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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick, and

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Speaker 3: today we're going to be talking about the nineteen seventy

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Speaker 3: eight space fantasy film Star Crash, directed by Luigi Kotzy,

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Speaker 3: starring Carolyn Monroe, David Hasselhoff, Marjo Gortner, Christopher Plummer, and

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Speaker 3: Joe Spinell. What a cast list really like an all

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Speaker 3: star bill of different flavors of seventy screen personalities. You've

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Speaker 3: got alumni of the Sound of Music, The Young and

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Speaker 3: the Restless and The Godfather, and you've got hammer horror

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Speaker 3: queens and tent revival maniacs all in the same movie.

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Speaker 3: That is an assemblage.

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Speaker 2: Yeah, there's some great representation from Italian schlock cinema here

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Speaker 2: as well, and some exploitation cinema. So it really is

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Speaker 2: like a sediment of seventies motion pictures where you can

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Speaker 2: kind of like dig down and find little gritty bits

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Speaker 2: of this and that.

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Speaker 3: So the reason we're covering Star Crash on Star Wars

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Speaker 3: Week here is that despite the protestations of some of

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Speaker 3: the film's creators. This is widely viewed as one of

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Speaker 3: the Star Wars knockoffs of the late seventies and early eighties.

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Speaker 3: There were many of these. At the very least, this

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Speaker 3: is thought of as an attempt to cash in on

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Speaker 3: the revolutionary box office success of the original Star Wars,

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Speaker 3: which came out one year before this was seventy eight.

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Speaker 3: Star Wars was seventy seven.

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Speaker 2: Yeah, I think we should be clear here for anyone

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Speaker 2: who's new to weird House cinema when we talk about knockoffs,

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Speaker 2: I don't think we've ever discussed a film for weird

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Speaker 2: House Cinema that was, in some ways a knockoff that

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Speaker 2: also didn't bring its own beauty and its own vision

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Speaker 2: to the screen. So we say it with a lot

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Speaker 2: more love than maybe some critics might say it.

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Speaker 3: I will make the case that Star Crash is possibly

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Speaker 3: the greatest of the Star Wars knockoffs, and we have

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Speaker 3: sampled a lot of them. We watched Message from Space.

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Speaker 3: You remember that one, the Humanoid. I think that's the

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Speaker 3: one that had Richard Keel in it.

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Speaker 2: Yeah, we just re ran that one on Monday for

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Speaker 2: newer viewers.

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Speaker 3: Roger Corman's Battle Beyond the Stars with Zibil Danning and

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Speaker 3: a whole Yeah, that was a whole thing, And they

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Speaker 3: all have their pleasures. I have enjoyed every one of

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Speaker 3: those in its own way. I recall Message from Space

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Speaker 3: in particular being a lot of fun. But I don't

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Speaker 3: think that any other one of these achieves the luscious,

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Speaker 3: insane weirdness of Star Crash. Star Crash, in my opinion,

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Speaker 3: is in a class of its own.

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Speaker 2: It really is. It's such a it's such a strange

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Speaker 2: film to watch it. It's so bad and yet so irresistible.

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Speaker 2: Like well, basically I was trying to think of a

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Speaker 2: good elevator pitch for it, and the best good come

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Speaker 2: up with is Star Wars on Acid, but in the

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Speaker 2: bad way. Like there's there's something kind of delirious and

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Speaker 2: overwhelming about everything about it, from its from its visuals

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Speaker 2: to its just insane dialogue. Like I was having to

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Speaker 2: like text you while I was rewatching it, because it's like,

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Speaker 2: how is it that every line in the film is

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Speaker 2: somehow like the worst line in the entire film and

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Speaker 2: also at the same time, of course the greatest. It's

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Speaker 2: It's one of these films where it feels like all

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Speaker 2: of the dialogue was just created by by alien beings

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Speaker 2: or something.

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Speaker 3: This film has one particular dialogue exchange that I think

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Speaker 3: about all the time. It comes into my brain at

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Speaker 3: least once a week. It's the scene where the character

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Speaker 3: Thor is shooting at Marjo Gordoner with his ray gun

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Speaker 3: and they raise or not you know, harming him, and

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Speaker 3: he says, what, no one can survive these deadly rays,

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Speaker 3: and Marjo replies, these deadly rays will be your death. Yeah.

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Speaker 3: And I couldn't write something like that if I.

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Speaker 2: Tried, absolutely uh, And then the visuals more than than

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Speaker 2: match it.

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Speaker 3: I was.

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Speaker 2: I had to look it up in the Psychotronic Film Guide,

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Speaker 2: and in it, Michael Weldon describes the film's effects as

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Speaker 2: quote garishly attractive, especially to young people and people under

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Speaker 2: the influence of controlled substances. And it really does have

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Speaker 2: that vibe. It's just I mean, at times, it's it's

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Speaker 2: very overt like space in this film is like a

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Speaker 2: lava lamp. It is it is colorful, it's you know,

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Speaker 2: it's it's it's we're getting every every flavor of the

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Speaker 2: nebula here a very spell jammer in its sense of

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Speaker 2: the cosmos, not the not just the dark, unforgiving void.

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Speaker 3: What all dressed potato chips are to flavor, this movie

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Speaker 3: is to visual texture. It is a bombardment of color

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Speaker 3: and texture and just all kinds of visual weirdness on

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Speaker 3: the eyes. It is not the most visually artful thing

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Speaker 3: I've ever seen, but it's not gonna leave your eyes hungry.

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Speaker 3: You know, you're not gonna go away being like, I

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Speaker 3: don't know if I saw anything all that interesting. It

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Speaker 3: is a it is an assault on the eyes.

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Speaker 2: Weldon also pointed out that this is a film where,

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Speaker 2: certainly for the time, they tried every sort of special

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Speaker 2: effect and the results range, I think he said, from

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Speaker 2: from bad to almost good. But there is kind of

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Speaker 2: like it's a charming aspect of it as well. You love,

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Speaker 2: there's something about a film that, yeah, it's it's making

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Speaker 2: a lot of swings and it's also making it's a

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Speaker 2: lot of misses involved here, But there's there. There's some

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Speaker 2: lovingly cheesy effects in this movie.

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Speaker 3: There are some pretty nasty looking video effects that they

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Speaker 3: use for the hyperspace sequence.

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Speaker 2: Oh god, that's an assault on the eyes.

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Speaker 3: Yes exactly. But you know one that I really loved.

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Speaker 3: I don't know, I'm just a sucker for stop motion anyway.

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Speaker 3: But the stop motion robots, the two Golams that look

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Speaker 3: like ducks.

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Speaker 2: Actually they look like B one Battle droids. I thought

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Speaker 2: it was that there are several ways that this film

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Speaker 2: kind of prophesizes future Star Wars, actual Star Wars installments,

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Speaker 2: and one way is that these two battle droid these

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Speaker 2: two robots look kind of like B one Battle droids

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Speaker 2: from from the the prequel films.

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Speaker 3: They're not droids robed, they're golams. Golams, that's what they've called. Now.

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Speaker 3: As for the originality debate, I mentioned that some of

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Speaker 3: the film's creators have insisted that this is not a

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Speaker 3: Star Wars ripoff. One example is the director of the film,

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Speaker 3: Luigi Kotsi. He has said this is not a Star

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Speaker 3: Wars clone. The idea and story concept for Starcrash predates

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Speaker 3: the release of Star Wars. I can believe there may

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Speaker 3: be some truth to this, but based on everything I've read,

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Speaker 3: here's my best guess. It seems to me like Cotzy

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Speaker 3: may have been wanting to develop a space fantasy or

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Speaker 3: space opera movie before the release of Star Wars, and

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Speaker 3: some of those ideas end up becoming Star Crash. But

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Speaker 3: at the same time, you just cannot deny that Star

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Speaker 3: Wars influence the ultimate form and execution of this movie.

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Speaker 3: I mean, this movie has lightsabers in it.

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Speaker 2: Yeah, so yeah, most Star Wars stars shy away from that,

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Speaker 2: but this one just straight up as a lightsaber.

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Speaker 3: So some Star Wars is coming through. The signal is

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Speaker 3: coming through here. Also, I think it would be hard

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Speaker 3: to deny that the project's ability to receive funding and

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Speaker 3: accelerated production timeline was driven by the success of Star Wars.

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Speaker 3: So I can believe that this movie pre dated Star

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Speaker 3: Wars in its inspiration, and in fact, you can see

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Speaker 3: ways that that might even that might even not go

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Speaker 3: to originality, like you can see ways that earlier movies

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Speaker 3: than Star Wars also influenced Star Crash. I think a

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Speaker 3: bunch of Star CRUSH's DNA can be sourced to Barbarella

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Speaker 3: starring Jane Fonda, which came out in nineteen sixty eight.

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Speaker 3: But I think the business logic of this production and

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Speaker 3: the final texture of the movie are quite obviously heavily

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Speaker 3: influenced by Star Wars.

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Speaker 2: Yeah, yeah, I think it's undeniable. But at the same time, yeah,

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Speaker 2: the filmmakers here were likely inspired by some of the

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Speaker 2: same things that inspired George Lucas.

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Speaker 3: Right, but old cereals Yeah, old.

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Speaker 2: Cereals, old Flash Gordon, old Harry Housen films. But yeah,

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Speaker 2: at the end of the day, the bottom line is,

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Speaker 2: like Star Wars, the original picture is just was too

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Speaker 2: much of a financial hit and too much of a

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Speaker 2: like a cultural phenomenon not to influence everything that came

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Speaker 2: after and make it even a desirable influence. Like how

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Speaker 2: many people had an idea and then they realized, Hey, producers,

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Speaker 2: they know what's up. They have a feeling. This is

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Speaker 2: what's going to sell. If I just lean into the

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Speaker 2: Star warsiness of this concept I already had, I just

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Speaker 2: might get this picture made.

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Speaker 3: Yeah, you know, one big way I would say this

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Speaker 3: movie differs from Star Wars esthetically is it does not

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Speaker 3: have that core feeling of space being lived in that

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Speaker 3: Star Wars does. You know? This movie does not have

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Speaker 3: the grimy old couch cushions on the Millennium falcon. This

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Speaker 3: is much more like the pristine Flash Gordon space environment. Yeah.

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Speaker 2: Yeah, they're going for something shinier, even when it kind

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Speaker 2: of strains the budget to make it. So, all right, Well,

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Speaker 2: if you were wondering at this point, where can I

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Speaker 2: watch Star Crash? Luckily for you, it is widely available.

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Speaker 2: Roger Corman's New World Pictures picked this film up and

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Speaker 2: distributed it. As I understand it, this was the same

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Speaker 2: year they distributed Cronenberg's The Brewed by the Way. Shout

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Speaker 2: Factory put out a nice blu ray of the film,

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Speaker 2: and I think they may have put it there's I

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Speaker 2: think likely a DVD version of that as well. And

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Speaker 2: if you're an MST three K fan, this was riffed

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Speaker 2: in I believe twenty seventeen by Jonah in the Bots.

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Speaker 3: I've not seen the riff but I do have the

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Speaker 3: two disc DVD edition, so the older version of the

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Speaker 3: disc that's got all the special features.

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Speaker 2: I think the time that i'd watched this previously, I

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Speaker 2: watched it with my wife. We watched the MST three

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Speaker 2: K version, and I remembered it being a lot of fun.

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Speaker 2: But you know, but I was watching it in a

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Speaker 2: social scenario and it was riff so I really didn't

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Speaker 2: get to focus in on the authentic weirdness of Star Crash.

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Speaker 2: So this time, yeah, I watched it straight up and

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Speaker 2: it's yeah, it's still, this is a film. I love

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Speaker 2: a great riff on a film like this, but this

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Speaker 2: is a film that doesn't even need riffing. It is

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Speaker 2: just the quality is already perfect.

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Speaker 3: I think some of the space battle scenes could benefit

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Speaker 3: from some some enlivening by by commentary. Those kind of

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Speaker 3: dragged on for me a bit. But yeah, any scene,

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Speaker 3: any scene with dialogue and costumes, I don't need anything else.

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Speaker 2: All right, Well, let's talk a little bit about the

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Speaker 2: folks involved here. We already mentioned Luigi Cootzi, the writer

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Speaker 2: and director born nineteen forty seven, Italian director, probably best

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Speaker 2: known for this film, his two Hercules films, one of

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Speaker 2: which we covered on Weird House Cinema recently. That would

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Speaker 2: be Luf Forigno as the Hulk, and also for his

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Speaker 2: work with Dario Argento.

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Speaker 3: That's interesting. I was going to compare this film's lighting

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Speaker 3: and color palette to Argento.

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Speaker 2: Well there you go. I mean there's aception. Yeah, yeah,

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Speaker 2: a little bit. It's tough though, I think in large

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Speaker 2: part like this is just not the sort of cinematic

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Speaker 2: world that Argento ever went after. You know, I don't

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Speaker 2: think he ever did anything. He certainly never did a

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Speaker 2: space opera. Missed opportunity there, but hey, maybe there's time.

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Speaker 3: Well, I just mean the you know, the unrealistic but

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Speaker 3: a stylish use of gel lights and the kind of

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Speaker 3: rooms and walls that glow with an overwhelming color hue.

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Speaker 2: Yeah. But I think where it becomes harder for me

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Speaker 2: to see that is just because the sorts of things

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Speaker 2: that are being lit here, Like everything is so artificial

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Speaker 2: in this movie, and Argento was always lighting. I mean,

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Speaker 2: I guess Argento use sets, but always lighting something that

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Speaker 2: at least aspired to be a real world environment, you.

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Speaker 3: Know, lighting an airport that way or something.

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Speaker 2: Yeah. So, Cosey's first film was a nineteen sixty nine

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Speaker 2: low budget adaptation of Frederick Pohle's novella of a Tunnel

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Speaker 2: under the World. This apparently got Argento's attention, and he

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Speaker 2: subsequently worked subsequently worked on Argento's nineteen seventy one film

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Speaker 2: Four Flies on Gray Velvet, earned a story credit, and

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Speaker 2: he also worked on Argento's nineteen seventy three action comedy

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Speaker 2: The Five Days, and he directed his own Ghallo film

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Speaker 2: with nineteen seventy fives The Killer Must Kill Again. Great

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Speaker 2: Shalla tie.

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Speaker 4: Now remember if I've seen that one Not only did

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Speaker 4: he direct today's epic Star Wars Star Wars cash In,

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Speaker 4: he also helmed the notorious nineteen eighty alien cash In Contamination.

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Speaker 2: I've seen part of that one and then I started

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Speaker 2: falling asleep, But I do want to pick it up

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Speaker 2: sometimes again.

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Speaker 3: I've read that it has some really good exploding people

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Speaker 3: in it. And there is one scene from this movie

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Speaker 3: that is sampled in a very a way that I

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Speaker 3: liked a lot in a Blood Incantation album.

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Speaker 2: Oh yes, yes, oh yes, yes, I think I've heard that,

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Speaker 2: all right, let's see. Other than that, he also worked

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Speaker 2: in various roles on other Argento projects, and was second

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Speaker 2: assistant director on the notorious Klaskinsky Nosferatu sequel Vampire in Venice.

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Speaker 2: Pretty notorious because it was one of these projects where

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Speaker 2: everybody hated making it and nothing came out as it

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Speaker 2: was supposed to.

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Speaker 3: But laus Kinsky movie that people didn't have fun.

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Speaker 2: Now, well I don't think anyone ever really had. I

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Speaker 2: don't want to get too much on m Kinski since

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Speaker 2: he's not even in this film, but yeah, it's pretty

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Speaker 2: it's pretty high up there in horror stories about about

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Speaker 2: filming with him. But yeah, he had a hand in

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Speaker 2: that as well. All right, let's get into the cast here,

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Speaker 2: that that wonderful nineteen seventies cast that we alluded to earlier,

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Speaker 2: starting with Marjo Gordoner, who plays Acton. He has our

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Speaker 2: I don't know what Acton's last name is. I was

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Speaker 2: thinking I was watching maybe it's Jackson, maybe he's acting

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Speaker 2: Jackson or something.

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Speaker 3: But very nice. It is funny that this is He's

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Speaker 3: not the main character. He's not, but he gets top billing.

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Speaker 2: But his name first, yeahs, as we're about to discuss.

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Speaker 2: I think it's just he was. He was a pretty

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Speaker 2: hot commodity at this point. So he was born in

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Speaker 2: nineteen forty four and just as a truly fascinating individual,

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Speaker 2: certainly as far as like pop cultural figures go, because

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Speaker 2: he was born into the world of Pinnecock hostile evangelism

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Speaker 2: and began preaching at the age of four.

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Speaker 3: Yeah, so a child prodigy, tent revival preacher.

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Speaker 2: Yeah, which I've never seen anything like this in action

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Speaker 2: and live or on video, so like, I can't even imagine.

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Speaker 2: I feel like if I'm listening to a preacher, I

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Speaker 2: like somebody with a little bit of world, real world experience,

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Speaker 2: you know, it's kind of like a stand up comedian,

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Speaker 2: you know, you want to connect with the with the like, well,

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Speaker 2: what's a four year old going to say that really

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Speaker 2: connects with an adult audience member. But I mean, I guess,

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Speaker 2: I guess they found a way because there are other

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Speaker 2: examples of this sort of thing as well. Yes, so, yeah,

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Speaker 2: so he was, Yeah, he was a sensation, a child prodigy,

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Speaker 2: a faith healer at least later on. I don't know

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Speaker 2: if he was actually faith healing at age four. But

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Speaker 2: then eventually he grows disillusion with the whole scene, and

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Speaker 2: certainly by age sixteen, decides that he's thinking about getting

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Speaker 2: out of it. And then he famously allowed a film

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Speaker 2: crew to follow him around during his final year in evangelism,

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Speaker 2: leading to the Oscar winning documentary Marjo in nineteen seventy two.

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Speaker 2: And we've actually had listeners right in. I think back

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Speaker 2: in twenty twenty, we had a listener right in about

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Speaker 2: this saying, hey, you've got to watch you got to

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Speaker 2: check out this documentary. I've never seen it, but we

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Speaker 2: heard from a listener by the name of Forrest who

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Speaker 2: said that it's incredible and that it's you know, it

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Speaker 2: gets into a lot of these elements of like you know,

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Speaker 2: manipulation and so forth, like it's it's supposed to be

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Speaker 2: really good. I've not seen it myself.

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Speaker 3: He's like, here's how we scam people out of money.

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Speaker 2: Here's where we get yeah, yeah, real really reveals the

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Speaker 2: inner workings of the operation. Yeah. So after this he

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Speaker 2: springboarded from evangelism and then you know, certainly the theme

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Speaker 2: that came with this documentary, and he gets into music,

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Speaker 2: he gets into acting. He did some TV work starting

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Speaker 2: in seventy three, and appeared in his first theatrical film,

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Speaker 2: Earthquake in seventy four Let's See and then subsequent credits

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Speaker 2: include some starring vehicles and certainly he's the top build

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Speaker 2: on this picture. But his starring vehicles include bert Eye

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Speaker 2: Gordon's The Food of the Gods in seventy six.

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Speaker 3: I've been wanting to watch that.

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Speaker 2: Always up for Bertie Gordon, and his post Star Crash

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Speaker 2: credits include eighty three's Mausoleum, eighty four's Jungle Warriors, eighty

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Speaker 2: five's Hell Hole, and eighty nine's American Ninja. Three.

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Speaker 3: Does that one have the guy from Empire of the

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Speaker 3: Dark in it?

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Speaker 2: Yes, it does. It certainly does I was noting that

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Speaker 2: his last two films are also notable in different ways.

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Speaker 2: On one level, ninety five's Wild Bill seems like the

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Speaker 2: classy way to go out because he has a role

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Speaker 2: as a preacher in that in a very stacked cast

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Speaker 2: that includes Jeff Bridges as wild Bill Hiccock. I haven't

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Speaker 2: seen it. Maybe it's not any good, but on paper

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Speaker 2: it sounds really good. And then he's in nineteen ninety

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Speaker 2: nine's The Debtors. This is a film directed by Evy Quaid,

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Speaker 2: co starring or starring Randy Quaid, also also udo Kira

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Speaker 2: is in it, and it's and then the top build

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Speaker 2: actor in it is Michael Caine, and then the casting

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Speaker 2: is gets weirder from there. There's some other notable mentions.

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Speaker 2: Apparently this one was not released for a long time,

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Speaker 2: and it's still kind of hard to get.

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Speaker 3: I'm intrigued.

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Speaker 2: Yeah, it's a film that I had to double check

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Speaker 2: a couple of times to make sure it was real,

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Speaker 2: because I'm like, am I being a Is this a scam?

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Speaker 2: Is this somebody's joke? The student really exists? This sounds

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Speaker 2: like a joke, but no, it is apparently quite real.

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Speaker 3: It would be funny to make that up. Yeah. Yeah,

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Speaker 3: oh man, I was gonna say, I'm always intrigued by

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Speaker 3: the presence of Udo Kier, which is funny because I

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Speaker 3: shouldn't be intrigued because he would do anything.

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Speaker 2: Yeah. Yeah, He's definitely one of those actors that isn't

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Speaker 2: It doesn't matter what the quality of the film is.

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Speaker 2: He's he's going to show up and he's gonna be Mimoss.

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Speaker 3: Yeah, yes, be in your movie. So I thought it

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Speaker 3: was kind of interesting knowing all this stuff about Marjo

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Speaker 3: Gordoner having a I don't know, this incredible history and

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Speaker 3: being this skilled preacher also sort of a con artist

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Speaker 3: manipulator at least in his early years, and then going

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Speaker 3: through this, you know, like exposing at how everything works

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Speaker 3: and all that, because I would have expected his screen

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Speaker 3: presence to be more interesting and commanding and all that,

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Speaker 3: you know what I mean.

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Speaker 2: Absolutely, Like I feel like I really owe it to

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Speaker 2: him to see another Marjoe film to glimpse this much

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Speaker 2: touted charisma, because he's just stiff as a board in

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Speaker 2: this picture, like just lifeless, Like, where where is this

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Speaker 2: natural charisma I'm supposed to see here?

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Speaker 3: Well, one way in which I could make the connection

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Speaker 3: to the life story is if you know what I

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Speaker 3: mean here, he often doesn't feel like he's playing a character.

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Speaker 3: He feels more like he is saying his lines in

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Speaker 3: the way an announcer or a master of ceremonies would say.

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Speaker 3: He feels like a presenter type performer rather than a

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Speaker 3: player of a character. Does that make any sense?

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Speaker 2: Yes, And you know, I think that goes for just

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Speaker 2: about everyone in the picture. Like pretty much every scene

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Speaker 2: in Star Crash, you could interpret it not as drama,

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Speaker 2: not as narrative, but his ritual, some sort of ritual

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Speaker 2: that must be carried out in order to bring about

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Speaker 2: some sort of event in this world or the next.

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Speaker 3: Right, They're not playing characters, They're reciting a liturgy.

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Speaker 2: Yeah, that is how it feels.

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Speaker 3: Yeah. Okay, So even though he gets top billing, the

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Speaker 3: real main character of this movie is obviously still a

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Speaker 3: star played by Caroline Monroe.

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Speaker 2: That's right. She is the structural protagonist as much as

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Speaker 2: you can say anything has structure in this film.

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Speaker 3: But yeah.

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Speaker 2: Born nineteen forty nine, pin up model an actress who

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Speaker 2: stole many of seventy's film nerds. Hearts with the genre

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Speaker 2: appearances and the likes of The Spy Who Loved Me

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Speaker 2: seventy seven, Maniac in nineteen eighty which we'll come back to,

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Speaker 2: Slaughter High in eighty six. She's in Dracula eighty nineteen

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Speaker 2: seventy two, The Golden Voyage of Sinbad seventy three, Captain

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Speaker 2: Cronos Vampire Hunter seventy four, At the Earth's Core seventy six.

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Speaker 2: She also coming back to other films we've discussed in

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Speaker 2: the show before. She has a cameo as the dearly

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Speaker 2: departed wife of Doctor Fibes, and seventy one's The Abominable

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Speaker 2: Doctor Fibes, And I think we may sneak a peek

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Speaker 2: at a snapshot of her in the sequel as well.

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Speaker 3: Yeah, I think so.

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Speaker 2: Her horror credits also include, in addition to The Slasher

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Speaker 2: Maniac nineteen eighty eights, The Howl of the Devil starring

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Speaker 2: Paul Nashy. So she's just all over the place.

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Speaker 3: Yeah, we've talked about How of the Devil on the

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Speaker 3: show before, haven't We didn't do an episode on it.

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Speaker 2: It's come up just in reciting the list of the

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Speaker 2: different Paul nashi Werewolf films.

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Speaker 3: I think that one's a little sleazier than I would

398
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Speaker 3: have fun doing on the show, but it is I

399
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Speaker 3: don't know. If you've got a strong stomach, it's worth

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Speaker 3: a watch, especially because it's one of these movies where

401
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Speaker 3: you can feel different creative forces coming to a head.

402
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Speaker 3: They're like clashing. Obviously, the pitch for this movie is

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Speaker 3: it is a sleazy slasher movie. That's the business pitch.

404
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Speaker 3: But then Paul Nashi is helming it and he's like, well,

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Speaker 3: I want to do a movie where I get to

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Speaker 3: play all of the universal monsters. Oh yes, yes, So

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Speaker 3: he plays a character who is dead but was an

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Speaker 3: actor and appears to a member of his family in

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Speaker 3: the form of all the universal monsters in all of

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Speaker 3: his appearances, just for no particular reason.

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Speaker 2: Yeah, that sounds like classic Nashi there where it's the

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Speaker 2: Spanish horror world is moving on beyond the gothic horror film,

413
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Speaker 2: but he's forcing its hand. It's like, we can get

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Speaker 2: just a little more monster mash out of all this.

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Speaker 2: Let's see worth noting here that Monroe was married to

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Speaker 2: musician Judd Hamilton at the time, and it is Judd

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Speaker 2: Hamilton that is apparently in the suit playing the law

418
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Speaker 2: enforcement robot l not his voice, but he is in

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Speaker 2: the suit. We should also mention that this is one

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Speaker 2: of those films. This is often the case with European

421
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Speaker 2: genre films from this time period. Everybody's dubbed. Some of

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Speaker 2: the American or English speaking actors did their own dubbing,

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Speaker 2: but some did not. And supposedly Candy Clark does the

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Speaker 2: dubbing here for Monroe's character.

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Speaker 3: That is bizarre. I came across that same claim, and

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Speaker 3: I was just thinking, doesn't sound like Candy Clark to me,

427
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Speaker 3: But I don't know. That's what I read.

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Speaker 2: Yeah, yeah, so yea, that's what folks say. And as

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Speaker 2: much as I understand it, I think it had to

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Speaker 2: do with scheduling more than anything. Like it was a

431
00:23:51,160 --> 00:23:53,960
Speaker 2: situation where they just couldn't necessarily get everybody to dub

432
00:23:54,000 --> 00:23:56,960
Speaker 2: their own lines. All right, well, let's talk about Christopher

433
00:23:56,960 --> 00:24:00,679
Speaker 2: Plumber here. He plays the emperor, but not that emperor.

434
00:24:00,680 --> 00:24:03,960
Speaker 2: Even this is a rather different emperor. This is not Palpatine.

435
00:24:03,960 --> 00:24:06,640
Speaker 2: This is a this is a good guy emperor. This

436
00:24:06,680 --> 00:24:11,160
Speaker 2: is more of like a Holy Jesus Emperor, Holy Space

437
00:24:11,280 --> 00:24:12,080
Speaker 2: Jesus Emperor.

438
00:24:12,320 --> 00:24:15,160
Speaker 3: This is a Star Wars where the empire is good

439
00:24:15,200 --> 00:24:16,359
Speaker 3: and the rebels are bad.

440
00:24:16,840 --> 00:24:20,960
Speaker 2: It is, really it really is. But yes, this is

441
00:24:21,080 --> 00:24:23,399
Speaker 2: This is Christopher Plumber, who lived nineteen twenty nine through

442
00:24:23,400 --> 00:24:28,719
Speaker 2: twenty twenty one. Yeah, Oscar Winner reportedly only took this

443
00:24:28,960 --> 00:24:30,840
Speaker 2: role in order to get a free trip to Rome.

444
00:24:30,920 --> 00:24:33,600
Speaker 2: I think that's what he said in subsequent interviews.

445
00:24:35,040 --> 00:24:37,400
Speaker 3: But he said he said, I would do Porno if

446
00:24:37,400 --> 00:24:40,320
Speaker 3: I got to go to Rome to do it. Yeah,

447
00:24:40,320 --> 00:24:41,320
Speaker 3: I just loved Rome.

448
00:24:42,520 --> 00:24:44,840
Speaker 2: Yeah, not to be clearly, Also, he also was paid

449
00:24:44,880 --> 00:24:46,760
Speaker 2: for this picture. It wasn't just the trip to Rome.

450
00:24:47,160 --> 00:24:50,280
Speaker 2: And also, I'll say over the decades, decades and decades

451
00:24:50,280 --> 00:24:54,400
Speaker 2: of work, he was very prolific. He did a lot

452
00:24:54,400 --> 00:24:57,040
Speaker 2: of different sorts of films, good and bad, and I

453
00:24:57,040 --> 00:24:59,000
Speaker 2: don't think he always got a trip to Rome out

454
00:24:59,000 --> 00:25:02,160
Speaker 2: of the bad ones. So he might have been having

455
00:25:02,200 --> 00:25:04,119
Speaker 2: a fair amount of fun with that statement as well.

456
00:25:04,320 --> 00:25:06,359
Speaker 2: This is the first time I think we've covered a

457
00:25:06,440 --> 00:25:10,160
Speaker 2: Christopher Plumber film, but we have covered films featuring his daughter,

458
00:25:10,200 --> 00:25:11,359
Speaker 2: Amanda Plumber before.

459
00:25:12,520 --> 00:25:15,040
Speaker 3: Oh yeah, wasn't she in the Prophecy?

460
00:25:15,160 --> 00:25:17,560
Speaker 2: She was in the Prophecy, she was in Free Jack.

461
00:25:18,720 --> 00:25:19,640
Speaker 3: Yeah, I thought about that.

462
00:25:19,720 --> 00:25:23,960
Speaker 2: Yeah, she's one of my favorites. Let's see Christopher Plumber's

463
00:25:23,960 --> 00:25:26,640
Speaker 2: credits include just to name a few, and really there's

464
00:25:26,800 --> 00:25:28,919
Speaker 2: just they're way too many to even do justice to

465
00:25:28,960 --> 00:25:31,080
Speaker 2: his full filmography. But he was in sixty five's The

466
00:25:31,119 --> 00:25:33,920
Speaker 2: Sound of Music, sixty seven is The Night of the Generals,

467
00:25:34,800 --> 00:25:38,800
Speaker 2: seventy three's The Picks. If I'm saying that correctly, p

468
00:25:38,960 --> 00:25:43,359
Speaker 2: y X. This is a horror film of a sort

469
00:25:43,400 --> 00:25:44,120
Speaker 2: that I haven't seen.

470
00:25:44,680 --> 00:25:45,520
Speaker 3: I'll see.

471
00:25:45,520 --> 00:25:48,040
Speaker 2: Seventy five's The Man Who Would Be King. I believe

472
00:25:48,040 --> 00:25:51,359
Speaker 2: he plays Kipling in that. That used to be one

473
00:25:51,400 --> 00:25:53,280
Speaker 2: of my favorites. I haven't seen it in a long time.

474
00:25:53,960 --> 00:25:57,439
Speaker 2: Seventy nine's Murdered by Decree nineteen eighties, Somewhere in time.

475
00:25:57,600 --> 00:25:58,960
Speaker 2: Eighty four's Dreamscape.

476
00:25:59,359 --> 00:26:00,960
Speaker 3: Oh, I just had to look that one up to

477
00:26:01,080 --> 00:26:03,040
Speaker 3: make sure that's the one I was thinking of. Yeah.

478
00:26:03,040 --> 00:26:05,400
Speaker 3: I just recently watched that one within the past year

479
00:26:05,480 --> 00:26:09,600
Speaker 3: with Dennis Quaid, and it's like, it's a dream Warriors

480
00:26:09,600 --> 00:26:12,560
Speaker 3: type movie with Dennis Quaid and it's got Christopher Plumber.

481
00:26:12,240 --> 00:26:14,320
Speaker 2: And yeah, the bad guy from the Warriors turns into

482
00:26:14,359 --> 00:26:14,720
Speaker 2: a snake.

483
00:26:14,920 --> 00:26:16,320
Speaker 3: Yeah, yeah, nice.

484
00:26:17,119 --> 00:26:19,760
Speaker 2: Yeah, So let's see. Oh, he was a Plumber was

485
00:26:19,760 --> 00:26:22,800
Speaker 2: in eighty eighth Vampire in Venice. He was in ninety

486
00:26:22,840 --> 00:26:25,960
Speaker 2: one Star Trek the Undiscovered Country, ninety Four's Wolf, ninety

487
00:26:26,000 --> 00:26:30,440
Speaker 2: five to Twelve Monkeys, Dracula two thousand, two thousand and five,

488
00:26:30,520 --> 00:26:33,639
Speaker 2: Syriana two thousand and nine, s Up, twenty seventeen's All

489
00:26:33,680 --> 00:26:36,760
Speaker 2: the Money in the World, in twenty nineteen's Knives Out.

490
00:26:37,440 --> 00:26:40,800
Speaker 2: So yeah, one of the greats. He really brings a

491
00:26:40,880 --> 00:26:44,680
Speaker 2: kind of supernatural grandeur to this role into this film,

492
00:26:45,040 --> 00:26:49,200
Speaker 2: But at the same time, it's like it's it's almost

493
00:26:49,200 --> 00:26:53,240
Speaker 2: a contradiction. He's at once the classiest thing in this movie,

494
00:26:53,440 --> 00:26:56,320
Speaker 2: but he's also still absolutely giggle inducing.

495
00:26:56,680 --> 00:27:01,040
Speaker 3: In it's inappropriate. The level of great that he brings

496
00:27:01,040 --> 00:27:04,560
Speaker 3: this to this performance is inappropriate and thus goes full

497
00:27:04,600 --> 00:27:07,359
Speaker 3: circle and becomes hilarious. It is.

498
00:27:07,440 --> 00:27:09,600
Speaker 2: I mean, it's mesmerizing because you're like, man, what a pro.

499
00:27:09,880 --> 00:27:13,080
Speaker 2: What a pro? He knew, he knows that he's delivering

500
00:27:13,119 --> 00:27:16,480
Speaker 2: this monologue as a hologram standing in front of some

501
00:27:16,600 --> 00:27:20,760
Speaker 2: shoddy wooden stairs that have been painted like they're part

502
00:27:20,760 --> 00:27:23,960
Speaker 2: of his spaceship, but he's still giving it his absolute all.

503
00:27:24,600 --> 00:27:28,000
Speaker 3: It's kind of like if Subway started offering like a

504
00:27:28,080 --> 00:27:32,119
Speaker 3: caviar sandwich or something just like it doesn't fit, doesn't

505
00:27:32,119 --> 00:27:34,720
Speaker 3: fit with the rest of the menu, and thus it

506
00:27:34,760 --> 00:27:38,080
Speaker 3: seems absurd, even though I'm sure you know, caviar probably

507
00:27:38,240 --> 00:27:40,800
Speaker 3: tastes good, but like people would be like, why is

508
00:27:40,840 --> 00:27:44,800
Speaker 3: this here, what's the deal? What's going on? Yeah?

509
00:27:45,000 --> 00:27:47,400
Speaker 2: Yeah, So we'll have more to say about his performance

510
00:27:47,440 --> 00:27:50,119
Speaker 2: as we proceed. But let's see. The Emperor has a

511
00:27:50,160 --> 00:27:53,120
Speaker 2: sign in this film. His name is Prince Simon, and

512
00:27:53,400 --> 00:27:55,880
Speaker 2: as you would expect, the son of Christopher. Plummer's character

513
00:27:56,040 --> 00:27:59,439
Speaker 2: is played by David Hasselhoff born nineteen fifty two.

514
00:28:00,119 --> 00:28:03,919
Speaker 3: Future star of bay Watch and night Rider. He had

515
00:28:03,920 --> 00:28:05,600
Speaker 3: done neither one at this point.

516
00:28:05,440 --> 00:28:07,919
Speaker 2: Right right, those would those would come later? Yeah, night

517
00:28:08,000 --> 00:28:10,720
Speaker 2: Rider was eighty two, three eighty six. Bay Watch was

518
00:28:10,720 --> 00:28:13,960
Speaker 2: eighty nine three, two thousand and three. But also don't

519
00:28:14,200 --> 00:28:17,160
Speaker 2: don't count out bay Watch nights ninety five through ninety seven.

520
00:28:17,520 --> 00:28:19,240
Speaker 3: Oh, I don't know, don't know, bewatching.

521
00:28:19,320 --> 00:28:21,840
Speaker 2: Oh that's when his character was like fighting mummies and

522
00:28:21,880 --> 00:28:23,040
Speaker 2: serial killers and whatnot.

523
00:28:23,160 --> 00:28:24,480
Speaker 3: Yeah, are you kidding? No?

524
00:28:24,480 --> 00:28:26,600
Speaker 2: No, for real, I mean I don't know how supernatural

525
00:28:26,640 --> 00:28:28,680
Speaker 2: it got. I think I only ever watched one episode,

526
00:28:28,680 --> 00:28:32,320
Speaker 2: but it's like basically, yeah, bay Watch at night with

527
00:28:32,560 --> 00:28:37,520
Speaker 2: like Kolchak the Nightstalker sort of sensibilities some degree. I

528
00:28:37,520 --> 00:28:39,720
Speaker 2: don't want to oversell it and get people excited about

529
00:28:39,760 --> 00:28:40,920
Speaker 2: something that's not going to deliver.

530
00:28:41,840 --> 00:28:43,680
Speaker 3: You're getting me excited. I got to find out what

531
00:28:43,680 --> 00:28:46,120
Speaker 3: to deal with this is. But yeah, so at this

532
00:28:46,240 --> 00:28:48,440
Speaker 3: point I think he had mainly done He had done

533
00:28:48,840 --> 00:28:50,880
Speaker 3: TV soap operas and stuff, like he'd been on The

534
00:28:50,920 --> 00:28:51,920
Speaker 3: Young and the Restless.

535
00:28:52,120 --> 00:28:55,000
Speaker 2: Yeah, this was only his second film role, following seventy

536
00:28:55,040 --> 00:28:57,600
Speaker 2: six is Revenge of the Cheerleaders, and it would be

537
00:28:57,600 --> 00:29:02,000
Speaker 2: his last theatrical picture until eighty eight Strong Times and

538
00:29:02,200 --> 00:29:04,200
Speaker 2: a movie called Witchberry that came out the same year.

539
00:29:04,760 --> 00:29:10,880
Speaker 3: He has voluminous hair, and it is not not really

540
00:29:10,920 --> 00:29:14,240
Speaker 3: projecting like he's in the scenes that he's in. He

541
00:29:14,560 --> 00:29:17,440
Speaker 3: always comes off as like the smallest person in them,

542
00:29:17,480 --> 00:29:19,960
Speaker 3: just in terms not physically, but in terms of presence,

543
00:29:20,040 --> 00:29:23,920
Speaker 3: like everybody else is kind of taking up more dramatic

544
00:29:23,920 --> 00:29:25,480
Speaker 3: space than he is. Yeah.

545
00:29:25,560 --> 00:29:28,520
Speaker 2: I found him to just feel wooden and afraid, which

546
00:29:28,800 --> 00:29:31,360
Speaker 2: is not what we come to expect from the Hoff.

547
00:29:31,400 --> 00:29:33,760
Speaker 2: But again, this is very this is very early days.

548
00:29:34,160 --> 00:29:38,920
Speaker 2: And again this this picture is nobody's finest outing from

549
00:29:38,960 --> 00:29:41,480
Speaker 2: an acting standpoint, so I think all can.

550
00:29:41,400 --> 00:29:42,000
Speaker 3: Be a forgiven.

551
00:29:42,840 --> 00:29:45,840
Speaker 2: I also read that he apparently had food poisoning, and

552
00:29:45,880 --> 00:29:47,640
Speaker 2: it's one of the reasons that when we first meet

553
00:29:47,680 --> 00:29:50,960
Speaker 2: him he is wearing an enormous golden mask because he's

554
00:29:51,120 --> 00:29:52,960
Speaker 2: not physically there on set or something.

555
00:29:53,160 --> 00:29:55,440
Speaker 3: Oh, that would make sense, Yeah, the Zarda's mask.

556
00:29:55,640 --> 00:30:00,000
Speaker 2: Yeah, all right. We have a character by the name

557
00:30:00,120 --> 00:30:02,080
Speaker 2: of Chief Thor, and it's going to be a real

558
00:30:02,160 --> 00:30:06,760
Speaker 2: roller coaster of allegiances with the Chief Thor. But he

559
00:30:06,880 --> 00:30:10,360
Speaker 2: is played by a character actor by the name of

560
00:30:10,920 --> 00:30:14,360
Speaker 2: and I hope I'm saying it correctly, Robert to say,

561
00:30:15,840 --> 00:30:20,400
Speaker 2: or Robert Tessier. I'm not sure which is preferred here,

562
00:30:20,440 --> 00:30:25,520
Speaker 2: but Tessier Testia yea. He lived nineteen thirty four through

563
00:30:25,560 --> 00:30:31,640
Speaker 2: nineteen ninety Menacing Tough Guy, a stumpman turned actor whose

564
00:30:31,720 --> 00:30:35,240
Speaker 2: credits include a nice array of like bat biker films

565
00:30:35,240 --> 00:30:39,520
Speaker 2: and action shlock titles include seventy ones The Velvet Vampire,

566
00:30:39,640 --> 00:30:42,560
Speaker 2: seventy four is The Longest Yard, seventy seven's The Deep,

567
00:30:43,040 --> 00:30:45,240
Speaker 2: eighty two is The Sword and the Sorcerer, and eighty

568
00:30:45,360 --> 00:30:48,880
Speaker 2: nine's Future Force. And again there's some biker films mixed

569
00:30:48,880 --> 00:30:51,600
Speaker 2: in there as well, Like you get the impression he's

570
00:30:51,640 --> 00:30:53,719
Speaker 2: the sort of actor you might turn to when you

571
00:30:53,760 --> 00:30:56,680
Speaker 2: just need some rugged guy to give you a bad

572
00:30:56,760 --> 00:30:59,720
Speaker 2: look in a bar, Like he's who you call in.

573
00:31:00,200 --> 00:31:03,400
Speaker 3: He naturally has Popeye's face, he does.

574
00:31:03,600 --> 00:31:07,480
Speaker 2: Yeah, yeah, rugged, muscular bad dude. I believe he was

575
00:31:07,520 --> 00:31:10,960
Speaker 2: a vet from the Armed Forces.

576
00:31:11,360 --> 00:31:14,680
Speaker 3: Always perpetual squinting, angry appearance.

577
00:31:14,840 --> 00:31:19,600
Speaker 2: Yeah, oh man. And then let's talk about our villain.

578
00:31:19,760 --> 00:31:23,640
Speaker 2: This is Count zarth Arn. Am I am I saying

579
00:31:23,680 --> 00:31:25,080
Speaker 2: it correctly? That's a mouthful.

580
00:31:25,400 --> 00:31:28,480
Speaker 3: Are you mocking the Count Count ar Arn?

581
00:31:29,520 --> 00:31:32,040
Speaker 2: What does the stress? Is it zarth Ron or zarth Ron?

582
00:31:32,360 --> 00:31:35,000
Speaker 3: You hear it both ways in the movie, Yeah, the

583
00:31:35,160 --> 00:31:38,760
Speaker 3: different characters. Sometimes the same character says it different ways.

584
00:31:39,400 --> 00:31:42,000
Speaker 3: Did you like how this guy says his own name

585
00:31:42,040 --> 00:31:44,960
Speaker 3: a lot? He likes to shout his own name, either

586
00:31:45,080 --> 00:31:48,280
Speaker 3: in victory or in defiance. He just says Zarthorn.

587
00:31:49,160 --> 00:31:52,800
Speaker 2: Yes, there's a great deal of shouting from Count Zarthorn,

588
00:31:52,880 --> 00:31:57,440
Speaker 2: played by the Great Joe Spinel of nineteen thirty six

589
00:31:57,480 --> 00:32:01,400
Speaker 2: through nineteen eighty nine. A true legend of seventies cinema,

590
00:32:01,680 --> 00:32:06,640
Speaker 2: from its glorious heights to its grimy middle depths. Spinell's

591
00:32:06,680 --> 00:32:10,000
Speaker 2: credits include roles in the first two Godfather films, the

592
00:32:10,040 --> 00:32:13,040
Speaker 2: first two Rocky films, and in all four of those

593
00:32:13,080 --> 00:32:15,360
Speaker 2: pictures playing underworld figures.

594
00:32:15,720 --> 00:32:17,840
Speaker 3: It's easy to forget that in the first couple of

595
00:32:17,960 --> 00:32:21,959
Speaker 3: Rocky movies Rocky is a mob enforcer. There's like a

596
00:32:22,000 --> 00:32:25,000
Speaker 3: loan shark played by Joe Spinell, and Rocky has to

597
00:32:25,040 --> 00:32:27,480
Speaker 3: go out and threaten people or beat them up to

598
00:32:27,520 --> 00:32:28,640
Speaker 3: get this guy's money.

599
00:32:28,840 --> 00:32:31,880
Speaker 2: Yeah, and Spinell is, you know, great in these sorts

600
00:32:31,920 --> 00:32:34,120
Speaker 2: of roles. But he didn't just play criminals. He also

601
00:32:34,160 --> 00:32:37,880
Speaker 2: played cops in law enforcement figures, generally of the more

602
00:32:38,000 --> 00:32:41,680
Speaker 2: like morally corrupt variety, and so he pops up in

603
00:32:41,680 --> 00:32:45,360
Speaker 2: films like seventy six is Taxi Driver, nineteen eighties Cruising.

604
00:32:46,240 --> 00:32:49,239
Speaker 2: He also pops up in such legendary weird fair as

605
00:32:49,360 --> 00:32:53,160
Speaker 2: nineteen eighties The Ninth Configuration, which has a you know,

606
00:32:53,400 --> 00:32:56,920
Speaker 2: an extended weird cast, and then also the Forbidden World.

607
00:32:56,960 --> 00:32:59,520
Speaker 2: I mean, I'm sorry Forbidden Zone and not the for

608
00:32:59,560 --> 00:33:02,880
Speaker 2: Benzone Forbidden Zone. And of course he's also a horror

609
00:33:03,080 --> 00:33:05,560
Speaker 2: icon for his roles in eighty two's The Last Horror

610
00:33:05,560 --> 00:33:10,320
Speaker 2: Film in nineteen eighties Maniac, both with Carolyn Monroe, and

611
00:33:10,520 --> 00:33:14,480
Speaker 2: he also co wrote Maniac. I was looking deep into

612
00:33:14,480 --> 00:33:17,560
Speaker 2: his filmography and I noted something that stirred something in

613
00:33:17,600 --> 00:33:20,200
Speaker 2: my memory. He was in a TV movie adaptation of

614
00:33:20,240 --> 00:33:23,920
Speaker 2: The Ransom of Red Chief, which co starred Harry Dean Stanton.

615
00:33:24,280 --> 00:33:27,000
Speaker 2: And I think I actually watched this in school, like

616
00:33:27,000 --> 00:33:29,240
Speaker 2: an elementary school at some point, maybe junior high, I

617
00:33:29,240 --> 00:33:32,440
Speaker 2: don't know. At some point we were covering this short

618
00:33:32,440 --> 00:33:35,040
Speaker 2: story and then you know, like you do, it's time

619
00:33:35,080 --> 00:33:38,120
Speaker 2: to pull out the giant television on its cart and

620
00:33:38,240 --> 00:33:41,400
Speaker 2: watch an adaptation. And given the time, it had to

621
00:33:41,440 --> 00:33:42,240
Speaker 2: have been this one.

622
00:33:42,480 --> 00:33:45,280
Speaker 3: Wonder how often people end up watching Maniac in elementary

623
00:33:45,320 --> 00:33:49,880
Speaker 3: school gosh, I hope not educational value.

624
00:33:50,000 --> 00:33:53,480
Speaker 2: So I have to say, like Spinel obviously a great

625
00:33:53,560 --> 00:33:56,720
Speaker 2: character actor, certainly when it came to playing textured creeps

626
00:33:56,720 --> 00:33:59,840
Speaker 2: and heavies, particularly when his native New York was the

627
00:34:00,720 --> 00:34:04,200
Speaker 2: but really he's completely miscast here as a space tyrant.

628
00:34:04,240 --> 00:34:06,880
Speaker 2: He just comes off as just completely ridiculous, like a

629
00:34:07,240 --> 00:34:11,759
Speaker 2: like a vampire penguin the entire film, like a ponche Salvador.

630
00:34:11,840 --> 00:34:15,520
Speaker 2: Dolly of Dolly was also a space pimp, But like

631
00:34:15,600 --> 00:34:17,799
Speaker 2: everything else in the film, it's so bad that it

632
00:34:17,880 --> 00:34:20,480
Speaker 2: just becomes glorious, Like you just want to see more

633
00:34:20,520 --> 00:34:22,600
Speaker 2: and more of this guy as he goes around with

634
00:34:22,640 --> 00:34:24,719
Speaker 2: this ridiculous cape that I think must have been on

635
00:34:24,800 --> 00:34:28,920
Speaker 2: wires to make it like Flume out the way it

636
00:34:28,960 --> 00:34:30,759
Speaker 2: does just beautiful.

637
00:34:30,840 --> 00:34:36,440
Speaker 3: Yeah, the red velvet cape. I mean, bravo to every

638
00:34:36,480 --> 00:34:39,520
Speaker 3: moment he's in this movie. He's not acting, he's just

639
00:34:40,040 --> 00:34:42,680
Speaker 3: kind of snarling and yelling. And as we've said, it's

640
00:34:42,719 --> 00:34:45,120
Speaker 3: not his voice, whoever's or I don't know if it

641
00:34:45,200 --> 00:34:48,000
Speaker 3: is his voice, but it's certainly not live sound for

642
00:34:48,080 --> 00:34:52,879
Speaker 3: his scenes. Yeah, and just it's amazing. Every Czar Thorn

643
00:34:52,960 --> 00:34:54,080
Speaker 3: scene is just delicious.

644
00:34:54,239 --> 00:34:57,959
Speaker 2: Yeah, his outfits kind of form fitting in a weird way.

645
00:34:58,160 --> 00:35:01,000
Speaker 2: And this is another case though, where it's interesting how

646
00:35:01,000 --> 00:35:04,360
Speaker 2: his character does kind of forecast what we'd eventually get

647
00:35:04,640 --> 00:35:09,160
Speaker 2: in Star Wars, particularly with Count Dooku. He's based Tyrant

648
00:35:09,239 --> 00:35:13,080
Speaker 2: with Dracula esque flourishes, but of course Star Wars actually

649
00:35:13,120 --> 00:35:17,920
Speaker 2: just cast Dracula himself Christopher Lee. It's hard to argue

650
00:35:17,960 --> 00:35:21,840
Speaker 2: that Spinell is really ideal casting for this sort of character.

651
00:35:21,920 --> 00:35:25,400
Speaker 2: But again, it's glorious to watch, so we can't really complain.

652
00:35:25,840 --> 00:35:28,719
Speaker 3: Yes, many rounds of applause of Joe Spinell.

653
00:35:28,440 --> 00:35:39,560
Speaker 2: Here, all right, Getting into some of the supporting cast.

654
00:35:39,600 --> 00:35:44,920
Speaker 2: Here we have Nadia Cassini playing Queen Karelia. This is

655
00:35:45,120 --> 00:35:46,879
Speaker 2: the Queen of the Amazons. We go to a few

656
00:35:46,920 --> 00:35:48,960
Speaker 2: we go on a few different good planets here, you know,

657
00:35:49,000 --> 00:35:50,400
Speaker 2: we go to an ice planet, we go to an

658
00:35:50,440 --> 00:35:53,800
Speaker 2: Amazonian planet, we go to a caveman planet. You know,

659
00:35:54,000 --> 00:35:57,680
Speaker 2: hit all the hits and at anyway. So Cassini here

660
00:35:57,680 --> 00:36:02,000
Speaker 2: lived nineteen forty nine through twenty twenty five American Italian actress, singer,

661
00:36:02,000 --> 00:36:04,160
Speaker 2: and show girl who made a name for herself in

662
00:36:04,200 --> 00:36:07,720
Speaker 2: a lot of it's like seventies sexploitation and also sex

663
00:36:07,760 --> 00:36:11,520
Speaker 2: comedy films. Her credits include nineteen seventies The Snake God,

664
00:36:12,040 --> 00:36:15,120
Speaker 2: seventy two's Pulp. That one was actually a Mike Hodges

665
00:36:15,160 --> 00:36:18,120
Speaker 2: film that starred Michael Caine. And then there's a nineteen

666
00:36:18,160 --> 00:36:21,160
Speaker 2: seventy nine film titled I'm a Zombie. You're a Zombie,

667
00:36:21,360 --> 00:36:24,800
Speaker 2: She's a Zombie. Don't know much about it beyond its title,

668
00:36:24,800 --> 00:36:25,920
Speaker 2: but it's a pretty great title.

669
00:36:26,640 --> 00:36:28,839
Speaker 3: You're a Lebowski I'm a Labowski.

670
00:36:30,880 --> 00:36:34,960
Speaker 2: Let's see the other There's a whole group of Amazonian women,

671
00:36:35,560 --> 00:36:40,200
Speaker 2: you know, scantily clad and as you would expect from

672
00:36:40,239 --> 00:36:44,399
Speaker 2: this picture. And the actresses involved here include a number

673
00:36:44,440 --> 00:36:48,080
Speaker 2: of actresses actresses who feature into various exploitation and erotic

674
00:36:48,120 --> 00:36:50,959
Speaker 2: Italian films of the era. Just to mention a couple

675
00:36:51,040 --> 00:36:54,800
Speaker 2: of them in passing, we have Cindy Ledbetter born nineteen

676
00:36:54,880 --> 00:36:58,480
Speaker 2: fifty five, American models turned actress whose credits include eighty

677
00:36:58,480 --> 00:37:01,160
Speaker 2: one's Absurd, which we talk about on the show before.

678
00:37:02,160 --> 00:37:07,040
Speaker 3: You might remember she George eastman Halloween ripoff. Actually yes, yeah, yeah,

679
00:37:07,160 --> 00:37:09,560
Speaker 3: very much so. She's the blonde.

680
00:37:09,600 --> 00:37:12,200
Speaker 2: I think she's a babysitter and georgie'sman kills her with

681
00:37:12,200 --> 00:37:13,640
Speaker 2: a pick axe through the top of the head.

682
00:37:13,880 --> 00:37:18,080
Speaker 3: Oh okay, wait is okay? I recall her death scene?

683
00:37:18,120 --> 00:37:20,520
Speaker 3: Taking a really long time? Am I thinking of the

684
00:37:20,600 --> 00:37:21,279
Speaker 3: right person? Okay?

685
00:37:21,480 --> 00:37:23,640
Speaker 2: I included a still in our outlines to remind you.

686
00:37:24,320 --> 00:37:24,880
Speaker 3: Oh thank you?

687
00:37:25,000 --> 00:37:28,520
Speaker 2: Yes, so yes, she was in that one. She was

688
00:37:28,560 --> 00:37:31,000
Speaker 2: also in eighty five's The Adventures of Hercules, though I

689
00:37:31,120 --> 00:37:33,920
Speaker 2: don't clearly remember her from that. She was one of

690
00:37:34,000 --> 00:37:38,080
Speaker 2: the one of the other ladies in that film, and

691
00:37:38,120 --> 00:37:40,799
Speaker 2: then she's also in eighty four's Rats Night of Terror.

692
00:37:41,360 --> 00:37:43,120
Speaker 3: Ah, I got the blu ray of that. I haven't

693
00:37:43,120 --> 00:37:45,480
Speaker 3: watched the whole thing yet, but I'm I'm excited to

694
00:37:45,480 --> 00:37:46,120
Speaker 3: make it to that one.

695
00:37:46,200 --> 00:37:49,719
Speaker 2: I hear great bad things about it. I did find

696
00:37:49,719 --> 00:37:53,480
Speaker 2: it amusing that her first credited screen role is not

697
00:37:53,560 --> 00:37:57,040
Speaker 2: an unnamed character. It is Cannibal Girl in Mental Institution

698
00:37:57,560 --> 00:38:01,600
Speaker 2: from Joe Tomato's Immanuel and the Last Cannibals from nineteen

699
00:38:01,640 --> 00:38:05,120
Speaker 2: seventy seven. She was active as an actress to around

700
00:38:05,160 --> 00:38:07,320
Speaker 2: eighty five, and then popped up again in two thousand

701
00:38:07,360 --> 00:38:11,480
Speaker 2: and eight. We also have another Amazonian woman played by

702
00:38:11,719 --> 00:38:17,200
Speaker 2: dirtche Funari born nineteen fifty seven, a frequent Joe Tomato

703
00:38:17,280 --> 00:38:21,280
Speaker 2: casting here whose films include multiple Emmanuel movies, nineteen eighties

704
00:38:21,320 --> 00:38:23,840
Speaker 2: Erotic Knights of the Living Dead in nineteen seventy nine's

705
00:38:23,920 --> 00:38:24,279
Speaker 2: Ring of.

706
00:38:24,280 --> 00:38:27,200
Speaker 3: Darkness Erotic Knights of the Living Dead.

707
00:38:27,719 --> 00:38:33,080
Speaker 2: Yeah, so if your film viewing includes some very questionable choices,

708
00:38:33,920 --> 00:38:37,440
Speaker 2: then you may have seen her before as well. We

709
00:38:37,520 --> 00:38:42,680
Speaker 2: mentioned l the Robot, The Wonderful Robot. I can't waste

710
00:38:42,680 --> 00:38:47,120
Speaker 2: Southern C three po that we have here. Hamilton Camp

711
00:38:47,160 --> 00:38:51,400
Speaker 2: provides the voice. We've talked about Hamilton Camp before because

712
00:38:51,400 --> 00:38:53,200
Speaker 2: he came up in our episode on the nineteen eighty

713
00:38:53,320 --> 00:38:58,759
Speaker 2: nine alien boxing movie Arena. Okay, Yeah. So Camp lived

714
00:38:58,840 --> 00:39:01,759
Speaker 2: nineteen thirty four through two thand and five British born

715
00:39:01,800 --> 00:39:07,160
Speaker 2: actor folk musician, mostly famous as Bob Camp with Bob Gibson,

716
00:39:07,640 --> 00:39:10,000
Speaker 2: and he was also a comedian and his credits include

717
00:39:10,040 --> 00:39:13,719
Speaker 2: seventy eight's Heaven Can Wait, eighty two's Eating Rau, and

718
00:39:13,840 --> 00:39:16,560
Speaker 2: nineteen nineties Dick Tracy. He also did a lot of

719
00:39:16,640 --> 00:39:18,680
Speaker 2: voice acting, and a lot of it back from a

720
00:39:18,760 --> 00:39:21,319
Speaker 2: day when they really didn't do a lot of work

721
00:39:21,360 --> 00:39:25,600
Speaker 2: crediting the voice actors on cartoons. He played a Ferangi

722
00:39:25,719 --> 00:39:29,160
Speaker 2: on Deep Space nine and Yeah. He also put out

723
00:39:29,200 --> 00:39:32,719
Speaker 2: several folk albums throughout his life as Hamilton Camp. So

724
00:39:32,760 --> 00:39:34,400
Speaker 2: if you look him up wherever you get your music,

725
00:39:34,440 --> 00:39:36,960
Speaker 2: look up Hamilton Camp. Pull up some tracks. This guy

726
00:39:37,000 --> 00:39:40,319
Speaker 2: had a truly beautiful singing voice. It might not seem

727
00:39:40,360 --> 00:39:43,640
Speaker 2: as obvious hearing this this droid voice that he puts

728
00:39:43,640 --> 00:39:46,280
Speaker 2: on in the show, but man, he had some pipes.

729
00:39:47,080 --> 00:39:49,440
Speaker 3: Oh I'll have to check that out. You know. One

730
00:39:49,440 --> 00:39:51,799
Speaker 3: thing I thought was interesting about the crediting here is

731
00:39:51,840 --> 00:39:56,400
Speaker 3: that we actually get named like you get a named

732
00:39:56,520 --> 00:40:00,400
Speaker 3: voice credit and a different named physical credit for the

733
00:40:00,480 --> 00:40:04,120
Speaker 3: character El the Robot. But there are clearly lots of

734
00:40:04,160 --> 00:40:07,160
Speaker 3: other characters who are voiced by someone dubbed by someone

735
00:40:07,200 --> 00:40:09,640
Speaker 3: different than appears on screen, and we don't get that

736
00:40:09,719 --> 00:40:10,760
Speaker 3: other person credited.

737
00:40:10,880 --> 00:40:11,080
Speaker 2: Yeah.

738
00:40:11,080 --> 00:40:12,839
Speaker 3: I don't know what makes the difference here. Maybe it's

739
00:40:12,880 --> 00:40:15,600
Speaker 3: that Hamilton Camp. I don't know. Maybe the plan was

740
00:40:15,640 --> 00:40:16,840
Speaker 3: to do that from the beginning.

741
00:40:17,400 --> 00:40:21,959
Speaker 2: Yeah, I'm also not sure on the full production history here.

742
00:40:22,239 --> 00:40:24,920
Speaker 2: I guess it's entirely likely that some of these dubs

743
00:40:25,000 --> 00:40:26,680
Speaker 2: might have happened after it had been picked up for

744
00:40:26,719 --> 00:40:29,560
Speaker 2: distribution in the US, and someone else may have been

745
00:40:29,560 --> 00:40:32,600
Speaker 2: brought in this sort of thing. Yeah, I'll mention just

746
00:40:32,640 --> 00:40:36,080
Speaker 2: in passing that Salvatore Baccaro, who lived nineteen thirty two

747
00:40:36,120 --> 00:40:38,160
Speaker 2: through nineteen eighty four, pops up as one of our

748
00:40:38,239 --> 00:40:42,600
Speaker 2: Neanderthal men on the Caveman Planet. He mentioned him in

749
00:40:42,640 --> 00:40:46,360
Speaker 2: our episode on Argento's Deep Red. He often played heavies

750
00:40:46,400 --> 00:40:49,520
Speaker 2: and beast men appearing, and a number of really grimy

751
00:40:49,520 --> 00:40:54,600
Speaker 2: Italian exploitation films from the nineteen seventies, often uncredited and

752
00:40:54,640 --> 00:40:57,560
Speaker 2: in one film. Seventy four is Frankenstein's Castle of Freaks.

753
00:40:57,880 --> 00:41:02,719
Speaker 2: He is credited as Boris Lagosi. Classy, Yeah, And then

754
00:41:02,880 --> 00:41:06,080
Speaker 2: I'll tell you something that is classy about this film.

755
00:41:06,280 --> 00:41:10,040
Speaker 2: It's the score. The film score here is by John Barry,

756
00:41:10,120 --> 00:41:14,399
Speaker 2: who lived nineteen thirty three through twenty eleven. Seven time

757
00:41:14,440 --> 00:41:18,680
Speaker 2: Oscar nominee and five time winner for his scores too.

758
00:41:18,719 --> 00:41:21,440
Speaker 2: Let's He's sixty seven is Born Free along with this

759
00:41:21,520 --> 00:41:24,640
Speaker 2: original song. Sixty nine is the Lion in Winter, eighty

760
00:41:24,680 --> 00:41:27,760
Speaker 2: six is Out of Africa, ninety one Dances with Wolves,

761
00:41:28,040 --> 00:41:30,960
Speaker 2: and of course he's best remembered for a quarter centuries

762
00:41:31,000 --> 00:41:34,600
Speaker 2: worth of James Bond scores. He didn't write the original

763
00:41:34,680 --> 00:41:39,040
Speaker 2: theme song, but even listening to the score for Star Crash,

764
00:41:39,560 --> 00:41:42,440
Speaker 2: it feels completely out of place in many respects, in

765
00:41:42,440 --> 00:41:45,520
Speaker 2: part because it's so good, but also it sounds like

766
00:41:45,560 --> 00:41:49,040
Speaker 2: it should be a James Bond score and not a

767
00:41:49,160 --> 00:41:54,239
Speaker 2: knockoff Star Wars score. It's legitimately really good stuff. One

768
00:41:54,320 --> 00:41:57,000
Speaker 2: track the Ice Planet, which you can pull up wherever

769
00:41:57,080 --> 00:41:59,319
Speaker 2: you get your music, you can find the score for

770
00:41:59,360 --> 00:42:02,239
Speaker 2: this film. It very good and it even has like

771
00:42:02,480 --> 00:42:05,000
Speaker 2: something that sounds like whale song in it, except it's

772
00:42:05,080 --> 00:42:10,080
Speaker 2: not sampled whale song. It's something created via non electronic instrumentation,

773
00:42:10,200 --> 00:42:11,480
Speaker 2: and it's very nice.

774
00:42:11,680 --> 00:42:13,640
Speaker 3: I didn't listen to any of this in isolation, so

775
00:42:13,640 --> 00:42:15,560
Speaker 3: I'm gonna have to look this up after we record.

776
00:42:15,800 --> 00:42:18,560
Speaker 2: Yeah, it's really good stuff. And I read somewhere I

777
00:42:18,560 --> 00:42:20,480
Speaker 2: don't know if this is true that there was legitimate

778
00:42:20,520 --> 00:42:24,799
Speaker 2: concern that if Barry saw footage of the film that

779
00:42:24,880 --> 00:42:27,000
Speaker 2: he was going to be scoring, he might quit and

780
00:42:27,040 --> 00:42:29,799
Speaker 2: they might not get the score. Because I think they

781
00:42:29,840 --> 00:42:33,040
Speaker 2: realized that, hey, we've landed, We've landed a great score

782
00:42:33,080 --> 00:42:35,600
Speaker 2: for this, no matter how it turns out, we're really,

783
00:42:35,640 --> 00:42:37,160
Speaker 2: you know, punching above our weight here.

784
00:42:37,840 --> 00:42:40,160
Speaker 3: Well, I mean, I think one thing that they must

785
00:42:40,200 --> 00:42:44,120
Speaker 3: have correctly deduced was how important the music is to

786
00:42:44,160 --> 00:42:46,719
Speaker 3: the success of a film like this. I'm not going

787
00:42:46,800 --> 00:42:49,719
Speaker 3: to say that Star Wars is no good without its

788
00:42:50,080 --> 00:42:53,360
Speaker 3: John Williams score, but I think it would be hard

789
00:42:53,400 --> 00:42:55,560
Speaker 3: to argue that the John Williams score is not a

790
00:42:55,680 --> 00:42:59,800
Speaker 3: significant part of the effect and feeling created by the movie,

791
00:43:00,160 --> 00:43:02,120
Speaker 3: like a big part of what makes it work.

792
00:43:02,440 --> 00:43:05,200
Speaker 2: Yeah, yeah, I would agree. I should also mention that

793
00:43:05,239 --> 00:43:07,720
Speaker 2: we previously discussed John Barry because he did the score

794
00:43:07,800 --> 00:43:11,040
Speaker 2: for Disney's The Black Hole, which is, of course, in

795
00:43:11,560 --> 00:43:14,600
Speaker 2: its own way, an attempt to cash in on the

796
00:43:14,640 --> 00:43:17,120
Speaker 2: popularity of Star Wars, to do it the Disney way,

797
00:43:17,800 --> 00:43:20,160
Speaker 2: And of course, in time Star Wars would become the

798
00:43:20,200 --> 00:43:22,480
Speaker 2: Disney way because Disney would purchase Star Wars.

799
00:43:22,840 --> 00:43:23,359
Speaker 3: There you go.

800
00:43:23,600 --> 00:43:25,360
Speaker 2: Everything is the Disney way now if.

801
00:43:25,200 --> 00:43:28,640
Speaker 3: You can't beat them by them, Yeah, all right, are

802
00:43:28,640 --> 00:43:29,960
Speaker 3: you ready to talk about the plot.

803
00:43:30,400 --> 00:43:32,240
Speaker 2: Oh yes, let's get into the plot.

804
00:43:32,400 --> 00:43:36,040
Speaker 3: Okay. Like so so many other movies of this type,

805
00:43:36,320 --> 00:43:39,840
Speaker 3: this one opens on a starfield with this empty howling sound.

806
00:43:40,280 --> 00:43:43,000
Speaker 3: One thing I like about the space imagery in this

807
00:43:43,080 --> 00:43:45,759
Speaker 3: movie is that it is not just black space with

808
00:43:45,880 --> 00:43:50,360
Speaker 3: white points of light. It's a very spicy, colorful galaxy

809
00:43:50,440 --> 00:43:54,520
Speaker 3: with stars and all these different colors like blue, orange, yellow, pink,

810
00:43:54,560 --> 00:43:57,800
Speaker 3: different shades. Later in this opening scene, we're going to

811
00:43:57,840 --> 00:44:01,600
Speaker 3: see a full on hot pink planet partially eclipsed so

812
00:44:01,640 --> 00:44:05,400
Speaker 3: that it shows up as this neon pink crescent or sickle.

813
00:44:05,840 --> 00:44:07,399
Speaker 3: I like it. It's good. Yeah.

814
00:44:07,440 --> 00:44:10,200
Speaker 2: I love how colorful space is in Star Crashing again,

815
00:44:10,280 --> 00:44:12,400
Speaker 2: not the dark void of so many sci fi visions,

816
00:44:12,400 --> 00:44:16,200
Speaker 2: but more of a psychedelic spell jammer sort of cosmos.

817
00:44:17,000 --> 00:44:18,719
Speaker 2: You see a similar thing in the Guardians of the

818
00:44:18,719 --> 00:44:21,880
Speaker 2: Galaxy movie. You know, they make a conscious effort to

819
00:44:21,960 --> 00:44:25,920
Speaker 2: make space exciting and colorful and dynamic and not empty

820
00:44:25,960 --> 00:44:26,400
Speaker 2: and dark.

821
00:44:26,760 --> 00:44:28,680
Speaker 3: And I don't want to suggest that's the right choice

822
00:44:28,680 --> 00:44:31,200
Speaker 3: for every movie. I mean, like an alien space should

823
00:44:31,200 --> 00:44:31,959
Speaker 3: be empty and dark.

824
00:44:32,040 --> 00:44:35,680
Speaker 2: Yeah, it would be a weird and maybe ineffective alien

825
00:44:35,719 --> 00:44:40,200
Speaker 2: movie if the cosmos was psychedelic. It needs to be.

826
00:44:40,280 --> 00:44:43,960
Speaker 3: Dark, pretty and sparkling. And then after this we are

827
00:44:43,960 --> 00:44:47,960
Speaker 3: treated to a low budget attempt to copy the iconic

828
00:44:48,040 --> 00:44:51,440
Speaker 3: opening shot of Star Wars where Princess Leah's Blockade Runner

829
00:44:51,480 --> 00:44:55,080
Speaker 3: flies overhead and then the Star Destroyer comes overhead close behind.

830
00:44:55,200 --> 00:44:58,399
Speaker 2: Yeah, no shame, everybody was doing it so a lot.

831
00:44:58,440 --> 00:45:01,560
Speaker 3: We've seen other movies that did the same thing. Here

832
00:45:01,600 --> 00:45:04,200
Speaker 3: we get a kind of combination. So it is a

833
00:45:04,239 --> 00:45:07,399
Speaker 3: single ship which appears to be huge like the Star

834
00:45:07,440 --> 00:45:10,840
Speaker 3: Destroyer and glides over the top of the camera lens

835
00:45:11,280 --> 00:45:14,319
Speaker 3: like the Star Destroyer, but it is shaped more like

836
00:45:14,400 --> 00:45:18,000
Speaker 3: the Blockade Runner, and as it goes by we get

837
00:45:18,000 --> 00:45:21,480
Speaker 3: close ups of its many intricate greebowles and outer textures.

838
00:45:21,800 --> 00:45:24,640
Speaker 3: I see all kinds of little consumer plastics glued to

839
00:45:24,680 --> 00:45:27,120
Speaker 3: the outside of this thing and spray painted white. Rob.

840
00:45:27,280 --> 00:45:30,280
Speaker 3: I know you Actually you build miniature sometimes, right.

841
00:45:30,640 --> 00:45:36,560
Speaker 2: I do. I generally do little soldiers and like little people,

842
00:45:37,080 --> 00:45:39,360
Speaker 2: but occasionally I'll do I have done some star wars,

843
00:45:39,880 --> 00:45:41,840
Speaker 2: like tanks and vehicles.

844
00:45:41,880 --> 00:45:45,520
Speaker 3: Before I bring this up because I wondered what you

845
00:45:45,560 --> 00:45:48,160
Speaker 3: thought about this. I saw what I thought were a

846
00:45:48,160 --> 00:45:50,759
Speaker 3: lot of I don't know what you call this, but

847
00:45:50,960 --> 00:45:55,280
Speaker 3: the plastic stuff around the pieces of a little plastic

848
00:45:55,360 --> 00:45:58,000
Speaker 3: miniature kit that you build. So if you're building a

849
00:45:58,040 --> 00:46:00,480
Speaker 3: little airplane kit, you'll get a lot of different pieces

850
00:46:00,560 --> 00:46:03,120
Speaker 3: held in place by these little plastic bars and you

851
00:46:03,200 --> 00:46:06,640
Speaker 3: chose yeah, yeah, yeah, So I don't know what you

852
00:46:06,760 --> 00:46:09,600
Speaker 3: call that, You know, that plastic lattice or square that

853
00:46:09,680 --> 00:46:11,640
Speaker 3: everything comes in. I saw a lot of stuff that

854
00:46:11,840 --> 00:46:14,720
Speaker 3: was looked like that on the outside of these ships.

855
00:46:14,840 --> 00:46:17,880
Speaker 2: Yeah, that would be the spruce and and yeah, I

856
00:46:17,960 --> 00:46:19,920
Speaker 2: mean that otherwise those things just go in the garbage.

857
00:46:19,960 --> 00:46:20,960
Speaker 2: Make a spaceship out of it.

858
00:46:21,040 --> 00:46:24,280
Speaker 3: Yeah, exactly looks like pipes if you put it on that. Yeah.

859
00:46:24,360 --> 00:46:27,759
Speaker 2: Yeah, I have to say the ships. There are a

860
00:46:27,760 --> 00:46:29,799
Speaker 2: lot of caveats to the statement but the ships look

861
00:46:29,840 --> 00:46:30,319
Speaker 2: pretty good.

862
00:46:31,360 --> 00:46:33,719
Speaker 3: Yeah, medium good, I think, Yeah.

863
00:46:33,520 --> 00:46:37,600
Speaker 2: Yeah, considering this is low budget, we've seen worse. We've

864
00:46:37,600 --> 00:46:39,240
Speaker 2: seen better, but we've seen worse.

865
00:46:39,840 --> 00:46:43,280
Speaker 3: There's a name on this ship, which it's It's called

866
00:46:43,360 --> 00:46:46,200
Speaker 3: the Murray Leinster. That never comes up again.

867
00:46:47,080 --> 00:46:48,960
Speaker 2: Yeah. When I saw that, I was like, are we

868
00:46:49,040 --> 00:46:51,080
Speaker 2: in the credits again? Are they adding inventive? Are they

869
00:46:51,080 --> 00:46:54,280
Speaker 2: ahead of their time with how they're they're name dropping

870
00:46:54,280 --> 00:46:55,640
Speaker 2: an executive producer or something?

871
00:46:55,640 --> 00:46:58,400
Speaker 3: But are we later going to hear Christopher Plummer saying

872
00:46:58,440 --> 00:47:00,719
Speaker 3: we have lost contact with the Leinster?

873
00:47:01,440 --> 00:47:02,200
Speaker 2: Never comes up?

874
00:47:02,440 --> 00:47:02,680
Speaker 3: Never?

875
00:47:02,960 --> 00:47:04,480
Speaker 2: Never, that's the name of the Maybe it's the name

876
00:47:04,480 --> 00:47:05,719
Speaker 2: of the guy who built the ship. I don't know.

877
00:47:05,880 --> 00:47:08,080
Speaker 2: Good model work, but yeah, I'll say the ships look

878
00:47:08,160 --> 00:47:12,040
Speaker 2: pretty good. However, I think their exact form is often

879
00:47:12,080 --> 00:47:15,120
Speaker 2: a bit too convoluted for me to really form an impression.

880
00:47:15,200 --> 00:47:19,239
Speaker 2: Like I just it's just kind of confusing, and I

881
00:47:19,239 --> 00:47:22,200
Speaker 2: certainly have a hard time telling one from the other.

882
00:47:22,600 --> 00:47:25,760
Speaker 2: And then when they start moving around, all the space

883
00:47:25,800 --> 00:47:29,960
Speaker 2: action in this film is just aggressively disorienting, Just loops

884
00:47:30,000 --> 00:47:34,480
Speaker 2: and loops of ships soaring loudly sonically and visually through space.

885
00:47:35,000 --> 00:47:38,200
Speaker 2: Just an alarming overbearing sense of you took too much.

886
00:47:38,600 --> 00:47:42,440
Speaker 3: Yes. Yeah, as I said earlier, I think the space

887
00:47:42,480 --> 00:47:45,000
Speaker 3: battles there, there are problems with them, and one of

888
00:47:45,040 --> 00:47:48,760
Speaker 3: them is a lack of differentiation, a lack of focus.

889
00:47:48,800 --> 00:47:52,960
Speaker 3: It's just stuff happening. Yeah. So anyway, we cut inside

890
00:47:53,040 --> 00:47:56,640
Speaker 3: the Murray Leinster now where crew members are waddling around

891
00:47:56,719 --> 00:48:00,800
Speaker 3: in maroon leather uniforms of these shoulder pads and cod pieces,

892
00:48:00,920 --> 00:48:05,000
Speaker 3: wearing these ridiculous gold helmets. Not sure why, but almost

893
00:48:05,080 --> 00:48:08,040
Speaker 3: all of the soldiers in this movie, whether for the

894
00:48:08,080 --> 00:48:11,600
Speaker 3: Empire or working for zarth Arn, they all have similar

895
00:48:11,640 --> 00:48:15,200
Speaker 3: shaped helmets. And all of these guys remind me of

896
00:48:15,280 --> 00:48:18,520
Speaker 3: the Mom's robot oil suns. Do you see what I'm saying.

897
00:48:18,920 --> 00:48:22,400
Speaker 2: Yeah, Yeah, there's the head shape combined with the helmet

898
00:48:22,440 --> 00:48:26,120
Speaker 2: shape for sure. And you know, I don't know if

899
00:48:26,120 --> 00:48:27,719
Speaker 2: there's a direct connection here. It would not surprise me

900
00:48:27,760 --> 00:48:32,600
Speaker 2: if the Futurama folks were Starcrash fans. But I'm also

901
00:48:32,640 --> 00:48:35,360
Speaker 2: glad that you brought up the cod pieces. This movie

902
00:48:36,000 --> 00:48:40,280
Speaker 2: really really loves a good cod piece. Pretty Much every

903
00:48:40,360 --> 00:48:43,600
Speaker 2: costume in the film is some sort of a cod

904
00:48:43,640 --> 00:48:47,640
Speaker 2: piece on the outside, thong on the outside or chastity

905
00:48:47,680 --> 00:48:51,839
Speaker 2: belt on the outside of the garment. Yes, it's just everywhere.

906
00:48:52,080 --> 00:48:55,040
Speaker 3: I feel bad for everybody on screen because almost all

907
00:48:55,080 --> 00:48:58,800
Speaker 3: of them have like some kind of rigid thong tight

908
00:48:59,040 --> 00:49:03,040
Speaker 3: thong over their pants. It's the galay, you know, the

909
00:49:03,080 --> 00:49:07,239
Speaker 3: denizens of the wedgy galaxy. It looks like not fun,

910
00:49:07,360 --> 00:49:12,160
Speaker 3: not fully aware anyway. So there there is one practical

911
00:49:12,160 --> 00:49:15,239
Speaker 3: effect I like in this early scene on the spaceship,

912
00:49:15,280 --> 00:49:17,440
Speaker 3: which is that instead of getting in and out of

913
00:49:17,520 --> 00:49:21,399
Speaker 3: elevators like kirkans Bach are always doing, this ship has

914
00:49:21,520 --> 00:49:25,960
Speaker 3: a transportation infrastructure that's like a little elevator compartment. So

915
00:49:26,000 --> 00:49:27,640
Speaker 3: you go down a hall, go through a door, and

916
00:49:27,680 --> 00:49:29,879
Speaker 3: then you stand in a room and close the door.

917
00:49:30,200 --> 00:49:33,440
Speaker 3: But instead of going up and down to different floors,

918
00:49:33,960 --> 00:49:37,440
Speaker 3: it is a circular room that rotates around to point

919
00:49:37,480 --> 00:49:40,359
Speaker 3: you out into a different hallway. And I was thinking

920
00:49:40,360 --> 00:49:42,280
Speaker 3: about this and I was like, how is that better

921
00:49:42,320 --> 00:49:45,520
Speaker 3: than having an intersection of hallways?

922
00:49:45,920 --> 00:49:49,600
Speaker 2: It is really impressive visually, but it's it's also kind

923
00:49:49,640 --> 00:49:51,600
Speaker 2: of a it's kind of like a first date thing

924
00:49:51,719 --> 00:49:53,760
Speaker 2: in this film, Like, are we going to be treated

925
00:49:53,800 --> 00:49:58,640
Speaker 2: with this level of class and sophistication in every scene? No, no,

926
00:49:58,680 --> 00:50:00,560
Speaker 2: not really, but it's pretty cool here.

927
00:50:01,360 --> 00:50:03,279
Speaker 3: So anyway, on the bridge, we got a couple of

928
00:50:03,360 --> 00:50:07,640
Speaker 3: these robot oil suns chatting. One of them says, and

929
00:50:08,320 --> 00:50:11,480
Speaker 3: nearly all of these line deliveries are pretty weird in

930
00:50:11,520 --> 00:50:14,719
Speaker 3: one way or another. One of them says, what is

931
00:50:14,800 --> 00:50:18,320
Speaker 3: it like the planet we're approaching? The other one says,

932
00:50:18,560 --> 00:50:22,399
Speaker 3: nothing but ice and snow, a barren desert of whiteness.

933
00:50:23,080 --> 00:50:26,719
Speaker 3: And then another one says, scan it with our computer waves.

934
00:50:26,840 --> 00:50:31,640
Speaker 3: The enemy's weapons may be hidden beneath its surface. And

935
00:50:31,680 --> 00:50:35,160
Speaker 3: then now we see outside and the rockade Blunner here

936
00:50:35,320 --> 00:50:40,160
Speaker 3: is flying through space. And suddenly nearby something starts happening.

937
00:50:40,200 --> 00:50:44,120
Speaker 3: We get some red lava lamp wax that starts undulating

938
00:50:44,200 --> 00:50:46,319
Speaker 3: in the cosmos. That doesn't seem good.

939
00:50:46,400 --> 00:50:48,920
Speaker 2: Are you talking about the red monsters? Yeah, because they

940
00:50:48,920 --> 00:50:51,360
Speaker 2: will keep referring back to this as the red monsters,

941
00:50:51,360 --> 00:50:53,200
Speaker 2: And I was like, whoa, whoa, whoa what redds. Oh,

942
00:50:53,280 --> 00:50:56,400
Speaker 2: they're talking about the globs. They're talking about the lava

943
00:50:56,480 --> 00:50:57,120
Speaker 2: lamp globs.

944
00:50:57,160 --> 00:50:59,480
Speaker 3: Okay, At some point I was thinking, we're going to

945
00:50:59,520 --> 00:51:02,520
Speaker 3: see monts. We'll see what they see, We'll see the monster.

946
00:51:02,680 --> 00:51:05,839
Speaker 3: We never do. It's some kind of psychic attack. All

947
00:51:05,880 --> 00:51:09,319
Speaker 3: of the helmet dudes, the robot oil sons grab their

948
00:51:09,360 --> 00:51:13,279
Speaker 3: helmets and they start groaning, while the interior cabins fill

949
00:51:13,360 --> 00:51:15,879
Speaker 3: up with these red spots of light that zip around

950
00:51:15,920 --> 00:51:17,840
Speaker 3: in the air. They look like red lens flares.

951
00:51:18,239 --> 00:51:21,799
Speaker 2: Yeah, it is highly variable depending on who you are

952
00:51:21,880 --> 00:51:24,239
Speaker 2: and what your character is, depending on how this will

953
00:51:25,040 --> 00:51:28,400
Speaker 2: affect you, Like when Carolyn Monroe's character is hit by

954
00:51:28,440 --> 00:51:33,120
Speaker 2: it later, it's almost like an orgasm. Migraine seems to

955
00:51:33,160 --> 00:51:34,240
Speaker 2: be the overall effect.

956
00:51:34,400 --> 00:51:40,520
Speaker 3: She goes, ah, my head. And so anyway, the soldiers

957
00:51:40,560 --> 00:51:44,520
Speaker 3: here they collapse, presumably they die, and then we watch

958
00:51:44,640 --> 00:51:48,560
Speaker 3: the ship's escape pods, which looks slightly like paper airplanes.

959
00:51:48,680 --> 00:51:51,879
Speaker 3: They fire off one by one. Then the ship explodes,

960
00:51:53,120 --> 00:51:55,600
Speaker 3: and then we cut to the credits where Marjo gets

961
00:51:55,600 --> 00:51:58,920
Speaker 3: top billing before Carolyn Monroe. Again, I call foul on

962
00:51:59,000 --> 00:52:01,879
Speaker 3: that that doesn't make sense to me that we get

963
00:52:01,880 --> 00:52:05,480
Speaker 3: the title. I like the title styling. It's really good.

964
00:52:05,520 --> 00:52:06,960
Speaker 2: I wanted to see more of it, but they just

965
00:52:07,120 --> 00:52:08,759
Speaker 2: rush it off the screen. They're like, we haven't got

966
00:52:08,800 --> 00:52:11,040
Speaker 2: time for this. This is star Crash. You read the

967
00:52:11,040 --> 00:52:12,560
Speaker 2: title on the poster, did.

968
00:52:12,440 --> 00:52:15,920
Speaker 3: You notice how after the credits. The credits and music

969
00:52:16,120 --> 00:52:20,400
Speaker 3: cut off very abruptly. We're getting it's like the music

970
00:52:20,480 --> 00:52:23,240
Speaker 3: doesn't finish the phrase it's in. It's in the middle

971
00:52:23,320 --> 00:52:26,400
Speaker 3: of something happening in the song, and then it's just

972
00:52:26,520 --> 00:52:28,520
Speaker 3: enough of that, you know, trying to watch some triangles

973
00:52:28,560 --> 00:52:32,320
Speaker 3: zooming around. Yeah, so we fall in with a second spaceship.

974
00:52:32,360 --> 00:52:34,360
Speaker 3: This one is shaped like a tortilla chip. It's a

975
00:52:34,360 --> 00:52:37,919
Speaker 3: big flat triangle, and inside at the helm we meet

976
00:52:38,000 --> 00:52:41,719
Speaker 3: Marjo Gordoner is acton and Carolyn Monroe as still a star.

977
00:52:42,520 --> 00:52:45,839
Speaker 3: I would say they in a way both look like

978
00:52:45,840 --> 00:52:49,360
Speaker 3: they're in advertisements for different kinds of hair care products.

979
00:52:49,680 --> 00:52:54,279
Speaker 2: Oh yeah, the hair game in this film is it

980
00:52:54,360 --> 00:52:59,560
Speaker 2: is pretty intense. Everybody's hair is a definite choice, whether

981
00:52:59,640 --> 00:53:04,280
Speaker 2: it's slicked back with grease or poofed out to almost

982
00:53:04,320 --> 00:53:06,279
Speaker 2: supernatural levels of poofiness.

983
00:53:06,600 --> 00:53:11,880
Speaker 3: Yeah. So Marjo is this handsome, kind of sun baked

984
00:53:12,000 --> 00:53:14,520
Speaker 3: guy in his thirties. He got this big crown of

985
00:53:14,600 --> 00:53:17,680
Speaker 3: curly blonde hair, and like I said earlier, he has

986
00:53:17,719 --> 00:53:23,040
Speaker 3: a very stagy, live showbiz delivery style. Again, not really

987
00:53:23,080 --> 00:53:26,520
Speaker 3: playing a character so much as projecting his lines like

988
00:53:26,600 --> 00:53:30,520
Speaker 3: a somebody who's giving announcements or owning a stage, maybe

989
00:53:30,560 --> 00:53:36,800
Speaker 3: like a magician. And Carolyn Monroe is very sparkly hammer glamour.

990
00:53:37,560 --> 00:53:39,680
Speaker 3: And let's see, I had some notes here about the

991
00:53:39,719 --> 00:53:42,640
Speaker 3: Candy Clark thing, but I guess we already addressed that question. Marks,

992
00:53:42,719 --> 00:53:46,000
Speaker 3: is this really Candy Clark's voice in the dubbing? If so,

993
00:53:46,160 --> 00:53:47,000
Speaker 3: that is interesting.

994
00:53:47,840 --> 00:53:50,480
Speaker 2: Yeah, and again this was common practice. Like we were

995
00:53:50,480 --> 00:53:52,719
Speaker 2: talking about Hercules and the Haunted World, like they had

996
00:53:52,760 --> 00:53:55,279
Speaker 2: Christopher Lee of all people in that, and they just

997
00:53:55,360 --> 00:53:57,600
Speaker 2: use somebody else to dub his voice for the English version.

998
00:53:57,640 --> 00:53:59,520
Speaker 2: They're like, we already paid for Christopher Lee once. We're

999
00:53:59,520 --> 00:54:01,440
Speaker 2: not going to pay for ripped twice just so he

1000
00:54:01,440 --> 00:54:02,520
Speaker 2: can use his voice.

1001
00:54:04,040 --> 00:54:10,760
Speaker 3: Crazy, Yeah, I remember Christopher Lely seemed very underused in that. Yeah. Anyway,

1002
00:54:11,120 --> 00:54:13,840
Speaker 3: so we got Stella and Acton. They're flying through space

1003
00:54:14,200 --> 00:54:18,640
Speaker 3: and they find themselves being pursued by space cops. Acton

1004
00:54:18,760 --> 00:54:20,920
Speaker 3: pulls them up on the view screen and then they

1005
00:54:20,960 --> 00:54:25,200
Speaker 3: see the bald green head of Robert Tessier and this

1006
00:54:25,239 --> 00:54:29,080
Speaker 3: guy says, as Thor, chief of the Imperial Police, I

1007
00:54:29,239 --> 00:54:33,480
Speaker 3: order you to surrender at once. Oh, since he's asking

1008
00:54:33,600 --> 00:54:36,880
Speaker 3: as Thor, I guess we've got to get it. And

1009
00:54:36,920 --> 00:54:39,399
Speaker 3: then we get a second head on the TV. This

1010
00:54:39,480 --> 00:54:42,719
Speaker 3: time it's a shiny black robot that looks like Darth

1011
00:54:42,800 --> 00:54:46,399
Speaker 3: Vader's helmet. This character is named L like the name

1012
00:54:46,520 --> 00:54:50,200
Speaker 3: E L E, not the letter. And I think the

1013
00:54:50,239 --> 00:54:53,800
Speaker 3: design of this character is interesting because he is essentially

1014
00:54:53,840 --> 00:54:57,800
Speaker 3: going to turn out to be a comic relief loyal

1015
00:54:57,960 --> 00:55:02,760
Speaker 3: droid sidekick like C three, but with a Southern accent

1016
00:55:02,920 --> 00:55:05,680
Speaker 3: like Sheriff J. W. Pepper and Live and Let Die.

1017
00:55:06,239 --> 00:55:09,120
Speaker 3: And then given all that, I think it is weird

1018
00:55:09,200 --> 00:55:12,600
Speaker 3: that they decide to make him look evil like Darth Vader.

1019
00:55:12,880 --> 00:55:15,440
Speaker 2: Yeah. Like it's almost like they had this robot design

1020
00:55:15,600 --> 00:55:17,080
Speaker 2: and they were gonna use it for a villain and

1021
00:55:17,080 --> 00:55:18,480
Speaker 2: they're like, now, let's just use it for the good guy.

1022
00:55:18,520 --> 00:55:21,360
Speaker 2: It doesn't matter. And yeah, so he looks like you

1023
00:55:21,360 --> 00:55:24,239
Speaker 2: should be more of a force to be reckoned with

1024
00:55:24,360 --> 00:55:27,960
Speaker 2: than he actually is, at least in the black hole.

1025
00:55:28,520 --> 00:55:31,680
Speaker 2: The robot with the Southern voice. I think Slim Dickens

1026
00:55:31,719 --> 00:55:34,319
Speaker 2: did the voice of the Southern robot in that at

1027
00:55:34,400 --> 00:55:36,560
Speaker 2: least he looks like comic relief.

1028
00:55:36,920 --> 00:55:40,160
Speaker 3: Yeah. L. So this robot comes on the TV and

1029
00:55:40,200 --> 00:55:46,279
Speaker 3: says Stella you cheap smuggler and police robot l you

1030
00:55:46,400 --> 00:55:50,440
Speaker 3: have the right to remain silent some kind of southern sheriff.

1031
00:55:50,760 --> 00:55:54,600
Speaker 2: I mean, he's great, but so much of his dialogue

1032
00:55:54,600 --> 00:55:57,799
Speaker 2: specifically is like, like, Stella, we have to go over

1033
00:55:57,840 --> 00:55:59,960
Speaker 2: here and push this button now so we can still

1034
00:56:00,120 --> 00:56:02,400
Speaker 2: up the bad guys. Like there's a lot of like

1035
00:56:02,760 --> 00:56:05,960
Speaker 2: almost overt narration about what is going on and why,

1036
00:56:06,719 --> 00:56:10,239
Speaker 2: but it it becomes transcendent and becomes to feel it

1037
00:56:10,320 --> 00:56:12,080
Speaker 2: to feel like like ritual.

1038
00:56:12,480 --> 00:56:15,360
Speaker 3: Yeah, so you know, we so the cops come on

1039
00:56:15,400 --> 00:56:18,000
Speaker 3: the TV and then Stella says, in a sudden and

1040
00:56:18,239 --> 00:56:24,000
Speaker 3: jarringly rough bit of dubbing, go for hyperspace, So you know,

1041
00:56:24,080 --> 00:56:27,399
Speaker 3: the tortilla chip whips around and then it squirts them

1042
00:56:27,440 --> 00:56:31,440
Speaker 3: out into some kind of grainy crimson video. Realm, this

1043
00:56:31,520 --> 00:56:34,200
Speaker 3: is what happens with hyperspace in the movie. It it

1044
00:56:34,280 --> 00:56:38,800
Speaker 3: suddenly cuts to something happening on video with like huge pixel.

1045
00:56:38,400 --> 00:56:41,600
Speaker 2: Textah, just hard to watch, legitimately hard to stare at.

1046
00:56:42,840 --> 00:56:46,799
Speaker 3: Stella says. Then, in a strangely folksy voice, she says,

1047
00:56:46,880 --> 00:56:51,600
Speaker 3: let's hope this Starbuggy stays together. What's our chances? Acton

1048
00:56:51,719 --> 00:56:56,480
Speaker 3: says forty percent total disintegration, thirty percent molecular ignition, twenty

1049
00:56:56,520 --> 00:57:01,560
Speaker 3: percent gamma contamination. Now you mention earlier Rob the idea

1050
00:57:01,600 --> 00:57:07,080
Speaker 3: that even though this was in some sense derived from

1051
00:57:07,160 --> 00:57:09,200
Speaker 3: Star Wars, you could see other ways that it would

1052
00:57:09,200 --> 00:57:12,799
Speaker 3: prophesy future developments in Star Wars. I thought this one

1053
00:57:12,880 --> 00:57:15,719
Speaker 3: was interesting because see three Po talks like this in

1054
00:57:15,880 --> 00:57:18,680
Speaker 3: later Star Wars movies. But I think he does not

1055
00:57:19,000 --> 00:57:22,160
Speaker 3: talk like this in the Star Wars movie that had

1056
00:57:22,160 --> 00:57:23,160
Speaker 3: come out at this point.

1057
00:57:23,760 --> 00:57:26,080
Speaker 2: That's an interesting observation. So he hadn't he in the

1058
00:57:26,080 --> 00:57:29,520
Speaker 2: original Star Wars. He's less of a doomsayer in Negative Nelly.

1059
00:57:29,800 --> 00:57:33,440
Speaker 3: Well, he's Negative Nelly, But I don't recall him citing

1060
00:57:33,720 --> 00:57:37,479
Speaker 3: the odds of surviving a dangerous situation like he does

1061
00:57:37,520 --> 00:57:41,640
Speaker 3: repeatedly and Empire strikes back. That's an Empire innovation from

1062
00:57:41,680 --> 00:57:45,960
Speaker 3: at least from what I recall. So you know, it

1063
00:57:46,040 --> 00:57:48,680
Speaker 3: feels like an element stolen from Star Wars. But actually

1064
00:57:48,680 --> 00:57:51,480
Speaker 3: I think it's just coincidence Star Wars started doing something

1065
00:57:51,680 --> 00:58:03,080
Speaker 3: like this years later. Yeah, so they fiddle with some

1066
00:58:03,160 --> 00:58:06,440
Speaker 3: knobs and then they squirt back out of hyperspace. But oh,

1067
00:58:06,520 --> 00:58:08,840
Speaker 3: they say, look, it's a Neutron Star. If it gets

1068
00:58:08,840 --> 00:58:12,600
Speaker 3: hold of us, it will crush us. Fortunately it does

1069
00:58:12,600 --> 00:58:15,360
Speaker 3: not get hold of them. Instead, they cruise past it

1070
00:58:15,400 --> 00:58:17,040
Speaker 3: and then right up to the edge of a place

1071
00:58:17,040 --> 00:58:22,320
Speaker 3: that Acton calls the Haunted Stars. What is that place?

1072
00:58:23,720 --> 00:58:26,000
Speaker 3: And they don't really say, it's just the Haunted Stars.

1073
00:58:26,080 --> 00:58:29,080
Speaker 3: And then they stumble across something that's floating out in

1074
00:58:29,120 --> 00:58:31,640
Speaker 3: the dark, and we see it is one of the

1075
00:58:31,840 --> 00:58:36,919
Speaker 3: escape pods that launched from the rockade Blunner earlier. When

1076
00:58:37,200 --> 00:58:41,160
Speaker 3: Stella sees it, she says, what in the universe is that?

1077
00:58:41,880 --> 00:58:47,240
Speaker 3: And then she gasped and says, it's a spaceship. What

1078
00:58:47,320 --> 00:58:48,000
Speaker 3: else would it be?

1079
00:58:48,200 --> 00:58:50,920
Speaker 2: Yeah, everything in this film so far has been a spaceship.

1080
00:58:51,160 --> 00:58:54,920
Speaker 3: Yeah, what do you normally see floating in space? So

1081
00:58:55,160 --> 00:58:58,680
Speaker 3: Stella puts on a space suit that consists of a

1082
00:58:58,840 --> 00:59:01,640
Speaker 3: body shaped dry leaning bag and then a helmet that

1083
00:59:01,680 --> 00:59:06,120
Speaker 3: looks like a transparent plastic toilet, and space walks out

1084
00:59:06,160 --> 00:59:09,520
Speaker 3: to the derelict ship and finds an unconscious guy on board.

1085
00:59:10,640 --> 00:59:13,480
Speaker 3: They bring the survivor back to their ship, where Acton

1086
00:59:13,640 --> 00:59:18,480
Speaker 3: tells Stella he keeps talking about monsters, red monsters, and

1087
00:59:18,640 --> 00:59:21,320
Speaker 3: they're both just standing there beside him. I guess Acton

1088
00:59:21,440 --> 00:59:24,720
Speaker 3: is translating for her or something. Maybe he's a protocol droid.

1089
00:59:24,720 --> 00:59:29,959
Speaker 3: I don't know a question, sorry, actually pause? Is act

1090
00:59:30,080 --> 00:59:34,400
Speaker 3: On organic or a droid? Is he human or an alien?

1091
00:59:34,640 --> 00:59:38,920
Speaker 2: What is he? Do not know? They never bother to

1092
00:59:38,960 --> 00:59:41,480
Speaker 2: really establish it, but we see a lot of evidence

1093
00:59:41,560 --> 00:59:43,760
Speaker 2: later to support the idea that he's maybe some sort

1094
00:59:43,800 --> 00:59:47,840
Speaker 2: of an energy being. But yeah, you'd think that if

1095
00:59:47,840 --> 00:59:50,080
Speaker 2: that were the case, they would actually tell us what

1096
00:59:50,240 --> 00:59:53,240
Speaker 2: and why, And we never get that. Because you can

1097
00:59:53,560 --> 00:59:58,080
Speaker 2: manipulate light, he eventually turns into light. I don't know

1098
00:59:58,120 --> 00:59:58,560
Speaker 2: what he is.

1099
00:59:59,120 --> 01:00:02,640
Speaker 3: So Acton tells her that the man wants them to

1100
01:00:02,800 --> 01:00:06,160
Speaker 3: alert someone immediately. He wants them to call the emperor

1101
01:00:06,280 --> 01:00:09,040
Speaker 3: of the first circle of the universe. How many circles

1102
01:00:09,080 --> 01:00:09,520
Speaker 3: are there?

1103
01:00:11,360 --> 01:00:12,280
Speaker 2: Three? Four?

1104
01:00:12,400 --> 01:00:16,360
Speaker 3: Oh? Okay, but yeah, how do you alert the emperors?

1105
01:00:16,440 --> 01:00:18,320
Speaker 3: You have like a one eight hundred number you can call?

1106
01:00:19,000 --> 01:00:20,920
Speaker 2: Yeah, I mean weird that you can go right to

1107
01:00:21,000 --> 01:00:23,120
Speaker 2: the top. It seems like you have. There would be

1108
01:00:23,120 --> 01:00:28,400
Speaker 2: at least a go between for the random space jumpers

1109
01:00:28,720 --> 01:00:31,480
Speaker 2: to connect with instead of just speaking correctly to the emperor.

1110
01:00:32,480 --> 01:00:34,640
Speaker 3: So before they can figure out what to do, they

1111
01:00:34,680 --> 01:00:38,160
Speaker 3: are hailed once again on the viewscreen by Thor and l.

1112
01:00:38,720 --> 01:00:41,320
Speaker 3: So they've been caught again, and this time they're surrounded.

1113
01:00:41,840 --> 01:00:46,360
Speaker 3: Acton tells Stella, don't worry, we'll get out of this. Meanwhile,

1114
01:00:46,400 --> 01:00:49,240
Speaker 3: elsewhere in the galaxy, it is time to meet our villains.

1115
01:00:49,400 --> 01:00:52,400
Speaker 3: So we pan over a giant spaceship that is shaped

1116
01:00:52,440 --> 01:00:56,440
Speaker 3: like a hand with a big boxy palm, four fingers

1117
01:00:56,480 --> 01:01:00,360
Speaker 3: and a thumb, each with pointed triangle claws at the

1118
01:01:00,480 --> 01:01:03,920
Speaker 3: end of the finger. It's hard to imagine this design

1119
01:01:04,000 --> 01:01:08,040
Speaker 3: is for functional reasons, like you end up with a

1120
01:01:08,040 --> 01:01:11,040
Speaker 3: spaceship like this, I think because the dark Lord insists

1121
01:01:11,160 --> 01:01:13,280
Speaker 3: that the spaceship must look like a huge hand.

1122
01:01:13,640 --> 01:01:16,760
Speaker 2: Yeah, and if this were not too much already, we'll

1123
01:01:16,760 --> 01:01:18,920
Speaker 2: see later that it can form a fist or a

1124
01:01:19,040 --> 01:01:23,240
Speaker 2: rough fist like those fingers mooth. Clearly the dark Lord

1125
01:01:23,360 --> 01:01:25,560
Speaker 2: insisted that this be part of it, right.

1126
01:01:26,040 --> 01:01:28,880
Speaker 3: It clinches when the ship's about to do something really mean.

1127
01:01:29,800 --> 01:01:32,200
Speaker 3: So inside the ship we get a view of the bridge.

1128
01:01:32,280 --> 01:01:34,440
Speaker 3: Rob how would you describe this bridge?

1129
01:01:35,160 --> 01:01:38,200
Speaker 2: Well, it literally has a bridge. It has like a catwalk.

1130
01:01:39,160 --> 01:01:42,600
Speaker 2: Catwalk of course, always a great addition to any sort

1131
01:01:42,640 --> 01:01:45,680
Speaker 2: of sci fi action set, especially if you have some

1132
01:01:46,080 --> 01:01:48,880
Speaker 2: dedicated stump men that are willing to take a dive

1133
01:01:48,920 --> 01:01:50,240
Speaker 2: over the edge of set railing.

1134
01:01:50,600 --> 01:01:53,440
Speaker 3: Yeah, I would call this kind of spike chic. There

1135
01:01:53,440 --> 01:01:58,480
Speaker 3: are just spikes everywhere. Why so many spikes? And people

1136
01:01:58,480 --> 01:02:02,160
Speaker 3: here are absolutely worring Planet of the Vampire's costumes but

1137
01:02:02,280 --> 01:02:07,280
Speaker 3: dopey versions. Yeah. They look like a cross between Planet

1138
01:02:07,320 --> 01:02:09,520
Speaker 3: of the Vampires and people from House Frey.

1139
01:02:09,960 --> 01:02:12,840
Speaker 2: Yeah, and it is. It is also a film like

1140
01:02:12,880 --> 01:02:15,240
Speaker 2: this is a great way to remind ourselves just how

1141
01:02:15,320 --> 01:02:18,000
Speaker 2: good Planet the Vampires is, at least how great it

1142
01:02:18,200 --> 01:02:21,200
Speaker 2: looks and sounds when you see it done. You know,

1143
01:02:22,400 --> 01:02:23,640
Speaker 2: not at the same level.

1144
01:02:24,480 --> 01:02:26,840
Speaker 3: So one of these officers on the bridge comes up

1145
01:02:26,840 --> 01:02:30,640
Speaker 3: to the Boss and says, they found one damned survivor.

1146
01:02:31,560 --> 01:02:34,280
Speaker 3: This guy is el Rick. He is a tooth grinding

1147
01:02:34,360 --> 01:02:35,000
Speaker 3: little toady.

1148
01:02:35,600 --> 01:02:37,280
Speaker 2: Elmric spicy. He's a little spicy.

1149
01:02:37,560 --> 01:02:40,680
Speaker 3: Yeah, he looks he looks mad all the time. He's

1150
01:02:40,680 --> 01:02:47,360
Speaker 3: like But the Boss is again, just the wonderful, extraordinary

1151
01:02:47,440 --> 01:02:51,960
Speaker 3: villain of this film, Count zarth Arn obviously our Darth Vader.

1152
01:02:52,560 --> 01:02:55,680
Speaker 3: You know, Zarreth Darth. It's not hard to see. But

1153
01:02:55,800 --> 01:02:59,920
Speaker 3: since they decided to use the Darth Vader helmet already

1154
01:03:00,080 --> 01:03:03,760
Speaker 3: on a goofy cop droid from Alabama. They have to

1155
01:03:04,840 --> 01:03:07,040
Speaker 3: we got to do something else for the actual Darth

1156
01:03:07,120 --> 01:03:10,160
Speaker 3: Vader character, so they just leave his head uncovered. So

1157
01:03:10,800 --> 01:03:14,600
Speaker 3: instead we get a sith Lord served open faced in

1158
01:03:14,680 --> 01:03:17,760
Speaker 3: a black vinyl suit with a utility belt and this

1159
01:03:17,920 --> 01:03:21,280
Speaker 3: burgundy velvet cape. Like he is some kind of mystical

1160
01:03:21,360 --> 01:03:26,440
Speaker 3: vampire chocolateer. You know, he's part Darth Vader, part Batman,

1161
01:03:26,720 --> 01:03:29,360
Speaker 3: part Willie Wonka, part Louis the Fourteenth.

1162
01:03:29,760 --> 01:03:32,680
Speaker 2: Yes, yeah, I mean, on one level, it makes sense

1163
01:03:33,240 --> 01:03:37,760
Speaker 2: you've cast Joe Spinel in this role. Why wouldn't you

1164
01:03:37,800 --> 01:03:41,840
Speaker 2: want to look at him? Like he's very captivating face,

1165
01:03:41,880 --> 01:03:46,280
Speaker 2: a very expressive face. As is he the right casting?

1166
01:03:46,440 --> 01:03:48,600
Speaker 2: I would argu know, But if you've cast him, you've

1167
01:03:48,600 --> 01:03:51,520
Speaker 2: already committed to it. Don't put a mask over him. Yeah,

1168
01:03:51,560 --> 01:03:52,720
Speaker 2: let's absolutely see him.

1169
01:03:53,080 --> 01:03:57,640
Speaker 3: Agree. So Elrick says that the Imperial Navy has located

1170
01:03:57,680 --> 01:03:59,760
Speaker 3: one of the escape pods and that there is a

1171
01:04:00,800 --> 01:04:06,320
Speaker 3: but quote, his brain seems thoroughly damaged, so you know,

1172
01:04:06,400 --> 01:04:09,840
Speaker 3: they think there's little risk of the stolen ship being found.

1173
01:04:10,920 --> 01:04:13,720
Speaker 3: And Zarthorn reacts to this news by walking a few

1174
01:04:13,760 --> 01:04:20,440
Speaker 3: paces over and saying in a growley voice, come to me, golams. Ah, so, golams.

1175
01:04:20,520 --> 01:04:24,040
Speaker 3: That's an interesting mythology edition. Here is this gonna be

1176
01:04:24,080 --> 01:04:27,240
Speaker 3: like the golam of progue? Not at all. These golams

1177
01:04:27,240 --> 01:04:30,840
Speaker 3: are droids. They're just they're droids with angry duck faces

1178
01:04:30,920 --> 01:04:31,840
Speaker 3: holding machetes.

1179
01:04:32,000 --> 01:04:34,480
Speaker 2: Yeah, and these are absolutely the ones that look a

1180
01:04:34,520 --> 01:04:36,800
Speaker 2: bit like what we would eventually see whether our b

1181
01:04:36,920 --> 01:04:38,880
Speaker 2: One battle droids in the Phantom Menace.

1182
01:04:39,200 --> 01:04:41,080
Speaker 3: They do look like that. But you know what they

1183
01:04:41,120 --> 01:04:44,200
Speaker 3: also look like is the mad scientist from the Nightmare

1184
01:04:44,240 --> 01:04:45,120
Speaker 3: before Christmas.

1185
01:04:45,400 --> 01:04:47,480
Speaker 2: Oh yeah, yeah, yeah, yeah, I know what you mean.

1186
01:04:47,600 --> 01:04:51,360
Speaker 3: Yeah yeah, little the duck lips and the big head. Yeah.

1187
01:04:51,560 --> 01:04:54,680
Speaker 3: So Zarthorne says, I have a simple task for you. You

1188
01:04:54,560 --> 01:04:56,960
Speaker 3: must not fail me. We're gonna find out later what

1189
01:04:57,000 --> 01:05:00,600
Speaker 3: the task is. So next we cut to a trial.

1190
01:05:01,480 --> 01:05:03,800
Speaker 3: I just wanted to mention this. A Stella Star and

1191
01:05:03,920 --> 01:05:07,360
Speaker 3: Acton are tried for their crimes, which are smuggling. I

1192
01:05:07,400 --> 01:05:10,560
Speaker 3: think we don't learn a lot about their crimes. They're

1193
01:05:10,600 --> 01:05:14,880
Speaker 3: being tried in this green disco space court where the

1194
01:05:15,000 --> 01:05:19,640
Speaker 3: judge is a huge green and gold head with tentacles

1195
01:05:19,680 --> 01:05:22,560
Speaker 3: inside a dome, and this seems to me to be

1196
01:05:22,680 --> 01:05:26,760
Speaker 3: a pretty obvious visual reference to the Martian controller head

1197
01:05:26,920 --> 01:05:30,760
Speaker 3: in an earlier movie, William Cameron Menzi's Invaders from Mars

1198
01:05:30,760 --> 01:05:33,360
Speaker 3: from nineteen fifty three. Rob, I've got a picture of

1199
01:05:33,360 --> 01:05:35,120
Speaker 3: this for you to look at in the outline here.

1200
01:05:36,000 --> 01:05:38,320
Speaker 3: I think, like that is so close it could not

1201
01:05:38,600 --> 01:05:42,360
Speaker 3: but be an homage or a nod or whatever you

1202
01:05:42,360 --> 01:05:42,920
Speaker 3: want to call it.

1203
01:05:43,440 --> 01:05:45,760
Speaker 2: Yeah, yeah, I mean, I think there's some things similar

1204
01:05:45,800 --> 01:05:47,960
Speaker 2: to this elsewhere in like comic books and all. But

1205
01:05:48,800 --> 01:05:50,520
Speaker 2: I have a feeling you're dead on here.

1206
01:05:50,920 --> 01:05:53,360
Speaker 3: Yeah, I mean, the colors are so similar, and the

1207
01:05:53,400 --> 01:05:55,880
Speaker 3: tentacles on the head and all that.

1208
01:05:55,920 --> 01:05:59,240
Speaker 2: Anyway, it's amazing how weird this character is, to the

1209
01:05:59,280 --> 01:06:02,240
Speaker 2: extent we can call it character. This moment is in

1210
01:06:02,280 --> 01:06:04,960
Speaker 2: the film, but you almost completely forget about it in

1211
01:06:04,960 --> 01:06:07,280
Speaker 2: the wake of everything that's to come and all. Just

1212
01:06:07,480 --> 01:06:10,320
Speaker 2: like again, the absurd dialogue choices.

1213
01:06:10,200 --> 01:06:13,520
Speaker 3: Goes through the shredder of the mind within minutes after

1214
01:06:13,560 --> 01:06:16,800
Speaker 3: you've seen it. So Acton and Stella get assigned life

1215
01:06:16,840 --> 01:06:20,560
Speaker 3: sentences of you know, they're sentto forced labor on different planets,

1216
01:06:20,640 --> 01:06:23,720
Speaker 3: and it sounds it sounds like he says Stella is

1217
01:06:23,800 --> 01:06:26,960
Speaker 3: going to have to go to Pino colony on Nocturne

1218
01:06:27,200 --> 01:06:31,080
Speaker 3: the second, like Pino noir Gratio.

1219
01:06:31,320 --> 01:06:34,200
Speaker 2: I think she also misunderstood them because she is not

1220
01:06:34,320 --> 01:06:36,840
Speaker 2: dressed for a penal colony, not at all.

1221
01:06:37,480 --> 01:06:40,160
Speaker 3: So we cut straight to Stella star already at her

1222
01:06:40,160 --> 01:06:42,800
Speaker 3: prison camp. The vibe at this place, you know, it's

1223
01:06:42,840 --> 01:06:48,160
Speaker 3: your standard dilithium minds of Ruapenthe and the prisoners have

1224
01:06:48,240 --> 01:06:52,760
Speaker 3: to carry big translucent beach balls that the warden identifies

1225
01:06:52,800 --> 01:06:56,040
Speaker 3: as radium up onto a platform and then they dump

1226
01:06:56,120 --> 01:07:00,840
Speaker 3: the balls into a steamy hole. And so Stella has

1227
01:07:00,960 --> 01:07:04,960
Speaker 3: changed into her radioactive prison labor outfit here, which is

1228
01:07:05,040 --> 01:07:08,720
Speaker 3: a black leather bikini with high heeled boots, like thigh

1229
01:07:08,840 --> 01:07:12,360
Speaker 3: high high heeled black leather boots. All of the other

1230
01:07:12,400 --> 01:07:15,200
Speaker 3: prisoners are wearing rags with long sleeves.

1231
01:07:15,480 --> 01:07:18,520
Speaker 2: Yeah, but she's dressed up here and it's weird. She

1232
01:07:18,560 --> 01:07:21,400
Speaker 2: will actually find ways to dress down further and wear

1233
01:07:21,480 --> 01:07:24,680
Speaker 2: less clothes later in the film without actually being naked.

1234
01:07:24,880 --> 01:07:28,360
Speaker 3: Yeah. So the guards call for a brief rest here,

1235
01:07:28,720 --> 01:07:32,040
Speaker 3: Stella starts complaining to her fellow prisoners. She says, I've

1236
01:07:32,080 --> 01:07:35,480
Speaker 3: been at this twelve hours. The radiation will burn my

1237
01:07:35,600 --> 01:07:38,760
Speaker 3: skin off, and it's like, yeah, they know, dude, Like,

1238
01:07:39,240 --> 01:07:41,320
Speaker 3: I think they've been here longer than you have. Why

1239
01:07:41,360 --> 01:07:45,440
Speaker 3: are you complaining at them? But so one of the

1240
01:07:45,480 --> 01:07:48,520
Speaker 3: other guys, he doesn't react like that. He just says,

1241
01:07:48,520 --> 01:07:50,680
Speaker 3: you'd better work if you don't want to taste the

1242
01:07:50,720 --> 01:07:56,360
Speaker 3: burning of their energy whips too. So Stella, she begins

1243
01:07:56,400 --> 01:07:59,880
Speaker 3: planning an escape with the other prisoners, something about over

1244
01:08:00,080 --> 01:08:02,880
Speaker 3: feeding the furnace with a gun ray. But they get

1245
01:08:02,880 --> 01:08:06,320
Speaker 3: caught by a guard. A fight breaks out, Stella beats

1246
01:08:06,320 --> 01:08:08,600
Speaker 3: the crap out of the guard. One of the other

1247
01:08:08,680 --> 01:08:12,120
Speaker 3: prisoners takes the guard's blaster, and then all hell breaks loose.

1248
01:08:12,200 --> 01:08:15,080
Speaker 3: The prisoners and the guards start fighting. I thought, here,

1249
01:08:15,160 --> 01:08:18,280
Speaker 3: maybe Stella was going to lead a prison break, you know,

1250
01:08:18,439 --> 01:08:21,040
Speaker 3: she's like, oh, okay, yeah, we'll all rebel and we'll

1251
01:08:21,040 --> 01:08:22,720
Speaker 3: get out of here. Instead, it just seems like she

1252
01:08:22,800 --> 01:08:24,200
Speaker 3: sneaks out the back while Yeah, she.

1253
01:08:24,160 --> 01:08:26,960
Speaker 2: Just takes a beat line for the exit, and it's like,

1254
01:08:27,560 --> 01:08:29,479
Speaker 2: it's every humanoid for themselves here.

1255
01:08:29,600 --> 01:08:32,280
Speaker 3: Yeah, and then the prison explodes I think something.

1256
01:08:32,320 --> 01:08:34,160
Speaker 2: Yeah, or the plant. I don't know how. Yeah, the

1257
01:08:34,200 --> 01:08:36,040
Speaker 2: scale of this explosion is uncertain.

1258
01:08:36,840 --> 01:08:39,120
Speaker 3: That's not the planet yet, because she goes she's out

1259
01:08:39,120 --> 01:08:39,760
Speaker 3: in a wheat field.

1260
01:08:39,800 --> 01:08:41,200
Speaker 2: That's right, she gets into the wheat field.

1261
01:08:42,320 --> 01:08:45,440
Speaker 3: So we soon learned that this prison break was absolutely

1262
01:08:45,439 --> 01:08:48,639
Speaker 3: pointless because while Stella is out running around in some

1263
01:08:48,720 --> 01:08:52,040
Speaker 3: fields with tall grass, a ship lands. I think maybe

1264
01:08:52,120 --> 01:08:54,880
Speaker 3: it's her old spaceship. Maybe I'm not.

1265
01:08:54,920 --> 01:08:57,439
Speaker 2: Possibly again, hard to tell. The spaceship's apart in this film.

1266
01:08:57,720 --> 01:09:00,719
Speaker 3: It lands, she goes inside. There's a nice looking shot

1267
01:09:00,800 --> 01:09:02,960
Speaker 3: here with some of that jallo lighting where she comes

1268
01:09:02,960 --> 01:09:06,120
Speaker 3: down a long hall holding a holding a rifle with

1269
01:09:06,200 --> 01:09:07,520
Speaker 3: this hot pink background.

1270
01:09:07,520 --> 01:09:10,479
Speaker 2: Oh are you talking about the rifle ray, the rifle ray.

1271
01:09:10,560 --> 01:09:15,240
Speaker 3: Yes, yeah, the rifle ray. And she goes into the

1272
01:09:15,240 --> 01:09:18,040
Speaker 3: ship and then meets none other than the two space

1273
01:09:18,120 --> 01:09:20,639
Speaker 3: cops who caught her in the first place. So again

1274
01:09:20,680 --> 01:09:23,679
Speaker 3: you've got Thor, the bald snarling man with the green skin,

1275
01:09:24,120 --> 01:09:28,920
Speaker 3: and l the country fried robot cop. So they revealed

1276
01:09:28,960 --> 01:09:31,719
Speaker 3: that she has been granted a pardon the way Elle

1277
01:09:31,760 --> 01:09:35,559
Speaker 3: says it is quote, your sentence has been canceled. Then

1278
01:09:37,439 --> 01:09:41,080
Speaker 3: Stella says, have you both gone? Mad Elle says, I

1279
01:09:41,240 --> 01:09:45,880
Speaker 3: only have logic and emotion circuits, no room for craziness. Well,

1280
01:09:46,040 --> 01:09:49,400
Speaker 3: I've been assigned a top secret imperial mission. We must

1281
01:09:49,479 --> 01:09:53,760
Speaker 3: leave now and set Acton free. So I was thinking, oh, well,

1282
01:09:53,840 --> 01:09:54,880
Speaker 3: is there going to be a scene where they have

1283
01:09:54,920 --> 01:09:57,840
Speaker 3: to break him out of prison? But no Elle hasn't

1284
01:09:57,840 --> 01:10:00,400
Speaker 3: even finished talking when it just cuts a way to

1285
01:10:00,520 --> 01:10:02,920
Speaker 3: Acton being thrust up out of a hole in the

1286
01:10:02,960 --> 01:10:06,400
Speaker 3: floor on a spaceship somewhere, and there's a bearded guy

1287
01:10:06,439 --> 01:10:09,400
Speaker 3: sitting on a throne next to the hole and he says,

1288
01:10:09,439 --> 01:10:12,400
Speaker 3: there he's yours, my gift to you.

1289
01:10:14,240 --> 01:10:16,720
Speaker 2: Wow. So everything we've seen from these two thus far

1290
01:10:16,800 --> 01:10:18,200
Speaker 2: is just completely unnecessary.

1291
01:10:18,400 --> 01:10:22,080
Speaker 3: Yeah, the whole gang's back together now, so and it's

1292
01:10:22,120 --> 01:10:24,760
Speaker 3: the four of them. It is stell Star, Acton L

1293
01:10:25,000 --> 01:10:27,479
Speaker 3: and Thor and they have to go rendezvous with the

1294
01:10:27,520 --> 01:10:31,800
Speaker 3: Imperial flagship to get their orders. The Imperial flagship looks

1295
01:10:31,880 --> 01:10:34,120
Speaker 3: kind of like a giant gold turtle with a lot

1296
01:10:34,160 --> 01:10:39,120
Speaker 3: of spikes on its back. And when they're approaching, El says, Acton,

1297
01:10:39,320 --> 01:10:41,559
Speaker 3: you are ready to You are going to meet some

1298
01:10:41,760 --> 01:10:45,360
Speaker 3: real royalty. So that makes me think we're going inside

1299
01:10:45,400 --> 01:10:50,960
Speaker 3: the Imperial flagship, right, No, the Emperor is instead going

1300
01:10:51,000 --> 01:10:54,000
Speaker 3: to project a hologram into the room with them on

1301
01:10:54,080 --> 01:10:56,160
Speaker 3: their own ship. So I was kind of wondering, do

1302
01:10:56,240 --> 01:10:58,160
Speaker 3: they really need to come all this way? Maybe it's

1303
01:10:58,160 --> 01:10:59,680
Speaker 3: a limited range hologram.

1304
01:10:59,840 --> 01:11:01,600
Speaker 2: It must be, And this is going to be the

1305
01:11:01,600 --> 01:11:05,080
Speaker 2: scene where the Emperor's hologram manifests in front of some

1306
01:11:05,280 --> 01:11:08,320
Speaker 2: terrible looking stairs, Like of all the things you could

1307
01:11:08,320 --> 01:11:10,960
Speaker 2: have shot him against or had the hologram up here

1308
01:11:11,000 --> 01:11:14,880
Speaker 2: in front of. Why, there's a lot of stuff that

1309
01:11:15,000 --> 01:11:17,360
Speaker 2: looks better on the sets. The sets of this film

1310
01:11:17,520 --> 01:11:20,599
Speaker 2: are generally pretty interesting. Why these stairs, I don't know.

1311
01:11:20,960 --> 01:11:23,160
Speaker 3: Why is it a hologram at all? I wonder if

1312
01:11:23,200 --> 01:11:25,240
Speaker 3: it's trying to do the help me Obi wan Kenobi,

1313
01:11:25,280 --> 01:11:28,479
Speaker 3: You're my only hope thing with the hologram there, But

1314
01:11:29,000 --> 01:11:32,080
Speaker 3: I don't know. So this is the Emperor, the good Emperor.

1315
01:11:33,040 --> 01:11:36,559
Speaker 3: He suddenly appears and then el points behind all the

1316
01:11:36,600 --> 01:11:39,400
Speaker 3: crew and he says, he's here. It's his hole, low

1317
01:11:39,439 --> 01:11:40,400
Speaker 3: graphic image.

1318
01:11:40,760 --> 01:11:42,840
Speaker 2: There he is, and he is dressed and again what

1319
01:11:42,960 --> 01:11:45,719
Speaker 2: just looks like a full body golden chastity belt.

1320
01:11:47,120 --> 01:11:52,519
Speaker 3: God. Yeah, yeah, words fail me. So I'm just going

1321
01:11:52,600 --> 01:11:54,800
Speaker 3: to read the Emperor's monologue here. This is where he

1322
01:11:54,840 --> 01:11:59,720
Speaker 3: gives them their assignment. Emperor says, I come to you,

1323
01:11:59,760 --> 01:12:02,880
Speaker 3: because because my faithful robot l has told me that

1324
01:12:03,000 --> 01:12:05,920
Speaker 3: you are the only one who could save us. You know,

1325
01:12:06,240 --> 01:12:09,280
Speaker 3: you must be the best pilot in the whole galaxy.

1326
01:12:09,960 --> 01:12:12,080
Speaker 3: And then I was thinking, oh, she's a pilot.

1327
01:12:12,400 --> 01:12:15,760
Speaker 2: Yes, have we seen anything about it? I mean, they

1328
01:12:15,760 --> 01:12:18,840
Speaker 2: were both tweaking knobs, so I didn't know. I thought

1329
01:12:18,880 --> 01:12:19,839
Speaker 2: they were both the pilot.

1330
01:12:20,640 --> 01:12:22,880
Speaker 3: It seemed like Acton was flying the ship earlier. I

1331
01:12:22,920 --> 01:12:25,360
Speaker 3: don't know. But he says, you're the best pilot in

1332
01:12:25,400 --> 01:12:28,960
Speaker 3: the galaxy, and you act on the best navigator Stella.

1333
01:12:29,120 --> 01:12:33,040
Speaker 3: Our galaxy is split into two warring factions, our own

1334
01:12:33,280 --> 01:12:36,160
Speaker 3: and the one ruled by the evil Count zarth Arn

1335
01:12:36,400 --> 01:12:39,759
Speaker 3: from the League of the Dark Worlds. Then I thought,

1336
01:12:41,040 --> 01:12:45,040
Speaker 3: which faction was it that sentenced her to the prison planet.

1337
01:12:45,120 --> 01:12:47,960
Speaker 3: I think it was his faction, the good Guys. Yes, yeah,

1338
01:12:48,000 --> 01:12:51,599
Speaker 3: the good Guys. Okay, Then he and then he goes

1339
01:12:51,640 --> 01:12:53,960
Speaker 3: on to say there's something wrong here. There's a sentence

1340
01:12:54,040 --> 01:12:58,560
Speaker 3: missing a subject. He says, recently begun to receive troublesome

1341
01:12:58,640 --> 01:13:02,559
Speaker 3: reports from our spy among the League. They've informed us

1342
01:13:02,600 --> 01:13:06,200
Speaker 3: that the Count has created a weapon, a new limitless weapon,

1343
01:13:06,520 --> 01:13:10,040
Speaker 3: a weapon so vast, so huge that it would almost

1344
01:13:10,080 --> 01:13:13,519
Speaker 3: be called a death star, that it would take a

1345
01:13:13,600 --> 01:13:15,200
Speaker 3: whole planet to conceal it.

1346
01:13:15,960 --> 01:13:18,280
Speaker 2: Star Wars would eventually kind of get back to this idea,

1347
01:13:18,280 --> 01:13:19,759
Speaker 2: wouldn't they in the sequel trilogy.

1348
01:13:20,040 --> 01:13:21,840
Speaker 3: Yeah, you need it, that's right, You need a whole

1349
01:13:21,840 --> 01:13:24,240
Speaker 3: planet to conceal the weapon. So yeah, So this is

1350
01:13:24,280 --> 01:13:27,160
Speaker 3: the backstory the ship that got attacked in the prologue

1351
01:13:27,200 --> 01:13:30,639
Speaker 3: by the red Lava Lamp, which again that's what everybody

1352
01:13:30,720 --> 01:13:32,920
Speaker 3: keeps calling it the red monsters, but we just see

1353
01:13:32,920 --> 01:13:36,040
Speaker 3: the red lights floating around and people of course clutching

1354
01:13:36,080 --> 01:13:40,240
Speaker 3: their heads and going, oh. So that ship was sent

1355
01:13:40,400 --> 01:13:45,160
Speaker 3: by the Emperor to find Zarthorne's death planet, and it came,

1356
01:13:45,439 --> 01:13:50,200
Speaker 3: in Christopher Plumber's words, so close, so close to discovering

1357
01:13:50,240 --> 01:13:53,080
Speaker 3: the Count's secret when it was suddenly attacked by a

1358
01:13:53,120 --> 01:13:56,760
Speaker 3: horde of unknown monsters. But he knows that the ship

1359
01:13:56,840 --> 01:13:59,559
Speaker 3: sent out some escape pods like we saw earlier. So

1360
01:13:59,680 --> 01:14:02,760
Speaker 3: now with the utmost secrecy, they have to sail to

1361
01:14:02,760 --> 01:14:06,160
Speaker 3: the Haunted Stars, find the escape pods, discover the location

1362
01:14:06,280 --> 01:14:10,160
Speaker 3: of the Count's secret planet, and destroy it. And then

1363
01:14:10,240 --> 01:14:13,879
Speaker 3: the hole logram Emperor turns around and starts to slowly

1364
01:14:14,000 --> 01:14:16,479
Speaker 3: wander away. Why is he walking away if it's a

1365
01:14:16,520 --> 01:14:20,960
Speaker 3: hologram yeaheah, you'd think he'd turn it off instead of

1366
01:14:21,000 --> 01:14:24,720
Speaker 3: walking away. But then he stops and he looks back

1367
01:14:24,760 --> 01:14:28,120
Speaker 3: over his shoulder, and it's a one more thing. My

1368
01:14:28,240 --> 01:14:30,680
Speaker 3: son is David Hasseloff, and you know he was the

1369
01:14:30,720 --> 01:14:33,640
Speaker 3: commander of the ship. You've got to find him. And

1370
01:14:33,680 --> 01:14:36,800
Speaker 3: then wistful music plays as we watch the Imperial flagship

1371
01:14:36,840 --> 01:14:40,479
Speaker 3: drift away. So after this they talk about the different

1372
01:14:40,520 --> 01:14:43,160
Speaker 3: planets they can go to. Acton says we could go

1373
01:14:43,240 --> 01:14:46,880
Speaker 3: to the Origa system, also known as the World's Asleep,

1374
01:14:47,040 --> 01:14:49,760
Speaker 3: but the problem is they can't find this system. And

1375
01:14:49,800 --> 01:14:51,719
Speaker 3: then he says, we could also go to the White

1376
01:14:51,800 --> 01:14:54,920
Speaker 3: Sun of Ozone, but the problem is, once again we

1377
01:14:54,960 --> 01:14:57,400
Speaker 3: don't know where it is. So there's only one more

1378
01:14:57,439 --> 01:15:00,000
Speaker 3: place we can look. Quote the heart of the Haunt

1379
01:15:00,320 --> 01:15:05,479
Speaker 3: stars an unknown planet named Eurefus. So that's where they're

1380
01:15:05,479 --> 01:15:10,479
Speaker 3: gonna go. So there's some funny chatter about hyperspace while

1381
01:15:10,520 --> 01:15:13,720
Speaker 3: they travel. L tells us every time I go to hyperspace,

1382
01:15:13,800 --> 01:15:16,800
Speaker 3: I get nervous. This will become a theme.

1383
01:15:16,600 --> 01:15:19,560
Speaker 2: That I was programmed to feel nervous during hyperspace. I

1384
01:15:19,560 --> 01:15:21,600
Speaker 2: don't know. It seems like a program in error to me.

1385
01:15:22,120 --> 01:15:25,080
Speaker 3: Yeah, yeah, exactly. What's the point of that? He just

1386
01:15:25,080 --> 01:15:27,479
Speaker 3: gets nervous about a lot of things, and then later

1387
01:15:27,560 --> 01:15:31,080
Speaker 3: denies getting nervous about other things. And so they go

1388
01:15:31,120 --> 01:15:35,200
Speaker 3: to the planet Eurefus Stella and L take the shuttle

1389
01:15:35,200 --> 01:15:37,719
Speaker 3: down to the surface while Acton and Thor stay aboard

1390
01:15:37,720 --> 01:15:40,760
Speaker 3: the main ship. While flying down over the ocean to

1391
01:15:40,800 --> 01:15:44,720
Speaker 3: the landing area, L keeps complaining again full of anxieties.

1392
01:15:44,720 --> 01:15:47,280
Speaker 3: He says, don't you think we're flying a little too low?

1393
01:15:47,640 --> 01:15:50,200
Speaker 3: I haven't been programmed to walk on water. Ooh me,

1394
01:15:50,439 --> 01:15:54,680
Speaker 3: water makes me nervous. So they go down and they

1395
01:15:54,720 --> 01:15:58,000
Speaker 3: investigate the crash remains of the escape pod on the beach.

1396
01:15:58,120 --> 01:16:00,639
Speaker 3: It looks like there are no survivors. And then while

1397
01:16:00,640 --> 01:16:03,360
Speaker 3: they're checking out the surroundings, they are approached by some

1398
01:16:03,479 --> 01:16:07,759
Speaker 3: local life forms. It is barbarian women riding horses painted

1399
01:16:07,800 --> 01:16:11,599
Speaker 3: red with these big red horse monster masks. They're kind

1400
01:16:11,600 --> 01:16:16,080
Speaker 3: of horse lobsters, and L says, look, amazon's on horseback.

1401
01:16:16,920 --> 01:16:19,519
Speaker 3: Seems to be a known type of person to approach you.

1402
01:16:20,360 --> 01:16:22,400
Speaker 2: I to have to add real quick here that this

1403
01:16:22,479 --> 01:16:24,559
Speaker 2: is one of the many we were not all just

1404
01:16:24,720 --> 01:16:26,400
Speaker 2: we don't spend all of our time in spaceships, we

1405
01:16:26,439 --> 01:16:29,080
Speaker 2: of course do have these wonderful locations. They make some

1406
01:16:29,160 --> 01:16:32,760
Speaker 2: great use of Italian locations for the film as well,

1407
01:16:32,800 --> 01:16:35,360
Speaker 2: including these beachside cliffs.

1408
01:16:35,640 --> 01:16:38,519
Speaker 3: Yeah. So the Amazons take Stella and l back to

1409
01:16:38,560 --> 01:16:40,479
Speaker 3: their layer, which just looks the same as all the

1410
01:16:40,520 --> 01:16:44,519
Speaker 3: other spaceship interiors. For some reason, while they're walking to

1411
01:16:44,600 --> 01:16:47,800
Speaker 3: meet the queen, they whip out laser guns. They say,

1412
01:16:48,000 --> 01:16:51,360
Speaker 3: die robot, and they blast l Why did they do that?

1413
01:16:52,439 --> 01:16:56,640
Speaker 2: They don't like robots, I guess. Okay, Amazonians and robots.

1414
01:16:56,160 --> 01:17:01,400
Speaker 2: It's a very old feud that you can wrap up anytime.

1415
01:17:01,040 --> 01:17:04,479
Speaker 3: Soon, Taylor's oldest time. So yeah, Stella tries to fight them,

1416
01:17:04,840 --> 01:17:08,360
Speaker 3: but she's surrounded at gunpoint and they overpower her, and

1417
01:17:08,400 --> 01:17:20,760
Speaker 3: then they take her to the Amazon Queen Corelia. When

1418
01:17:20,800 --> 01:17:22,599
Speaker 3: they go to meet the queen, it turns out Queen

1419
01:17:22,680 --> 01:17:27,200
Speaker 3: Karelia uh Oh is loyal to Count Zartharn. That's a mistake,

1420
01:17:27,640 --> 01:17:30,320
Speaker 3: so she accuses Stella of being a spy and then

1421
01:17:30,400 --> 01:17:33,160
Speaker 3: taunts her, saying, even if you're a very talented spy,

1422
01:17:33,320 --> 01:17:37,679
Speaker 3: you will never discover the Count's hidden planet. Two packs

1423
01:17:37,720 --> 01:17:40,840
Speaker 3: of murdering guardians are there to watch and protect it

1424
01:17:40,880 --> 01:17:46,960
Speaker 3: from intruders, and now put her into the mind probe. Oh,

1425
01:17:47,000 --> 01:17:49,800
Speaker 3: mind probe. I want to see what that is. Obviously,

1426
01:17:49,960 --> 01:17:52,719
Speaker 3: Stella knows what that is and fears it greatly, because

1427
01:17:52,720 --> 01:17:56,519
Speaker 3: she drops her normally cool and unemotional facade and just

1428
01:17:56,560 --> 01:17:57,960
Speaker 3: starts screaming.

1429
01:17:57,560 --> 01:18:00,599
Speaker 2: Like no, not the mind probe, but.

1430
01:18:00,760 --> 01:18:03,120
Speaker 3: No minds will be probed. We don't get to find

1431
01:18:03,160 --> 01:18:06,800
Speaker 3: out what that is because before we can get there,

1432
01:18:07,280 --> 01:18:09,840
Speaker 3: l the robot appears again, points a ray gun at

1433
01:18:09,840 --> 01:18:12,839
Speaker 3: the Amazon queen and forces them to hand over Stella.

1434
01:18:13,120 --> 01:18:15,519
Speaker 3: So it turns out he was not dead. He says

1435
01:18:15,520 --> 01:18:18,680
Speaker 3: to Karelia, give me any trouble, and I'm going to

1436
01:18:18,720 --> 01:18:23,400
Speaker 3: clean out your sinus. Is real, good, lady. Strangely evocative

1437
01:18:23,520 --> 01:18:25,840
Speaker 3: threat and not really in keeping with the tone of

1438
01:18:25,880 --> 01:18:27,200
Speaker 3: the rest of the script.

1439
01:18:27,000 --> 01:18:30,120
Speaker 2: But also the weird threat like no, not my cloud sinuses.

1440
01:18:31,880 --> 01:18:35,519
Speaker 3: Together, Elle and Stella escape the palace. This requires a

1441
01:18:35,680 --> 01:18:39,720
Speaker 3: very dramatic blasting of a door that won't open, and

1442
01:18:39,760 --> 01:18:42,280
Speaker 3: then they make it back out on the beach where

1443
01:18:42,280 --> 01:18:44,280
Speaker 3: they landed. But now they have to contend with a

1444
01:18:44,320 --> 01:18:48,880
Speaker 3: new threat. Queen Corelia talks to a TV screen and says, Guardian,

1445
01:18:49,120 --> 01:18:54,160
Speaker 3: take my revenge, kill them. The Guardian here is a giant,

1446
01:18:54,360 --> 01:18:59,639
Speaker 3: silver stop motion automaton clearly inspired by the Tallows monster

1447
01:19:00,160 --> 01:19:03,400
Speaker 3: created by Ray Harryhausen for the nineteen sixty three Jason

1448
01:19:03,439 --> 01:19:06,320
Speaker 3: and the Argonauts. Even the staging at the beach is similar,

1449
01:19:07,240 --> 01:19:10,679
Speaker 3: but the Guardian here is somewhat different in design from

1450
01:19:10,880 --> 01:19:13,800
Speaker 3: the Tallos. It has elements of maybe kind of a

1451
01:19:13,880 --> 01:19:18,280
Speaker 3: Hindu goddess appearance like Lakshmi, other elements of a more

1452
01:19:18,640 --> 01:19:21,680
Speaker 3: classic robot or metal man like the tin Man and

1453
01:19:21,720 --> 01:19:22,639
Speaker 3: the Wizard of Oz.

1454
01:19:23,000 --> 01:19:24,599
Speaker 2: It does have brass and nipples.

1455
01:19:24,960 --> 01:19:28,760
Speaker 3: Yeah, yeah, yeah, so got lot of different things going on.

1456
01:19:28,880 --> 01:19:31,759
Speaker 3: I'm not sure exactly what the main inspiration is here,

1457
01:19:32,240 --> 01:19:34,519
Speaker 3: but like the forearms in the hands are more just

1458
01:19:34,680 --> 01:19:40,080
Speaker 3: Wizard of Oz tin Man. Anyway, Stella and Elle have

1459
01:19:40,200 --> 01:19:43,559
Speaker 3: to hide from and hold off the giant Guardian until

1460
01:19:43,600 --> 01:19:46,599
Speaker 3: Acton arrives in the ship and blasts it with a laser.

1461
01:19:46,720 --> 01:19:48,160
Speaker 3: That solves a problem.

1462
01:19:48,439 --> 01:19:52,280
Speaker 2: I have to say this stop motion Guardian so hilarious

1463
01:19:52,320 --> 01:19:55,280
Speaker 2: because it is this effect is barely working. I mean,

1464
01:19:55,479 --> 01:19:58,400
Speaker 2: I love even bad stop motion is great stop motion.

1465
01:19:58,640 --> 01:19:59,559
Speaker 2: I still love it.

1466
01:19:59,720 --> 01:20:01,200
Speaker 3: But I like the Golams later.

1467
01:20:01,320 --> 01:20:03,439
Speaker 2: Yeah, yeah, the Gollams look better later. But this thing

1468
01:20:03,479 --> 01:20:07,080
Speaker 2: looks like it's just about to fall over at any moment.

1469
01:20:07,160 --> 01:20:09,120
Speaker 2: It feels so ineffective.

1470
01:20:09,479 --> 01:20:11,320
Speaker 3: Well, I mean, I think a big problem with this

1471
01:20:11,400 --> 01:20:14,360
Speaker 3: scene is it felt to me like they did not

1472
01:20:14,600 --> 01:20:18,400
Speaker 3: have the space or the ability to record the full

1473
01:20:18,600 --> 01:20:23,080
Speaker 3: range of motions that would be required to stage out

1474
01:20:23,080 --> 01:20:26,559
Speaker 3: the scene. So you just get kind of close ups

1475
01:20:26,560 --> 01:20:30,519
Speaker 3: of a moving hand suggesting that it is swiping at

1476
01:20:30,600 --> 01:20:32,720
Speaker 3: the characters on the ground or something like. You don't

1477
01:20:32,720 --> 01:20:33,920
Speaker 3: see it all interacting.

1478
01:20:34,080 --> 01:20:37,439
Speaker 2: Yeah, I mean again, it's another case where we can

1479
01:20:37,479 --> 01:20:41,439
Speaker 2: look at it done less effectively and realize just how

1480
01:20:41,520 --> 01:20:44,599
Speaker 2: great Harry Housen was at what he did, not only

1481
01:20:44,720 --> 01:20:47,719
Speaker 2: in bringing this full range of movement to stop motion creatures,

1482
01:20:47,720 --> 01:20:51,000
Speaker 2: but integrating that with human action and making it feel

1483
01:20:51,040 --> 01:20:53,479
Speaker 2: like everything's part of the same world. It's hard to

1484
01:20:53,520 --> 01:20:55,719
Speaker 2: do and so you're not going to see it done

1485
01:20:56,160 --> 01:20:57,519
Speaker 2: that effectively all the time.

1486
01:20:58,400 --> 01:21:00,760
Speaker 3: So everybody leaves in the ship, and then there is

1487
01:21:00,800 --> 01:21:03,280
Speaker 3: a brief space battle where they have to fight off

1488
01:21:03,320 --> 01:21:07,599
Speaker 3: some of the Amazon space fighters. As I've said earlier,

1489
01:21:07,720 --> 01:21:09,640
Speaker 3: you know, I love Star Crash. But I think the

1490
01:21:09,680 --> 01:21:12,719
Speaker 3: space battles are just not where it's at in this movie.

1491
01:21:12,760 --> 01:21:15,559
Speaker 3: They are consistently the most boring part of the film.

1492
01:21:15,680 --> 01:21:18,240
Speaker 3: A lot of close ups of people saying fire go

1493
01:21:18,320 --> 01:21:22,000
Speaker 3: to max power, and then you have these model spaceships

1494
01:21:22,000 --> 01:21:26,840
Speaker 3: whizzing around randomly and shooting lasers. It's like they're not

1495
01:21:27,439 --> 01:21:31,759
Speaker 3: good enough to be dramatically interesting. They don't look especially cool,

1496
01:21:31,800 --> 01:21:34,599
Speaker 3: but they also don't look bad enough to be really funny.

1497
01:21:34,680 --> 01:21:36,920
Speaker 3: They just look good enough, so I kind of tune

1498
01:21:36,960 --> 01:21:37,240
Speaker 3: it out.

1499
01:21:37,439 --> 01:21:41,759
Speaker 2: And they're also really jarring. So yeah, so it's actually

1500
01:21:41,840 --> 01:21:44,080
Speaker 2: I found it difficult to tune them out, like I'm

1501
01:21:44,080 --> 01:21:47,360
Speaker 2: not invested, and I also cannot think of anything else

1502
01:21:47,439 --> 01:21:48,360
Speaker 2: what that's happening.

1503
01:21:48,600 --> 01:21:51,680
Speaker 3: Yeah, fair enough, Yeah, all right, so our heroes move on.

1504
01:21:51,760 --> 01:21:53,760
Speaker 3: They win the space battle, of course, you know, they win,

1505
01:21:53,840 --> 01:21:56,760
Speaker 3: and they go onto the cold planet. So they're gonna

1506
01:21:56,760 --> 01:21:58,799
Speaker 3: have to check out the escape pod on a planet

1507
01:21:58,840 --> 01:22:01,720
Speaker 3: covered with ice and snow where the temperature drops were

1508
01:22:01,720 --> 01:22:06,160
Speaker 3: told by thousands of degrees at night. That's that's for real.

1509
01:22:07,240 --> 01:22:09,840
Speaker 3: So once again, Stella and l the Robot have to

1510
01:22:09,880 --> 01:22:12,360
Speaker 3: go check out the crash site while Acton and thor

1511
01:22:12,520 --> 01:22:15,360
Speaker 3: stay aboard the ship. They get to the crash site,

1512
01:22:15,360 --> 01:22:19,960
Speaker 3: everybody's dead, and then Stella begins to get fatalistic. She says,

1513
01:22:20,000 --> 01:22:22,679
Speaker 3: there's no hope of ever finding the other escape pod

1514
01:22:22,840 --> 01:22:25,759
Speaker 3: or the count secret planet. It's lost out in the stars.

1515
01:22:26,560 --> 01:22:29,080
Speaker 3: I noticed this happens a lot in the movie. Our

1516
01:22:29,120 --> 01:22:33,880
Speaker 3: heroin is really fond of complaining, of declaring a task

1517
01:22:34,000 --> 01:22:38,800
Speaker 3: impossible and assessing there is no hope. Not what you

1518
01:22:38,920 --> 01:22:41,599
Speaker 3: normally get with a plucky space adventurer. Carry.

1519
01:22:41,680 --> 01:22:43,639
Speaker 2: Yeah, and also, I guess the rest of the film

1520
01:22:43,680 --> 01:22:46,760
Speaker 2: is like it doesn't really feel that bad either, Like

1521
01:22:46,800 --> 01:22:49,080
Speaker 2: it doesn't feel that hopeless, Like the film is not

1522
01:22:49,640 --> 01:22:52,040
Speaker 2: really creating that sense of doom and gloom. We're just

1523
01:22:52,080 --> 01:22:53,479
Speaker 2: being told that it is the case.

1524
01:22:53,800 --> 01:22:57,640
Speaker 3: Yeah. Meanwhile, back on the ship, Acton amuses himself with

1525
01:22:57,680 --> 01:23:00,760
Speaker 3: these little laser lassos in his hands. Know what that was?

1526
01:23:01,240 --> 01:23:03,320
Speaker 2: No, But again, this is a great example of like,

1527
01:23:03,360 --> 01:23:08,160
Speaker 2: I guess he has power over light or laser energy,

1528
01:23:08,320 --> 01:23:11,280
Speaker 2: or is made out of light or laser energy. I

1529
01:23:11,320 --> 01:23:14,160
Speaker 2: don't know. It's just goofy and weird but kind of

1530
01:23:14,160 --> 01:23:16,000
Speaker 2: cool to watch. I just have no idea what it's

1531
01:23:16,000 --> 01:23:16,599
Speaker 2: supposed to mean.

1532
01:23:17,160 --> 01:23:20,160
Speaker 3: We're about to reveal a double agent. So while Acton

1533
01:23:20,320 --> 01:23:23,000
Speaker 3: is talking to the ship's computer, I don't think this

1534
01:23:23,080 --> 01:23:25,479
Speaker 3: comes up really after this part of the movie. Again,

1535
01:23:25,920 --> 01:23:28,280
Speaker 3: do they talk to the ship's computer later in the film.

1536
01:23:28,479 --> 01:23:30,560
Speaker 2: It's no, but it's like a big brain. It's like

1537
01:23:30,600 --> 01:23:34,080
Speaker 2: a big glowing brain. I like, gotcha, yeah, yeah, it

1538
01:23:34,120 --> 01:23:35,280
Speaker 2: almost looks organic.

1539
01:23:36,280 --> 01:23:38,840
Speaker 3: So he's talking to the ship while this is happening, Thor,

1540
01:23:39,080 --> 01:23:42,679
Speaker 3: the space cop this sneaks up behind Acton and knocks

1541
01:23:42,720 --> 01:23:46,320
Speaker 3: him unconscious, then places a video call to his boss,

1542
01:23:46,400 --> 01:23:49,960
Speaker 3: counts ar Thorn. So Thor tells Arthorn that he has

1543
01:23:50,240 --> 01:23:53,559
Speaker 3: killed the alien pathfinder. And then I was like, oh,

1544
01:23:53,600 --> 01:23:56,720
Speaker 3: Acton's an alien? Or from whose point of view? I

1545
01:23:56,720 --> 01:23:58,200
Speaker 3: guess maybe everybody's an alien.

1546
01:23:58,479 --> 01:23:59,960
Speaker 2: I feel like they should have established him as an

1547
01:24:00,040 --> 01:24:02,920
Speaker 2: alien pathfinder earlier on. You would have been more interesting

1548
01:24:02,960 --> 01:24:03,400
Speaker 2: from the get go.

1549
01:24:04,080 --> 01:24:06,840
Speaker 3: Count Zarthorn is very pleased, and so the plan from

1550
01:24:06,840 --> 01:24:09,800
Speaker 3: here is they're gonna lock Stella Star outside and let

1551
01:24:09,800 --> 01:24:12,599
Speaker 3: the cold kill her. But Thor tries to take off

1552
01:24:12,640 --> 01:24:15,519
Speaker 3: and leave without Stella and l and the ship announces

1553
01:24:15,520 --> 01:24:19,320
Speaker 3: a malfunction so it can't leave. And then when Ella

1554
01:24:19,880 --> 01:24:23,680
Speaker 3: not Ella, when Ell and Stella find out what happened that.

1555
01:24:23,920 --> 01:24:27,240
Speaker 3: Elle says thor a trader, I cannot believe it. I

1556
01:24:27,280 --> 01:24:32,519
Speaker 3: cannot trust my own logic circuits anymore. But anyway, Elle

1557
01:24:32,680 --> 01:24:36,479
Speaker 3: has an idea that might save Stella from freezing to death.

1558
01:24:36,920 --> 01:24:39,240
Speaker 3: He's like, I know what to do. He wants her

1559
01:24:39,240 --> 01:24:41,799
Speaker 3: to lay down in the snow and hold his hand,

1560
01:24:42,760 --> 01:24:44,679
Speaker 3: and this is going to put her in a state

1561
01:24:44,760 --> 01:24:48,840
Speaker 3: of suspended animation. And then I don't know. The vibe

1562
01:24:48,840 --> 01:24:51,439
Speaker 3: of this scene is weird. While she's dozing off, she

1563
01:24:51,520 --> 01:24:54,880
Speaker 3: starts getting all lovey dovey with L, like I don't

1564
01:24:55,000 --> 01:24:57,640
Speaker 3: like they're in love now or something. She says L

1565
01:24:58,040 --> 01:25:00,800
Speaker 3: as an opponent. I always knew you were programmed to

1566
01:25:00,920 --> 01:25:04,920
Speaker 3: never give up, which was infuriating, But now that quality

1567
01:25:05,120 --> 01:25:09,400
Speaker 3: must be best. You're the most faithful companion a woman

1568
01:25:09,520 --> 01:25:13,639
Speaker 3: ever had. Oh oh, could we workshop that? Man?

1569
01:25:15,160 --> 01:25:17,719
Speaker 2: I you know, the answer may be out there somewhere.

1570
01:25:17,760 --> 01:25:21,960
Speaker 2: But I kind of wondered if Christopher Plummer did a

1571
01:25:22,000 --> 01:25:25,480
Speaker 2: rewrite of his own lines, because I feel like his little.

1572
01:25:25,200 --> 01:25:26,680
Speaker 3: Monologues they're not great either.

1573
01:25:26,720 --> 01:25:29,680
Speaker 2: They're not great, but they feel a little more cohesive

1574
01:25:29,840 --> 01:25:32,799
Speaker 2: and a little less stupid than everything else in the picture.

1575
01:25:33,040 --> 01:25:36,720
Speaker 3: He doesn't talk about that quality must be best. Yes,

1576
01:25:38,640 --> 01:25:42,080
Speaker 3: uh so anyway, oh El also says in the scene,

1577
01:25:42,080 --> 01:25:44,479
Speaker 3: I like this. He says, now, maybe is a good

1578
01:25:44,520 --> 01:25:47,800
Speaker 3: time to use your ancient system of prayer and hope

1579
01:25:47,800 --> 01:25:51,720
Speaker 3: it works for robots as well. So I don't know

1580
01:25:51,720 --> 01:25:53,960
Speaker 3: whether she prays or not, but she freezes solid and

1581
01:25:54,000 --> 01:25:55,960
Speaker 3: turns into an ice crusted mannequin.

1582
01:25:56,240 --> 01:25:57,679
Speaker 2: Yeah, real Monroe sickle here.

1583
01:25:58,360 --> 01:26:01,639
Speaker 3: Meanwhile, back on the ship, Thor is busy getting chewed

1584
01:26:01,640 --> 01:26:05,760
Speaker 3: out from Zarthorn, or chewed out by Zarthorn for having

1585
01:26:05,840 --> 01:26:08,360
Speaker 3: not arrived yet, and Acton wakes up so he was

1586
01:26:08,400 --> 01:26:11,479
Speaker 3: not dead after all. This goes into a fight scene.

1587
01:26:11,920 --> 01:26:14,880
Speaker 3: You know, they tangle and tray blows. At one point,

1588
01:26:14,920 --> 01:26:18,320
Speaker 3: Thor is trying to crush Acton inside this big sculpture

1589
01:26:18,439 --> 01:26:21,240
Speaker 3: that has some sort of retracting drawer. I don't even

1590
01:26:21,280 --> 01:26:25,839
Speaker 3: know what this is. But Acton uses his eye sparkle powers.

1591
01:26:26,880 --> 01:26:30,280
Speaker 3: Yeah I get those, I guess, Yeah, like flashes his eyes,

1592
01:26:30,439 --> 01:26:33,120
Speaker 3: like light comes out of them and this knocks Thor back.

1593
01:26:33,760 --> 01:26:35,519
Speaker 3: Thor gets a hold of his gun and then here

1594
01:26:35,560 --> 01:26:37,840
Speaker 3: we get to my favorite line in the movie that

1595
01:26:37,920 --> 01:26:41,880
Speaker 3: I was talking about earlier. You know, Thor shoots Acton.

1596
01:26:42,040 --> 01:26:45,400
Speaker 3: Acton is unharmed, and Thor says, what, no one can

1597
01:26:45,439 --> 01:26:49,599
Speaker 3: survive these deadly rays. These deadly rays will be your death.

1598
01:26:50,040 --> 01:26:52,679
Speaker 3: So he holds up his hand. The deadly rays bounce

1599
01:26:52,720 --> 01:26:55,000
Speaker 3: off of it, reflect back and kill Thor.

1600
01:26:55,800 --> 01:26:58,360
Speaker 2: Quick thought about deadly rays when we were talking about

1601
01:26:58,400 --> 01:27:00,680
Speaker 2: the prison break sequence earlier, and there's a lot of

1602
01:27:00,680 --> 01:27:03,040
Speaker 2: gun fire, a lot of laser fire in that. I

1603
01:27:03,080 --> 01:27:06,320
Speaker 2: did really like the practical effects of the laser beams

1604
01:27:06,360 --> 01:27:10,960
Speaker 2: hitting people in tremendous sparks flying off of the person.

1605
01:27:11,960 --> 01:27:16,720
Speaker 2: It made the Sometimes in films like this, the ray

1606
01:27:16,760 --> 01:27:21,040
Speaker 2: guns can feel very neutered and fake, but this film

1607
01:27:21,080 --> 01:27:23,080
Speaker 2: at least succeeds in making them feel dangerous.

1608
01:27:23,640 --> 01:27:25,760
Speaker 3: Other times, though, people get shot with them and they

1609
01:27:25,840 --> 01:27:27,400
Speaker 3: just kind of disappear or something.

1610
01:27:27,479 --> 01:27:29,280
Speaker 2: Yeah, I guess it depends on your setting, right, are

1611
01:27:29,280 --> 01:27:32,960
Speaker 2: you set to disintegrate or mangle or sparkle?

1612
01:27:33,800 --> 01:27:37,280
Speaker 3: What are Acton's powers and where do they come from?

1613
01:27:37,360 --> 01:27:39,679
Speaker 3: What is the source of his power? Yeah?

1614
01:27:39,680 --> 01:27:41,680
Speaker 2: They never tell us, but I assent like, Okay, he's

1615
01:27:41,720 --> 01:27:44,720
Speaker 2: some sort of an alien. He is a pathfinder. He's

1616
01:27:44,720 --> 01:27:46,519
Speaker 2: got to be an energy being. He's some sort of

1617
01:27:46,680 --> 01:27:49,400
Speaker 2: energy being, and they just feel like this is one

1618
01:27:49,400 --> 01:27:51,160
Speaker 2: of the rare things that they're going to show rather

1619
01:27:51,240 --> 01:27:54,559
Speaker 2: than tell everything else, They're happy to keep telling us

1620
01:27:54,600 --> 01:27:55,000
Speaker 2: about it.

1621
01:27:55,800 --> 01:27:58,120
Speaker 3: So there's this whole sequence where they bring the frozen

1622
01:27:58,200 --> 01:28:01,759
Speaker 3: Stella Star the mannequin back on board and they warm

1623
01:28:01,840 --> 01:28:04,800
Speaker 3: her up. We learn that she may survive if you

1624
01:28:04,880 --> 01:28:07,679
Speaker 3: warn her, warm her slowly, else.

1625
01:28:07,479 --> 01:28:10,960
Speaker 2: Give her the reverse werewolf warming. Yeah, it's what they do.

1626
01:28:11,400 --> 01:28:15,439
Speaker 3: Yeah, And then Acton he shoots rainbow beams out of

1627
01:28:15,439 --> 01:28:18,960
Speaker 3: his hands and this warms her up. And then after

1628
01:28:19,120 --> 01:28:21,040
Speaker 3: Stella wakes up, there is what I thought was a

1629
01:28:21,040 --> 01:28:25,799
Speaker 3: really weird development. Acton reveals that the ship doesn't actually

1630
01:28:25,840 --> 01:28:28,720
Speaker 3: have a malfunction at all. The reason Thor couldn't get

1631
01:28:28,720 --> 01:28:32,320
Speaker 3: it to take off is because Acton removed a key

1632
01:28:32,360 --> 01:28:37,439
Speaker 3: component from the engine. Stella deduces from this that Acton

1633
01:28:37,760 --> 01:28:42,479
Speaker 3: knew about Thor's treachery in advance. But then instead of asking, like,

1634
01:28:42,640 --> 01:28:44,640
Speaker 3: what gave it away? You know, how did you know

1635
01:28:44,720 --> 01:28:47,160
Speaker 3: he was going to betray us, she just jumps right

1636
01:28:47,200 --> 01:28:51,000
Speaker 3: to the conclusion you can see into the future, and

1637
01:28:51,080 --> 01:28:53,720
Speaker 3: she's right. Acton can see into the future. He has

1638
01:28:53,840 --> 01:28:57,799
Speaker 3: previously undisclosed esp that allows him to know the future

1639
01:28:57,800 --> 01:29:01,200
Speaker 3: in advance. And then Stella says, all these years you

1640
01:29:01,280 --> 01:29:03,920
Speaker 3: never told me. Think of all the trouble I might

1641
01:29:03,960 --> 01:29:07,559
Speaker 3: have avoided, but act on counters, you would have tried

1642
01:29:07,600 --> 01:29:11,080
Speaker 3: to change the future, which is against the law. So

1643
01:29:11,200 --> 01:29:13,000
Speaker 3: therefore I can tell you nothing.

1644
01:29:14,200 --> 01:29:14,640
Speaker 2: I love it.

1645
01:29:14,840 --> 01:29:16,800
Speaker 3: I love the last we hear about that.

1646
01:29:17,280 --> 01:29:19,479
Speaker 2: Yeah, this is this. They've set it up like this

1647
01:29:19,520 --> 01:29:22,960
Speaker 2: is some huge revelation that's going to really play into

1648
01:29:22,960 --> 01:29:25,360
Speaker 2: the rest of the plot, and it doesn't. It's just like, oh, yeah,

1649
01:29:25,360 --> 01:29:27,240
Speaker 2: by the way, he can see the future. He just

1650
01:29:27,240 --> 01:29:29,040
Speaker 2: didn't tell you because it would be wrong for you

1651
01:29:29,120 --> 01:29:30,880
Speaker 2: to act on it. It would be against the law,

1652
01:29:31,520 --> 01:29:32,479
Speaker 2: be illegal, like.

1653
01:29:32,680 --> 01:29:34,400
Speaker 3: They might send us to a prison planet.

1654
01:29:34,840 --> 01:29:38,840
Speaker 2: Yeah, suddenly these smugglers are very concerned with breaking the law.

1655
01:29:38,880 --> 01:29:40,280
Speaker 2: I don't know. You don't want the Time cops on

1656
01:29:40,320 --> 01:29:42,720
Speaker 2: your back. It's different when the Time cops come after you.

1657
01:29:42,960 --> 01:29:45,680
Speaker 3: That's a good point. So but Stella really takes this

1658
01:29:45,760 --> 01:29:47,800
Speaker 3: in stride. She just kind of shakes it off. They

1659
01:29:47,880 --> 01:29:49,320
Speaker 3: go onto the next thing. So they're going to go

1660
01:29:49,360 --> 01:29:52,160
Speaker 3: to the third escape pod planet, this time on a

1661
01:29:52,160 --> 01:30:05,639
Speaker 3: barren waste land called de Mundia. So while approaching d Mundia,

1662
01:30:05,760 --> 01:30:09,519
Speaker 3: everything starts malfunctioning. We see red monsters. Remember again that's

1663
01:30:09,600 --> 01:30:13,040
Speaker 3: the lava lamp and the red lights everywhere. Elle says,

1664
01:30:13,200 --> 01:30:16,320
Speaker 3: my circuits are failing. I'm out of control. I'm out

1665
01:30:16,320 --> 01:30:21,760
Speaker 3: of control. Meanwhile, Stella says, ah, my head, and somehow

1666
01:30:22,160 --> 01:30:25,320
Speaker 3: Acton pilots them through it. And then when everything is

1667
01:30:25,360 --> 01:30:28,839
Speaker 3: back to normal, Acton says, we've just survived an attack

1668
01:30:28,920 --> 01:30:33,439
Speaker 3: of the most powerful weapon in the entire galaxy. I

1669
01:30:33,479 --> 01:30:36,600
Speaker 3: don't know, I mean, we just saw them go through it,

1670
01:30:36,640 --> 01:30:38,719
Speaker 3: and we've seen the same weapon used on other people.

1671
01:30:39,040 --> 01:30:41,960
Speaker 3: Lots of people surprised. It seems like explosives are probably

1672
01:30:41,960 --> 01:30:43,040
Speaker 3: more powerful.

1673
01:30:42,680 --> 01:30:43,240
Speaker 2: I would think, so.

1674
01:30:43,439 --> 01:30:48,360
Speaker 3: Yeah. So they go down to the planet's surface and

1675
01:30:48,439 --> 01:30:50,800
Speaker 3: they find the ship down to the bottom of a

1676
01:30:50,800 --> 01:30:53,720
Speaker 3: big crater. This is where we start seeing somebody in

1677
01:30:53,720 --> 01:30:58,280
Speaker 3: a gold Zardas mask following them, and Stella says she's

1678
01:30:58,280 --> 01:31:02,040
Speaker 3: going to go investigate the crater. L goes instead, and

1679
01:31:02,080 --> 01:31:06,519
Speaker 3: then there is a troglodyte ambush. So yeah, they're attacked

1680
01:31:06,520 --> 01:31:07,760
Speaker 3: by cave men.

1681
01:31:08,160 --> 01:31:12,680
Speaker 2: Yeah, it's it's really kind of hilarious the visions for

1682
01:31:12,760 --> 01:31:15,320
Speaker 2: these different planets and granted their budget constraints in place.

1683
01:31:15,320 --> 01:31:19,559
Speaker 2: But let's see we have amazonium planet, snow planet, and

1684
01:31:19,600 --> 01:31:21,880
Speaker 2: now caveman planet. Right makes sense?

1685
01:31:22,120 --> 01:31:25,360
Speaker 3: Yeah, totally. Yeah. So the cavemen have big stone axes

1686
01:31:25,360 --> 01:31:28,559
Speaker 3: other paleolithic tools they smash el to pieces like see

1687
01:31:28,560 --> 01:31:30,880
Speaker 3: three po in the Tuscan Raiders. So these are you know,

1688
01:31:30,920 --> 01:31:35,160
Speaker 3: I think they're Tuscan Raiders or yeah, And they carry

1689
01:31:35,200 --> 01:31:37,760
Speaker 3: Stella back to their cave. I think the planet is

1690
01:31:37,760 --> 01:31:41,480
Speaker 3: they're going to eat her. That this camp suggests cannibalism.

1691
01:31:41,640 --> 01:31:43,680
Speaker 2: Yeah, they have her hanging from the ceiling in a

1692
01:31:43,720 --> 01:31:45,679
Speaker 2: way that suggests she's meat now.

1693
01:31:45,800 --> 01:31:48,760
Speaker 3: Yeah, okay, so they're going to eat her later and

1694
01:31:48,479 --> 01:31:51,120
Speaker 3: then they just I guess it's time now, so they're

1695
01:31:51,120 --> 01:31:53,200
Speaker 3: going to come cut her throat and drain her blood.

1696
01:31:53,600 --> 01:31:56,000
Speaker 3: But Stella is rescued at the last second by the

1697
01:31:56,040 --> 01:31:59,360
Speaker 3: stranger in the Zarda's mask. So the mask shoots lasers

1698
01:31:59,400 --> 01:32:03,639
Speaker 3: out of its eyes and drives the trogolodites away. When

1699
01:32:03,640 --> 01:32:06,320
Speaker 3: Stella and the stranger get to safety, the stranger takes

1700
01:32:06,360 --> 01:32:10,080
Speaker 3: off the mask and reveals it's David Hasselhoff. There he is,

1701
01:32:10,720 --> 01:32:13,120
Speaker 3: and when I wanted to note when he takes this

1702
01:32:13,280 --> 01:32:16,000
Speaker 3: helmet off. He does not have helmet hair. His hair

1703
01:32:16,080 --> 01:32:21,360
Speaker 3: is voluminous. It is not matted down at all. Continuity error.

1704
01:32:21,439 --> 01:32:22,720
Speaker 2: I mean it's a big helmet. I think there's a

1705
01:32:22,760 --> 01:32:24,760
Speaker 2: lot of room in there that allows the hair to

1706
01:32:24,800 --> 01:32:25,720
Speaker 2: be free.

1707
01:32:26,280 --> 01:32:29,160
Speaker 3: So we learn that this is Simon, the only survivor

1708
01:32:29,200 --> 01:32:31,720
Speaker 3: of the wreck of the Imperial mission ship, the one

1709
01:32:31,760 --> 01:32:35,840
Speaker 3: sent to search for Zarthorne's weapon planet. They share information

1710
01:32:35,880 --> 01:32:37,880
Speaker 3: about what they've been through and then they try to

1711
01:32:38,000 --> 01:32:41,240
Speaker 3: leave the cave, but they get jumped by cavemen. They

1712
01:32:41,240 --> 01:32:43,760
Speaker 3: put up a good fight, but they're outnumbered, and then

1713
01:32:43,960 --> 01:32:46,000
Speaker 3: rescue comes in the form of who is he going

1714
01:32:46,040 --> 01:32:48,120
Speaker 3: to be? Who's going to rescue them? Who keeps rescuing it?

1715
01:32:48,280 --> 01:32:52,280
Speaker 3: But everybody every time it's Acton. But this time he

1716
01:32:52,400 --> 01:32:55,160
Speaker 3: is armed with a new weapon. It is some kind

1717
01:32:55,200 --> 01:32:59,280
Speaker 3: of energy based sword, like a sword where the blade

1718
01:32:59,400 --> 01:33:02,840
Speaker 3: is made out of a laser. Could you imagine it? Oh? Yes,

1719
01:33:03,120 --> 01:33:06,800
Speaker 3: they did it, folks. So the cavemen surround Stella like

1720
01:33:06,840 --> 01:33:08,960
Speaker 3: they're they're really like, they get her down on the

1721
01:33:08,960 --> 01:33:10,920
Speaker 3: ground like they're going to do a Kernel Rhodes from

1722
01:33:11,000 --> 01:33:13,840
Speaker 3: Day of the Dead. You get all the guts out. Yeah,

1723
01:33:13,880 --> 01:33:17,160
Speaker 3: But it doesn't happen because Acton comes in swinging the

1724
01:33:17,240 --> 01:33:18,920
Speaker 3: lightsaber and he drives them away.

1725
01:33:19,560 --> 01:33:22,920
Speaker 2: It is It is an interesting experience having watched so

1726
01:33:23,000 --> 01:33:28,479
Speaker 2: many grimy Italian and Spanish films from this era that

1727
01:33:28,560 --> 01:33:31,599
Speaker 2: you keep expecting things to take grimier turns than they do.

1728
01:33:31,960 --> 01:33:33,320
Speaker 2: But at the end of the day, like, this is

1729
01:33:33,320 --> 01:33:35,960
Speaker 2: a very PG film, This is for the child.

1730
01:33:36,560 --> 01:33:38,679
Speaker 3: Yeah, this is less nasty than some of the other

1731
01:33:38,760 --> 01:33:41,360
Speaker 3: movies that have this kind of flavor, but take it

1732
01:33:41,400 --> 01:33:42,759
Speaker 3: in a more X rated direction.

1733
01:33:42,920 --> 01:33:45,080
Speaker 2: Yeah yeah, yeah, so she's not ripped in half, but

1734
01:33:45,200 --> 01:33:48,360
Speaker 2: man does Acton ever rip into some cavemen with this

1735
01:33:48,479 --> 01:33:51,640
Speaker 2: lightsaber like they doesn't get graphic, but man is just

1736
01:33:51,960 --> 01:33:54,080
Speaker 2: he has just slicing bellies left and right here with

1737
01:33:54,120 --> 01:33:55,040
Speaker 2: this thing. Yeah.

1738
01:33:55,680 --> 01:33:59,120
Speaker 3: So Acton explains that he has reached a conclusion. He

1739
01:33:59,160 --> 01:34:02,200
Speaker 3: says they can stop looking for Zarthorn's weapon planet because

1740
01:34:02,240 --> 01:34:05,320
Speaker 3: it's this one. This is the one. Okay, we're done.

1741
01:34:05,680 --> 01:34:08,240
Speaker 3: He explains why. He says, you know, the Amazon Queen

1742
01:34:08,320 --> 01:34:10,400
Speaker 3: told you in a scene that I wasn't present for

1743
01:34:10,880 --> 01:34:14,240
Speaker 3: that there are two guardians of the weapon Planet. Well,

1744
01:34:14,280 --> 01:34:16,559
Speaker 3: here you've got the red monsters we went through and

1745
01:34:16,600 --> 01:34:17,400
Speaker 3: the Troglodides.

1746
01:34:17,479 --> 01:34:20,000
Speaker 2: I mean that settles it, really, So that's also the

1747
01:34:20,040 --> 01:34:23,599
Speaker 2: two big guardians of this super space weapon are red

1748
01:34:23,640 --> 01:34:24,919
Speaker 2: blobs and cavemen.

1749
01:34:25,200 --> 01:34:28,920
Speaker 3: That's right. Yes, So they walk through the cave to

1750
01:34:29,000 --> 01:34:31,840
Speaker 3: a door that leads to the secret weapon. It is

1751
01:34:31,880 --> 01:34:36,120
Speaker 3: that simple. And you know while they're going there, Acton

1752
01:34:36,160 --> 01:34:39,080
Speaker 3: explains it is from this facility that Zarthorn will control

1753
01:34:39,120 --> 01:34:42,600
Speaker 3: the entire universe. So they go into another room with

1754
01:34:42,640 --> 01:34:46,200
Speaker 3: all these little bubble dome stations lining the walls, and

1755
01:34:46,320 --> 01:34:49,680
Speaker 3: Acton says, here's the nerve center of the entire operation.

1756
01:34:50,240 --> 01:34:55,240
Speaker 3: Stella says, this is unbelievable, fantastic pre programmed computers. They

1757
01:34:55,240 --> 01:34:56,200
Speaker 3: could run forever.

1758
01:34:57,000 --> 01:34:59,360
Speaker 2: That's great, and I mean I've said it once, I've

1759
01:34:59,360 --> 01:35:02,200
Speaker 2: said it a thousand times. The worst thing about getting

1760
01:35:02,200 --> 01:35:04,600
Speaker 2: a new computer is having to program it from just

1761
01:35:04,840 --> 01:35:07,439
Speaker 2: starting from ground zero on it. Wish we could get

1762
01:35:07,439 --> 01:35:08,880
Speaker 2: a pre program one for once.

1763
01:35:09,840 --> 01:35:13,880
Speaker 3: So they learned that this room generates the red monsters,

1764
01:35:13,920 --> 01:35:17,040
Speaker 3: but that the red monsters are not real. They are

1765
01:35:17,040 --> 01:35:20,560
Speaker 3: only mental projections in our brains. So they're going to

1766
01:35:20,600 --> 01:35:24,040
Speaker 3: head for the control panel. This is a scene that

1767
01:35:24,160 --> 01:35:27,200
Speaker 3: really highlights you start noticing all of the characters have

1768
01:35:27,320 --> 01:35:29,840
Speaker 3: these rigid thongs giving them wedgies. Yeah.

1769
01:35:29,920 --> 01:35:33,320
Speaker 2: Yeah, especially when things get action oriented, You're like, oh wow,

1770
01:35:33,400 --> 01:35:34,519
Speaker 2: that is a lot of thongs.

1771
01:35:35,640 --> 01:35:39,400
Speaker 3: And then there's an exchange I didn't understand. Acton says

1772
01:35:39,640 --> 01:35:43,519
Speaker 3: destiny must take its course, but then Stella says, no,

1773
01:35:43,760 --> 01:35:46,639
Speaker 3: we can't allow this to happen, and then Simon says

1774
01:35:46,680 --> 01:35:49,160
Speaker 3: we must destroy it. At once, I was like, what

1775
01:35:49,200 --> 01:35:51,640
Speaker 3: are they arguing about? Is Acton saying they should let

1776
01:35:51,720 --> 01:35:54,479
Speaker 3: Zarthorn keep the weapon and not do anything about it?

1777
01:35:54,760 --> 01:35:56,960
Speaker 2: Nay? I guess he sees something in the future that

1778
01:35:57,080 --> 01:36:01,320
Speaker 2: is impacting his decision making here, but is not bothering

1779
01:36:01,400 --> 01:36:03,559
Speaker 2: to tell us the viewer about what's up.

1780
01:36:04,439 --> 01:36:07,760
Speaker 3: Anyway, Zarthorn ambushes them. He comes in with a bunch

1781
01:36:07,800 --> 01:36:12,120
Speaker 3: of his henchmen, do dopey looking henchman again, Robot oil

1782
01:36:12,240 --> 01:36:13,640
Speaker 3: Soun's kind of henchman.

1783
01:36:13,400 --> 01:36:15,800
Speaker 2: But the cape looks amazing, Cape looks.

1784
01:36:15,560 --> 01:36:20,240
Speaker 3: Great, and his two stop motion robot duckman with the machetes,

1785
01:36:20,920 --> 01:36:24,200
Speaker 3: and Zarthorn tells them that, you know, he keeps trying

1786
01:36:24,240 --> 01:36:26,479
Speaker 3: to kill them, but they survive every trap he lays

1787
01:36:26,479 --> 01:36:29,160
Speaker 3: for them. But now he's got him because in less

1788
01:36:29,200 --> 01:36:31,760
Speaker 3: than an hour quote, all that will be left of

1789
01:36:31,800 --> 01:36:35,519
Speaker 3: this planet will be ashes and cosmic dust forever. Then

1790
01:36:35,880 --> 01:36:40,280
Speaker 3: you will be among the dead. Also the Emperor Christopher Plummer,

1791
01:36:40,479 --> 01:36:42,799
Speaker 3: he's going to be killed in the explosion too, because

1792
01:36:42,960 --> 01:36:46,160
Speaker 3: Count Zarthorn has lured him here on the promise that

1793
01:36:46,280 --> 01:36:49,120
Speaker 3: his son David Hasselhoff would be handed over to him.

1794
01:36:49,120 --> 01:36:52,320
Speaker 3: So the Emperor will be here any minute, and Zarthurne

1795
01:36:52,360 --> 01:36:54,759
Speaker 3: says he will be here just in time to join

1796
01:36:54,840 --> 01:36:59,599
Speaker 3: in the fireworks. And then so Zarthorn leaves, but leaves

1797
01:36:59,600 --> 01:37:02,920
Speaker 3: the two golums to keep the heroes in the room

1798
01:37:02,960 --> 01:37:05,479
Speaker 3: at any cost. He says, kill them if you have to,

1799
01:37:06,240 --> 01:37:10,080
Speaker 3: And this turns into a lightsaber versus duck machete robot

1800
01:37:10,200 --> 01:37:14,519
Speaker 3: duck machete battle, and Acton fights the two droids. I

1801
01:37:14,560 --> 01:37:17,080
Speaker 3: think he kills one of them, but then Acton is

1802
01:37:17,120 --> 01:37:19,880
Speaker 3: wounded and then Simon has to pick up the lightsaber

1803
01:37:19,920 --> 01:37:23,160
Speaker 3: and take over the fight. Any description of this fight here?

1804
01:37:23,200 --> 01:37:25,160
Speaker 3: I thought, this one's pretty fun. I think this is

1805
01:37:25,200 --> 01:37:27,040
Speaker 3: the best action scene in the film.

1806
01:37:27,200 --> 01:37:29,760
Speaker 2: Yeah, I mean, obviously we can compare this to you know,

1807
01:37:29,760 --> 01:37:34,479
Speaker 2: Harry Holsan's you know, the scenes with the Skeleton men

1808
01:37:35,680 --> 01:37:37,200
Speaker 2: let's see which one was that from that.

1809
01:37:37,280 --> 01:37:38,839
Speaker 3: Was Sinbad and the Eye of the Tiger.

1810
01:37:38,960 --> 01:37:42,160
Speaker 2: Yeah, from the Tiger. So we definitely can compare it

1811
01:37:42,200 --> 01:37:44,559
Speaker 2: to that. Not as good as that, but but not

1812
01:37:44,720 --> 01:37:47,479
Speaker 2: bad either. Like this is this in this scene, the

1813
01:37:47,520 --> 01:37:50,640
Speaker 2: stop motion in the live action is pretty well integrated

1814
01:37:50,720 --> 01:37:52,479
Speaker 2: enough that you know it's telling a story. You can

1815
01:37:52,479 --> 01:37:53,200
Speaker 2: get into the action.

1816
01:37:53,600 --> 01:37:57,799
Speaker 3: Yeah, so you know that. So Simon defeats the other robot.

1817
01:37:57,880 --> 01:38:01,960
Speaker 3: But then Acton is dying. Oh no, and they go

1818
01:38:02,040 --> 01:38:04,360
Speaker 3: talk to him and Acton says, don't worry you and

1819
01:38:04,400 --> 01:38:06,960
Speaker 3: the Prince will live and Stella is like, no, Acton,

1820
01:38:07,080 --> 01:38:09,439
Speaker 3: you can't die, get up, and then he has a

1821
01:38:09,479 --> 01:38:11,360
Speaker 3: great line what I think he wrote this.

1822
01:38:11,600 --> 01:38:14,080
Speaker 2: I had to note both of these because this is

1823
01:38:14,160 --> 01:38:17,479
Speaker 2: just this is absurd. This is it's so absurd as beautiful.

1824
01:38:17,520 --> 01:38:21,519
Speaker 2: Acton says, I'm no longer useful at this time. What

1825
01:38:22,439 --> 01:38:24,400
Speaker 2: who would say it like that?

1826
01:38:24,560 --> 01:38:25,120
Speaker 3: Nobody?

1827
01:38:25,280 --> 01:38:28,840
Speaker 2: But then Stella comes in with I can't leave you.

1828
01:38:28,840 --> 01:38:32,400
Speaker 2: You're the only human like friend I've ever had. I

1829
01:38:32,439 --> 01:38:36,840
Speaker 2: don't understand you never die, you never die. Yeah, but

1830
01:38:36,920 --> 01:38:39,679
Speaker 2: I mean, you're the only human like friend I've ever had.

1831
01:38:39,840 --> 01:38:44,160
Speaker 3: What But he's so they're saying he's not human. I

1832
01:38:44,160 --> 01:38:45,719
Speaker 3: think they're saying, oh, he's an alien.

1833
01:38:46,360 --> 01:38:49,599
Speaker 2: Yeah, but she's had never had she has no other friend.

1834
01:38:49,680 --> 01:38:51,600
Speaker 2: I don't know. It just seems very unbelievable.

1835
01:38:51,800 --> 01:38:55,200
Speaker 3: So acton he fades into a screen from an oscillator,

1836
01:38:55,880 --> 01:38:59,880
Speaker 3: like yeah, and then the Emperor arrives again, wearing this

1837
01:39:00,040 --> 01:39:03,360
Speaker 3: hilarious outfit with the metal of the full body chastity

1838
01:39:03,400 --> 01:39:07,040
Speaker 3: belt as you called it, and they don't leave the room.

1839
01:39:07,120 --> 01:39:10,680
Speaker 3: They're still in the same weapon control room. But the

1840
01:39:10,720 --> 01:39:12,760
Speaker 3: Emperor comes in with all of his troops and now

1841
01:39:12,800 --> 01:39:15,240
Speaker 3: they've got a problem. They're like, oh, father, you're here.

1842
01:39:15,560 --> 01:39:18,720
Speaker 3: The planet will explode in forty eight seconds. And then

1843
01:39:18,760 --> 01:39:21,280
Speaker 3: the Emperor says, you know, my son, I wouldn't be

1844
01:39:21,400 --> 01:39:24,120
Speaker 3: Emperor of the galaxy if I didn't have some powers

1845
01:39:24,120 --> 01:39:30,160
Speaker 3: at my disposal Imperial battleship halt the flow of time. Yes.

1846
01:39:32,360 --> 01:39:36,360
Speaker 2: Yeah, this film is big on suddenly revealing just absurd

1847
01:39:36,479 --> 01:39:40,280
Speaker 2: cosmic powers for characters and then but then not doing

1848
01:39:40,320 --> 01:39:43,760
Speaker 2: anything else with those powers, Like everybody's superability is a

1849
01:39:43,960 --> 01:39:45,040
Speaker 2: complete one shot.

1850
01:39:45,360 --> 01:39:48,680
Speaker 3: Yeah, Oh, you didn't know I had the Green Lantern ring. Yeah,

1851
01:39:48,720 --> 01:39:52,400
Speaker 3: I never mentioned that, So that like a green rays

1852
01:39:52,479 --> 01:39:57,200
Speaker 3: apps the planet. Everything turns green, and then the Emperor explains, quote,

1853
01:39:57,200 --> 01:40:00,320
Speaker 3: for the space of three minutes, every molecule on this

1854
01:40:00,400 --> 01:40:03,840
Speaker 3: planet will be immobilized. But after the third minute, the

1855
01:40:03,920 --> 01:40:07,360
Speaker 3: green ray loses its power, time will flow once more

1856
01:40:07,520 --> 01:40:13,160
Speaker 3: and everything will explode. And Simon says, okay, three minutes

1857
01:40:13,240 --> 01:40:17,000
Speaker 3: is enough. They leave and then everything explodes. So now

1858
01:40:17,040 --> 01:40:20,200
Speaker 3: we are barreling toward the conclusion. The Emperor comes up

1859
01:40:20,200 --> 01:40:22,120
Speaker 3: with the plan. All of his legions are going to

1860
01:40:22,160 --> 01:40:25,720
Speaker 3: launch a surprise attack on Count Zarthorn's headquarters before he

1861
01:40:25,760 --> 01:40:28,599
Speaker 3: can prepare for them. This will save billions of lives.

1862
01:40:28,960 --> 01:40:30,880
Speaker 3: But at this point I was thinking, I've seen this

1863
01:40:30,960 --> 01:40:33,960
Speaker 3: movie multiple times. What are they saving the lives? Like,

1864
01:40:34,040 --> 01:40:36,080
Speaker 3: what are the stakes here? What's going to happen if

1865
01:40:36,160 --> 01:40:37,120
Speaker 3: Zartharn wins?

1866
01:40:37,720 --> 01:40:39,600
Speaker 2: Yeah? And then the way that he is going to

1867
01:40:39,640 --> 01:40:42,640
Speaker 2: save billions of lives he quickly reveals is they are

1868
01:40:42,720 --> 01:40:47,320
Speaker 2: going to crash an enormous floating space city a city, yeah,

1869
01:40:47,400 --> 01:40:53,880
Speaker 2: into Zartharn's headquarters or whatever. It seems awfully destructive. I'm

1870
01:40:53,920 --> 01:40:58,519
Speaker 2: assuming they're going to evacuate everyone first from the space city,

1871
01:40:58,560 --> 01:41:00,400
Speaker 2: but they don't really flesh that out.

1872
01:41:00,720 --> 01:41:03,000
Speaker 3: No, you would hope they evacuate, but they don't talk

1873
01:41:03,000 --> 01:41:06,200
Speaker 3: about that. That's the backup plan. The first thing is, well,

1874
01:41:06,240 --> 01:41:08,439
Speaker 3: first of all, we check in with Count Zartharn who's

1875
01:41:08,479 --> 01:41:11,000
Speaker 3: giving a speech to his troops, and he says, by sunset,

1876
01:41:11,080 --> 01:41:13,639
Speaker 3: I'll be the new emperor and I will be master

1877
01:41:13,760 --> 01:41:18,920
Speaker 3: of the whole universe. Yeah, it's sunset and they're not

1878
01:41:19,000 --> 01:41:23,280
Speaker 3: on a planet, Master of the whole universe. But so

1879
01:41:23,400 --> 01:41:25,560
Speaker 3: this leads into the space battle. So the Emperor is

1880
01:41:25,560 --> 01:41:28,280
Speaker 3: going to attack zarthorne ship before they get to the

1881
01:41:28,680 --> 01:41:33,320
Speaker 3: city crash. Again, this battle has almost no dramatic interest

1882
01:41:33,720 --> 01:41:35,599
Speaker 3: early on, at least, it's just you know, the gold

1883
01:41:35,680 --> 01:41:39,559
Speaker 3: space ship zipping around shooting lasers at the clawhand ship.

1884
01:41:40,320 --> 01:41:43,080
Speaker 3: Now the battle, I think it's very funny once it

1885
01:41:43,120 --> 01:41:46,480
Speaker 3: goes to the boarding parties, when they shoot these torpedoes

1886
01:41:46,520 --> 01:41:50,360
Speaker 3: full of soldiers through the windows. We learned that Zarthorne's

1887
01:41:50,360 --> 01:41:53,040
Speaker 3: ship has windows, not like a space ship windows, it

1888
01:41:53,080 --> 01:41:54,360
Speaker 3: has windows like a house.

1889
01:41:54,600 --> 01:41:57,439
Speaker 2: Yeah, and then you shoot these torpedoes through which then

1890
01:41:57,479 --> 01:41:59,880
Speaker 2: open up like caskets and the troops climb out, which

1891
01:42:00,600 --> 01:42:03,640
Speaker 2: you know, I don't know, you could certainly, you know,

1892
01:42:03,800 --> 01:42:06,840
Speaker 2: argue about how sensible. This is, but it looks really cool.

1893
01:42:06,920 --> 01:42:09,200
Speaker 2: I like this. I was like I was I. I

1894
01:42:09,240 --> 01:42:11,560
Speaker 2: dug it every time it happened and kept hoping it

1895
01:42:11,560 --> 01:42:13,719
Speaker 2: would happen again, and luckily it kept happening.

1896
01:42:13,840 --> 01:42:17,519
Speaker 3: But it's so funny. Zarthorn is walking around while his

1897
01:42:17,640 --> 01:42:21,120
Speaker 3: troops are shooting at the Emperor's troops, and Zarthorn just

1898
01:42:21,200 --> 01:42:24,839
Speaker 3: keeps saying kill, kill over there, kill.

1899
01:42:25,280 --> 01:42:28,080
Speaker 2: I mean, he's really micromanaging here. You know, you don't

1900
01:42:28,120 --> 01:42:31,080
Speaker 2: have to tell us about which enemy troop we need

1901
01:42:31,120 --> 01:42:32,639
Speaker 2: to kill. We need to kill that one and that one.

1902
01:42:32,720 --> 01:42:34,160
Speaker 2: Just trust us to do our killing, sir.

1903
01:42:34,479 --> 01:42:38,760
Speaker 3: Yeah, kill over there. Yeah. So ultimately the attack fails

1904
01:42:38,640 --> 01:42:42,200
Speaker 3: as Zarthorn retains control of his ship, and Zarthurn says,

1905
01:42:42,240 --> 01:42:44,120
Speaker 3: you know, we got to use the doom Machine. We're

1906
01:42:44,120 --> 01:42:46,720
Speaker 3: going to send it toward the Emperor's capital world and

1907
01:42:46,800 --> 01:42:50,479
Speaker 3: destroy the imperial planet. And then at this point he

1908
01:42:50,680 --> 01:42:53,400
Speaker 3: just shouts his own name. He screams Zarthorn.

1909
01:42:53,800 --> 01:42:55,400
Speaker 2: I was thinking during all this it would be a

1910
01:42:55,400 --> 01:42:58,120
Speaker 2: pretty great name for a band, Zarthorn and the Doom Machine.

1911
01:42:58,320 --> 01:43:01,679
Speaker 3: Oh yeah, that would be great. If not Alorg he's taken,

1912
01:43:03,680 --> 01:43:05,680
Speaker 3: we should should we cut this part out, so we

1913
01:43:06,240 --> 01:43:07,400
Speaker 3: reserve that for ourselves.

1914
01:43:07,479 --> 01:43:09,200
Speaker 2: I mean, if someone were to really do it up,

1915
01:43:09,280 --> 01:43:12,400
Speaker 2: if someone could dress up as Zarthorn and then the

1916
01:43:12,439 --> 01:43:15,280
Speaker 2: band members could be dressed like the the Goons and

1917
01:43:15,680 --> 01:43:18,000
Speaker 2: the and the Gollumns here, that would be pretty cool.

1918
01:43:18,040 --> 01:43:20,479
Speaker 3: It's a beautiful thing. So it looks like, you know,

1919
01:43:20,560 --> 01:43:23,719
Speaker 3: are the heroes defeated? Stella Star thinks, so, as usual,

1920
01:43:23,800 --> 01:43:26,519
Speaker 3: she counsels despair. She says, there's no way to win.

1921
01:43:26,760 --> 01:43:30,439
Speaker 3: Zarthorne has defeated us. But the Emperor says, no, there

1922
01:43:30,560 --> 01:43:32,880
Speaker 3: is a way. There's one way left if we're forced

1923
01:43:32,920 --> 01:43:37,400
Speaker 3: to use it, we can use star Crash and Simon.

1924
01:43:37,640 --> 01:43:40,200
Speaker 3: Simon realizes what his father is saying. He says, a

1925
01:43:40,320 --> 01:43:44,360
Speaker 3: fourth dimensional attack. So that's what they're gonna do. This

1926
01:43:44,400 --> 01:43:46,320
Speaker 3: is what you were talking about earlier. The only way

1927
01:43:46,320 --> 01:43:48,240
Speaker 3: for them to win is for the greatest pilot in

1928
01:43:48,280 --> 01:43:51,960
Speaker 3: the universe, stell A Star, to pilot the floating city,

1929
01:43:52,280 --> 01:43:57,160
Speaker 3: which is something in a fourth dimensional attack against the Count,

1930
01:43:58,200 --> 01:44:00,160
Speaker 3: and so that you know, they get everything ready, they

1931
01:44:00,160 --> 01:44:04,080
Speaker 3: put her in the pilot seat and then Hasselhoff reveals, oh,

1932
01:44:04,080 --> 01:44:06,759
Speaker 3: by the way, your robot friend l that got smashed

1933
01:44:06,800 --> 01:44:09,720
Speaker 3: to pieces he's okay, and they bring him out and

1934
01:44:09,760 --> 01:44:12,200
Speaker 3: he's like, hey, there feels good to be turned on again.

1935
01:44:12,640 --> 01:44:15,960
Speaker 2: I have to say this movie has less foreshadowing than

1936
01:44:16,080 --> 01:44:19,920
Speaker 2: I think any film I've ever seriously thought about. You know, like,

1937
01:44:20,200 --> 01:44:23,519
Speaker 2: there are all these major twists, and there's nothing to

1938
01:44:24,680 --> 01:44:27,240
Speaker 2: tease them out earlier on, even just a little bit.

1939
01:44:28,439 --> 01:44:31,240
Speaker 3: So you can guess what happens from here. They're basically

1940
01:44:31,280 --> 01:44:34,320
Speaker 3: they're gonna ram Zarthorn with a floating city, and then

1941
01:44:35,080 --> 01:44:38,679
Speaker 3: Stella and the robot l they jump out a window

1942
01:44:38,800 --> 01:44:43,200
Speaker 3: into space before it hits and they do that and

1943
01:44:43,280 --> 01:44:43,759
Speaker 3: it works.

1944
01:44:43,920 --> 01:44:46,200
Speaker 2: Different space suit this time. This one's a little bit

1945
01:44:46,200 --> 01:44:49,120
Speaker 2: more traditional. I think I liked the toilet headed one

1946
01:44:49,160 --> 01:44:51,759
Speaker 2: from earlier more I thought that one was weirder looking.

1947
01:44:51,960 --> 01:44:55,440
Speaker 3: The clear toilet was better, I agree. And then Zarthorn

1948
01:44:55,600 --> 01:44:58,040
Speaker 3: is like, his troops are telling him they're gonna ram us.

1949
01:44:58,080 --> 01:45:00,879
Speaker 3: We have to escape, and he's like, come back, you fools,

1950
01:45:00,920 --> 01:45:04,479
Speaker 3: you cowards. And then the last thing Zarthorne says is

1951
01:45:04,720 --> 01:45:05,439
Speaker 3: zaar Thor.

1952
01:45:07,920 --> 01:45:11,200
Speaker 2: I was really hoping that he would get a Wrath

1953
01:45:11,240 --> 01:45:14,120
Speaker 2: of Khan moment where he's like, you know, busted up

1954
01:45:14,160 --> 01:45:16,519
Speaker 2: and you know, from the heart of Hell I stab

1955
01:45:16,560 --> 01:45:18,639
Speaker 2: at the but yeah, he didn't get that option.

1956
01:45:19,280 --> 01:45:21,880
Speaker 3: And then the last thing we get, oh so uh,

1957
01:45:23,000 --> 01:45:28,280
Speaker 3: we get the reunion of Stella and Stella Star and

1958
01:45:28,520 --> 01:45:31,080
Speaker 3: David Hasselhoff. Now they're in love and they stand there

1959
01:45:31,120 --> 01:45:34,439
Speaker 3: like looking at each other. And then the robot is like, oh, oh,

1960
01:45:35,080 --> 01:45:37,280
Speaker 3: I guess he's figuring out what's happening.

1961
01:45:37,320 --> 01:45:40,120
Speaker 2: And nobody remembers poor Acton completely Dick.

1962
01:45:40,439 --> 01:45:43,360
Speaker 3: He's nobody cares about him anymore. And then we cut

1963
01:45:43,400 --> 01:45:45,559
Speaker 3: away to the Emperor. The Emperor is gonna play us

1964
01:45:45,560 --> 01:45:48,160
Speaker 3: out here. So the Emperor has the last line of

1965
01:45:48,200 --> 01:45:50,960
Speaker 3: the film. He said, this is this is his monologue.

1966
01:45:50,960 --> 01:45:54,200
Speaker 3: I wrote it down. Well. By the way, he's sitting

1967
01:45:54,280 --> 01:45:57,040
Speaker 3: on a throne that looks like the super U logo

1968
01:45:57,320 --> 01:45:58,760
Speaker 3: like the car company.

1969
01:45:58,479 --> 01:46:00,760
Speaker 2: Does kind of. I mean, it's it's it's looks really cool,

1970
01:46:00,800 --> 01:46:03,120
Speaker 2: but that's looking superlego super logo.

1971
01:46:03,200 --> 01:46:07,559
Speaker 3: He says, well, it's done. It's happened. The stars are clear,

1972
01:46:08,080 --> 01:46:13,160
Speaker 3: the planets shine, weave won. Oh some dark force, no doubt,

1973
01:46:13,200 --> 01:46:17,240
Speaker 3: will show its face once more. The wheel will always turn.

1974
01:46:17,680 --> 01:46:20,679
Speaker 3: But for now it's calm, and for a little time

1975
01:46:20,880 --> 01:46:22,719
Speaker 3: at least we can rest.

1976
01:46:24,720 --> 01:46:25,639
Speaker 2: It's like a lullabus.

1977
01:46:26,080 --> 01:46:31,280
Speaker 3: Yeah, Star Crash we can rest? Does the tagline of

1978
01:46:31,280 --> 01:46:33,640
Speaker 3: the movie should be now for a little time, we

1979
01:46:33,720 --> 01:46:34,280
Speaker 3: can rest.

1980
01:46:34,439 --> 01:46:36,720
Speaker 2: Yeah, or they could have gone with it happened. It

1981
01:46:36,840 --> 01:46:39,960
Speaker 2: definitely happened, Star Crash.

1982
01:46:40,040 --> 01:46:43,519
Speaker 3: It's done. It happened. Well. That that I think is

1983
01:46:43,680 --> 01:46:48,600
Speaker 3: the greatest of the Star Wars knockoff films and a

1984
01:46:48,680 --> 01:46:50,000
Speaker 3: really beautiful experience.

1985
01:46:50,120 --> 01:46:53,920
Speaker 2: In my opinion, it is a beautiful experience. Yeah, if

1986
01:46:53,960 --> 01:46:58,080
Speaker 2: you were looking for a film with ludicrous dialogue but

1987
01:46:58,360 --> 01:47:04,479
Speaker 2: also some very interesting visuals, like you really you really

1988
01:47:04,479 --> 01:47:08,080
Speaker 2: have to see Star Crash, Star Crashes is absolutely must see.

1989
01:47:08,560 --> 01:47:10,679
Speaker 2: And like I say, if you if you dig watching

1990
01:47:10,760 --> 01:47:13,439
Speaker 2: rift content that m S T three K episode believe

1991
01:47:13,479 --> 01:47:16,679
Speaker 2: that was I think I said earlier Jonah episode very good.

1992
01:47:16,800 --> 01:47:18,600
Speaker 2: Check it out. But also, this is a film that

1993
01:47:18,640 --> 01:47:20,040
Speaker 2: absolutely stands on its own.

1994
01:47:21,200 --> 01:47:21,960
Speaker 3: Yeah it is.

1995
01:47:22,280 --> 01:47:25,599
Speaker 2: It is quite an experience, but it also might break

1996
01:47:25,640 --> 01:47:28,000
Speaker 2: something inside of you. Just so be aware, know your

1997
01:47:28,000 --> 01:47:31,679
Speaker 2: own limits, know your own strengths when when it comes

1998
01:47:31,680 --> 01:47:32,400
Speaker 2: to films like this.

1999
01:47:32,920 --> 01:47:35,160
Speaker 3: Absolutely Okay, I think that does it.

2000
01:47:35,120 --> 01:47:38,160
Speaker 2: For me, all right, Yeah yeah, and hey, maybe we'll

2001
01:47:38,160 --> 01:47:43,440
Speaker 2: have to come back to contamination in the future. Yeah,

2002
01:47:43,560 --> 01:47:46,920
Speaker 2: all right, so we love to hear from everyone out there.

2003
01:47:47,000 --> 01:47:50,720
Speaker 2: Do you have personal experience with Star Crash? You write in,

2004
01:47:50,840 --> 01:47:52,599
Speaker 2: let us know about it. Where'd you first see it?

2005
01:47:52,720 --> 01:47:55,040
Speaker 2: What do you what do you think about it? I'd

2006
01:47:55,040 --> 01:47:57,080
Speaker 2: love to hear from anyone who saw it, like in

2007
01:47:57,120 --> 01:48:00,200
Speaker 2: the wake of the original Star Wars. You know, what

2008
01:48:00,240 --> 01:48:04,240
Speaker 2: was that like to have this film injected into into

2009
01:48:04,280 --> 01:48:09,280
Speaker 2: the immediate cinematic environment. But you know, any any kind

2010
01:48:09,280 --> 01:48:12,040
Speaker 2: of connections you have with the film? Yeah, yeah, write

2011
01:48:12,040 --> 01:48:15,040
Speaker 2: in let's talk about it. Just a reminder that Stuff

2012
01:48:15,080 --> 01:48:17,599
Speaker 2: to Blow Your Mind is primarily a science and culture

2013
01:48:17,640 --> 01:48:20,400
Speaker 2: podcast with core episodes on Tuesdays and Thursdays. But in

2014
01:48:20,439 --> 01:48:23,240
Speaker 2: the Stuff to Blow your Mind podcast feed wherever you

2015
01:48:23,280 --> 01:48:25,720
Speaker 2: get it, wherever you get your audio podcasts, or if

2016
01:48:25,760 --> 01:48:30,280
Speaker 2: you watch the video version on Netflix on Fridays, that

2017
01:48:30,360 --> 01:48:32,360
Speaker 2: is when we do a little weird house cinema. That's

2018
01:48:32,360 --> 01:48:34,479
Speaker 2: our time to set aside most serious concerns and just

2019
01:48:34,520 --> 01:48:35,840
Speaker 2: talk about a weird film.

2020
01:48:36,120 --> 01:48:39,679
Speaker 3: Here's thanks, as always to our excellent audio producer JJ Posway.

2021
01:48:40,000 --> 01:48:41,439
Speaker 3: If you would like to get in touch with us

2022
01:48:41,439 --> 01:48:43,759
Speaker 3: with feedback on this episode or any other, to suggest

2023
01:48:43,760 --> 01:48:45,759
Speaker 3: a topic for the future, or just to say Hello.

2024
01:48:45,920 --> 01:48:48,360
Speaker 3: You can email us at contact at stuff to Blow

2025
01:48:48,400 --> 01:48:56,040
Speaker 3: Your Mind dot com.

2026
01:48:56,200 --> 01:48:59,120
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

2027
01:48:59,200 --> 01:49:03,160
Speaker 1: more podcasts iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

2028
01:49:03,200 --> 01:49:04,920
Speaker 1: wherever you listen to your favorite shows.