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Speaker 1: Hey, Welcome to Weird House Cinema. Rewind. In today's episode,

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Speaker 1: we're going to revisit an episode that originally published nine

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Speaker 1: nine twenty two. This is Devil Girl from Mars. Let's

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Speaker 1: dive right in.

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

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Speaker 1: Hey, welcome to Weird House Cinema.

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

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Speaker 3: today we're going to be taking a look at a

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Speaker 3: nineteen fifty four science fiction movie called Devil Girl from Mars,

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Speaker 3: a movie about people who are obsessed with liquor, who

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Speaker 3: in fact are in many cases even named after liquors,

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Speaker 3: and who are gather in a rural inn in Scotland

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Speaker 3: to be attacked by an evil Martian boss lady who

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Speaker 3: wants to kidnap and dominate scdish men. Yes, that's right,

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Speaker 3: Fans of Weird House Cinema may feel an inkling of

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Speaker 3: a memory that this is, in fact the second movie

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Speaker 3: we've done with this exact plot, the plot of women

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Speaker 3: from another planet within our Solar system are running out

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Speaker 3: of men and must come to Earth to steal our

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Speaker 3: precious earth hunks. The other one was the lighthearted Mexican

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Speaker 3: romantic musical horror comedy Ship of Monsters from nineteen sixty

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Speaker 3: and that one was such a delight. I still remember

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Speaker 3: that so fondly. I think Devil Girl from Mars is

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Speaker 3: also a delight, but in a very different way. Ship

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Speaker 3: of Monsters is clever, spunky, charming, intentionally funny and made

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Speaker 3: with this infectious sense of whimsy. Devil Girl from Mars

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Speaker 3: is the exact opposite. It is made hilarious by virtue

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Speaker 3: of its absurd self seriousness.

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Speaker 1: Yeah, yeah, this is not a lighthearted musical romp that

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Speaker 1: it's It's still a lot of fun and has some

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Speaker 1: great design work in it, because that was one of

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Speaker 1: the things we loved about about about the Ship of

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Speaker 1: Monsters has some great monster designs, some great costumes, and

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Speaker 1: we have some of that going on in Devil Girl

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Speaker 1: from Mars as well.

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Speaker 3: But also there is no character in Devil Girl from

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Speaker 3: Mars like Lolo Gunzalez and Ship of Monsters, you know,

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Speaker 3: with the twinkle in his eye and the funny songs

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Speaker 3: and all that. No, this is a movie mostly about

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Speaker 3: men who are very serious about staying on Earth.

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Speaker 1: Yeah, and none of the male performers are actually that interesting,

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Speaker 1: either in their in their careers or in their performances here.

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Speaker 1: At least I didn't find them so. But the female

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Speaker 1: performers are pretty great.

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Speaker 3: The titular devil girl from Mars, I think is clearly

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Speaker 3: the star of the show. My initial reaction to this

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Speaker 3: when I started watching it. I got about twenty minutes

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Speaker 3: in and I was like, I don't know if this

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Speaker 3: is all that great. Maybe this movie is really going

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Speaker 3: to be kind of a drag. But then and the

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Speaker 3: moment the Martian shows up, the movie kicks into high

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Speaker 3: gear immediately.

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Speaker 1: Yeah, I agree that you warned me about the first

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Speaker 1: twenty minutes, and the first twenty minutes of this film

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Speaker 1: are indeed quite slow and are not all that fantastic.

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Speaker 1: So so definitely know that going into the film. But

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Speaker 1: we mentioned Scottish as much as anything is purely a

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Speaker 1: Scottish film. I guess this is kind of our first

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Speaker 1: Scottish film on Weird House Cinema.

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Speaker 3: Right, I can't think of another one. And it's also

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Speaker 3: it's not incidentally Scottish. It's not just like made by Scott's.

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Speaker 3: This is very much set in Scotland.

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Speaker 1: Right right, I think you can you can maybe get

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Speaker 1: into the production credit and say like, well, it's more

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Speaker 1: basically a British production basically in introduction, but yeah, a

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Speaker 1: lot of Scottish talent involved in this picture and set

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Speaker 1: in Scotland, right.

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Speaker 3: This film also has a very interesting indirect role in

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Speaker 3: the history of science fiction literature because it was apparently

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Speaker 3: an early point of inspiration, a sort of anti inspiration,

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Speaker 3: for the great science fiction author Octavia Butler. I found

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Speaker 3: a transcript of a talk she delivered at MIT in

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Speaker 3: nineteen ninety eight about the role of media like movies

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Speaker 3: and TV in the history of sci fi. And she

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Speaker 3: goes over a bunch of different topics in the speech,

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Speaker 3: but one of the first things she does is talk

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Speaker 3: about seeing this movie when she was a kid. So

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Speaker 3: I want to read her quote from the speech. She says,

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Speaker 3: it's impossible to begin to talk about myself and the

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Speaker 3: media without going back to how I wound up writing

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Speaker 3: science fiction, and that is by watching a terrible movie.

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Speaker 3: The movie was called Devil Girl from Mars, and I

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Speaker 3: saw it when I was about twelve years old, and

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Speaker 3: it changed my life. It was one of those old

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Speaker 3: nineteen fifties movies in which the beautiful Martian woman arrives

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Speaker 3: on Earth to announce that all of the Martian men

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Speaker 3: have died off, and there were a bunch of man

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Speaker 3: hungry women up there, and the earth men don't want

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Speaker 3: want to go. And as I was watching this film,

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Speaker 3: I had a series of revelations. The first was that geez,

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Speaker 3: I can write a better story than that, And then

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Speaker 3: I thought, gee, anybody can write a better story than that.

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Speaker 3: And my third thought was the clincher, somebody got paid

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Speaker 3: for writing that awful story. So I was often writing,

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Speaker 3: and a year later I was busy submitting terrible pieces

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Speaker 3: of fiction to innocent magazines. I found this story so beautiful.

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Speaker 1: Yeah, that's fun. I wasn't aware of this connection. And indeed,

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Speaker 1: this is essentially, I think, one of the things that

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Speaker 1: I've always enjoyed about films of this nature. Not that

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Speaker 1: I mean there have been times where I've been inspired

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Speaker 1: to write something based on a less than stellar plot

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Speaker 1: in a film or something, but more often than not,

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Speaker 1: it's just like you're watching a film. There are spaces

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Speaker 1: in it, spaces that yes, it's not only like could

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Speaker 1: this be improved? But what if this was improved? So

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Speaker 1: there's this like there's this film, there's this skeleton within

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Speaker 1: the film, and then you sort of apply the meat

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Speaker 1: to that skeleton with your own imagination, either in a

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Speaker 1: in a product based creative endeavor, or just in the

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Speaker 1: mindscape of enjoying the film totally.

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Speaker 3: I have long been of the opinion that if you're

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Speaker 3: trying to study a creative art you can learn just

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Speaker 3: as much or even more by studying bad examples of

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Speaker 3: that art form as you can from studying good examples,

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Speaker 3: Like when you see the Bad Ones, it gives you

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Speaker 3: a kind of analytical confidence you can understand how and

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Speaker 3: when things aren't working.

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Speaker 1: Yeah, now there's a lot that does work in this film,

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Speaker 1: though at least from a from a design standpoint. Uh

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Speaker 1: As we'll get into there's a there's there's there's at

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Speaker 1: least one amazing costume, there's a there's some cool sets,

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Speaker 1: there's a there's a cool robot, and and there are

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Speaker 1: some times where there's a lot of technobabbles we'll discuss.

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Speaker 1: But occasionally, as our a visitors talking about conditions back

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Speaker 1: home and laying down a little world building, some of

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Speaker 1: it does it, you know, kind of gets you gets

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Speaker 1: or at least got my mind rolling. It's like I

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Speaker 1: wonder what this this gender war was, like? How did

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Speaker 1: all the Martian men die?

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Speaker 4: You know?

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Speaker 1: And you know that they're not they're not filling on

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Speaker 1: all the details for you, but they're giving you, like

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Speaker 1: a few visuals, some some sights and sounds, some ideas,

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Speaker 1: and then your brain kind of sketches in the rest

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Speaker 1: of it. And that's that's something I always enjoy about

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Speaker 1: a film like this totally.

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Speaker 3: I was actually I was tempted to start asking genuinely

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Speaker 3: interested questions about the War of the Sexes that took

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Speaker 3: place on Mars. I was like, well, where they're like,

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Speaker 3: were there like people on Mars who fell in love

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Speaker 3: and they were like traders to their to their side

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Speaker 3: in the War of the Sexes? I don't know.

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Speaker 1: Yeah, it raises a lot of questions. You probably shouldn't

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Speaker 1: think too literally about it. All. I know that this

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Speaker 1: isn't the only work of fiction to contemplate such a thing,

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Speaker 1: so I guess, you know, metaphorically at least it it's

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Speaker 1: it's useful in in fiction. You know.

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Speaker 3: This plot differs somewhat from the premise of Ship of

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Speaker 3: Monsters and Ship of Monsters the Aliens or one of

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Speaker 3: the Aliens. It comes from Venus, and the problem is

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Speaker 3: that on Venus, the men all destroyed each other with

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Speaker 3: atomic wars. So the men they got nuclear weapons and

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Speaker 3: they killed all the other men. So Venus has no

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Speaker 3: men left, so it was an intra sex dispute. The

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Speaker 3: men killed each other on Venus. In this movie, it

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Speaker 3: is that the women of Mars went to war with

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Speaker 3: the men of Mars and killed them. I don't know

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Speaker 3: if that's significant anyway.

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Speaker 1: Maybe not. Well, I guess she is supposed to have

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Speaker 1: sort of a black widow kind of vibe to her.

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Speaker 1: In fact, there is. It's part rather clumsily where one

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Speaker 1: of the child the child characters what's his name, Tommy, Tommy, Yes,

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Speaker 1: Tommy's like, you were like that spider and that my

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Speaker 1: dad sees in the barn or something like that, you know,

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Speaker 1: basically saying, oh, you're like a black widow spider, and

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Speaker 1: it's kind of like, yeah, yes, that's part of what

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Speaker 1: they're going for with the black costume, and you know this,

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Speaker 1: and it's kind of a trope and a stereotype of

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Speaker 1: like a feminine power in films like this.

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Speaker 3: Yeah, I think the character is written in a way

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Speaker 3: that is supposed to strike terror in the hearts of

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Speaker 3: a nineteen fifties male in the way that she is

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Speaker 3: at least I think the way she's supposed to be

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Speaker 3: received is as like very beautiful but also very like

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Speaker 3: cold and rational and calculatingly evil.

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Speaker 1: Yeah, and it's definitely portrayed in a way that is

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Speaker 1: I would say, sexually ahead of her time. Like I

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Speaker 1: was reading about this film in Michael Weldon's Psychotronic books

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Speaker 1: that summarizes this, He writes, quote, the alien herself is

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Speaker 1: a real vision in boots, black tights, padded shoulders cape

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Speaker 1: and a shiny black skull cap. The stuffy British males

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Speaker 1: actually want to stay in England, which.

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Speaker 3: Is great, though not in England, they are in Scotland.

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Speaker 3: I guess a couple of of them are from England

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Speaker 3: and stuck in Scotland and others are from Scotland. But

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Speaker 3: whatever the case, Yeah, they for some reason do not

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Speaker 3: want to return to Mars with her and become part

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Speaker 3: of like a captive earthling breeding program, right.

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Speaker 1: But then, I mean I was also thinking this whole time.

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Speaker 1: I was like, like, if they were excited to go,

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Speaker 1: they would get to Mars and they'd find out that

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Speaker 1: their participation in the breeding program involves being like hooked

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Speaker 1: up in a tank somewhere and having their brain removed

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Speaker 1: or something, So which would I think would have been fitting?

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Speaker 1: That would have been a nice like I don't know

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Speaker 1: if that would be a maybe be a nineties outer

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Speaker 1: limits ending.

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Speaker 3: Oh, that would be a good twist if like the

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Speaker 3: character who goes as very like over eager young man.

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Speaker 3: But I was thinking the other twist given that like

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Speaker 3: they didn't the Martians didn't realize Earth was going to

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Speaker 3: have a thick atmosphere, so when they got here, you know,

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Speaker 3: they had trouble landing. It makes me think, well, what

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Speaker 3: if they get the Earthlings back to Mars and they

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Speaker 3: don't realize that Earthlings need to breathe oxygen, so as

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Speaker 3: soon as they get there, it's just suffo.

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Speaker 1: We got to go back for more. Now.

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Speaker 3: I think we've already done the elevator pitch, so maybe

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Speaker 3: we can skip that. But we've got to hear some

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Speaker 3: trailer audio.

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Speaker 1: All right, let's do it.

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Speaker 5: We saw this with our own eyes, and object the

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Speaker 5: like of which we had never seen before, A frightening

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Speaker 5: strain shape descending from out of space with relentless putts.

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Speaker 6: Where did it come from? And what did it want

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Speaker 6: of us?

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Speaker 4: Well, we've never seen before. How what do you mean?

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Speaker 5: Hello, It's like something from out of planet Tom.

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Speaker 6: Do not try to follow me. You cannot get help.

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Speaker 4: Around this pass.

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Speaker 6: I've drawn in the visible wall to which no one

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Speaker 6: may pass. Here is a news reporter with a world

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Speaker 6: shattering storm, a girl trying to escape from her pups,

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Speaker 6: the scientist trapped in spite of his knowledge. And here

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Speaker 6: also is the Bombade Secret, a murderer with a life

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Speaker 6: already of Harford, and introducing the devil girl from Mars.

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Speaker 4: Back on fire?

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Speaker 6: You for.

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Speaker 4: Shoot on shoot?

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Speaker 1: All right? All right, sounds pretty good.

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Speaker 3: Let's see. So there are a bunch of places you

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Speaker 3: can watch this one. I think I just streamed it

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Speaker 3: on Amazon.

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Speaker 1: Yeah, I rented it through through Prime. You can stream

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Speaker 1: or buy it wherever you get your digital movies. It

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Speaker 1: also looks like you can stream it via Film Movement, Flix, Fling,

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Speaker 1: some other places. And I should also point out that

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Speaker 1: there have been some basic physical releases as well, but

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Speaker 1: also Bridget and Mary Joe covered it on riff tracks,

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Speaker 1: So I haven't actually experienced their riff of the film,

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Speaker 1: but I've very much enjoyed Bridget and Mary Joe's riffing

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Speaker 1: in the past, so I bet they do a good

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Speaker 1: job with this one. There's a lot of stuff to

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Speaker 1: have fun with here.

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Speaker 3: Yeah, I've got to watch that now.

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Speaker 1: All right. Well, let's get into the various humans, mostly

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Speaker 1: Scottish humans, involved in the creation of this picture, all right.

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Speaker 1: Starting at the top, we have director David MacDonald born

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Speaker 1: nineteen oh four and died in nineteen eighty three, Scottish

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Speaker 1: born director who at one point worked under Cecil B.

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Speaker 1: De Mill in the US as a production assistant. This

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Speaker 1: would have been like the late nineteen twenties and I

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Speaker 1: guess early thirties, basically an apprenticeship. Before returning back to

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Speaker 1: the UK. He worked with the Crown Film Unit during

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Speaker 1: World War Two to produce morale boosting pictures. And I've

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Speaker 1: seen this film referred to as a career low point. Certainly,

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Speaker 1: he seems to have maybe been more successful during his

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Speaker 1: lifetime with various other film and TV projects, most of

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Speaker 1: which I'm not familiar with. I don't think he did

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Speaker 1: much in the way of sci fi or horror outside

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Speaker 1: of this film. For instance, his most noteworthy film seemed

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Speaker 1: to have been nineteen forty seven's The Brothers nineteen forty

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Speaker 1: eight Christopher Columbus and the nineteen fifty seven Swashbuckler The Moonraker.

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Speaker 3: The Moonraker.

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Speaker 1: Yeah, no connection, or at least I don't know. Maybe

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Speaker 1: Moonraker has something to do with the plot of this

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Speaker 1: fifty seven Swashbuckler. I'm not sure.

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Speaker 3: So when I was watching the credits for this movie,

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Speaker 3: one of the weirdest things I noticed was the credit

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Speaker 3: indicating that this is somehow based on a play for

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Speaker 3: the stage.

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Speaker 1: Yeah, this was weird. It was similar to something we

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Speaker 1: encountered with Doctor X, right, Yeah, but in this one. Yeah,

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Speaker 1: you have the credit that reads like the credit for

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Speaker 1: a play based on the play by John C. Mather

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Speaker 1: and James Eastwood. And then James east Wood also has

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Speaker 1: a screenplay credit, which because at first, when I was

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Speaker 1: looking at just how it was listed on IMDb, I

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Speaker 1: was like, well, maybe they say play, but they mean screenplay. No,

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Speaker 1: it seems more more clear that this was a play.

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Speaker 1: And then it was adapted into a screenplay. Okay, yeah,

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Speaker 1: I don't know. This is Mather's only film credit, while

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Speaker 1: Eastwood also worked on the screenplay for such films as

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Speaker 1: nineteen fifty five's The Case of the Red Monkey, and

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Speaker 1: nineteen fifty six is Beyond Mombasa, which has Christopher Lee

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Speaker 1: in it of a young Christopher Lee, but it starred

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Speaker 1: seemingly mostly just a shirtless Cornell Wild and then also

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Speaker 1: Donna Reed.

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Speaker 3: Oh but let's not bury the lead. If there is

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Speaker 3: one reason to watch this movie, it is our villain

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Speaker 3: played by Patricia Lafon.

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Speaker 1: That's right, she plays Naya. This is our martian visitor. E.

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Speaker 1: Lafon lived nineteen nineteen through twenty fourteen. And yeah, this

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Speaker 1: is this is a really fun role of our vamping

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Speaker 1: space lord here. And it's fitting because herr biggest film

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Speaker 1: role outside of this, and I guess, probably being fair,

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Speaker 1: probably her biggest screen role period was playing Empress Pompeia

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Speaker 1: in MGMs Sword and Sandal blockbuster Quovadis from nineteen fifty one.

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Speaker 1: That was a film that had Robert Taylor Peter Euston

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Speaker 1: Off in it, and also an uncredited role as a

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Speaker 1: chariot driver. We have Christopher Lee. Christopher Lee is just

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Speaker 1: in the background, creeping around, uncredited with a goatee I learned,

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Speaker 1: sometimes credited in at number of pictures from this era.

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Speaker 3: This movie, I don't know if it's primarily about Nero,

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Speaker 3: but it's Nero is a major character in an Emperor

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Speaker 3: Nero and I think she plays a Queen of Rome.

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Speaker 3: Is that right?

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Speaker 1: Oh, yes, she's queenly. Yeah, you can look up footage

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Speaker 1: and stills from it. She's in that. She's decked out

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Speaker 1: in gold and this elaborate hairdoo. But she has that

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Speaker 1: look on her face. She's got that smirk and those eyes.

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Speaker 1: And I do have to say, like, if you look

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Speaker 1: up images from Devil Girl from Mars, there are probably

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Speaker 1: any of her performances. Yes, stunning outfit, stunning screen presence,

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Speaker 1: but you're missing it. You're missing out on all the

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Speaker 1: nuances if you don't see her alive in the scene.

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Speaker 1: Because her her sneer has a life on its own.

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Speaker 1: She's using her her eyebrows in very expressive ways. It's

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Speaker 1: a it's a wonderful performance.

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Speaker 3: Yeah, I mean, in some ways you would say it's

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Speaker 3: a it's a very emotionally flat performance, like she's supposed

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Speaker 3: to play like a very like unfeeling, like a cold, imperious,

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Speaker 3: unfeeling creature. But she is very expressive in like the

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Speaker 3: way she raises her eyebrows at the pathetic attempts at

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Speaker 3: heroism by earth men.

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Speaker 1: Yeah, it's kind of like sometimes you hear a criticism

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Speaker 1: of a villain role and say, well, this is a

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Speaker 1: real mustache twirling villain role, meaning that, yes, it's leaning

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Speaker 1: into a whole bunch of stereotypes and and tropes regarding

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Speaker 1: you know, the particular classic cinematic villain.

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Speaker 3: And this over the top evil. Yeah.

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Speaker 1: Yeah, and this is very much similar case. But the

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Speaker 1: thing is when a mustash is twirl just right on screen,

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Speaker 1: it's satisfying. So this is definitely a performance that satisfies.

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Speaker 3: Yes, this is a pencil thin, eyebrow twirling role.

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Speaker 1: Yes. So. Lafon also appeared in twenty three Paces to

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Speaker 1: Baker Street in fifty six that had Van Johnson and

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Speaker 1: Estelle Winwood in it. She was an actor of stage

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Speaker 1: and screen, and she also seems to have had some

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Speaker 1: connections to the London, Paris, New York fashion world.

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Speaker 3: I love her every time. It's like, you know, it's

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Speaker 3: like Pooci. It's like every time Nya was not on screen,

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Speaker 3: character should be asking where is Naya? When is she

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Speaker 3: coming back?

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Speaker 1: I felt the same way. Yeah, all right, I'm going

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Speaker 1: to mention some of these male performers, though again they're

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Speaker 1: the least interesting part about the film. For the most part,

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Speaker 1: you have Hugh McDermott playing Michael, a journalist. This actor

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Speaker 1: lived nineteen oh six through nineteen seventy two, Scottish actor,

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Speaker 1: also known for Pimpernel's Smith from forty one in The

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Speaker 1: Flying Swan from nineteen sixty five. Not familiar with either

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Speaker 1: of those pictures.

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Speaker 3: He plays a loudmouth journalist who I think is supposed

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Speaker 3: to be likable, but he is not. He comes off

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Speaker 3: as an absolutely insufferable jerk.

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Speaker 1: Yeah, but hey, now we have another of the female

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Speaker 1: players in this film, and it's a really good one.

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Speaker 1: We have Hazel Court playing Ellen, a fashion model.

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Speaker 3: You know, I haven't introduced this concept yet, but the

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Speaker 3: beginning of this movie is sort of like the prologue

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Speaker 3: to the Canterbury Tales, where it's just a gathering of

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Speaker 3: all of these randos into an inn somewhere and finding

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Speaker 3: out all about like why is this person here? Oh,

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Speaker 3: it's a surprise that they showed up. And she is

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Speaker 3: also like sort of an odd puzzle piece amongst all

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Speaker 3: the others here. She's like a fancy London fashion model

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Speaker 3: who's all glitz and glam. She drinks tomato juice notably,

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Speaker 3: and people repeatedly point this out throughout the movie. In fact,

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Speaker 3: I think they even refer to her sometimes as Tomato

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Speaker 3: juice Girl, and I think she's meant to be taken

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Speaker 3: in the situation of the film as sort of a

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Speaker 3: gem amongst the rough pebbles.

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Speaker 4: Yeah.

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Speaker 1: Yeah, So it's fun. It's a fun performance. I feel

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Speaker 1: like she breathes a lot of life and character into

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Speaker 1: this role, probably more than was necessary, and also in

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Speaker 1: a way that lets it gives you a hint of

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Speaker 1: what's to come. Because a British actor here, but also

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Speaker 1: essentially a horror queen of the late fifties early sixties,

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Speaker 1: she'd go on to become a star of Hammer horror films,

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Speaker 1: and she also worked with the likes of Roger Korman.

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Speaker 1: Her credits include The Curse of Frankenstein from nineteen fifty seven,

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Speaker 1: The Mask of the Red Death from sixty four, The

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Speaker 1: Man Who Could Cheat Death in nineteen fifty nine, Doctor

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Speaker 1: Blood's Coffin in sixty one, and also nineteen sixty three

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Speaker 1: Is the Raven. On TV, she appeared on both the

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Speaker 1: twilight Zone and Thriller, and I suspect we'll discuss her

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Speaker 1: once again in an upcoming Halloween selection for Weird House Cinema.

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Speaker 1: The final film was nineteen eighty one's The Final Conflict,

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Speaker 1: in which she had basically a cameo. But this was

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Speaker 1: the OMEN picture that had Sam Neil playing a grown

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Speaker 1: up Damien.

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Speaker 3: Oh okay, it's called The Final Conflict, but it's the

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Speaker 3: Omen three, right, It's like the OMEN three colon the

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Speaker 3: Final Conflict.

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Speaker 1: Yeah, or sometimes I think it's just called the Final Conflict.

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Speaker 1: I don't know.

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Speaker 3: You're right, Yeah, it's both. I think the demonic Sam

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Speaker 3: Neil becomes President of the United States.

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Speaker 1: I think something like that. I don't think I ever

401
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Speaker 1: saw that one. I think I always saw the first one. Yeah,

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Speaker 1: all right, But she's not the only exciting female presence

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Speaker 1: in the picture. We also have Adrian Corey, who plays Doris,

404
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Speaker 1: a bar maid. So Corey lived nineteen thirty one through

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Speaker 1: twenty sixteen, Scottish born actor known for her roles, probably

406
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Speaker 1: best known for roles in Doctor Schivago and A Clockwork Orange,

407
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Speaker 1: along with such films as nineteen sixty five's A Study

408
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Speaker 1: in Terror. This is a film that had John Neville

409
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Speaker 1: as Sherlock Holmes taking on Jack the Ripper. And then

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Speaker 1: she's also in a film that I know you've seen,

411
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Speaker 1: but I haven't. I remember you talking about this one

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Speaker 1: nineteen seventy four is Mad House, starring Vincent Price and

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Speaker 1: Peter Cushion.

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Speaker 3: Looking this up, I don't know have.

415
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Speaker 1: I seen this? Maybe you haven't seen it.

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Speaker 3: Maybe if I said I've seen it, I don't remember

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Speaker 3: seeing it now.

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Speaker 1: Okay, well maybe we just will see it in the

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Speaker 1: future at some point. But Corey was also in the

420
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Speaker 1: fun Hammer Space Romp Moon zero two from nineteen sixty nine,

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Speaker 1: in a film from seventy two called Vampire Circus that

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Speaker 1: I don't know much about, but with a title like

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Speaker 1: Vampire Circus, you know that there's got to be something

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Speaker 1: interesting in there.

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Speaker 3: I would say that both Hazel Court and Adrian Corey

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Speaker 3: do more with the roles they have in this movie

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Speaker 3: than is actually there on the page.

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Speaker 1: Right, Yeah, they both like clearly, these are two actors

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Speaker 1: who would go on to have much bigger roles and

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Speaker 1: bigger pictures, and you can see why.

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Speaker 3: Oh you know. I would also actually say that about

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Speaker 3: mainly because this is just a really underwritten movie for

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Speaker 3: the just you know, delicious weirdness of all the scenes

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Speaker 3: where Nya is explaining her home planet, their and their

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Speaker 3: plans and stuff. But other than that, it's it's the

436
00:23:10,520 --> 00:23:14,160
Speaker 3: characters are kind of underwritten. But the guy who plays

437
00:23:14,160 --> 00:23:16,359
Speaker 3: the Professor also does a little bit more with the

438
00:23:16,440 --> 00:23:18,040
Speaker 3: role than you might have expected.

439
00:23:18,440 --> 00:23:20,760
Speaker 1: Yeah, he's played by and acted by the name of

440
00:23:21,080 --> 00:23:23,080
Speaker 1: I think I'm saying his last name Ryd could be wrong.

441
00:23:23,160 --> 00:23:24,680
Speaker 1: Joseph Tomalty.

442
00:23:24,840 --> 00:23:25,760
Speaker 3: Yeah, that's what I thought.

443
00:23:26,040 --> 00:23:30,200
Speaker 1: Tomalty. He lived nineteen ten through nineteen ninety five, Northern

444
00:23:30,280 --> 00:23:34,520
Speaker 1: Irish novelist, playwright and character actor, and he was in

445
00:23:34,560 --> 00:23:36,720
Speaker 1: at least I don't know the extent of these roles,

446
00:23:36,760 --> 00:23:39,680
Speaker 1: but he is credited as having appeared in nineteen fifty

447
00:23:39,720 --> 00:23:42,840
Speaker 1: eight Tonight to Remember I Believe that's a Titanic movie,

448
00:23:43,160 --> 00:23:45,440
Speaker 1: and nineteen fifty six is Moby Dick.

449
00:23:45,720 --> 00:23:51,200
Speaker 3: So he plays Professor Hennessy. Yes, that's right, and he

450
00:23:51,280 --> 00:23:54,040
Speaker 3: had I think, despite the fact that the movie is

451
00:23:54,119 --> 00:23:58,080
Speaker 3: all really all Nya. The line that Rachel and I

452
00:23:58,160 --> 00:24:01,080
Speaker 3: kept quoting back and forth at each other is one

453
00:24:01,080 --> 00:24:03,480
Speaker 3: of his lines, the part where he says, I am

454
00:24:03,480 --> 00:24:06,960
Speaker 3: a scientist. I believe what my brain tells me to believe.

455
00:24:08,840 --> 00:24:12,240
Speaker 1: Oh that's not how it works. I love it.

456
00:24:12,320 --> 00:24:14,919
Speaker 3: I also believe what my brain tells me to believe.

457
00:24:15,160 --> 00:24:22,720
Speaker 3: I really have no choice.

458
00:24:25,480 --> 00:24:28,600
Speaker 1: All right, let's see another I'm not including all of

459
00:24:28,600 --> 00:24:30,760
Speaker 1: the because here are at least a half does another

460
00:24:30,840 --> 00:24:31,359
Speaker 1: male characters?

461
00:24:31,359 --> 00:24:33,200
Speaker 3: Way too many characters in this movie.

462
00:24:33,480 --> 00:24:35,720
Speaker 1: Yeah, but there is another one by the name of

463
00:24:35,800 --> 00:24:38,960
Speaker 1: David who is a handyman, and he's played by James Edmund.

464
00:24:39,359 --> 00:24:43,000
Speaker 1: James Edmund was a Canadian actor, probably best known for

465
00:24:43,040 --> 00:24:46,040
Speaker 1: this film, but he was also in nineteen seventy four's

466
00:24:46,119 --> 00:24:50,320
Speaker 1: Black Christmas, alongside one kind of forgets that. That had

467
00:24:50,320 --> 00:24:53,959
Speaker 1: a pretty good cast. Black Christmas. It had Olivia Hussey,

468
00:24:54,359 --> 00:24:58,320
Speaker 1: it had Ker Delay, Margo Kidder and John Saxon. I

469
00:24:58,359 --> 00:24:59,480
Speaker 1: saw it many years ago.

470
00:24:59,560 --> 00:25:01,760
Speaker 3: I remember it did not leave a good impression.

471
00:25:01,880 --> 00:25:04,400
Speaker 1: But now it's kind of a kind of a nasty film,

472
00:25:04,400 --> 00:25:07,680
Speaker 1: as I recall. But there's no argument with that cast.

473
00:25:07,680 --> 00:25:10,119
Speaker 1: That's a good cast. Oh yeah, all right. On the

474
00:25:10,240 --> 00:25:14,040
Speaker 1: music front Edwin Astley did the music. British composer of

475
00:25:14,119 --> 00:25:16,720
Speaker 1: nineteen twenty two through nineteen ninety eight, worked in a

476
00:25:16,760 --> 00:25:19,720
Speaker 1: lot of British action TV shows, such as The Saint.

477
00:25:19,760 --> 00:25:22,359
Speaker 1: That's probably what he's most known for. He also did

478
00:25:22,480 --> 00:25:25,159
Speaker 1: music for The Hammer adaptation of The Phantom of the

479
00:25:25,160 --> 00:25:28,720
Speaker 1: Opera from sixty two starring Herbert Lohm, and a nineteen

480
00:25:28,760 --> 00:25:32,000
Speaker 1: fifty eight Jack the Ripper TV movie starring Boris Karloff.

481
00:25:32,520 --> 00:25:37,840
Speaker 3: Now, one name that caught my attention from the credits

482
00:25:37,880 --> 00:25:42,480
Speaker 3: for the wrong reason was it said that Patricia Lafon's

483
00:25:42,520 --> 00:25:46,879
Speaker 3: costume was by Ronald Cobb, and I was like, Ron

484
00:25:46,960 --> 00:25:50,639
Speaker 3: Cobb like from Alien and Raiders of the Lost Ark. No,

485
00:25:50,840 --> 00:25:54,720
Speaker 3: it is a different ron Cobb, but also a second

486
00:25:54,840 --> 00:25:58,320
Speaker 3: excellent Ron cob This world has at least two genius

487
00:25:58,440 --> 00:25:59,320
Speaker 3: ron Cobbs in it.

488
00:25:59,520 --> 00:26:01,320
Speaker 1: Yeah, this was a lot of fun to dive into

489
00:26:01,359 --> 00:26:03,240
Speaker 1: because of Initially, when I did the scan of the

490
00:26:03,240 --> 00:26:05,520
Speaker 1: people involved, I saw that credit too, and I saw

491
00:26:05,560 --> 00:26:07,640
Speaker 1: this guy, Ronald Cobb, and I saw that he had

492
00:26:07,640 --> 00:26:09,720
Speaker 1: no other film credits, so I thought, well, maybe it's

493
00:26:09,760 --> 00:26:11,480
Speaker 1: just a one off, but it's worth mentioning, and because

494
00:26:11,920 --> 00:26:14,960
Speaker 1: the costume is great and clearly is one of the

495
00:26:15,000 --> 00:26:17,840
Speaker 1: selling points of the whole picture. But looking into it

496
00:26:17,880 --> 00:26:20,760
Speaker 1: a bit more, Yeah, this is a Ronald Cobb who

497
00:26:20,800 --> 00:26:26,080
Speaker 1: lived nineteen oh seven, through nineteen seventy seven, and this

498
00:26:26,200 --> 00:26:30,960
Speaker 1: guy worked primarily in theater and especially in cabaret during

499
00:26:31,160 --> 00:26:34,959
Speaker 1: this time period. I ran across some of his watercolors

500
00:26:35,000 --> 00:26:38,359
Speaker 1: for various costumes that he designed over the years, several

501
00:26:38,440 --> 00:26:40,040
Speaker 1: of which seemed to be in the collection of the

502
00:26:40,119 --> 00:26:44,080
Speaker 1: Victoria and Albert Museum. I included a link here for you, Joe,

503
00:26:44,480 --> 00:26:47,840
Speaker 1: and also include these links in the blog post I

504
00:26:47,880 --> 00:26:50,920
Speaker 1: do for this at im mutamusic dot com. I didn't

505
00:26:50,960 --> 00:26:53,520
Speaker 1: find anything that looked like a sketch that he had

506
00:26:53,520 --> 00:26:57,560
Speaker 1: put together for Devil Girls specifically, but oh wow, there's

507
00:26:57,640 --> 00:27:02,680
Speaker 1: some really wild, imaginative, dark and ahead of their time

508
00:27:02,840 --> 00:27:05,480
Speaker 1: I think kind of designs that he put together for

509
00:27:05,520 --> 00:27:06,320
Speaker 1: these costumes.

510
00:27:06,720 --> 00:27:09,800
Speaker 3: Right, So, these he has a lot of costume designs for,

511
00:27:09,920 --> 00:27:12,520
Speaker 3: like it appears to be burlesque clubs of some kind

512
00:27:12,600 --> 00:27:16,360
Speaker 3: in London in like the sixties and seventies. But they

513
00:27:16,400 --> 00:27:20,200
Speaker 3: are not just your your standard sexy outfits. They are weird.

514
00:27:20,640 --> 00:27:23,760
Speaker 3: Like one is kind of grim Reaper themed with like

515
00:27:23,800 --> 00:27:26,280
Speaker 3: a big gallows and I don't even know what it

516
00:27:26,320 --> 00:27:27,160
Speaker 3: has bats.

517
00:27:27,960 --> 00:27:31,240
Speaker 1: Yeah, yeah, there's another one that has this like a

518
00:27:31,280 --> 00:27:34,520
Speaker 1: flag with a pentagram on it, Like this really wild

519
00:27:34,600 --> 00:27:36,800
Speaker 1: stuff that seems that, you know, you wouldn't expect to

520
00:27:37,000 --> 00:27:39,840
Speaker 1: be emerging from this time period necessarily unless you're you know,

521
00:27:39,920 --> 00:27:42,440
Speaker 1: really into I guess too, you know, or less costume

522
00:27:42,480 --> 00:27:45,680
Speaker 1: design of the period. There's also a headdress that has

523
00:27:46,000 --> 00:27:48,560
Speaker 1: something that looks like a like a kind of like

524
00:27:48,600 --> 00:27:52,240
Speaker 1: a muppet goblin on top of it. It's really really cool,

525
00:27:52,440 --> 00:27:54,760
Speaker 1: kind of almost it also looks almost like a camera.

526
00:27:54,880 --> 00:27:56,840
Speaker 1: I don't know, it's weird. I can't really put it

527
00:27:56,840 --> 00:28:00,680
Speaker 1: all together. But you can find all these images online

528
00:28:00,760 --> 00:28:04,479
Speaker 1: and the collection of the Victoria and Albert Museum. There

529
00:28:04,480 --> 00:28:08,119
Speaker 1: are also some images. Apparently he did some of his

530
00:28:08,240 --> 00:28:11,280
Speaker 1: designs for Murray's Club and SOHO back in the day,

531
00:28:11,640 --> 00:28:14,640
Speaker 1: and so if you go to the website for Murray's Club,

532
00:28:14,680 --> 00:28:17,160
Speaker 1: they have some of these watercolors as well for other

533
00:28:17,200 --> 00:28:19,000
Speaker 1: designs that he did. Some of these are not as

534
00:28:19,040 --> 00:28:21,040
Speaker 1: weird as the ones we're describing here, but they're still

535
00:28:21,040 --> 00:28:25,720
Speaker 1: pretty interesting. Now. The costume that that Naya has on

536
00:28:25,800 --> 00:28:29,880
Speaker 1: in this picture, it's not nearly as as revealing as

537
00:28:29,880 --> 00:28:35,399
Speaker 1: these various cabaret designs, but still you can see you

538
00:28:35,400 --> 00:28:37,679
Speaker 1: can see some of the connections to this world, you know,

539
00:28:37,800 --> 00:28:42,920
Speaker 1: like That's why it is perhaps a little more alluring

540
00:28:42,960 --> 00:28:45,840
Speaker 1: than what you would normally see going on with costuming

541
00:28:46,200 --> 00:28:47,719
Speaker 1: in pictures from this time period.

542
00:28:48,080 --> 00:28:51,040
Speaker 3: No, the Devil Girl from Mars is dressed kind of

543
00:28:51,080 --> 00:28:55,440
Speaker 3: like a cross between the astronauts in Planet of the

544
00:28:55,520 --> 00:29:00,080
Speaker 3: Vampires and Batman, but with a burlesque TWI.

545
00:29:00,840 --> 00:29:05,719
Speaker 1: Yeah, now, I read that writer John mather We referenced

546
00:29:05,720 --> 00:29:08,600
Speaker 1: earlier later claimed in an interview that the suit was

547
00:29:08,640 --> 00:29:13,320
Speaker 1: actually constructed by John Sutcliffe, a British fashion and fetish

548
00:29:13,400 --> 00:29:16,360
Speaker 1: designer and photographer who worked a lot with leather and

549
00:29:16,440 --> 00:29:21,440
Speaker 1: rubber and PVC, so lots of like catsuits and gas masks. However,

550
00:29:21,440 --> 00:29:25,120
Speaker 1: I couldn't find anything of anything firm about his connection

551
00:29:25,200 --> 00:29:27,920
Speaker 1: to this film, and there do seem to be some

552
00:29:28,000 --> 00:29:32,000
Speaker 1: misconceptions about film projects that he is sometimes said to

553
00:29:32,040 --> 00:29:34,560
Speaker 1: have been involved in. For instance, I think sometimes it's

554
00:29:34,600 --> 00:29:37,040
Speaker 1: been said that he designed the cat suit that m

555
00:29:37,040 --> 00:29:41,360
Speaker 1: appeal We wears in The Avengers. That doesn't seem to

556
00:29:41,400 --> 00:29:44,120
Speaker 1: be the case. But he did design the cat suit

557
00:29:44,160 --> 00:29:47,520
Speaker 1: that Maryanne Faithful wears in nineteen sixty eight's The Girl

558
00:29:47,560 --> 00:29:50,600
Speaker 1: on a Motorcycle, and I think that inspired the cat

559
00:29:50,640 --> 00:29:53,520
Speaker 1: suit worn by him appeal, So I don't know where

560
00:29:53,520 --> 00:29:55,600
Speaker 1: the truth lies and all of that. It seems like

561
00:29:55,680 --> 00:29:58,480
Speaker 1: maybe it's a situation where yeah, Cobb designs it, and

562
00:29:58,480 --> 00:30:00,520
Speaker 1: then they're like, well, somebody needs to build this thing,

563
00:30:00,920 --> 00:30:02,800
Speaker 1: and someone's like, well, I know this guy named John,

564
00:30:03,360 --> 00:30:05,320
Speaker 1: he's really into this stuff. He can make it come

565
00:30:05,360 --> 00:30:05,760
Speaker 1: to life.

566
00:30:07,280 --> 00:30:09,640
Speaker 3: All right, Well, are you ready to talk about the plot?

567
00:30:10,560 --> 00:30:13,880
Speaker 1: Let's dive into the first twenty minutes of The Devil

568
00:30:13,880 --> 00:30:14,600
Speaker 1: Girl from Mars.

569
00:30:15,040 --> 00:30:17,280
Speaker 3: Really, I feel like the first twenty minutes of this

570
00:30:17,360 --> 00:30:19,440
Speaker 3: movie is going to be more fun to discuss than

571
00:30:19,480 --> 00:30:22,360
Speaker 3: to watch. And then it's a flip side once Naya

572
00:30:22,440 --> 00:30:22,960
Speaker 3: shows up.

573
00:30:23,280 --> 00:30:24,240
Speaker 1: What starts with the bank?

574
00:30:24,400 --> 00:30:24,600
Speaker 6: Yeah?

575
00:30:24,680 --> 00:30:27,160
Speaker 3: Yeah, well he starts with big Ben. I mean, how

576
00:30:27,200 --> 00:30:29,680
Speaker 3: could you deny that? We see that, you know, there's

577
00:30:29,680 --> 00:30:32,760
Speaker 3: like a title card a London film's international release, and

578
00:30:32,800 --> 00:30:36,600
Speaker 3: then we see an airplane coasting through the clouds, then

579
00:30:36,600 --> 00:30:39,680
Speaker 3: a whistling sound growing higher in pitch, and then boom,

580
00:30:39,960 --> 00:30:43,840
Speaker 3: plane explodes in a stupendous fireball, and we see the

581
00:30:43,840 --> 00:30:47,560
Speaker 3: title It's Devil Girl from Mars in block letters. Now,

582
00:30:47,560 --> 00:30:49,719
Speaker 3: there were several things I thought were funny about the credits.

583
00:30:49,760 --> 00:30:51,880
Speaker 3: There was seeing the name Ron Cobb, even though it

584
00:30:51,920 --> 00:30:54,000
Speaker 3: was a different one. There was seeing that this was

585
00:30:54,000 --> 00:30:56,160
Speaker 3: based on a play. But then the other funny thing

586
00:30:56,160 --> 00:30:59,600
Speaker 3: that caught my attention is the producer credit screen. The

587
00:30:59,640 --> 00:31:03,120
Speaker 3: producer get their own screen, and the screen makes it

588
00:31:03,160 --> 00:31:06,360
Speaker 3: look like we're supposed to already know who the producers are.

589
00:31:06,400 --> 00:31:10,280
Speaker 3: It says produced by the Danzigers, and then it's got

590
00:31:10,280 --> 00:31:14,440
Speaker 3: two little signatures, like in handwriting Edward J. Danziger and

591
00:31:14,520 --> 00:31:16,960
Speaker 3: what does it say Harry Lee Danziger. I have no

592
00:31:17,040 --> 00:31:20,080
Speaker 3: idea who those people are, but like it it presents

593
00:31:20,120 --> 00:31:22,520
Speaker 3: it as if they're like the Osman's or something.

594
00:31:23,880 --> 00:31:26,400
Speaker 1: Yeah, I looked at it into them briefly. They apparently

595
00:31:26,440 --> 00:31:29,080
Speaker 1: were very active producers at the time, American born brothers

596
00:31:29,120 --> 00:31:31,320
Speaker 1: who produced many British films and TV shows in the

597
00:31:31,400 --> 00:31:34,400
Speaker 1: fifties and sixties. I'm not sure most of the titles

598
00:31:34,440 --> 00:31:38,640
Speaker 1: they were involved with really resonated beyond their time, so

599
00:31:38,760 --> 00:31:41,560
Speaker 1: I think it's it's unless you're really into pictures of

600
00:31:41,560 --> 00:31:43,080
Speaker 1: this time period that you probably don't know who the

601
00:31:43,120 --> 00:31:46,360
Speaker 1: dan Ziggers are. Devil Girl seems to be one of

602
00:31:46,400 --> 00:31:50,280
Speaker 1: the best remembered productions from everything they put out. For example,

603
00:31:50,760 --> 00:31:53,800
Speaker 1: along with perhaps The only film that maybe is a

604
00:31:53,800 --> 00:31:57,760
Speaker 1: little more famous than this one would be the nineteen

605
00:31:57,800 --> 00:32:01,080
Speaker 1: fifty six sci fi movie Satellite in This Sky. This

606
00:32:01,120 --> 00:32:04,160
Speaker 1: one had Kirian Moore in it, who many out there

607
00:32:04,200 --> 00:32:07,240
Speaker 1: may remember as the actor who played Pony in Darby

608
00:32:07,240 --> 00:32:09,720
Speaker 1: O'Gill and the Little People. He was also in Crack

609
00:32:09,760 --> 00:32:11,680
Speaker 1: in the World and Invasion of the Triffets.

610
00:32:12,160 --> 00:32:13,720
Speaker 3: I haven't seen any of that.

611
00:32:13,720 --> 00:32:16,800
Speaker 1: So ah, you haven't seen Darby Ogill. No, oh, it's

612
00:32:16,840 --> 00:32:20,600
Speaker 1: a fun one. When St. Patti's Day rolls back around,

613
00:32:20,280 --> 00:32:21,800
Speaker 1: you should watch that one.

614
00:32:22,000 --> 00:32:24,680
Speaker 3: Oh, okay, all right, Well, after the credits wrap up,

615
00:32:24,760 --> 00:32:27,840
Speaker 3: we establish the setting of the movie, which is the

616
00:32:27,960 --> 00:32:32,040
Speaker 3: Bonnie Charlie. It is a rustic country inn nestled upon

617
00:32:32,080 --> 00:32:35,600
Speaker 3: the Scottish more, supposed to be somewhere in Inverness Shire,

618
00:32:35,800 --> 00:32:38,520
Speaker 3: which is up in the highlands. And it's said to

619
00:32:38,520 --> 00:32:41,880
Speaker 3: be wintertime, so it's cold, and this is a you know,

620
00:32:42,080 --> 00:32:46,920
Speaker 3: a lonely, cozy little country house and inn. And the

621
00:32:46,920 --> 00:32:48,680
Speaker 3: first thing we hear is a radio going so we

622
00:32:48,960 --> 00:32:51,120
Speaker 3: go inside and the radio is saying, this is the

623
00:32:51,160 --> 00:32:54,120
Speaker 3: BBC Home Service. Here is the news. It was announced

624
00:32:54,120 --> 00:32:58,080
Speaker 3: by the Home Office today that the mysterious noise heard

625
00:32:58,120 --> 00:33:01,640
Speaker 3: over a lonely part of Inverness Shire yesterday was caused

626
00:33:01,680 --> 00:33:05,320
Speaker 3: by a supposed meteor falling to Earth. And here we

627
00:33:05,360 --> 00:33:08,200
Speaker 3: meet a couple of characters. We meet Tommy the annoying Kid,

628
00:33:08,720 --> 00:33:12,320
Speaker 3: and we meet Doris the barmaid. And of course she

629
00:33:12,440 --> 00:33:15,360
Speaker 3: is going to be very busy in this movie because

630
00:33:15,360 --> 00:33:18,080
Speaker 3: a major theme of Devil Girl from Mars is needing

631
00:33:18,120 --> 00:33:18,600
Speaker 3: a drink.

632
00:33:18,960 --> 00:33:21,200
Speaker 1: And granted, the characters in this film are put in

633
00:33:21,280 --> 00:33:25,960
Speaker 1: exceptional circumstances, but it's still their intake of scotch suggests

634
00:33:27,280 --> 00:33:32,480
Speaker 1: a daily, regular intake of scotch that seems a bit

635
00:33:32,800 --> 00:33:34,239
Speaker 1: beyond what I would be comfortable with.

636
00:33:34,440 --> 00:33:37,920
Speaker 3: Well, yeah, and the excessive intake of scotch begins long

637
00:33:38,000 --> 00:33:39,680
Speaker 3: before any aliens appear on the.

638
00:33:39,680 --> 00:33:43,920
Speaker 1: Same right, Yeah, they're already hard drinking before anything supernatural

639
00:33:44,000 --> 00:33:45,200
Speaker 1: or out of this world occurs.

640
00:33:45,560 --> 00:33:48,560
Speaker 3: So, you know, the radio's blabern on with exposition about

641
00:33:48,600 --> 00:33:51,880
Speaker 3: an unidentified white aircraft seen floating in the sky over

642
00:33:51,880 --> 00:33:55,520
Speaker 3: the Hebrides, and Tony the Kid is like, OI, what's

643
00:33:55,560 --> 00:33:58,880
Speaker 3: a meteor? And Doris says, I don't know, but you know,

644
00:33:59,400 --> 00:34:01,680
Speaker 3: let's say good job to the media for not landing

645
00:34:01,720 --> 00:34:04,760
Speaker 3: on us. And then here comes Missus Jamison, who is

646
00:34:04,800 --> 00:34:07,640
Speaker 3: Tommy's aunt, and she is the proprietor of the inn,

647
00:34:08,239 --> 00:34:11,120
Speaker 3: and she kept reminding me of Maggie Smith. But her

648
00:34:11,200 --> 00:34:14,960
Speaker 3: main characteristics are being suspicious of strangers, which is a

649
00:34:15,080 --> 00:34:19,040
Speaker 3: very good quality for an innkeeper, and scolding her husband

650
00:34:19,080 --> 00:34:22,719
Speaker 3: for having his seventeenth dram of Scotch. I can't remember

651
00:34:22,760 --> 00:34:24,880
Speaker 3: if I've already flagged this or not. Maybe I have,

652
00:34:24,960 --> 00:34:28,080
Speaker 3: but I just want to emphasize again. The owners of

653
00:34:28,120 --> 00:34:31,920
Speaker 3: the inn are named Jamison, and the husband is apparently

654
00:34:32,000 --> 00:34:33,480
Speaker 3: named Jamie Jamison.

655
00:34:33,760 --> 00:34:35,520
Speaker 1: Wow, that'd be like if you had a character named

656
00:34:35,960 --> 00:34:37,600
Speaker 1: Jack Jack Danielson.

657
00:34:37,800 --> 00:34:41,080
Speaker 3: Jack Jack Danielson, or I think the professor's character name

658
00:34:41,239 --> 00:34:45,839
Speaker 3: is Henny Hennessy. So anyway, Tommy the kid, he's sent

659
00:34:45,920 --> 00:34:49,000
Speaker 3: to bed and Doris and Missus Jamison discussed the medior.

660
00:34:49,040 --> 00:34:51,520
Speaker 3: Doris thinks it mighty romantic that it came all the

661
00:34:51,520 --> 00:34:53,680
Speaker 3: way from outer space to land in their sleepy neck

662
00:34:53,719 --> 00:34:57,959
Speaker 3: of the woods, and Missus Jamison is not impressed. She's

663
00:34:58,080 --> 00:35:00,160
Speaker 3: just like, oh, a bit of rock from the sky.

664
00:35:01,040 --> 00:35:05,560
Speaker 3: But after Missus Jamison leaves, Doris, the barmaid surreptitiously turns

665
00:35:05,600 --> 00:35:08,400
Speaker 3: the radio back on. It's like she has a secret

666
00:35:08,480 --> 00:35:12,920
Speaker 3: science news habit. And the radio says, Professor, Oh, okay,

667
00:35:12,920 --> 00:35:16,680
Speaker 3: it's not Henny Hennessy, it's Professor Arnold Hennessee. The radio says,

668
00:35:17,520 --> 00:35:21,200
Speaker 3: the well known astrophysicist has traveled north today to investigate

669
00:35:21,239 --> 00:35:23,719
Speaker 3: the mysterious object, and we'll give a detailed report to

670
00:35:23,760 --> 00:35:26,279
Speaker 3: the Home Office. So we've got the Jamisons, so we

671
00:35:26,360 --> 00:35:29,120
Speaker 3: got the Hennessy's, and we know that their paths are

672
00:35:29,120 --> 00:35:31,600
Speaker 3: going to collide. And you cut from here to two

673
00:35:31,640 --> 00:35:34,200
Speaker 3: guys in a car in the dark. One is Professor

674
00:35:34,239 --> 00:35:38,080
Speaker 3: Hennessy himself, and the other is a fast talking, wise

675
00:35:38,160 --> 00:35:42,800
Speaker 3: cracking journalist named Michael Carter played by Hugh McDermott. Michael

676
00:35:42,840 --> 00:35:46,120
Speaker 3: Carter is such an insufferable lout. I guess they've been

677
00:35:46,200 --> 00:35:48,759
Speaker 3: driving around all day to find the mediaite. But now

678
00:35:48,800 --> 00:35:52,680
Speaker 3: they are lost in Scotland, in the land of perpetual darkness,

679
00:35:53,120 --> 00:35:55,319
Speaker 3: and they are unable to figure out the map that

680
00:35:55,360 --> 00:35:59,440
Speaker 3: they're consulting. And then there's some really clunky expository dialogue

681
00:35:59,440 --> 00:36:02,160
Speaker 3: where Carter says something like, you mean to tell me

682
00:36:02,239 --> 00:36:05,800
Speaker 3: you spend your whole career plotting stars millions of miles apart,

683
00:36:05,840 --> 00:36:08,080
Speaker 3: and yet you can't read a road map of Scotland.

684
00:36:09,080 --> 00:36:11,759
Speaker 3: I really think they should have inserted a prize in there,

685
00:36:11,800 --> 00:36:13,440
Speaker 3: like he should have said, you mean to tell me

686
00:36:13,520 --> 00:36:16,200
Speaker 3: you won the Nobel Prize for plotting stars millions of

687
00:36:16,200 --> 00:36:19,920
Speaker 3: miles apart. But Professor Hennessy reveals that he believes the

688
00:36:19,960 --> 00:36:23,719
Speaker 3: whole investigation is a waste of time. Anyway, He says

689
00:36:23,800 --> 00:36:25,960
Speaker 3: he doesn't believe it will turn out to be a meteor.

690
00:36:26,320 --> 00:36:28,800
Speaker 3: He thinks it will be more probably turn out to

691
00:36:28,840 --> 00:36:30,879
Speaker 3: be the engine cowling of an airplane.

692
00:36:31,200 --> 00:36:33,120
Speaker 1: Well, let's hope he's wrong, because that sounds like that.

693
00:36:33,560 --> 00:36:35,040
Speaker 1: That would be terrible for this film.

694
00:36:35,200 --> 00:36:38,759
Speaker 3: That would be boring. Yes, we also get more exposition

695
00:36:38,880 --> 00:36:42,759
Speaker 3: via the radio. The radio announcer says Robert Justin, who

696
00:36:42,840 --> 00:36:46,759
Speaker 3: earlier today escaped from Sterling Prison, is still at large.

697
00:36:46,920 --> 00:36:50,640
Speaker 3: His description is as follows, height five feet ten inches,

698
00:36:51,000 --> 00:36:53,719
Speaker 3: fair hair. And then what do you know? Next thing

699
00:36:53,800 --> 00:36:57,240
Speaker 3: we see as a guy, presumably the escaped prisoner, darting

700
00:36:57,280 --> 00:37:00,160
Speaker 3: around between hiding places in the dark beside the road

701
00:37:00,239 --> 00:37:02,720
Speaker 3: as the professor and the journalists passing their.

702
00:37:02,600 --> 00:37:06,400
Speaker 1: Car, and he's so unremarkable looking.

703
00:37:06,960 --> 00:37:08,839
Speaker 3: Yeah, well when we first see him, he's got kind

704
00:37:08,840 --> 00:37:10,560
Speaker 3: of a wild look in his eye. But he's also

705
00:37:10,760 --> 00:37:13,960
Speaker 3: he's kind of blandly handsome, so you could probably tell

706
00:37:14,000 --> 00:37:15,399
Speaker 3: he's going to turn out to be the hero.

707
00:37:16,000 --> 00:37:18,839
Speaker 1: Yeah, he doesn't look he doesn't look menacing. So that's

708
00:37:18,880 --> 00:37:22,520
Speaker 1: the that's the key, that's what that's the tail here.

709
00:37:23,360 --> 00:37:26,000
Speaker 3: Do you think it's possible all these characters will make

710
00:37:26,040 --> 00:37:29,880
Speaker 3: their way over to the Bonnie Charlie the end? Anyway,

711
00:37:30,000 --> 00:37:32,759
Speaker 3: next thing is we see Doris the barmaid, and then

712
00:37:32,800 --> 00:37:35,760
Speaker 3: mister and Missus Jamison doing some chores around the house

713
00:37:36,160 --> 00:37:38,920
Speaker 3: while mister Jamison is trying to sneak off into the

714
00:37:38,960 --> 00:37:42,359
Speaker 3: other room and she's like. Miss Jamison is like, where

715
00:37:42,360 --> 00:37:44,600
Speaker 3: are you going? And he says, oh, I'm just going

716
00:37:44,600 --> 00:37:47,560
Speaker 3: into the lounge and she says into the lounge bar

717
00:37:47,760 --> 00:37:51,040
Speaker 3: you mean, well, you'll stay here if you're thirsty. There's

718
00:37:51,080 --> 00:37:54,279
Speaker 3: plenty of water in the tap. So this is the

719
00:37:54,320 --> 00:37:57,640
Speaker 3: ongoing dynamic between mister and Missus Jamison. He is always

720
00:37:57,640 --> 00:38:00,440
Speaker 3: getting caught in an attempt to sneak away for draft

721
00:38:00,440 --> 00:38:03,640
Speaker 3: of Scotch and Missus Jamison forbids it. Though I will

722
00:38:03,640 --> 00:38:06,680
Speaker 3: say starting about halfway through the movie, he just starts

723
00:38:06,719 --> 00:38:09,400
Speaker 3: getting away with consuming scotch and she just sort of

724
00:38:09,480 --> 00:38:11,760
Speaker 3: like laughs about it, like, oh, there he goes again.

725
00:38:12,400 --> 00:38:15,840
Speaker 1: He sees the opportunity. It's like alien visitation. This is

726
00:38:15,920 --> 00:38:20,560
Speaker 1: my chance to just drink scotch NonStop without being fussed at.

727
00:38:20,920 --> 00:38:23,360
Speaker 3: But Doris the barmaid instead goes off to the lounge

728
00:38:23,400 --> 00:38:26,399
Speaker 3: where she hears a strange rapping at the door, and

729
00:38:26,640 --> 00:38:28,640
Speaker 3: she opens it up, and what do you know, it's

730
00:38:28,680 --> 00:38:31,799
Speaker 3: that escaped prisoner we saw earlier. And he comes in

731
00:38:31,880 --> 00:38:34,719
Speaker 3: and she says Robert, and he says, no, it's not

732
00:38:34,880 --> 00:38:39,239
Speaker 3: Robert anymore. It's Albert, Albert Simpson. Okay, so he was

733
00:38:39,400 --> 00:38:43,600
Speaker 3: Robert justin but now he's going by Albert Simpson. And confusingly,

734
00:38:44,160 --> 00:38:46,200
Speaker 3: this is how everyone will refer to him for the

735
00:38:46,200 --> 00:38:48,759
Speaker 3: rest of the movie, even though they first introduced him

736
00:38:48,760 --> 00:38:51,799
Speaker 3: by a different name. Okay, so what happened, Well, we

737
00:38:51,880 --> 00:38:56,680
Speaker 3: find out quote Albert Simpson escaped from prison and Doris

738
00:38:56,680 --> 00:38:59,960
Speaker 3: and Albert already have a relationship. In fact, they were

739
00:39:00,120 --> 00:39:03,280
Speaker 3: in love, and while he was in prison, she promised

740
00:39:03,280 --> 00:39:05,239
Speaker 3: to wait for him to get out, and she took

741
00:39:05,280 --> 00:39:08,040
Speaker 3: the job in Invernesshire to be close, I guess to

742
00:39:08,160 --> 00:39:11,480
Speaker 3: Sterling Prison where he was being held. But he escaped

743
00:39:11,520 --> 00:39:14,120
Speaker 3: and here he is. Why was he in prison? We

744
00:39:14,200 --> 00:39:17,640
Speaker 3: find out it is for murdering his wife, but he

745
00:39:17,760 --> 00:39:20,440
Speaker 3: maintains that it was not murder, it was an accident.

746
00:39:21,040 --> 00:39:23,480
Speaker 3: This is never really resolved. He just says it was

747
00:39:23,520 --> 00:39:25,759
Speaker 3: an accident, and that's as much as we ever find

748
00:39:25,800 --> 00:39:26,399
Speaker 3: out about it.

749
00:39:26,600 --> 00:39:29,399
Speaker 1: That red flag just remains hanging there the whole time,

750
00:39:29,560 --> 00:39:30,960
Speaker 1: flying in the breeze.

751
00:39:31,200 --> 00:39:33,920
Speaker 3: I think we're meant to understand that he's telling the

752
00:39:33,960 --> 00:39:36,359
Speaker 3: truth and he didn't really murder her. I don't know.

753
00:39:36,560 --> 00:39:37,960
Speaker 1: Yeah, I feel like the film should have put in

754
00:39:37,960 --> 00:39:39,200
Speaker 1: a little more leg work on that one.

755
00:39:39,320 --> 00:39:42,360
Speaker 3: Yeah, at least explained, like it doesn't go into how

756
00:39:42,360 --> 00:39:45,359
Speaker 3: it was an accident or like why it was he

757
00:39:45,400 --> 00:39:48,160
Speaker 3: was falsely accused. Yeah, maybe that would sell it a

758
00:39:48,160 --> 00:39:50,440
Speaker 3: little better. I don't know, but anyway, Okay, so he's

759
00:39:50,480 --> 00:39:53,279
Speaker 3: convicted of murdering his wife. He escapes from prison. He

760
00:39:53,360 --> 00:39:55,640
Speaker 3: finds his old girlfriend at the end and he's like,

761
00:39:55,760 --> 00:39:58,680
Speaker 3: hide me. But in the middle of them talking about

762
00:39:58,680 --> 00:40:01,400
Speaker 3: how she needs to hide him, O, here comes missus Jamison.

763
00:40:01,440 --> 00:40:06,160
Speaker 3: You know, Maggie Smith comes in basically, and and they've

764
00:40:06,160 --> 00:40:08,400
Speaker 3: got to come up with a ruse really fast. So

765
00:40:08,560 --> 00:40:12,080
Speaker 3: Doris is like, oh, this is a hiker. His name's

766
00:40:12,080 --> 00:40:15,480
Speaker 3: Albert Simpson. He was out hiking, you know, in Scotland,

767
00:40:15,800 --> 00:40:18,040
Speaker 3: and he dropped his wallet in a stream while he

768
00:40:18,120 --> 00:40:21,239
Speaker 3: was trying to look at a fish. They say, and

769
00:40:21,280 --> 00:40:23,799
Speaker 3: now he is lost and he needs to stay at

770
00:40:23,800 --> 00:40:26,719
Speaker 3: the end and he will work for his keep. And

771
00:40:26,800 --> 00:40:31,080
Speaker 3: Missus Jamison accepts this, but she's very suspicious of him.

772
00:40:31,120 --> 00:40:35,920
Speaker 3: She says, I'm counting the spoons. Oh and you know

773
00:40:36,000 --> 00:40:38,360
Speaker 3: what does Doris do? First thing? She's like, would you

774
00:40:38,400 --> 00:40:40,319
Speaker 3: like a drop of something? So she pours him a

775
00:40:40,320 --> 00:40:44,120
Speaker 3: scotch and she's got all these questions about his time

776
00:40:44,160 --> 00:40:47,000
Speaker 3: in prison. She just keeps asking, like did you read

777
00:40:47,080 --> 00:40:48,920
Speaker 3: a lot? You used to love to read? What was

778
00:40:48,960 --> 00:40:51,520
Speaker 3: it like inside? And you can just see the pressure

779
00:40:51,560 --> 00:40:55,120
Speaker 3: building up. He's like, stop, stop asking. Yeah and so

780
00:40:55,560 --> 00:40:57,560
Speaker 3: and then Albert Simpson's like, okay, well, I got to

781
00:40:57,600 --> 00:41:00,360
Speaker 3: know who all's here while I'm hiding out And Doris

782
00:41:00,400 --> 00:41:03,000
Speaker 3: tells him this is confusing. She's like, the only people

783
00:41:03,040 --> 00:41:06,760
Speaker 3: here are mister and Missus Jamison and their nephew Tommy.

784
00:41:07,200 --> 00:41:09,360
Speaker 3: But then the rest of the scene is other people

785
00:41:09,520 --> 00:41:12,520
Speaker 3: like coming in who she didn't list. So the first

786
00:41:12,600 --> 00:41:15,239
Speaker 3: guy is this guy David, who appears to live and

787
00:41:15,320 --> 00:41:17,160
Speaker 3: work at the end. He's kind of he's the tor

788
00:41:17,280 --> 00:41:21,000
Speaker 3: go of the inn, you know, he's carrying wood around

789
00:41:21,040 --> 00:41:25,440
Speaker 3: and stuff. And Doris confides that David gives her the creeps.

790
00:41:25,800 --> 00:41:27,640
Speaker 3: But then she also says, oh yeah, and there is

791
00:41:27,680 --> 00:41:31,040
Speaker 3: somebody else here. It's miss Prestwick. She is a gorgeous

792
00:41:31,080 --> 00:41:33,759
Speaker 3: model from London. What she's doing in a place like this,

793
00:41:33,880 --> 00:41:36,760
Speaker 3: I don't know. This, of course is Hazel Court playing

794
00:41:36,800 --> 00:41:39,560
Speaker 3: Ellen Prestwick. And then we see her come down to

795
00:41:39,600 --> 00:41:42,800
Speaker 3: the lounge where Jamie Jamison tries to flirt with her.

796
00:41:43,560 --> 00:41:46,680
Speaker 3: He's being very inappropriate. He's like, oh, you're always pretty

797
00:41:46,680 --> 00:41:51,080
Speaker 3: as a picture, and she's like doing a little fashion

798
00:41:51,200 --> 00:41:53,280
Speaker 3: show for him in the hall. I don't know, it's weird.

799
00:41:53,360 --> 00:41:56,960
Speaker 3: She's like, she's like talking about the outfit she's wearing

800
00:41:57,040 --> 00:41:59,080
Speaker 3: as if it's in a fashion catalog.

801
00:41:59,600 --> 00:42:01,680
Speaker 1: Yeah, yeah, I mean it's kind of fun. Like he's,

802
00:42:02,000 --> 00:42:03,600
Speaker 1: like I said, she's breathing a lot of life into

803
00:42:03,600 --> 00:42:07,120
Speaker 1: this character. Yeah, fully inflating the character here.

804
00:42:07,480 --> 00:42:11,600
Speaker 3: And then more hotel high jenks ensue Jamie keeps sneaking booze,

805
00:42:11,600 --> 00:42:15,800
Speaker 3: and he says, my wife has the most unpatriotic contempt

806
00:42:15,800 --> 00:42:19,520
Speaker 3: for her national beverage, and miss Jamison, Missus Jamison says,

807
00:42:19,520 --> 00:42:21,600
Speaker 3: you should see him when he has a patriotic head

808
00:42:21,640 --> 00:42:22,240
Speaker 3: in the morning.

809
00:42:22,560 --> 00:42:22,759
Speaker 1: Ah.

810
00:42:33,040 --> 00:42:35,640
Speaker 3: Meanwhile, the professor and the journalist, they were the ones

811
00:42:35,680 --> 00:42:38,000
Speaker 3: lost in the car. Well, they're done being lost on

812
00:42:38,000 --> 00:42:39,560
Speaker 3: the road. They see a sign for a pub and

813
00:42:39,560 --> 00:42:41,719
Speaker 3: they're like, let's go get a drink. So they pull

814
00:42:41,800 --> 00:42:44,000
Speaker 3: up outside and they run in talking about how they're

815
00:42:44,040 --> 00:42:47,680
Speaker 3: going to get quote, a couple of big scotches, and

816
00:42:47,719 --> 00:42:50,120
Speaker 3: then they come in and there's more like can we

817
00:42:50,280 --> 00:42:53,800
Speaker 3: accommodate them type hand ringing like we got with Albert

818
00:42:53,840 --> 00:42:58,640
Speaker 3: Simpson earlier, and eventually missus Jamison informs them, was like, well,

819
00:42:58,680 --> 00:43:00,840
Speaker 3: we're supposed to be closed for the enter right now.

820
00:43:01,600 --> 00:43:03,799
Speaker 3: The rooms aren't ready, they're not in ship shape, but

821
00:43:04,000 --> 00:43:07,080
Speaker 3: you can sleep there. She says the beds are good,

822
00:43:07,360 --> 00:43:10,280
Speaker 3: and Rachel and I both reacted to that, like something

823
00:43:10,280 --> 00:43:13,439
Speaker 3: about the Bonnie Charlie does not seem like it would

824
00:43:13,440 --> 00:43:16,000
Speaker 3: have good beds. My impression is this place would have

825
00:43:16,320 --> 00:43:19,680
Speaker 3: beds that are basically a piece of flagstone wrapped in

826
00:43:19,800 --> 00:43:23,960
Speaker 3: wool that feels like barbed wire. And I don't know

827
00:43:24,000 --> 00:43:27,959
Speaker 3: if you also got the same just uncomfortable vibes from

828
00:43:28,080 --> 00:43:31,839
Speaker 3: the setting. Like I think inside this building, it's one

829
00:43:31,880 --> 00:43:34,560
Speaker 3: of those places that feels like it would be somehow

830
00:43:34,600 --> 00:43:37,680
Speaker 3: cold and stuffy at the same time, like it's too

831
00:43:37,719 --> 00:43:40,040
Speaker 3: cold and too hot simultaneously.

832
00:43:40,640 --> 00:43:43,040
Speaker 1: Yeah, and one of those situations where you know that

833
00:43:43,080 --> 00:43:45,759
Speaker 1: wooden bar that it probably has that situation going on

834
00:43:45,800 --> 00:43:47,719
Speaker 1: where you have like the dust and the grime have

835
00:43:47,880 --> 00:43:50,719
Speaker 1: kind of they're kind of one thing. Now this kind

836
00:43:50,760 --> 00:43:54,520
Speaker 1: of like sticky like black film over everything, like you

837
00:43:54,640 --> 00:43:56,319
Speaker 1: know that has to be the case here.

838
00:43:56,640 --> 00:44:00,319
Speaker 3: Well, missus Jamison offers them something to eat, but Michael

839
00:44:00,360 --> 00:44:03,120
Speaker 3: Carter says, what I need most is a drink. So

840
00:44:03,320 --> 00:44:06,359
Speaker 3: they go and they get drinks and Jamie is trying

841
00:44:06,400 --> 00:44:08,840
Speaker 3: to serve them, and there's more bickering about whether he

842
00:44:08,880 --> 00:44:11,839
Speaker 3: will serve them drinks or not. As they settle in,

843
00:44:11,920 --> 00:44:15,719
Speaker 3: Michael Carter, the journalist, begins obnoxiously hitting on Miss Prestwick.

844
00:44:17,120 --> 00:44:20,560
Speaker 3: He's commenting on the fact that she's drinking tomato juice

845
00:44:20,880 --> 00:44:23,400
Speaker 3: and he's like, not many girls drink tomato juice unless

846
00:44:23,400 --> 00:44:26,520
Speaker 3: they're afraid of putting on weight. So he's like trying

847
00:44:26,560 --> 00:44:29,719
Speaker 3: to do some kind of nagging pickup artist routine. And

848
00:44:29,760 --> 00:44:32,319
Speaker 3: I was just thinking, when will the Martians kill this man?

849
00:44:32,880 --> 00:44:35,440
Speaker 3: Unfortunately never he turns out to be one of the

850
00:44:35,480 --> 00:44:40,719
Speaker 3: heroes of the movie. But then Professor Hennessy introduces himself

851
00:44:41,320 --> 00:44:46,000
Speaker 3: and they decide to have another we scotch. And I

852
00:44:46,000 --> 00:44:47,719
Speaker 3: think this is the scene where in the span of

853
00:44:47,800 --> 00:44:51,120
Speaker 3: thirty seconds they like, go get a drink three separate times.

854
00:44:52,360 --> 00:44:55,200
Speaker 1: Yeah, gosh, there's just so much scotch drinking. And occasionally

855
00:44:55,239 --> 00:44:59,600
Speaker 1: other liquids are suggested as possible beverages, possible liquids that

856
00:44:59,680 --> 00:45:02,880
Speaker 1: could be andsumed, but generally everyone seems to be of

857
00:45:02,880 --> 00:45:04,800
Speaker 1: the opinion and no scotch is the best.

858
00:45:05,360 --> 00:45:08,719
Speaker 3: Yeah. They do sit down to have some dinner, to

859
00:45:08,719 --> 00:45:11,680
Speaker 3: have some supper, which for which they're having scotch broth.

860
00:45:11,719 --> 00:45:13,759
Speaker 3: And know, if you're not familiar, that is actually a

861
00:45:13,760 --> 00:45:15,440
Speaker 3: type of soup. It is not just a term for

862
00:45:15,520 --> 00:45:19,680
Speaker 3: hot scotch in a bowl. And one of the things

863
00:45:19,719 --> 00:45:22,680
Speaker 3: they talk about at dinner is Jamie Jamison giving a

864
00:45:22,840 --> 00:45:26,040
Speaker 3: passionate defense of the lockness monster. He's like, I will

865
00:45:26,080 --> 00:45:29,600
Speaker 3: not have anyone speak ill of that fine creature. Yes,

866
00:45:30,200 --> 00:45:33,560
Speaker 3: but can we explain the scene of Michael Carter blowing

867
00:45:33,680 --> 00:45:38,320
Speaker 3: Albert Simpson's cover. So the escaped convict comes in, he's,

868
00:45:38,400 --> 00:45:40,600
Speaker 3: you know, working for his stay. So he's like serving

869
00:45:40,640 --> 00:45:46,279
Speaker 3: bread at the table, and then the journalist recognizes him.

870
00:45:46,320 --> 00:45:48,480
Speaker 3: He's like, do you know who that is? That's not

871
00:45:48,600 --> 00:45:53,759
Speaker 3: Albert Simpson, that's this other guy. And unless I was mistaken,

872
00:45:53,920 --> 00:45:57,799
Speaker 3: I think we're supposed to believe that he recognizes him

873
00:45:57,920 --> 00:46:01,840
Speaker 3: based on the description that was given on the radio earlier.

874
00:46:02,200 --> 00:46:05,360
Speaker 1: I guess, though that is a very vague description. Yeah,

875
00:46:05,440 --> 00:46:08,960
Speaker 1: so I guess Michael Carter is a journalist though, right, Yeah,

876
00:46:09,080 --> 00:46:11,960
Speaker 1: so maybe he's seen a picture through journalism.

877
00:46:12,160 --> 00:46:14,360
Speaker 3: I don't know, Oh, he just happened to cover this

878
00:46:14,400 --> 00:46:15,680
Speaker 3: guy's trial or something.

879
00:46:16,320 --> 00:46:19,480
Speaker 1: Maybe, I mean, it's it's not explained anyway.

880
00:46:19,560 --> 00:46:22,200
Speaker 3: The tension of this confrontation, when it's at its peak,

881
00:46:22,480 --> 00:46:26,799
Speaker 3: it's suddenly interrupted by a cataclysmic event. There's like a

882
00:46:26,840 --> 00:46:30,640
Speaker 3: shaking of the house, and it is the approach and

883
00:46:30,800 --> 00:46:34,560
Speaker 3: landing of a flying saucer, which when they go outside

884
00:46:34,560 --> 00:46:37,239
Speaker 3: they can't even get close to it because it's too hot,

885
00:46:37,440 --> 00:46:41,160
Speaker 3: and this flying saucer, I'm gonna say the effect looks

886
00:46:41,160 --> 00:46:43,640
Speaker 3: a little too good for the movie that it's in.

887
00:46:44,440 --> 00:46:47,520
Speaker 1: Yeah, it is way better UFO, way better flying saucer

888
00:46:47,520 --> 00:46:49,799
Speaker 1: than you might expect from this film, a film that

889
00:46:49,880 --> 00:46:51,960
Speaker 1: is often One of the things that's often written about

890
00:46:52,000 --> 00:46:53,719
Speaker 1: it is that it had a low budget. It's not

891
00:46:53,760 --> 00:46:57,879
Speaker 1: a high budget affair. And also, you see enough films

892
00:46:57,880 --> 00:47:00,000
Speaker 1: from this area, you see enough films with flying sauce

893
00:47:00,239 --> 00:47:03,759
Speaker 1: in it, you get used to a certain level of cheapness.

894
00:47:03,800 --> 00:47:05,960
Speaker 1: You know, you can have like some sort of a

895
00:47:06,000 --> 00:47:10,480
Speaker 1: dinky model and some large tripods for characters to stand around.

896
00:47:10,719 --> 00:47:13,480
Speaker 1: That's essentially all you need. And it can be fun,

897
00:47:13,520 --> 00:47:16,600
Speaker 1: it can, but there's sort of a standard level of

898
00:47:16,719 --> 00:47:19,600
Speaker 1: quality that you kind of accept things to hover around,

899
00:47:19,800 --> 00:47:22,000
Speaker 1: and I feel like this flying saucer goes beyond that.

900
00:47:22,080 --> 00:47:25,640
Speaker 1: It's it's got this, you know, it's got plenty of

901
00:47:25,640 --> 00:47:28,760
Speaker 1: the elements of a standard's fifties, standard fifties flying saucer

902
00:47:28,760 --> 00:47:31,799
Speaker 1: that you might come to to expect, but it also

903
00:47:31,840 --> 00:47:33,560
Speaker 1: has this kind of different energy to it. You know,

904
00:47:33,600 --> 00:47:37,640
Speaker 1: it's described as being hot, it portrayed as being hot.

905
00:47:37,800 --> 00:47:41,120
Speaker 1: It has this kind of industrial atomic sensibility to it,

906
00:47:41,560 --> 00:47:44,600
Speaker 1: and it has these like telescopic legs that come out.

907
00:47:44,760 --> 00:47:47,440
Speaker 3: Yeah, it has moving parts, and it seems to emit

908
00:47:47,520 --> 00:47:48,279
Speaker 3: its own light.

909
00:47:48,719 --> 00:47:52,279
Speaker 1: Yeah. So it's this is a really cool flying saucer model,

910
00:47:52,320 --> 00:47:52,879
Speaker 1: I have to say.

911
00:47:53,080 --> 00:47:55,600
Speaker 3: All right, So they all react to that in various ways.

912
00:47:56,040 --> 00:48:00,600
Speaker 3: Mister Carter, the journalist runs to the telephone and I think,

913
00:48:00,680 --> 00:48:04,680
Speaker 3: quite hilariously, just keeps like screaming into it, Hello hello, hello, hello,

914
00:48:04,719 --> 00:48:09,360
Speaker 3: hello hello. And meanwhile Doris gets her convict boyfriend to

915
00:48:09,400 --> 00:48:12,279
Speaker 3: hide in the attic. Others scramble around trying to get

916
00:48:12,280 --> 00:48:15,640
Speaker 3: a car working or define a functional telephone, all to

917
00:48:15,680 --> 00:48:18,319
Speaker 3: no avail. We get our first action scene. In our

918
00:48:18,360 --> 00:48:24,080
Speaker 3: first scene seeing Patricia Lafon is NYA when the ship

919
00:48:24,160 --> 00:48:28,160
Speaker 3: opens up and a ramp extends down out of the

920
00:48:28,200 --> 00:48:31,319
Speaker 3: hull and we see Nia come out. She hasn't said

921
00:48:31,320 --> 00:48:34,560
Speaker 3: anything yet. She's just silent and wearing all this shiny

922
00:48:34,600 --> 00:48:37,920
Speaker 3: black leather with the skull cap. She looks very dangerous

923
00:48:38,360 --> 00:48:41,400
Speaker 3: and she comes down the ramp and uh, oh, there's

924
00:48:42,000 --> 00:48:46,800
Speaker 3: you know, there's David the ends the Bonnie Charlie's torgo

925
00:48:46,960 --> 00:48:51,120
Speaker 3: wandering around outside and he collapses outside the ship and

926
00:48:51,440 --> 00:48:53,160
Speaker 3: she just vaporizes him.

927
00:48:53,440 --> 00:48:57,279
Speaker 1: Yeah, he is not a specimen that she thinks is

928
00:48:57,360 --> 00:49:01,120
Speaker 1: going to help Mars out at all. So intantly vaporized

929
00:49:01,320 --> 00:49:03,680
Speaker 1: leaves nothing but smoke and a pair of spectacles.

930
00:49:04,000 --> 00:49:07,680
Speaker 3: That's right, it's just like a steaming patch of sod

931
00:49:07,800 --> 00:49:12,840
Speaker 3: and the major tote glasses. But it's hard facts of life.

932
00:49:12,840 --> 00:49:16,000
Speaker 3: She's looking for hunks and torgo here does not make

933
00:49:16,040 --> 00:49:16,440
Speaker 3: the cut.

934
00:49:17,160 --> 00:49:20,560
Speaker 1: This is in stark contrast to a ship of monsters, remember,

935
00:49:20,600 --> 00:49:23,719
Speaker 1: because in that one, our females from Venus arrive. They

936
00:49:23,840 --> 00:49:26,400
Speaker 1: encounter our male hero and they're like, oh, it's a

937
00:49:26,400 --> 00:49:28,320
Speaker 1: male and they ask him. It's like, are you the

938
00:49:28,640 --> 00:49:31,400
Speaker 1: prime specimen? Are you like the peak specimen for your species?

939
00:49:31,400 --> 00:49:33,080
Speaker 1: And he's like, yeah, I am.

940
00:49:33,360 --> 00:49:34,200
Speaker 3: And they believe him.

941
00:49:34,239 --> 00:49:37,359
Speaker 1: Yeah, they may believe him in this She's like, no, now,

942
00:49:37,400 --> 00:49:39,080
Speaker 1: this isn't it vaporize?

943
00:49:39,440 --> 00:49:39,520
Speaker 4: No?

944
00:49:40,120 --> 00:49:43,040
Speaker 3: What this is nineteen fifty four. I guess she'd be like,

945
00:49:43,120 --> 00:49:46,200
Speaker 3: where is rock Hudson? Take me to your Rock Hudsons.

946
00:49:46,120 --> 00:49:49,600
Speaker 1: Though interestingly, this film has no Rock Hudson caliber actress

947
00:49:49,600 --> 00:49:49,840
Speaker 1: in it.

948
00:49:50,040 --> 00:49:56,239
Speaker 3: So no, So that unfortunate thing happens to David, and meanwhile,

949
00:49:56,320 --> 00:49:58,799
Speaker 3: the Professor and Michael Carter have been trying to fix

950
00:49:58,880 --> 00:50:01,000
Speaker 3: up the phone in the car, but to no avail.

951
00:50:01,120 --> 00:50:03,359
Speaker 3: It says if all of their Earth technology has been

952
00:50:03,360 --> 00:50:08,240
Speaker 3: magically disabled, And so they come back inside and they're like, hey, Doris,

953
00:50:08,280 --> 00:50:10,440
Speaker 3: fix us up a couple of big scotches, will you.

954
00:50:10,800 --> 00:50:13,839
Speaker 3: That is a direct quote. But Doris can't fix them

955
00:50:13,880 --> 00:50:17,080
Speaker 3: big scotches because she has been hypnotized. And this is

956
00:50:17,080 --> 00:50:19,880
Speaker 3: something that will happen to multiple characters throughout the movie. Later,

957
00:50:20,320 --> 00:50:24,520
Speaker 3: the escape convict, it gets hypnotized. The Martians appear to

958
00:50:24,520 --> 00:50:28,759
Speaker 3: have some kind of like mind control ray and when

959
00:50:28,840 --> 00:50:31,400
Speaker 3: somebody suggests do you think her catatonic state could have

960
00:50:31,440 --> 00:50:34,960
Speaker 3: anything to do with the flying saucer outside, the Professor

961
00:50:35,080 --> 00:50:38,280
Speaker 3: for some reason, is just categorically opposed to the idea

962
00:50:38,480 --> 00:50:40,839
Speaker 3: that the flying saucer could have anything to do with it.

963
00:50:40,960 --> 00:50:44,640
Speaker 3: He goes, I tell you that's absurd. But this is

964
00:50:44,680 --> 00:50:48,600
Speaker 3: the scene where we meet Patricia Lavon. She suddenly throws

965
00:50:48,640 --> 00:50:52,040
Speaker 3: the doors to the room open and comes inside, and

966
00:50:52,160 --> 00:50:55,120
Speaker 3: here she is, folks. The alien commander is standing between

967
00:50:55,160 --> 00:50:58,759
Speaker 3: the French doors, you know, cold and imperious, and this

968
00:50:58,840 --> 00:51:03,040
Speaker 3: scene just rocks. There is something so unusual in a

969
00:51:03,320 --> 00:51:09,360
Speaker 3: simultaneously funny and kind of spellbinding way. About the rhythm

970
00:51:09,360 --> 00:51:11,960
Speaker 3: of the dialogue and this scene, the way it mostly

971
00:51:12,080 --> 00:51:16,160
Speaker 3: consists of fairly short questions and answers, like the Earthlings

972
00:51:16,200 --> 00:51:21,080
Speaker 3: will ask a question of the Martian and then she

973
00:51:21,200 --> 00:51:23,400
Speaker 3: will answer in a short form, and the way she

974
00:51:23,520 --> 00:51:26,160
Speaker 3: delivers her lines. I don't know if you know what

975
00:51:26,200 --> 00:51:29,680
Speaker 3: I'm talking about, rob, but it just establishes this amazing

976
00:51:29,760 --> 00:51:33,400
Speaker 3: rhythm that's so consistently weird and funny.

977
00:51:33,960 --> 00:51:36,840
Speaker 1: Oh yeah, yeah, the rapport here is pretty great. And

978
00:51:37,440 --> 00:51:39,919
Speaker 1: I also have to say the scene where suddenly she's there,

979
00:51:40,960 --> 00:51:45,520
Speaker 1: Naya is there, emerging through these the French doors. There

980
00:51:45,560 --> 00:51:48,480
Speaker 1: was something about this that, I mean, it's a visually

981
00:51:48,800 --> 00:51:53,320
Speaker 1: captivating a scene, but it was tingling something in my memory,

982
00:51:53,760 --> 00:51:57,839
Speaker 1: and then I realized what it was. It's Jim Henson's

983
00:51:58,320 --> 00:52:01,799
Speaker 1: nineteen eighty six film Labyrinth. Pretty early on when we

984
00:52:01,920 --> 00:52:06,360
Speaker 1: encounter Jareth the Goblin King, he is standing. It's not

985
00:52:06,480 --> 00:52:11,919
Speaker 1: exactly the same, but it's very similar, like these terrestrial

986
00:52:12,320 --> 00:52:15,640
Speaker 1: door French doors or something, or windows that have been opened,

987
00:52:15,960 --> 00:52:22,560
Speaker 1: and inside this opening you have this just exquisite character

988
00:52:22,760 --> 00:52:26,360
Speaker 1: from another world in this amazing costume. That's, you know,

989
00:52:26,520 --> 00:52:28,400
Speaker 1: bold and confident and sexy.

990
00:52:28,560 --> 00:52:30,319
Speaker 3: I see exactly what you're talking about.

991
00:52:30,400 --> 00:52:31,080
Speaker 1: Yeah.

992
00:52:31,360 --> 00:52:34,960
Speaker 3: So she comes in and the guys in the room

993
00:52:35,200 --> 00:52:37,400
Speaker 3: ask her who she is. She says her name is Nia.

994
00:52:37,800 --> 00:52:41,000
Speaker 3: They ask her where she's from. She says Mars. Professor

995
00:52:41,040 --> 00:52:44,239
Speaker 3: Hennessy objects that it is preposterous that she could be

996
00:52:44,280 --> 00:52:47,600
Speaker 3: from Mars. No way, and then she says, you men

997
00:52:47,680 --> 00:52:51,480
Speaker 3: on Earth are not as we expect it. She's very disappointed,

998
00:52:53,040 --> 00:52:57,239
Speaker 3: and Professor Hennessy says, we scientists were always skeptical about

999
00:52:57,239 --> 00:53:01,160
Speaker 3: the possibility of life on Mars, but certainly nothing so human.

1000
00:53:01,920 --> 00:53:05,640
Speaker 3: And she asks him you are a scientist. He says yes.

1001
00:53:06,239 --> 00:53:09,880
Speaker 3: Then she says you are a very poor physical specimen,

1002
00:53:11,600 --> 00:53:15,640
Speaker 3: so cold, so mean. But then she just sort of

1003
00:53:15,680 --> 00:53:18,680
Speaker 3: shoves the professor out of the way, presumably because I

1004
00:53:18,719 --> 00:53:20,560
Speaker 3: don't know, she's trying to get a look at Michael Carter.

1005
00:53:20,680 --> 00:53:24,239
Speaker 3: I guess he's a better physical specimen. But Michael Carter's like,

1006
00:53:24,320 --> 00:53:27,400
Speaker 3: you speak English, and she says, of course you are English,

1007
00:53:27,440 --> 00:53:30,359
Speaker 3: aren't you. What other language should I speak? And then

1008
00:53:30,400 --> 00:53:33,680
Speaker 3: she does this weird hand gesture. I don't know what

1009
00:53:33,760 --> 00:53:35,640
Speaker 3: this is all about. I think maybe she's like turning

1010
00:53:35,680 --> 00:53:39,560
Speaker 3: off the hypnosis mode on Doris. And then she says

1011
00:53:39,680 --> 00:53:42,239
Speaker 3: that she in fact speaks all languages by picking up

1012
00:53:42,280 --> 00:53:45,279
Speaker 3: Earth Radio. They ask her, is this the first time

1013
00:53:45,320 --> 00:53:48,399
Speaker 3: Martians have landed on Earth? And she says yes. They

1014
00:53:48,400 --> 00:53:51,839
Speaker 3: ask why did she land here, and she says, it's

1015
00:53:51,880 --> 00:53:54,680
Speaker 3: a miscalculation. You see, she was trying to get to London,

1016
00:53:54,760 --> 00:53:58,600
Speaker 3: presumably to locate the stud district of London, but Earth's

1017
00:53:58,600 --> 00:54:01,239
Speaker 3: atmosphere was thicker than the spected and part of the

1018
00:54:01,280 --> 00:54:04,000
Speaker 3: ship was torn off and they were forced to land

1019
00:54:04,120 --> 00:54:06,960
Speaker 3: in Scotland, and the part of the ship being torn

1020
00:54:07,000 --> 00:54:11,080
Speaker 3: off explains the meteor from earlier. She says repairs are

1021
00:54:11,080 --> 00:54:14,600
Speaker 3: going to take about four earth hours and in the meantime,

1022
00:54:14,640 --> 00:54:16,680
Speaker 3: I guess she's probably just going to toy with them

1023
00:54:16,800 --> 00:54:20,040
Speaker 3: very cruelly. Now they ask her is she alone in

1024
00:54:20,080 --> 00:54:23,400
Speaker 3: the ship, and her answer is, according to the version

1025
00:54:23,440 --> 00:54:25,719
Speaker 3: I was watching in the subtitles that came with it,

1026
00:54:25,800 --> 00:54:29,719
Speaker 3: the answer is Johnny is with me. I have read

1027
00:54:29,800 --> 00:54:33,080
Speaker 3: elsewhere that the character she's referring to is actually named

1028
00:54:33,480 --> 00:54:39,080
Speaker 3: Chohnnie spelled Ani, but it sounds like they're every time

1029
00:54:39,120 --> 00:54:42,000
Speaker 3: she says it it sounds like Johnny, and the subtitle

1030
00:54:42,080 --> 00:54:44,200
Speaker 3: spelled it Johnny, so I don't know what to believe.

1031
00:54:44,680 --> 00:54:48,000
Speaker 1: Yeah, I read it somewhere as Chawnny, but when she's

1032
00:54:48,000 --> 00:54:50,520
Speaker 1: saying it in the picture, it's really hard to hear

1033
00:54:50,520 --> 00:54:53,719
Speaker 1: anything other than Johnny. But Chawnie would be a more

1034
00:54:53,760 --> 00:54:57,200
Speaker 1: fitting name, I think for an off world robot.

1035
00:54:57,160 --> 00:55:00,239
Speaker 3: Right, because Johnny is a killbot. She explains, john Fani

1036
00:55:00,320 --> 00:55:03,120
Speaker 3: is a mechanical man, a robot with many of the

1037
00:55:03,200 --> 00:55:06,239
Speaker 3: characteristics of a human. This is hilarious when you see

1038
00:55:06,280 --> 00:55:09,319
Speaker 3: him later, because he does he's not very much like

1039
00:55:09,320 --> 00:55:13,640
Speaker 3: a human. But she says, yeah, he's a refrigerator with

1040
00:55:13,760 --> 00:55:17,920
Speaker 3: arms and legs. But they but she says, oh, but

1041
00:55:18,040 --> 00:55:21,319
Speaker 3: he is improved by an electronic brain. And then here

1042
00:55:21,360 --> 00:55:24,680
Speaker 3: we got a bunch of voluntary technobabble from Naya. She

1043
00:55:24,840 --> 00:55:29,720
Speaker 3: just offers up explanations about how all of her stuff works.

1044
00:55:30,120 --> 00:55:33,120
Speaker 3: She says, the metal from which her spaceship is constructed

1045
00:55:33,200 --> 00:55:38,520
Speaker 3: can reproduce itself. And then, weirdly, I don't know why

1046
00:55:38,560 --> 00:55:41,960
Speaker 3: this is, but we see miss Prestwick outside the door,

1047
00:55:42,080 --> 00:55:46,040
Speaker 3: like listening in, like she's spying on them. But eventually

1048
00:55:46,040 --> 00:55:48,279
Speaker 3: she gets Fomo and just sort of comes into the room.

1049
00:55:49,120 --> 00:55:52,319
Speaker 3: But the professor and everybody arguing about this, do you

1050
00:55:52,360 --> 00:55:57,280
Speaker 3: realize what you've said? They've turned the inorganic into the organic. Okay,

1051
00:55:57,280 --> 00:55:59,000
Speaker 3: well we're about to get to the main premise. So

1052
00:55:59,160 --> 00:56:02,439
Speaker 3: they start questioning her why she's going to London. This

1053
00:56:02,480 --> 00:56:05,600
Speaker 3: is what Nia says. She says, many of your Earth

1054
00:56:05,800 --> 00:56:10,040
Speaker 3: years ago, our women were similar to yours today. Our

1055
00:56:10,080 --> 00:56:13,760
Speaker 3: emancipation took several hundred years and ended in a bitter,

1056
00:56:13,960 --> 00:56:18,200
Speaker 3: devastating war between the sexes, the last war we ever had.

1057
00:56:19,520 --> 00:56:22,799
Speaker 3: Henny here says, So you've had wars too. I was like,

1058
00:56:22,840 --> 00:56:23,680
Speaker 3: why would you ask that?

1059
00:56:23,880 --> 00:56:26,440
Speaker 1: Obviously she just said, they just said that.

1060
00:56:26,480 --> 00:56:30,960
Speaker 3: She just said that that. Nia says, all inhabited planets

1061
00:56:30,960 --> 00:56:34,520
Speaker 3: have had wars. Some have ended by wiping themselves out.

1062
00:56:34,680 --> 00:56:38,920
Speaker 3: For every new weapon invented, a defense was perfected until

1063
00:56:38,920 --> 00:56:44,640
Speaker 3: the ultimate weapon was developed, a perpetual motion shaane reactor beam.

1064
00:56:46,760 --> 00:56:50,520
Speaker 1: God, this has got to be peak technobabble, Like what

1065
00:56:51,520 --> 00:56:54,360
Speaker 1: is that even? And then how even I'm failing to

1066
00:56:55,000 --> 00:56:57,359
Speaker 1: imagine what that could be? Much less hallid is than

1067
00:56:57,520 --> 00:57:01,880
Speaker 1: utilized in an on planet battle. Queen two factions based

1068
00:57:01,920 --> 00:57:03,120
Speaker 1: on sex.

1069
00:57:03,200 --> 00:57:06,120
Speaker 3: Oh I mean, she explains a little bit. He's the

1070
00:57:06,160 --> 00:57:08,280
Speaker 3: Professor's like, tell me more. I want to know about

1071
00:57:08,280 --> 00:57:11,399
Speaker 3: the perpetual motion chain reactor beam and she says, as

1072
00:57:11,480 --> 00:57:14,279
Speaker 3: fast as matter was created, it was changed by its

1073
00:57:14,320 --> 00:57:18,920
Speaker 3: molecular structure into the next dimension and so destroyed itself.

1074
00:57:19,640 --> 00:57:22,280
Speaker 1: Okay, well, I don't know if that actually helps me any,

1075
00:57:22,400 --> 00:57:23,840
Speaker 1: but that she's got more to say.

1076
00:57:24,560 --> 00:57:28,160
Speaker 3: The professor his comment on this is so there is

1077
00:57:28,200 --> 00:57:33,760
Speaker 3: a fourth dimension. But Nya explains more. She says, you know,

1078
00:57:33,840 --> 00:57:36,800
Speaker 3: after the War of the Sexes, women became the rulers

1079
00:57:36,840 --> 00:57:40,320
Speaker 3: of Mars, but now the male has fallen into a decline.

1080
00:57:40,640 --> 00:57:45,120
Speaker 3: The birth rate is dropping tremendously. For despite our advanced science,

1081
00:57:45,240 --> 00:57:49,240
Speaker 3: we still have found no way of creating life. I

1082
00:57:49,280 --> 00:57:52,480
Speaker 3: guess she means other than like standard sexual reproduction, which

1083
00:57:52,520 --> 00:57:55,160
Speaker 3: we assume is their method, though they're never explicit about that,

1084
00:57:55,320 --> 00:57:59,480
Speaker 3: so I don't know. But then Miss Prestwick she kind

1085
00:57:59,520 --> 00:58:02,880
Speaker 3: of challenged jiz Nia on this. She goes, so you've

1086
00:58:02,920 --> 00:58:06,360
Speaker 3: come here for new Blood, and I love the way

1087
00:58:07,400 --> 00:58:11,680
Speaker 3: Hazel Court here has this like defiant tone, like Miss

1088
00:58:11,760 --> 00:58:16,120
Speaker 3: Prestwick is feeling territorial, and she's like, you're not gonna

1089
00:58:16,120 --> 00:58:20,160
Speaker 3: steal my beloved earth schlubs. You know they belong here

1090
00:58:20,200 --> 00:58:24,320
Speaker 3: with us. But Nya just you know, she's not having

1091
00:58:24,360 --> 00:58:27,600
Speaker 3: any any defiance. She's like, yes, we're here to steal

1092
00:58:27,640 --> 00:58:30,240
Speaker 3: your males. We're going to kidnap your males and breed

1093
00:58:30,280 --> 00:58:33,200
Speaker 3: with them. But also we are here to test a

1094
00:58:33,280 --> 00:58:37,680
Speaker 3: newly invented organic metal quote of which my ship is

1095
00:58:37,680 --> 00:58:41,200
Speaker 3: built on Mars. Some think I will not return, that

1096
00:58:41,280 --> 00:58:44,280
Speaker 3: the metal is too unstable, but when I get back,

1097
00:58:44,400 --> 00:58:48,000
Speaker 3: we will build more spaceships. Meanwhile, I will select some

1098
00:58:48,080 --> 00:58:50,840
Speaker 3: of your strongest men to return with me to Mars.

1099
00:58:51,280 --> 00:58:53,760
Speaker 1: Okay, so it's it's a dual mission.

1100
00:58:53,920 --> 00:58:57,160
Speaker 3: Yeah, yeah, it's you know, it's testing out the prototype

1101
00:58:57,200 --> 00:59:00,720
Speaker 3: metal and it's collecting Earthmen. And Michael Card of the

1102
00:59:00,800 --> 00:59:03,360
Speaker 3: Earthman says, and if I don't want to go with you,

1103
00:59:03,960 --> 00:59:08,520
Speaker 3: just assuming he's going to be picked, and Nia says

1104
00:59:08,560 --> 00:59:12,160
Speaker 3: there is no if. She says, she will take her

1105
00:59:12,240 --> 00:59:16,280
Speaker 3: pick of quote the Man and subdue London with the

1106
00:59:16,320 --> 00:59:18,240
Speaker 3: help of a nuclear paralyzer.

1107
00:59:18,360 --> 00:59:18,560
Speaker 4: Ray.

1108
00:59:19,600 --> 00:59:22,720
Speaker 3: So like the humans start arguing about this with each other,

1109
00:59:23,160 --> 00:59:26,880
Speaker 3: Miss Prestwick says to the professor, don't you understand that

1110
00:59:26,960 --> 00:59:30,560
Speaker 3: this thing from Mars can destroy all life. And then

1111
00:59:30,920 --> 00:59:33,800
Speaker 3: very funny. So most of the earth males don't want

1112
00:59:33,840 --> 00:59:35,680
Speaker 3: to go to Mars, but I thought it was funny

1113
00:59:35,720 --> 00:59:37,760
Speaker 3: here how the professor is like, well, hold on, now,

1114
00:59:38,360 --> 00:59:43,040
Speaker 3: we must think objectively about what is happening. He says,

1115
00:59:43,080 --> 00:59:45,400
Speaker 3: this is the turning point in the history of the world.

1116
00:59:45,440 --> 00:59:47,240
Speaker 3: Maybe you know, I think he's saying we need to

1117
00:59:47,240 --> 00:59:47,880
Speaker 3: hear her out.

1118
00:59:48,160 --> 00:59:50,920
Speaker 1: But it's also extra funny given how cold she was

1119
00:59:50,960 --> 00:59:53,480
Speaker 1: to him earlier. He's like, yeah, He's like, but but

1120
00:59:53,680 --> 00:59:56,320
Speaker 1: maybe it's me. Maybe I'm the one you should go.

1121
00:59:57,000 --> 01:00:03,040
Speaker 3: No, you're a very poor male specimen. But then, oh,

1122
01:00:03,080 --> 01:00:05,440
Speaker 3: but then one of the funniest parts of the whole movie,

1123
01:00:05,640 --> 01:00:10,280
Speaker 3: Missus Jamison comes into the room and she sees this

1124
01:00:10,440 --> 01:00:14,240
Speaker 3: lady here just dressed in this like crazy leather spacesuit,

1125
01:00:14,960 --> 01:00:19,240
Speaker 3: and Michael Carter says, Missus Jamison, may I introduce your

1126
01:00:19,280 --> 01:00:24,680
Speaker 3: newest guest, miss Nia. She comes from Mars. And then

1127
01:00:24,720 --> 01:00:26,160
Speaker 3: what does Missus Jamison reply?

1128
01:00:26,520 --> 01:00:30,880
Speaker 1: She says, oh, well that'll mean another bed. Yeah, And

1129
01:00:30,960 --> 01:00:32,840
Speaker 1: it is one of the It's always kind of neat

1130
01:00:32,840 --> 01:00:35,640
Speaker 1: when in a film like this you have one or

1131
01:00:35,680 --> 01:00:39,240
Speaker 1: two lines that are legitimately intentionally funny. That was some

1132
01:00:39,280 --> 01:00:40,080
Speaker 1: good riding there.

1133
01:00:40,440 --> 01:00:42,200
Speaker 3: Yeah, but then she does a double take.

1134
01:00:52,680 --> 01:00:54,280
Speaker 1: By the way, Joe, you included here for me a

1135
01:00:54,320 --> 01:00:56,360
Speaker 1: screenshot of the of the character standing in front of

1136
01:00:56,360 --> 01:00:58,400
Speaker 1: the bar. Do you think those are all scotch bottles?

1137
01:00:58,400 --> 01:01:00,080
Speaker 1: Back there on the wall? They have like four, I

1138
01:01:00,120 --> 01:01:03,720
Speaker 1: don't know, shelves of liquor bottles, and I'm just I'm

1139
01:01:03,720 --> 01:01:05,560
Speaker 1: suddenly wondering, what are we looking at here?

1140
01:01:05,720 --> 01:01:08,760
Speaker 3: It's a lot of bottles, and I don't I don't know.

1141
01:01:08,800 --> 01:01:10,720
Speaker 3: I'm not seeing a lot of gin back there. It

1142
01:01:10,760 --> 01:01:13,880
Speaker 3: all looks like a brown liquor of various sorts.

1143
01:01:14,320 --> 01:01:16,640
Speaker 1: Scotch enthusiasts will have to let us know. I really

1144
01:01:16,720 --> 01:01:18,880
Speaker 1: only know my way around a couple of scotches.

1145
01:01:19,120 --> 01:01:23,000
Speaker 3: Yeah, though it's funny. I just remembered something when Rachel

1146
01:01:23,000 --> 01:01:25,240
Speaker 3: and I were watching this, you know, with all the

1147
01:01:25,360 --> 01:01:29,200
Speaker 3: characters that are named Hennessy and Jamison, When when Nya

1148
01:01:29,280 --> 01:01:32,160
Speaker 3: first came in and Rachel said, my name is cam PARI.

1149
01:01:34,840 --> 01:01:35,919
Speaker 1: That's good. It's a good riff.

1150
01:01:36,240 --> 01:01:36,439
Speaker 6: Oh.

1151
01:01:36,520 --> 01:01:39,120
Speaker 3: Suddenly, at this point in the movie, everybody gets agitated

1152
01:01:39,120 --> 01:01:41,959
Speaker 3: that they can't find David, the guy that she vaporized

1153
01:01:42,000 --> 01:01:45,240
Speaker 3: out on the lawn and they're like he's missing. And

1154
01:01:45,280 --> 01:01:48,040
Speaker 3: then they all turned to her and they're like, miss Naya,

1155
01:01:48,320 --> 01:01:51,640
Speaker 3: have you and she says, of course he was no

1156
01:01:51,800 --> 01:01:57,920
Speaker 3: stud muffin, so I killed him. And Michael Michael Carter

1157
01:01:58,000 --> 01:02:00,560
Speaker 3: gets really mad about this. They have to like him.

1158
01:02:00,640 --> 01:02:03,000
Speaker 3: He's like trying to punch her or something, and they're

1159
01:02:03,040 --> 01:02:04,080
Speaker 3: all holding him back.

1160
01:02:04,760 --> 01:02:06,760
Speaker 1: I don't know why they felt they needed to establish

1161
01:02:06,800 --> 01:02:09,200
Speaker 1: that they found him creepy earlier, like that. There was

1162
01:02:09,240 --> 01:02:12,200
Speaker 1: no payoff for that, Like, yeah, he never did anything

1163
01:02:12,280 --> 01:02:15,240
Speaker 1: that was creepy, there was no Sometimes you introduce the

1164
01:02:15,680 --> 01:02:19,760
Speaker 1: stereotypical creepy grounds keeper character because you want to have

1165
01:02:19,880 --> 01:02:22,960
Speaker 1: him be a suspect in the you know or something,

1166
01:02:23,120 --> 01:02:25,600
Speaker 1: or you know, or he's creeping around and happens to,

1167
01:02:26,600 --> 01:02:29,360
Speaker 1: you know, run a foul of the Jason or whatever

1168
01:02:29,440 --> 01:02:32,520
Speaker 1: is running around on the on the grounds. But in

1169
01:02:32,560 --> 01:02:34,840
Speaker 1: this case, he was just out getting wood. Like, why

1170
01:02:34,880 --> 01:02:36,280
Speaker 1: did it matter that he was creepy.

1171
01:02:36,600 --> 01:02:39,480
Speaker 3: He didn't actually do anything wrong. Yeah, you kind of

1172
01:02:39,520 --> 01:02:42,640
Speaker 3: gotta feel bad for David, Like, for all we know,

1173
01:02:42,680 --> 01:02:45,880
Speaker 3: he was a totally nice guy. He had no lines. Yeah,

1174
01:02:45,880 --> 01:02:49,880
Speaker 3: But anyway, here Naya leaves and she says, Okay, around

1175
01:02:49,880 --> 01:02:52,320
Speaker 3: this house, I've drawn an invisible wall. You can't get

1176
01:02:52,360 --> 01:02:54,600
Speaker 3: through it, so I don't even try to leave. I'm

1177
01:02:54,640 --> 01:02:56,800
Speaker 3: going to do repairs on my ship and I'll be

1178
01:02:56,880 --> 01:02:59,320
Speaker 3: back to kill you all and maybe take some of

1179
01:02:59,320 --> 01:03:02,760
Speaker 3: the strongest mans. And then the rest of the movie

1180
01:03:02,800 --> 01:03:04,960
Speaker 3: is just people coming and going back and forth from

1181
01:03:05,000 --> 01:03:09,440
Speaker 3: the ship like fifteen times. Uh Naya in a quite

1182
01:03:09,600 --> 01:03:13,200
Speaker 3: funny manner. In fact, keeps leaving and then coming back

1183
01:03:13,240 --> 01:03:17,520
Speaker 3: to the inn. And then there there are some more

1184
01:03:17,560 --> 01:03:20,000
Speaker 3: scenes between the humans that are I think trying to

1185
01:03:20,720 --> 01:03:23,920
Speaker 3: do character development, Like there is a scene where Michael Carter,

1186
01:03:24,200 --> 01:03:28,160
Speaker 3: the the really annoying journalist, and miss Prestwick fall in love.

1187
01:03:29,320 --> 01:03:32,160
Speaker 3: Like he ostensibly he comes up to her room at

1188
01:03:32,160 --> 01:03:36,120
Speaker 3: the hotel, knocking on the door with the excuse that

1189
01:03:36,200 --> 01:03:39,160
Speaker 3: he has come to see if she has any scotch.

1190
01:03:39,840 --> 01:03:41,680
Speaker 1: Like like they're old downstairs, Like.

1191
01:03:42,120 --> 01:03:44,840
Speaker 3: Yeah, no, they're clearly not. It's like, hey, I was

1192
01:03:44,880 --> 01:03:47,320
Speaker 3: wondering if there's any air in your room that I

1193
01:03:47,320 --> 01:03:50,760
Speaker 3: could breathe. I couldn't find any anywhere else. But if

1194
01:03:50,760 --> 01:03:52,840
Speaker 3: she invites him in and he's like, you got any

1195
01:03:52,840 --> 01:03:56,160
Speaker 3: scotch and she says no, but I've got some brandy, okay,

1196
01:03:58,040 --> 01:04:01,280
Speaker 3: and uh and so, and we get their backstories. Miss

1197
01:04:01,360 --> 01:04:04,960
Speaker 3: Prestwick talks about how she's in Scotland. Actually she doesn't

1198
01:04:05,000 --> 01:04:08,720
Speaker 3: volunteer this information. He does like a cold reading routine

1199
01:04:08,760 --> 01:04:11,880
Speaker 3: where he tells her her whole backstory just by I

1200
01:04:11,920 --> 01:04:15,640
Speaker 3: don't know, by like observing her and I guess it's

1201
01:04:15,680 --> 01:04:18,080
Speaker 3: all correct, you know. He figures out that she's in

1202
01:04:18,080 --> 01:04:22,280
Speaker 3: Scotland because she's she's hiding from a married man with

1203
01:04:22,360 --> 01:04:25,600
Speaker 3: whom she is having an affair. I think he is

1204
01:04:25,680 --> 01:04:29,840
Speaker 3: the fashion designer and she is his muse. And then meanwhile,

1205
01:04:29,920 --> 01:04:34,000
Speaker 3: Michael Carter explains his backstory is like He's like, oh,

1206
01:04:34,040 --> 01:04:36,680
Speaker 3: I've seen all the terrible things in the war zones,

1207
01:04:36,960 --> 01:04:39,320
Speaker 3: but now I'm done with all that. And then he says,

1208
01:04:39,440 --> 01:04:42,200
Speaker 3: now I'm letting my hair down, which was a laugh

1209
01:04:42,320 --> 01:04:44,760
Speaker 3: out loud moment because he does not have much hair

1210
01:04:44,840 --> 01:04:46,160
Speaker 3: to let down, right.

1211
01:04:47,520 --> 01:04:50,560
Speaker 1: Oh. But then there's also the invisible wall. This was

1212
01:04:50,600 --> 01:04:54,400
Speaker 1: a lot of fun because you have a Nya established

1213
01:04:54,440 --> 01:04:57,400
Speaker 1: that she was going to set a perimeter, an invisible

1214
01:04:57,400 --> 01:05:01,040
Speaker 1: wall to keep people from leaving. And again, these characters

1215
01:05:01,040 --> 01:05:04,560
Speaker 1: have been drinking Scotch non stop, and then you have

1216
01:05:04,600 --> 01:05:05,760
Speaker 1: the professor bumble in.

1217
01:05:06,080 --> 01:05:09,040
Speaker 3: Right, so they look out the window. Actually, before this, sorry,

1218
01:05:09,040 --> 01:05:14,160
Speaker 3: before this, Michael and miss Prestwick have a dialogue exchange

1219
01:05:14,200 --> 01:05:18,040
Speaker 3: that is so funny. It means nothing, but at one

1220
01:05:18,080 --> 01:05:21,520
Speaker 3: point he's just I guess he's just frustrated. He just goes,

1221
01:05:21,640 --> 01:05:24,320
Speaker 3: it's that thing out there, and then she says, it

1222
01:05:24,480 --> 01:05:31,360
Speaker 3: is there. Michael, Yeah, thanks thanks movie. Yes, oh yeah,

1223
01:05:31,440 --> 01:05:34,520
Speaker 3: I remember. Now there is a spaceship outside and they're.

1224
01:05:34,440 --> 01:05:37,560
Speaker 1: Trying to also an invisible wall though, and.

1225
01:05:37,520 --> 01:05:39,680
Speaker 3: That's right, well maybe that's the thing they were talking about.

1226
01:05:39,680 --> 01:05:41,240
Speaker 3: I don't know, is it the spaceship or is it

1227
01:05:41,320 --> 01:05:46,160
Speaker 3: the robot or the spaceship. But so the professor comes back.

1228
01:05:46,520 --> 01:05:49,000
Speaker 3: He's got blood on his head now and they're like, Professor,

1229
01:05:49,080 --> 01:05:52,080
Speaker 3: what happened And he's like, well, I went out walking

1230
01:05:52,200 --> 01:05:55,360
Speaker 3: and then I crashed into the invisible wall. There really

1231
01:05:55,480 --> 01:05:58,320
Speaker 3: is an invisible wall. I thought it impossible by all

1232
01:05:58,360 --> 01:05:59,680
Speaker 3: that is known to science.

1233
01:06:01,000 --> 01:06:04,040
Speaker 1: Yeah, I don't know. I just found that also hilarious.

1234
01:06:04,360 --> 01:06:06,680
Speaker 3: I think this might be the scene with I believe

1235
01:06:06,720 --> 01:06:09,720
Speaker 3: what my brain tells me to believe, and.

1236
01:06:09,720 --> 01:06:13,480
Speaker 1: My brain ran into an invisible wall.

1237
01:06:13,800 --> 01:06:15,680
Speaker 3: Now Here we get the first of a couple of

1238
01:06:15,720 --> 01:06:17,640
Speaker 3: times where the people at the end try to figure

1239
01:06:17,680 --> 01:06:21,760
Speaker 3: out how to outsmart Naya. Like there's another scene later

1240
01:06:21,760 --> 01:06:25,200
Speaker 3: where they set literally set an electrical trap for her,

1241
01:06:25,360 --> 01:06:27,760
Speaker 3: like in the Thing from Another World, which doesn't work,

1242
01:06:28,240 --> 01:06:30,360
Speaker 3: but in this scene they try to. They find a

1243
01:06:30,400 --> 01:06:32,800
Speaker 3: gun and they're like, well, we can just shoot her

1244
01:06:32,880 --> 01:06:36,720
Speaker 3: when she comes in, and Naya makes a fabulous entrance.

1245
01:06:36,760 --> 01:06:39,520
Speaker 3: She like throws the doors open and steps in. And

1246
01:06:40,040 --> 01:06:43,280
Speaker 3: I wish I could like show you the listener out

1247
01:06:43,280 --> 01:06:46,120
Speaker 3: there a gif of this because it's it's such a

1248
01:06:46,160 --> 01:06:47,680
Speaker 3: wonderful step in move.

1249
01:06:48,080 --> 01:06:51,800
Speaker 1: Yeah, it's very jerious from Labyrinth. Again, there's no owl,

1250
01:06:52,000 --> 01:06:53,400
Speaker 1: but it has that same energy.

1251
01:06:53,760 --> 01:06:57,160
Speaker 3: Yes, And they try shooting her with a revolver, but

1252
01:06:57,200 --> 01:07:00,720
Speaker 3: the bullets have no effect. The posture that Michael Carter

1253
01:07:01,520 --> 01:07:04,320
Speaker 3: does while he's shooting at her is so funny. He's

1254
01:07:04,360 --> 01:07:07,880
Speaker 3: got his non shooting hand tucked behind his back and

1255
01:07:07,880 --> 01:07:10,840
Speaker 3: he's just standing up straight with the gun sort of

1256
01:07:10,840 --> 01:07:14,360
Speaker 3: at stomach level, just going bang bang, And of course

1257
01:07:14,400 --> 01:07:17,320
Speaker 3: the bullets bounce off of Naya because you know, she's

1258
01:07:17,360 --> 01:07:21,120
Speaker 3: she's perfect, She's she's literally nothing could.

1259
01:07:20,960 --> 01:07:23,720
Speaker 1: Defeat her, absolutely right.

1260
01:07:23,880 --> 01:07:27,360
Speaker 3: She says, you pour demented humans to imagine you can

1261
01:07:27,400 --> 01:07:31,120
Speaker 3: destroy me with your old fashioned toy. What do you

1262
01:07:31,280 --> 01:07:34,440
Speaker 3: know of force? Force as we use it on Mars,

1263
01:07:35,000 --> 01:07:38,880
Speaker 3: I could control power beyond your wildest dreams. Come and

1264
01:07:38,960 --> 01:07:42,280
Speaker 3: you shall see. So she's going to give him demonstration.

1265
01:07:42,440 --> 01:07:45,280
Speaker 3: I love it when aliens give a demonstration of their

1266
01:07:45,320 --> 01:07:49,000
Speaker 3: power for a for a crowd of earth onlookers. And

1267
01:07:49,520 --> 01:07:52,160
Speaker 3: so they so she takes them out to the spaceship

1268
01:07:52,480 --> 01:07:55,680
Speaker 3: to show her robot Johnny, to show them what Johnny

1269
01:07:55,680 --> 01:07:59,560
Speaker 3: can do. So Johnny, he comes out. Johnny is gigantic.

1270
01:07:59,640 --> 01:08:02,360
Speaker 3: He is a refrigerator with arms and legs. His arms

1271
01:08:02,400 --> 01:08:05,000
Speaker 3: are kind of like made out of a stack of

1272
01:08:05,040 --> 01:08:09,440
Speaker 3: solo cups. His head is a police siren, and he

1273
01:08:10,000 --> 01:08:14,360
Speaker 3: walks around. He's slow moving, and he hates trees and

1274
01:08:14,400 --> 01:08:17,880
Speaker 3: he's gonna incinerate them and he vaporizes a bunch of

1275
01:08:17,920 --> 01:08:20,200
Speaker 3: stuff with his death ray while people watch. He does

1276
01:08:20,240 --> 01:08:24,880
Speaker 3: the tree, he does a car, he does a barn. Yeah,

1277
01:08:25,680 --> 01:08:26,960
Speaker 3: you don't want to mess with Johnny.

1278
01:08:27,680 --> 01:08:29,400
Speaker 1: I think it's a pretty good robot design. I mean

1279
01:08:29,400 --> 01:08:31,080
Speaker 1: it's one of the it's kind of like the the UFO,

1280
01:08:31,200 --> 01:08:33,840
Speaker 1: kind of like the flying saucer in this film, where yes,

1281
01:08:34,160 --> 01:08:36,519
Speaker 1: it does match up with what you would expect from

1282
01:08:36,520 --> 01:08:41,679
Speaker 1: this time period Boxy, you know, sort of lumbering around,

1283
01:08:42,439 --> 01:08:46,320
Speaker 1: but overall well executed. I like how it's it's arms

1284
01:08:46,400 --> 01:08:48,200
Speaker 1: though you just described him as being kind of like

1285
01:08:48,200 --> 01:08:51,440
Speaker 1: stacked silo cups, but they kind of have that telescoping

1286
01:08:51,600 --> 01:08:54,960
Speaker 1: energy that matches up with the flying saucer. Well, like

1287
01:08:55,000 --> 01:08:56,960
Speaker 1: you feel like these are two things from the same

1288
01:08:57,000 --> 01:08:57,919
Speaker 1: design universe.

1289
01:08:58,320 --> 01:08:59,479
Speaker 3: Sure, yeah, I can see that.

1290
01:08:59,800 --> 01:09:02,800
Speaker 1: And again, he's really tall, He's like fifteen feet tall.

1291
01:09:02,840 --> 01:09:04,360
Speaker 1: Maybe I don't know, he's powering.

1292
01:09:05,240 --> 01:09:07,679
Speaker 3: She's like, he is like one of your Earth humans,

1293
01:09:07,720 --> 01:09:12,360
Speaker 3: but with an improved brain. And then Nya, let's see,

1294
01:09:12,360 --> 01:09:15,760
Speaker 3: oh oh, Albert Simpson, remember him, the convict. He's been

1295
01:09:15,840 --> 01:09:18,000
Speaker 3: hiding in the attic. Well, he sneaks out of the

1296
01:09:18,040 --> 01:09:21,080
Speaker 3: window along with Tommy the kid. They both climb down

1297
01:09:21,080 --> 01:09:24,679
Speaker 3: a tree and they're running around outside. Eventually Nya comes

1298
01:09:24,680 --> 01:09:28,559
Speaker 3: across them and she's like, ah, this Earth, Tommy, I

1299
01:09:28,640 --> 01:09:31,120
Speaker 3: will take this boy back to Mars with me. And

1300
01:09:31,160 --> 01:09:35,479
Speaker 3: Tommy literally goes goodie. He wants to go to Mars.

1301
01:09:36,280 --> 01:09:39,160
Speaker 3: But as you might guess, this turns into for the

1302
01:09:39,200 --> 01:09:41,000
Speaker 3: rest of the plot. A lot of it's like various

1303
01:09:41,080 --> 01:09:44,080
Speaker 3: adult men trying to find a way to rescue Tommy

1304
01:09:44,160 --> 01:09:47,280
Speaker 3: and destroy the spaceship. Again, there's the part where they

1305
01:09:47,280 --> 01:09:50,920
Speaker 3: try to set an electricity trap for Nya that does

1306
01:09:50,960 --> 01:09:55,519
Speaker 3: not work. At one point, Professor Hennessy tricks Naya into

1307
01:09:55,600 --> 01:09:58,519
Speaker 3: showing him the inside of her spaceship, and the way

1308
01:09:58,560 --> 01:10:01,679
Speaker 3: he does it by his by like appealing to her pride.

1309
01:10:01,760 --> 01:10:06,120
Speaker 3: He's like, we Earthlings also have powerful machines, and this

1310
01:10:06,200 --> 01:10:09,000
Speaker 3: makes her really mad. She's like, none equal to those

1311
01:10:09,040 --> 01:10:11,880
Speaker 3: of Mars. So she takes him to see the inside

1312
01:10:11,920 --> 01:10:14,960
Speaker 3: of the spaceship and he's gonna get a look at

1313
01:10:14,960 --> 01:10:17,640
Speaker 3: things to figure out what the weak point inside the

1314
01:10:18,040 --> 01:10:20,400
Speaker 3: ship is. And you know what he finds out.

1315
01:10:20,439 --> 01:10:25,000
Speaker 1: Yeah, he's You can imagine him being like like, oh

1316
01:10:25,080 --> 01:10:27,360
Speaker 1: you should You should see the self destruct mechanisms we

1317
01:10:27,439 --> 01:10:30,280
Speaker 1: have on earth ships and just like those are nothing.

1318
01:10:30,360 --> 01:10:34,680
Speaker 1: Look at this self destruct button. Yeah, this mechanism is

1319
01:10:34,680 --> 01:10:35,480
Speaker 1: far superior.

1320
01:10:36,000 --> 01:10:38,679
Speaker 3: But the design of the inside of the spaceship is cool.

1321
01:10:39,000 --> 01:10:41,080
Speaker 1: Yeah. I really liked it as well. It has some

1322
01:10:41,080 --> 01:10:43,200
Speaker 1: some cool angles in it. They do some nice things

1323
01:10:43,280 --> 01:10:46,759
Speaker 1: with shadow and light, and this leads me to another

1324
01:10:46,880 --> 01:10:50,400
Speaker 1: interesting visual connection. This is not one that I made.

1325
01:10:50,439 --> 01:10:52,720
Speaker 1: This is one that I ran across when I was

1326
01:10:52,720 --> 01:10:57,160
Speaker 1: looking at images from the film Jane Voss of sci

1327
01:10:57,160 --> 01:11:01,320
Speaker 1: fiast dot net that's sci sd I guess it looks

1328
01:11:01,360 --> 01:11:06,960
Speaker 1: like sciphist dot net anyway. This author made this particular comparison,

1329
01:11:07,040 --> 01:11:11,520
Speaker 1: pointing out that that the the inside of the spaceship

1330
01:11:12,520 --> 01:11:15,960
Speaker 1: matches up at least a bit with the meditation chamber

1331
01:11:16,080 --> 01:11:19,120
Speaker 1: of Darth Vader and the Empire strikes Back. They do

1332
01:11:19,160 --> 01:11:22,960
Speaker 1: a side by side comparison here, and you know, I'm

1333
01:11:23,000 --> 01:11:25,920
Speaker 1: not sure. I one hundred percent am convinced. I think

1334
01:11:25,960 --> 01:11:28,920
Speaker 1: it's a nifty comparison. The author points out that Lucas

1335
01:11:28,960 --> 01:11:32,599
Speaker 1: certainly was inspired by older genre films and the and

1336
01:11:32,640 --> 01:11:34,680
Speaker 1: in making the Star Wars films, they did look to

1337
01:11:35,439 --> 01:11:38,680
Speaker 1: older cinematic images, so it's I don't know, it's any

1338
01:11:38,720 --> 01:11:42,559
Speaker 1: connection of nothing else. The author also points to the

1339
01:11:43,080 --> 01:11:48,400
Speaker 1: possible connections between Nia and doctor Frankenforter from the Rocky

1340
01:11:48,400 --> 01:11:52,320
Speaker 1: Horror Picture Show. Again, I'm not so sure personally, but

1341
01:11:52,520 --> 01:11:55,439
Speaker 1: maybe there's certainly some shared DNA between Nia and the

1342
01:11:55,600 --> 01:11:59,519
Speaker 1: likes of Jaff from Labyrinth or Frankenfurter from Rocky Horror,

1343
01:11:59,760 --> 01:12:02,120
Speaker 1: And I guess you could also make some comparisons in

1344
01:12:02,160 --> 01:12:05,360
Speaker 1: a different way between Nia and Darth Vader. I mean

1345
01:12:05,360 --> 01:12:09,799
Speaker 1: they're both you know, stunning characters clad in black, shiny

1346
01:12:10,640 --> 01:12:11,880
Speaker 1: you know, garments and armor.

1347
01:12:12,080 --> 01:12:15,080
Speaker 3: Yeah, well they both have the black like the shoulder

1348
01:12:15,160 --> 01:12:18,280
Speaker 3: pads and the and the smooth head piece and the

1349
01:12:18,920 --> 01:12:20,320
Speaker 3: foot the floor length cape.

1350
01:12:20,439 --> 01:12:23,080
Speaker 1: Yeah. Yeah, so I don't know, maybe so at any rate,

1351
01:12:23,160 --> 01:12:24,639
Speaker 1: cool ship interior I like it.

1352
01:12:24,840 --> 01:12:28,080
Speaker 3: Yeah, yeah, So there's a bunch more intrigue. I'm not

1353
01:12:28,120 --> 01:12:30,360
Speaker 3: going to go into detail about everything else that happens,

1354
01:12:30,400 --> 01:12:33,280
Speaker 3: especially between the humans. There's one part where like the

1355
01:12:33,320 --> 01:12:35,800
Speaker 3: one of the humans gets hypnotized and then they gets

1356
01:12:35,840 --> 01:12:37,920
Speaker 3: into a fist fight with one of the other guys

1357
01:12:37,960 --> 01:12:40,600
Speaker 3: and they argue about how to defeat the alien in

1358
01:12:40,640 --> 01:12:45,040
Speaker 3: the end, but ultimately the movie ends with Albert Simpson,

1359
01:12:45,240 --> 01:12:50,080
Speaker 3: the convict, doing a brave act of heroic self sacrifice

1360
01:12:50,520 --> 01:12:54,439
Speaker 3: to use the information gained by the professor about the

1361
01:12:54,439 --> 01:12:57,080
Speaker 3: weak point on the ship and to save the day

1362
01:12:57,160 --> 01:12:57,679
Speaker 3: for Earth.

1363
01:12:58,360 --> 01:13:00,920
Speaker 1: It's a fun ending because, on one level, I don't know,

1364
01:13:01,080 --> 01:13:02,800
Speaker 1: I guess we were supposed to think this as well,

1365
01:13:03,320 --> 01:13:05,960
Speaker 1: because we see him get on the ship. He boards

1366
01:13:05,960 --> 01:13:08,400
Speaker 1: the ship with Naya, and the ship takes off and

1367
01:13:08,439 --> 01:13:12,840
Speaker 1: again wonderful flying saucer effect. It feels dangerous and you know,

1368
01:13:12,920 --> 01:13:16,280
Speaker 1: almost almost explosive, and it takes off and it's ascending

1369
01:13:16,320 --> 01:13:18,480
Speaker 1: up in the atmosphere. It's going to leave her this atmosphere,

1370
01:13:18,600 --> 01:13:21,599
Speaker 1: return to Mars, and we know what he is supposed

1371
01:13:21,640 --> 01:13:24,559
Speaker 1: to do. He is supposed to hit that self destruct.

1372
01:13:24,800 --> 01:13:28,160
Speaker 1: He's supposed to make the ship explode, and we already

1373
01:13:28,160 --> 01:13:30,880
Speaker 1: have a built in kind of they don't really dwell

1374
01:13:30,920 --> 01:13:34,200
Speaker 1: on this, but she established earlier that the other Martians

1375
01:13:34,200 --> 01:13:36,200
Speaker 1: think that the ship won't survive the trip, so there's

1376
01:13:36,200 --> 01:13:38,680
Speaker 1: almost like a guarantee if they can only blow this

1377
01:13:38,760 --> 01:13:41,760
Speaker 1: ship up, they're not expecting her back. But on the

1378
01:13:41,760 --> 01:13:44,040
Speaker 1: other hand, it's like this guy escaped from prison and

1379
01:13:44,080 --> 01:13:47,439
Speaker 1: his biggest his plan consisted of, well maybe we can

1380
01:13:47,479 --> 01:13:51,200
Speaker 1: I can flee to Ireland. But now like he's got

1381
01:13:51,280 --> 01:13:54,160
Speaker 1: a chance to flee the planet, he can flee the

1382
01:13:54,320 --> 01:13:58,400
Speaker 1: terrestrial legal system entirely and go to Mars, and yeah,

1383
01:13:58,400 --> 01:14:00,559
Speaker 1: maybe he's going to end up in a eating pod

1384
01:14:00,640 --> 01:14:02,840
Speaker 1: somewhere with a with a you know, some sort of

1385
01:14:02,880 --> 01:14:05,200
Speaker 1: a sensor stuck in his brain, but hey, at least

1386
01:14:05,240 --> 01:14:08,680
Speaker 1: he's not in prison or in Ireland doing whatever he

1387
01:14:08,760 --> 01:14:11,439
Speaker 1: was planning to do in Ireland. So there's kind of

1388
01:14:11,439 --> 01:14:13,880
Speaker 1: this tension building as you watch the ship go up.

1389
01:14:13,920 --> 01:14:17,479
Speaker 1: It's like, is he gonna betray everyone out of his

1390
01:14:17,520 --> 01:14:20,520
Speaker 1: own self interest or is he going to sacrifice himself

1391
01:14:20,760 --> 01:14:25,000
Speaker 1: for Earth? And then suddenly the ship does explode. But

1392
01:14:25,880 --> 01:14:29,200
Speaker 1: this is great because again, watching a movie from this

1393
01:14:29,280 --> 01:14:33,040
Speaker 1: time period, you have certain expectations for that explosion. You

1394
01:14:33,160 --> 01:14:35,160
Speaker 1: kind of expect, you know, a sort of a dynamite

1395
01:14:35,200 --> 01:14:38,680
Speaker 1: explosion in the sky, but no, instead you get this

1396
01:14:38,960 --> 01:14:43,880
Speaker 1: really cool, kind of like underwater smoke explosion, which is

1397
01:14:44,280 --> 01:14:47,479
Speaker 1: extra nice here in black and white, and it looks

1398
01:14:47,600 --> 01:14:51,240
Speaker 1: really super creepy, like, indeed, like a dangerous piece of

1399
01:14:51,280 --> 01:14:54,840
Speaker 1: advanced technology from another world just blew up in our atmosphere,

1400
01:14:55,200 --> 01:14:58,479
Speaker 1: ripped a hole. Perhaps in reality, you know, it looks

1401
01:14:58,479 --> 01:15:01,400
Speaker 1: like it's created a stain the sky that's going to

1402
01:15:01,439 --> 01:15:06,280
Speaker 1: stick around for quite some time. But indeed, he came through,

1403
01:15:06,560 --> 01:15:09,880
Speaker 1: He saved the Earth, and the alien threat has been

1404
01:15:10,280 --> 01:15:16,479
Speaker 1: destroyed or maybe just avoided for a little while. The

1405
01:15:16,520 --> 01:15:20,240
Speaker 1: Martians maybe won't come back to Earth for a few decades.

1406
01:15:20,280 --> 01:15:23,320
Speaker 3: Anyway, I agree that explosion looks really cool, and it

1407
01:15:23,400 --> 01:15:26,320
Speaker 3: actually I think the way the explosion looks kind of

1408
01:15:26,479 --> 01:15:30,759
Speaker 3: unusual maybe relates to something a scene we didn't actually

1409
01:15:30,760 --> 01:15:33,639
Speaker 3: talk about, the one where Naya like folds herself into

1410
01:15:33,680 --> 01:15:35,760
Speaker 3: the fourth dimension and disappears.

1411
01:15:36,160 --> 01:15:39,400
Speaker 1: She becomes blurry and they're like, ah, the fourth dimension.

1412
01:15:39,560 --> 01:15:42,040
Speaker 1: This is another scene where she's like basically just showing

1413
01:15:42,040 --> 01:15:43,840
Speaker 1: off how great Martian technology is.

1414
01:15:44,120 --> 01:15:45,880
Speaker 3: Well, you know, I'd say in the end, Devil Girl

1415
01:15:45,920 --> 01:15:49,560
Speaker 3: from Mars is great fun. I do recommend it. I

1416
01:15:49,600 --> 01:15:52,680
Speaker 3: would also say stick around at least until Nya shows up.

1417
01:15:52,880 --> 01:15:55,559
Speaker 3: It will drag for the first twenty twenty five minutes

1418
01:15:55,680 --> 01:15:59,000
Speaker 3: or so, but once Nya's on screen, it's a hoot.

1419
01:15:59,200 --> 01:16:01,000
Speaker 1: Yeah, this one's a lot of fun. Again, some great

1420
01:16:01,000 --> 01:16:04,720
Speaker 1: design work in here, some fun performances, you know, some

1421
01:16:04,760 --> 01:16:08,639
Speaker 1: surprisingly good effects and costuming that in many ways, despite

1422
01:16:08,680 --> 01:16:10,920
Speaker 1: the budget, despite the time period, you know, I mean,

1423
01:16:11,080 --> 01:16:14,599
Speaker 1: it feels very ahead of its time. The ending's pretty solid,

1424
01:16:14,800 --> 01:16:17,640
Speaker 1: though part of me still thinks that Scotland should have

1425
01:16:17,640 --> 01:16:20,679
Speaker 1: surrendered and become a breeding colony from Mars. I think

1426
01:16:20,800 --> 01:16:24,040
Speaker 1: I think Nia ultimately she made a good show of force.

1427
01:16:24,600 --> 01:16:26,880
Speaker 1: She was busting out just a lot of just cold

1428
01:16:26,960 --> 01:16:32,400
Speaker 1: facts on these poor earthlings. So maybe they should have

1429
01:16:32,400 --> 01:16:34,800
Speaker 1: gone in the other direction, but still hard to argue

1430
01:16:34,800 --> 01:16:35,639
Speaker 1: with the solid ending.

1431
01:16:36,040 --> 01:16:39,240
Speaker 3: That scene where she explains about the negative condensity is just.

1432
01:16:41,080 --> 01:16:44,679
Speaker 1: Oh so much quality technobabble in this one. I wonder

1433
01:16:45,680 --> 01:16:49,240
Speaker 1: is there still technobabble of this quality in sci fi

1434
01:16:49,320 --> 01:16:50,040
Speaker 1: films today?

1435
01:16:50,360 --> 01:16:53,240
Speaker 3: I don't know. I mean, I feel like, unfortunately the

1436
01:16:53,280 --> 01:16:56,479
Speaker 3: direction has gone more into just like not saying as

1437
01:16:56,600 --> 01:16:59,920
Speaker 3: much or trying to make it more at least, so

1438
01:17:00,040 --> 01:17:03,479
Speaker 3: am I realistic or plausible or just referencing things that

1439
01:17:03,560 --> 01:17:07,400
Speaker 3: have no relationship to real words? You know that it

1440
01:17:07,479 --> 01:17:08,840
Speaker 3: might as well be magic.

1441
01:17:08,920 --> 01:17:11,280
Speaker 1: Yeah, or you just I guess nowadays you can you

1442
01:17:11,320 --> 01:17:16,000
Speaker 1: see a lot of the casual invocation of quantum mechanics

1443
01:17:16,160 --> 01:17:19,840
Speaker 1: or nanobots, and that explains everything. They're like, yeah, Tony

1444
01:17:19,880 --> 01:17:23,880
Speaker 1: Stark's power armor, it's basically magic. It just melts away

1445
01:17:23,880 --> 01:17:26,479
Speaker 1: into nothing, It crawls inside of I guess, like a

1446
01:17:26,479 --> 01:17:28,800
Speaker 1: little pocket in its skin or something. It comes back

1447
01:17:28,800 --> 01:17:31,880
Speaker 1: out again and then it's everywhere and it's shooting rockets.

1448
01:17:31,920 --> 01:17:34,000
Speaker 1: Like don't don't, don't worry about it. It's just it's

1449
01:17:34,120 --> 01:17:40,360
Speaker 1: quantum mechanics. It's nanobots. It all works out. Don't worry carbs. Yeah,

1450
01:17:40,400 --> 01:17:42,519
Speaker 1: it's just carbon nanotudes. That's all you need to know.

1451
01:17:42,920 --> 01:17:45,960
Speaker 1: But they didn't have that excuse back in the old day.

1452
01:17:46,000 --> 01:17:48,600
Speaker 1: You had to work a lot more to create quality technobabble.

1453
01:17:48,880 --> 01:17:51,560
Speaker 3: You had to come up with phrases like a perpetual

1454
01:17:51,680 --> 01:17:55,800
Speaker 3: motion chain reactor beam or the negative condensity.

1455
01:17:56,280 --> 01:17:59,160
Speaker 1: Oh so good. All right, we'll go ahead and close

1456
01:17:59,200 --> 01:18:01,000
Speaker 1: it out here, But obviously we'd love to hear from

1457
01:18:01,000 --> 01:18:03,400
Speaker 1: everyone out there if you have thoughts on Devil Girl

1458
01:18:03,479 --> 01:18:06,599
Speaker 1: from Mars or any of the players in this film,

1459
01:18:06,760 --> 01:18:10,200
Speaker 1: or or films in a similar genre. Yeah, right in.

1460
01:18:10,320 --> 01:18:12,200
Speaker 1: We'd love to hear from if you have memories of

1461
01:18:12,240 --> 01:18:16,320
Speaker 1: catching this film on TV back in the day. Yeah, yeah,

1462
01:18:16,439 --> 01:18:20,600
Speaker 1: We're always always interested to hear those stories. And in

1463
01:18:20,640 --> 01:18:24,360
Speaker 1: the meantime, Yeah, we're primarily a science podcast with core

1464
01:18:24,400 --> 01:18:26,840
Speaker 1: episodes on Tuesdays and Thursdays, but on Fridays we do

1465
01:18:26,920 --> 01:18:29,280
Speaker 1: weird house cinema here. That's our time to set aside

1466
01:18:29,280 --> 01:18:31,679
Speaker 1: most serious concerns and just talk about a weird film.

1467
01:18:32,479 --> 01:18:36,080
Speaker 1: I do blog posts about these episodes at simmutamusic dot

1468
01:18:36,080 --> 01:18:39,240
Speaker 1: com and if you use letterbox, that's L E T

1469
01:18:39,240 --> 01:18:42,640
Speaker 1: T E R bo x D dot com. Well you

1470
01:18:42,680 --> 01:18:44,960
Speaker 1: can find us on there. Our username is weird House.

1471
01:18:45,280 --> 01:18:47,599
Speaker 1: We maintain a list of all the movies we've covered

1472
01:18:47,640 --> 01:18:50,200
Speaker 1: so far, and sometimes we'll include a preview of what

1473
01:18:50,240 --> 01:18:51,639
Speaker 1: we're about to cover as well.

1474
01:18:51,920 --> 01:18:54,800
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1475
01:18:54,880 --> 01:18:57,400
Speaker 3: Nicholas Johnson. If you would like to get in touch

1476
01:18:57,400 --> 01:18:59,920
Speaker 3: with us with feedback on this episode or any other two,

1477
01:19:00,120 --> 01:19:02,679
Speaker 3: suggest a topic for the future, or just to say hello,

1478
01:19:02,960 --> 01:19:06,120
Speaker 3: you can email us at contact at stuffdblow your Mind

1479
01:19:06,280 --> 01:19:13,840
Speaker 3: dot com.

1480
01:19:13,960 --> 01:19:16,920
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1481
01:19:17,000 --> 01:19:19,800
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1482
01:19:19,960 --> 01:19:22,719
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.