
Speaker 2: Probably the male, the miracle of keeping this mother monster

1509
01:22:03,240 --> 01:22:06,960
Speaker 2: from her young Yeah, and like in a way, I mean,

1510
01:22:07,000 --> 01:22:10,080
Speaker 2: I guess it's it's a rather effective part of the

1511
01:22:10,080 --> 01:22:13,720
Speaker 2: film here, because it's like just do the the the

1512
01:22:15,520 --> 01:22:17,720
Speaker 2: answer is right there in front of you, Like, why

1513
01:22:17,800 --> 01:22:20,320
Speaker 2: don't you do that? Release the monster? Why like this

1514
01:22:20,439 --> 01:22:26,799
Speaker 2: this desperate, uh you know, egotistical desire to defeat nature

1515
01:22:26,920 --> 01:22:29,439
Speaker 2: instead of like bending at least a little bit to

1516
01:22:29,560 --> 01:22:33,160
Speaker 2: it here, and instead they're just going to invite absolute destruction.

1517
01:22:33,400 --> 01:22:37,160
Speaker 3: Rob You're you're not understanding. Dorkin would lose some money.

1518
01:22:37,280 --> 01:22:39,040
Speaker 2: I mean, that's right, because on top of the tickets,

1519
01:22:39,040 --> 01:22:41,920
Speaker 2: the concessions alone, like he was banking on that.

1520
01:22:42,280 --> 01:22:46,320
Speaker 3: Yeah, yeah, all right. So in the end, mother Gorgo

1521
01:22:46,479 --> 01:22:49,400
Speaker 3: she makes it through. She rescues her baby, and Gorgo

1522
01:22:49,479 --> 01:22:52,439
Speaker 3: and Mother Gorgo they trek back out to the ocean.

1523
01:22:52,479 --> 01:22:55,200
Speaker 3: They get in the water and they start swimming away,

1524
01:22:55,720 --> 01:23:01,520
Speaker 3: and we get the more of the like crazy commentary

1525
01:23:01,600 --> 01:23:04,839
Speaker 3: from the radio reporter saying we've prayed for a miracle.

1526
01:23:05,160 --> 01:23:07,559
Speaker 3: Maybe our prayers have been answered. It's this speech that

1527
01:23:07,640 --> 01:23:10,880
Speaker 3: goes on for a long time. He's saying in the

1528
01:23:11,000 --> 01:23:14,439
Speaker 3: end she turns with her young, leaving the prostrate city,

1529
01:23:14,520 --> 01:23:17,400
Speaker 3: leaving the haunts of Man, and leaving Man himself to

1530
01:23:17,479 --> 01:23:20,720
Speaker 3: ponder the proud boast that he alone is lord of

1531
01:23:20,760 --> 01:23:24,519
Speaker 3: all creation. It is a very he tampered in God's

1532
01:23:24,560 --> 01:23:25,840
Speaker 3: domain kind of ending.

1533
01:23:26,400 --> 01:23:26,559
Speaker 4: Yea.

1534
01:23:28,000 --> 01:23:29,760
Speaker 3: And then we see in the end, actually they give

1535
01:23:29,800 --> 01:23:33,240
Speaker 3: the last word to Sean, the child who who's watching

1536
01:23:33,280 --> 01:23:36,559
Speaker 3: the creatures leave, and Sean says, you're going back now,

1537
01:23:36,720 --> 01:23:39,599
Speaker 3: back to the sea. And I do have to say

1538
01:23:39,600 --> 01:23:41,720
Speaker 3: in the final shot where they're showing Gorgo and mother

1539
01:23:41,800 --> 01:23:44,599
Speaker 3: Gorgo going back into the water, they make little Gorgo

1540
01:23:44,680 --> 01:23:47,000
Speaker 3: look really tiny in comparison.

1541
01:23:47,520 --> 01:23:47,800
Speaker 4: Yeah.

1542
01:23:47,880 --> 01:23:50,800
Speaker 2: Yeah, it kind of drives home the obscenity of the

1543
01:23:50,840 --> 01:23:53,960
Speaker 2: whole act of keeping this creature hostage.

1544
01:23:54,320 --> 01:23:58,080
Speaker 3: Yeah. So that's the end of Gorgo Pity the Monster.

1545
01:23:58,840 --> 01:24:03,439
Speaker 2: Yeah, yeah, you know, it's reflecting back on it more here.

1546
01:24:03,640 --> 01:24:07,040
Speaker 2: I feel like it. It does have a strong message

1547
01:24:07,080 --> 01:24:09,639
Speaker 2: that it's trying to drive home. And yeah, you can't

1548
01:24:09,680 --> 01:24:13,320
Speaker 2: help but wonder if this too might have had an

1549
01:24:13,360 --> 01:24:16,200
Speaker 2: impact on the Star. You know, this might have like

1550
01:24:16,520 --> 01:24:20,840
Speaker 2: laid some of the groundwork for Bill Traver's later involvement

1551
01:24:20,920 --> 01:24:25,640
Speaker 2: in Animal rights activism. I mean, not officially, but but

1552
01:24:25,800 --> 01:24:28,040
Speaker 2: maybe a little bit in addition to born Free.

1553
01:24:28,520 --> 01:24:32,599
Speaker 3: So that's a final verdict. I think Gorgo is a

1554
01:24:32,600 --> 01:24:36,479
Speaker 3: tremendously enjoyable movie. It's, of course, as I said in

1555
01:24:36,520 --> 01:24:39,839
Speaker 3: the beginning, funny and very concept funny in some elements

1556
01:24:39,880 --> 01:24:43,479
Speaker 3: of execution, quite strong in other elements of execution. So

1557
01:24:43,600 --> 01:24:46,280
Speaker 3: I think it's a fairly good entry in the giant

1558
01:24:46,280 --> 01:24:50,160
Speaker 3: monster movie Cannon. You know, it's not quite your on

1559
01:24:50,200 --> 01:24:53,080
Speaker 3: the level of like your original Godzilla and stuff like that,

1560
01:24:53,240 --> 01:24:56,479
Speaker 3: but of the sort of mid level big monsters. It's

1561
01:24:57,160 --> 01:24:58,439
Speaker 3: it's one of the better ones. I think.

1562
01:24:58,880 --> 01:25:00,760
Speaker 2: Do you think they could come back and do a

1563
01:25:00,800 --> 01:25:06,880
Speaker 2: Shin Gorgo Gorgo movie inspired by Shin Godzilla.

1564
01:25:06,280 --> 01:25:09,040
Speaker 3: That where half of it is like the British Navy

1565
01:25:09,080 --> 01:25:12,240
Speaker 3: having meetings and then having meetings about other meetings that

1566
01:25:12,280 --> 01:25:13,280
Speaker 3: should be organized.

1567
01:25:13,560 --> 01:25:15,880
Speaker 2: Yeah, we didn't get enough meetings in this film about

1568
01:25:16,160 --> 01:25:20,680
Speaker 2: relations with Ireland, about about Gorgo rights, who has the

1569
01:25:20,760 --> 01:25:25,240
Speaker 2: rights to the monster, and the exporting of the monster

1570
01:25:25,320 --> 01:25:28,320
Speaker 2: and so forth. A lot that could be done there.

1571
01:25:29,360 --> 01:25:31,920
Speaker 3: For listeners who don't recall and the pat We're big

1572
01:25:31,920 --> 01:25:35,599
Speaker 3: fans of Shin Godzilla. I haven't seen the more recent one,

1573
01:25:35,640 --> 01:25:38,360
Speaker 3: Godzilla minus one, but I've been hearing very good things

1574
01:25:38,360 --> 01:25:38,800
Speaker 3: about it.

1575
01:25:39,120 --> 01:25:42,080
Speaker 2: Yeah, same, same. So it's a reminder that even though

1576
01:25:42,200 --> 01:25:45,280
Speaker 2: the giant monster movie, you know, we think of it

1577
01:25:45,320 --> 01:25:48,720
Speaker 2: as being just very formulaic, and if you've seen one,

1578
01:25:48,760 --> 01:25:51,000
Speaker 2: you've seen them all, and that everything that could be

1579
01:25:51,040 --> 01:25:54,320
Speaker 2: done has been done and the only upgrade you're going

1580
01:25:54,360 --> 01:25:56,240
Speaker 2: to get are going to be effects based, right, But

1581
01:25:56,320 --> 01:25:59,360
Speaker 2: it's not the case. Like clearly, there are still interesting

1582
01:25:59,400 --> 01:26:03,240
Speaker 2: stories to tell with giant monsters, and they keep coming,

1583
01:26:03,920 --> 01:26:06,320
Speaker 2: and I say that's wonderful. I'm all for it.

1584
01:26:06,760 --> 01:26:07,880
Speaker 3: Here here all.

1585
01:26:07,800 --> 01:26:09,000
Speaker 2: Right, we're going to go ahead and close the book

1586
01:26:09,040 --> 01:26:10,720
Speaker 2: on Gorgo here, but we'd love to hear from you

1587
01:26:10,760 --> 01:26:14,679
Speaker 2: if you have thoughts on Gorgo, on other Kaiju movies

1588
01:26:15,000 --> 01:26:17,559
Speaker 2: that we mentioned in this episode, or once we didn't mention,

1589
01:26:17,760 --> 01:26:20,320
Speaker 2: just what your favorites are. We'd love to hear from you.

1590
01:26:20,400 --> 01:26:23,720
Speaker 2: We'll share the email address in just a moment here

1591
01:26:23,960 --> 01:26:26,280
Speaker 2: and you can write into us. Just a reminder to

1592
01:26:26,320 --> 01:26:28,400
Speaker 2: everyone that Stuff to Blow Your Mind is primarily a

1593
01:26:28,439 --> 01:26:31,519
Speaker 2: science podcast with core episodes on Tuesdays and Thursdays, but

1594
01:26:31,640 --> 01:26:33,680
Speaker 2: on Fridays we set aside most serious concerns to just

1595
01:26:33,680 --> 01:26:36,720
Speaker 2: talk about a weird film on weird House Cinema. If

1596
01:26:36,760 --> 01:26:38,840
Speaker 2: you want a list of all the movies we've covered

1597
01:26:38,840 --> 01:26:40,920
Speaker 2: so far, the best place to go is to head

1598
01:26:40,960 --> 01:26:43,080
Speaker 2: on over to letterboxed dot com. That's l E T

1599
01:26:43,080 --> 01:26:46,120
Speaker 2: T E r bosd dot com. Our username is weird

1600
01:26:46,120 --> 01:26:48,040
Speaker 2: House and we have a list of all the films

1601
01:26:48,040 --> 01:26:50,320
Speaker 2: we've covered, and sometimes there's a peek ahead at what's

1602
01:26:50,360 --> 01:26:54,479
Speaker 2: coming up next. Also, while I have you, if you

1603
01:26:54,600 --> 01:26:57,720
Speaker 2: have not rated and reviewed the Stuff to Blow Your

1604
01:26:57,720 --> 01:27:01,240
Speaker 2: Mind podcast feed, do so. It helps us out. Leave

1605
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Speaker 2: us a nice review, leave us a bunch of stars.

1606
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1607
01:27:05,400 --> 01:27:08,760
Speaker 2: this podcast on Apple on an Apple device or are

1608
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1610
01:27:14,720 --> 01:27:15,719
Speaker 2: That also helps.

1611
01:27:15,560 --> 01:27:18,479
Speaker 3: Us out huge Thanks as always to our excellent audio

1612
01:27:18,520 --> 01:27:21,479
Speaker 3: producer JJ Posway. If you would like to get in

1613
01:27:21,520 --> 01:27:24,120
Speaker 3: touch with us with feedback on this episode or any other,

1614
01:27:24,240 --> 01:27:27,400
Speaker 3: to suggest a topic for the future, or just to

1615
01:27:27,439 --> 01:27:30,679
Speaker 3: say hello, you can email us at contact at stuff

1616
01:27:30,760 --> 01:27:39,360
Speaker 3: to Blow your Mind dot com.

1617
01:27:39,520 --> 01:27:42,439
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1618
01:27:42,520 --> 01:27:45,320
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