WEBVTT - Weirdhouse Cinema Rewind: Devil Girl From Mars 0:00:04.600 --> 0:00:08.320 Hey, Welcome to Weird House Cinema. Rewind. In today's episode, 0:00:08.360 --> 0:00:11.479 we're going to revisit an episode that originally published nine 0:00:11.840 --> 0:00:17.320 nine twenty two. This is Devil Girl from Mars. Let's 0:00:17.360 --> 0:00:17.960 dive right in. 0:00:21.200 --> 0:00:28.960 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:31.080 --> 0:00:33.280 Hey, welcome to Weird House Cinema. 0:00:33.360 --> 0:00:36.360 This is Rob Lamb and this is Joe McCormick. And 0:00:36.479 --> 0:00:38.839 today we're going to be taking a look at a 0:00:39.000 --> 0:00:44.280 nineteen fifty four science fiction movie called Devil Girl from Mars, 0:00:44.320 --> 0:00:47.320 a movie about people who are obsessed with liquor, who 0:00:47.360 --> 0:00:50.360 in fact are in many cases even named after liquors, 0:00:51.040 --> 0:00:54.720 and who are gather in a rural inn in Scotland 0:00:54.760 --> 0:00:58.080 to be attacked by an evil Martian boss lady who 0:00:58.120 --> 0:01:02.320 wants to kidnap and dominate scdish men. Yes, that's right, 0:01:02.440 --> 0:01:05.480 Fans of Weird House Cinema may feel an inkling of 0:01:05.800 --> 0:01:09.160 a memory that this is, in fact the second movie 0:01:09.160 --> 0:01:12.959 we've done with this exact plot, the plot of women 0:01:13.000 --> 0:01:16.000 from another planet within our Solar system are running out 0:01:16.040 --> 0:01:18.520 of men and must come to Earth to steal our 0:01:18.560 --> 0:01:24.280 precious earth hunks. The other one was the lighthearted Mexican 0:01:24.400 --> 0:01:29.280 romantic musical horror comedy Ship of Monsters from nineteen sixty 0:01:29.680 --> 0:01:32.840 and that one was such a delight. I still remember 0:01:32.880 --> 0:01:36.160 that so fondly. I think Devil Girl from Mars is 0:01:36.240 --> 0:01:38.760 also a delight, but in a very different way. Ship 0:01:38.760 --> 0:01:44.960 of Monsters is clever, spunky, charming, intentionally funny and made 0:01:45.000 --> 0:01:48.600 with this infectious sense of whimsy. Devil Girl from Mars 0:01:48.720 --> 0:01:52.160 is the exact opposite. It is made hilarious by virtue 0:01:52.200 --> 0:01:54.920 of its absurd self seriousness. 0:01:55.400 --> 0:02:00.280 Yeah, yeah, this is not a lighthearted musical romp that 0:02:00.760 --> 0:02:03.280 it's It's still a lot of fun and has some 0:02:03.320 --> 0:02:05.240 great design work in it, because that was one of 0:02:05.280 --> 0:02:08.840 the things we loved about about about the Ship of 0:02:08.880 --> 0:02:12.919 Monsters has some great monster designs, some great costumes, and 0:02:13.320 --> 0:02:15.400 we have some of that going on in Devil Girl 0:02:15.440 --> 0:02:16.360 from Mars as well. 0:02:16.600 --> 0:02:19.079 But also there is no character in Devil Girl from 0:02:19.080 --> 0:02:22.400 Mars like Lolo Gunzalez and Ship of Monsters, you know, 0:02:22.440 --> 0:02:25.079 with the twinkle in his eye and the funny songs 0:02:25.160 --> 0:02:28.200 and all that. No, this is a movie mostly about 0:02:28.280 --> 0:02:31.280 men who are very serious about staying on Earth. 0:02:31.600 --> 0:02:34.920 Yeah, and none of the male performers are actually that interesting, 0:02:35.040 --> 0:02:39.799 either in their in their careers or in their performances here. 0:02:39.840 --> 0:02:43.800 At least I didn't find them so. But the female 0:02:43.800 --> 0:02:44.840 performers are pretty great. 0:02:45.240 --> 0:02:48.320 The titular devil girl from Mars, I think is clearly 0:02:48.400 --> 0:02:51.360 the star of the show. My initial reaction to this 0:02:51.400 --> 0:02:54.239 when I started watching it. I got about twenty minutes 0:02:54.280 --> 0:02:56.280 in and I was like, I don't know if this 0:02:56.440 --> 0:02:58.440 is all that great. Maybe this movie is really going 0:02:58.520 --> 0:03:00.240 to be kind of a drag. But then and the 0:03:00.320 --> 0:03:03.399 moment the Martian shows up, the movie kicks into high 0:03:03.480 --> 0:03:04.639 gear immediately. 0:03:05.160 --> 0:03:07.200 Yeah, I agree that you warned me about the first 0:03:07.240 --> 0:03:09.160 twenty minutes, and the first twenty minutes of this film 0:03:09.200 --> 0:03:14.000 are indeed quite slow and are not all that fantastic. 0:03:14.440 --> 0:03:18.640 So so definitely know that going into the film. But 0:03:18.720 --> 0:03:23.000 we mentioned Scottish as much as anything is purely a 0:03:23.000 --> 0:03:25.799 Scottish film. I guess this is kind of our first 0:03:25.840 --> 0:03:28.600 Scottish film on Weird House Cinema. 0:03:28.320 --> 0:03:31.080 Right, I can't think of another one. And it's also 0:03:31.160 --> 0:03:35.120 it's not incidentally Scottish. It's not just like made by Scott's. 0:03:35.280 --> 0:03:38.200 This is very much set in Scotland. 0:03:37.920 --> 0:03:40.000 Right right, I think you can you can maybe get 0:03:40.040 --> 0:03:41.920 into the production credit and say like, well, it's more 0:03:42.160 --> 0:03:45.600 basically a British production basically in introduction, but yeah, a 0:03:45.760 --> 0:03:49.640 lot of Scottish talent involved in this picture and set 0:03:49.680 --> 0:03:50.800 in Scotland, right. 0:03:51.800 --> 0:03:56.160 This film also has a very interesting indirect role in 0:03:56.200 --> 0:04:01.400 the history of science fiction literature because it was apparently 0:04:01.520 --> 0:04:05.200 an early point of inspiration, a sort of anti inspiration, 0:04:05.880 --> 0:04:09.800 for the great science fiction author Octavia Butler. I found 0:04:09.840 --> 0:04:13.240 a transcript of a talk she delivered at MIT in 0:04:13.320 --> 0:04:17.560 nineteen ninety eight about the role of media like movies 0:04:17.600 --> 0:04:20.880 and TV in the history of sci fi. And she 0:04:21.440 --> 0:04:23.360 goes over a bunch of different topics in the speech, 0:04:23.400 --> 0:04:25.600 but one of the first things she does is talk 0:04:25.680 --> 0:04:28.039 about seeing this movie when she was a kid. So 0:04:28.040 --> 0:04:30.760 I want to read her quote from the speech. She says, 0:04:31.400 --> 0:04:34.000 it's impossible to begin to talk about myself and the 0:04:34.040 --> 0:04:37.040 media without going back to how I wound up writing 0:04:37.120 --> 0:04:40.680 science fiction, and that is by watching a terrible movie. 0:04:41.200 --> 0:04:44.200 The movie was called Devil Girl from Mars, and I 0:04:44.240 --> 0:04:46.520 saw it when I was about twelve years old, and 0:04:46.600 --> 0:04:49.160 it changed my life. It was one of those old 0:04:49.240 --> 0:04:52.640 nineteen fifties movies in which the beautiful Martian woman arrives 0:04:52.680 --> 0:04:55.160 on Earth to announce that all of the Martian men 0:04:55.240 --> 0:04:57.280 have died off, and there were a bunch of man 0:04:57.360 --> 0:04:59.960 hungry women up there, and the earth men don't want 0:05:00.040 --> 0:05:02.320 want to go. And as I was watching this film, 0:05:02.360 --> 0:05:05.600 I had a series of revelations. The first was that geez, 0:05:05.720 --> 0:05:08.280 I can write a better story than that, And then 0:05:08.320 --> 0:05:11.839 I thought, gee, anybody can write a better story than that. 0:05:12.400 --> 0:05:16.560 And my third thought was the clincher, somebody got paid 0:05:16.839 --> 0:05:20.159 for writing that awful story. So I was often writing, 0:05:20.200 --> 0:05:22.919 and a year later I was busy submitting terrible pieces 0:05:22.920 --> 0:05:27.760 of fiction to innocent magazines. I found this story so beautiful. 0:05:28.160 --> 0:05:33.679 Yeah, that's fun. I wasn't aware of this connection. And indeed, 0:05:33.720 --> 0:05:36.600 this is essentially, I think, one of the things that 0:05:36.640 --> 0:05:39.279 I've always enjoyed about films of this nature. Not that 0:05:39.560 --> 0:05:41.400 I mean there have been times where I've been inspired 0:05:41.400 --> 0:05:47.440 to write something based on a less than stellar plot 0:05:47.720 --> 0:05:50.000 in a film or something, but more often than not, 0:05:50.160 --> 0:05:53.359 it's just like you're watching a film. There are spaces 0:05:53.360 --> 0:05:56.960 in it, spaces that yes, it's not only like could 0:05:57.000 --> 0:06:00.240 this be improved? But what if this was improved? So 0:06:00.960 --> 0:06:04.200 there's this like there's this film, there's this skeleton within 0:06:04.240 --> 0:06:07.120 the film, and then you sort of apply the meat 0:06:07.440 --> 0:06:10.919 to that skeleton with your own imagination, either in a 0:06:11.040 --> 0:06:15.520 in a product based creative endeavor, or just in the 0:06:15.600 --> 0:06:17.960 mindscape of enjoying the film totally. 0:06:17.960 --> 0:06:20.400 I have long been of the opinion that if you're 0:06:20.440 --> 0:06:23.800 trying to study a creative art you can learn just 0:06:23.880 --> 0:06:27.400 as much or even more by studying bad examples of 0:06:27.440 --> 0:06:30.159 that art form as you can from studying good examples, 0:06:30.560 --> 0:06:32.719 Like when you see the Bad Ones, it gives you 0:06:32.800 --> 0:06:36.720 a kind of analytical confidence you can understand how and 0:06:36.760 --> 0:06:38.320 when things aren't working. 0:06:38.760 --> 0:06:41.599 Yeah, now there's a lot that does work in this film, 0:06:41.600 --> 0:06:44.880 though at least from a from a design standpoint. Uh 0:06:45.400 --> 0:06:47.800 As we'll get into there's a there's there's there's at 0:06:47.920 --> 0:06:51.719 least one amazing costume, there's a there's some cool sets, 0:06:52.080 --> 0:06:55.480 there's a there's a cool robot, and and there are 0:06:55.520 --> 0:06:58.120 some times where there's a lot of technobabbles we'll discuss. 0:06:58.200 --> 0:07:02.080 But occasionally, as our a visitors talking about conditions back 0:07:02.160 --> 0:07:06.040 home and laying down a little world building, some of 0:07:06.120 --> 0:07:07.839 it does it, you know, kind of gets you gets 0:07:07.960 --> 0:07:09.640 or at least got my mind rolling. It's like I 0:07:09.640 --> 0:07:12.680 wonder what this this gender war was, like? How did 0:07:12.680 --> 0:07:13.880 all the Martian men die? 0:07:14.000 --> 0:07:14.200 You know? 0:07:14.280 --> 0:07:16.520 And you know that they're not they're not filling on 0:07:16.600 --> 0:07:18.440 all the details for you, but they're giving you, like 0:07:18.480 --> 0:07:21.920 a few visuals, some some sights and sounds, some ideas, 0:07:21.960 --> 0:07:24.520 and then your brain kind of sketches in the rest 0:07:24.560 --> 0:07:27.560 of it. And that's that's something I always enjoy about 0:07:27.560 --> 0:07:28.920 a film like this totally. 0:07:28.960 --> 0:07:32.240 I was actually I was tempted to start asking genuinely 0:07:32.280 --> 0:07:35.320 interested questions about the War of the Sexes that took 0:07:35.320 --> 0:07:38.080 place on Mars. I was like, well, where they're like, 0:07:38.360 --> 0:07:40.920 were there like people on Mars who fell in love 0:07:41.040 --> 0:07:43.640 and they were like traders to their to their side 0:07:43.680 --> 0:07:45.440 in the War of the Sexes? I don't know. 0:07:45.800 --> 0:07:48.920 Yeah, it raises a lot of questions. You probably shouldn't 0:07:48.920 --> 0:07:51.880 think too literally about it. All. I know that this 0:07:51.960 --> 0:07:55.080 isn't the only work of fiction to contemplate such a thing, 0:07:55.200 --> 0:07:58.320 so I guess, you know, metaphorically at least it it's 0:07:58.440 --> 0:08:01.840 it's useful in in fiction. You know. 0:08:02.160 --> 0:08:06.160 This plot differs somewhat from the premise of Ship of 0:08:06.200 --> 0:08:10.440 Monsters and Ship of Monsters the Aliens or one of 0:08:10.440 --> 0:08:13.080 the Aliens. It comes from Venus, and the problem is 0:08:13.120 --> 0:08:17.320 that on Venus, the men all destroyed each other with 0:08:17.480 --> 0:08:21.440 atomic wars. So the men they got nuclear weapons and 0:08:21.480 --> 0:08:24.040 they killed all the other men. So Venus has no 0:08:24.120 --> 0:08:27.680 men left, so it was an intra sex dispute. The 0:08:27.760 --> 0:08:31.280 men killed each other on Venus. In this movie, it 0:08:31.360 --> 0:08:34.280 is that the women of Mars went to war with 0:08:34.360 --> 0:08:37.400 the men of Mars and killed them. I don't know 0:08:37.400 --> 0:08:38.840 if that's significant anyway. 0:08:39.360 --> 0:08:42.440 Maybe not. Well, I guess she is supposed to have 0:08:42.480 --> 0:08:44.640 sort of a black widow kind of vibe to her. 0:08:44.640 --> 0:08:48.280 In fact, there is. It's part rather clumsily where one 0:08:48.280 --> 0:08:51.520 of the child the child characters what's his name, Tommy, Tommy, Yes, 0:08:51.600 --> 0:08:54.920 Tommy's like, you were like that spider and that my 0:08:55.040 --> 0:08:57.000 dad sees in the barn or something like that, you know, 0:08:57.040 --> 0:08:59.360 basically saying, oh, you're like a black widow spider, and 0:08:59.760 --> 0:09:02.160 it's kind of like, yeah, yes, that's part of what 0:09:02.200 --> 0:09:05.200 they're going for with the black costume, and you know this, 0:09:05.600 --> 0:09:08.520 and it's kind of a trope and a stereotype of 0:09:08.600 --> 0:09:11.760 like a feminine power in films like this. 0:09:12.280 --> 0:09:14.080 Yeah, I think the character is written in a way 0:09:14.080 --> 0:09:16.679 that is supposed to strike terror in the hearts of 0:09:16.720 --> 0:09:19.400 a nineteen fifties male in the way that she is 0:09:19.480 --> 0:09:21.040 at least I think the way she's supposed to be 0:09:21.080 --> 0:09:24.400 received is as like very beautiful but also very like 0:09:24.679 --> 0:09:27.920 cold and rational and calculatingly evil. 0:09:28.400 --> 0:09:31.800 Yeah, and it's definitely portrayed in a way that is 0:09:32.280 --> 0:09:37.360 I would say, sexually ahead of her time. Like I 0:09:37.440 --> 0:09:42.480 was reading about this film in Michael Weldon's Psychotronic books 0:09:42.520 --> 0:09:46.080 that summarizes this, He writes, quote, the alien herself is 0:09:46.080 --> 0:09:49.720 a real vision in boots, black tights, padded shoulders cape 0:09:49.760 --> 0:09:53.240 and a shiny black skull cap. The stuffy British males 0:09:53.280 --> 0:09:56.880 actually want to stay in England, which. 0:09:56.720 --> 0:09:59.240 Is great, though not in England, they are in Scotland. 0:09:59.320 --> 0:10:01.240 I guess a couple of of them are from England 0:10:01.240 --> 0:10:03.840 and stuck in Scotland and others are from Scotland. But 0:10:03.920 --> 0:10:06.200 whatever the case, Yeah, they for some reason do not 0:10:06.320 --> 0:10:08.880 want to return to Mars with her and become part 0:10:08.920 --> 0:10:13.200 of like a captive earthling breeding program, right. 0:10:13.280 --> 0:10:15.400 But then, I mean I was also thinking this whole time. 0:10:15.440 --> 0:10:17.480 I was like, like, if they were excited to go, 0:10:17.640 --> 0:10:19.760 they would get to Mars and they'd find out that 0:10:19.840 --> 0:10:23.440 their participation in the breeding program involves being like hooked 0:10:23.480 --> 0:10:27.320 up in a tank somewhere and having their brain removed 0:10:27.400 --> 0:10:30.360 or something, So which would I think would have been fitting? 0:10:30.360 --> 0:10:32.440 That would have been a nice like I don't know 0:10:32.440 --> 0:10:34.520 if that would be a maybe be a nineties outer 0:10:34.640 --> 0:10:35.880 limits ending. 0:10:36.200 --> 0:10:37.800 Oh, that would be a good twist if like the 0:10:37.880 --> 0:10:40.600 character who goes as very like over eager young man. 0:10:43.200 --> 0:10:45.360 But I was thinking the other twist given that like 0:10:45.440 --> 0:10:47.800 they didn't the Martians didn't realize Earth was going to 0:10:47.840 --> 0:10:50.800 have a thick atmosphere, so when they got here, you know, 0:10:50.920 --> 0:10:53.080 they had trouble landing. It makes me think, well, what 0:10:53.120 --> 0:10:55.200 if they get the Earthlings back to Mars and they 0:10:55.200 --> 0:10:58.400 don't realize that Earthlings need to breathe oxygen, so as 0:10:58.400 --> 0:10:59.880 soon as they get there, it's just suffo. 0:11:00.960 --> 0:11:02.240 We got to go back for more. Now. 0:11:02.559 --> 0:11:04.920 I think we've already done the elevator pitch, so maybe 0:11:04.920 --> 0:11:06.480 we can skip that. But we've got to hear some 0:11:06.559 --> 0:11:07.280 trailer audio. 0:11:07.600 --> 0:11:08.520 All right, let's do it. 0:11:11.360 --> 0:11:14.800 We saw this with our own eyes, and object the 0:11:14.920 --> 0:11:18.119 like of which we had never seen before, A frightening 0:11:18.200 --> 0:11:21.880 strain shape descending from out of space with relentless putts. 0:11:21.920 --> 0:11:24.400 Where did it come from? And what did it want 0:11:24.440 --> 0:11:25.559 of us? 0:11:27.320 --> 0:11:29.120 Well, we've never seen before. How what do you mean? 0:11:29.440 --> 0:11:41.200 Hello, It's like something from out of planet Tom. 0:11:41.280 --> 0:11:43.319 Do not try to follow me. You cannot get help. 0:11:44.240 --> 0:11:45.000 Around this pass. 0:11:45.040 --> 0:11:47.040 I've drawn in the visible wall to which no one 0:11:47.040 --> 0:11:49.920 may pass. Here is a news reporter with a world 0:11:49.960 --> 0:11:54.240 shattering storm, a girl trying to escape from her pups, 0:11:54.280 --> 0:11:57.679 the scientist trapped in spite of his knowledge. And here 0:11:57.840 --> 0:12:03.040 also is the Bombade Secret, a murderer with a life 0:12:03.080 --> 0:12:07.600 already of Harford, and introducing the devil girl from Mars. 0:12:08.840 --> 0:12:09.760 Back on fire? 0:12:10.360 --> 0:12:10.760 You for. 0:12:13.320 --> 0:12:24.920 Shoot on shoot? 0:12:35.080 --> 0:12:36.760 All right? All right, sounds pretty good. 0:12:37.360 --> 0:12:38.960 Let's see. So there are a bunch of places you 0:12:39.000 --> 0:12:41.040 can watch this one. I think I just streamed it 0:12:41.080 --> 0:12:41.640 on Amazon. 0:12:42.000 --> 0:12:45.600 Yeah, I rented it through through Prime. You can stream 0:12:45.679 --> 0:12:47.520 or buy it wherever you get your digital movies. It 0:12:47.559 --> 0:12:53.080 also looks like you can stream it via Film Movement, Flix, Fling, 0:12:53.720 --> 0:12:57.120 some other places. And I should also point out that 0:12:57.559 --> 0:13:00.480 there have been some basic physical releases as well, but 0:13:00.600 --> 0:13:04.040 also Bridget and Mary Joe covered it on riff tracks, 0:13:04.320 --> 0:13:07.720 So I haven't actually experienced their riff of the film, 0:13:07.760 --> 0:13:11.360 but I've very much enjoyed Bridget and Mary Joe's riffing 0:13:11.400 --> 0:13:13.160 in the past, so I bet they do a good 0:13:13.240 --> 0:13:16.240 job with this one. There's a lot of stuff to 0:13:16.280 --> 0:13:17.120 have fun with here. 0:13:17.320 --> 0:13:18.920 Yeah, I've got to watch that now. 0:13:19.000 --> 0:13:22.679 All right. Well, let's get into the various humans, mostly 0:13:22.760 --> 0:13:26.640 Scottish humans, involved in the creation of this picture, all right. 0:13:26.720 --> 0:13:30.400 Starting at the top, we have director David MacDonald born 0:13:30.480 --> 0:13:33.400 nineteen oh four and died in nineteen eighty three, Scottish 0:13:33.400 --> 0:13:36.120 born director who at one point worked under Cecil B. 0:13:36.240 --> 0:13:40.280 De Mill in the US as a production assistant. This 0:13:40.360 --> 0:13:42.400 would have been like the late nineteen twenties and I 0:13:42.400 --> 0:13:48.600 guess early thirties, basically an apprenticeship. Before returning back to 0:13:48.760 --> 0:13:52.160 the UK. He worked with the Crown Film Unit during 0:13:52.200 --> 0:13:55.600 World War Two to produce morale boosting pictures. And I've 0:13:55.640 --> 0:14:00.320 seen this film referred to as a career low point. Certainly, 0:14:00.360 --> 0:14:02.560 he seems to have maybe been more successful during his 0:14:02.600 --> 0:14:05.640 lifetime with various other film and TV projects, most of 0:14:05.679 --> 0:14:08.040 which I'm not familiar with. I don't think he did 0:14:08.120 --> 0:14:10.559 much in the way of sci fi or horror outside 0:14:10.559 --> 0:14:13.640 of this film. For instance, his most noteworthy film seemed 0:14:13.679 --> 0:14:16.640 to have been nineteen forty seven's The Brothers nineteen forty 0:14:16.679 --> 0:14:21.360 eight Christopher Columbus and the nineteen fifty seven Swashbuckler The Moonraker. 0:14:21.720 --> 0:14:22.720 The Moonraker. 0:14:23.080 --> 0:14:27.080 Yeah, no connection, or at least I don't know. Maybe 0:14:27.160 --> 0:14:29.440 Moonraker has something to do with the plot of this 0:14:29.480 --> 0:14:31.360 fifty seven Swashbuckler. I'm not sure. 0:14:31.640 --> 0:14:33.960 So when I was watching the credits for this movie, 0:14:34.080 --> 0:14:38.200 one of the weirdest things I noticed was the credit 0:14:38.280 --> 0:14:41.840 indicating that this is somehow based on a play for 0:14:41.960 --> 0:14:42.720 the stage. 0:14:43.200 --> 0:14:45.760 Yeah, this was weird. It was similar to something we 0:14:45.880 --> 0:14:49.520 encountered with Doctor X, right, Yeah, but in this one. Yeah, 0:14:49.920 --> 0:14:53.760 you have the credit that reads like the credit for 0:14:53.840 --> 0:14:56.800 a play based on the play by John C. Mather 0:14:57.240 --> 0:15:01.040 and James Eastwood. And then James east Wood also has 0:15:01.080 --> 0:15:04.400 a screenplay credit, which because at first, when I was 0:15:04.400 --> 0:15:06.400 looking at just how it was listed on IMDb, I 0:15:06.440 --> 0:15:09.080 was like, well, maybe they say play, but they mean screenplay. No, 0:15:09.160 --> 0:15:11.440 it seems more more clear that this was a play. 0:15:11.720 --> 0:15:15.160 And then it was adapted into a screenplay. Okay, yeah, 0:15:15.200 --> 0:15:18.400 I don't know. This is Mather's only film credit, while 0:15:18.440 --> 0:15:21.800 Eastwood also worked on the screenplay for such films as 0:15:21.880 --> 0:15:24.920 nineteen fifty five's The Case of the Red Monkey, and 0:15:25.040 --> 0:15:28.880 nineteen fifty six is Beyond Mombasa, which has Christopher Lee 0:15:28.880 --> 0:15:31.480 in it of a young Christopher Lee, but it starred 0:15:31.680 --> 0:15:35.280 seemingly mostly just a shirtless Cornell Wild and then also 0:15:35.440 --> 0:15:36.000 Donna Reed. 0:15:36.400 --> 0:15:39.040 Oh but let's not bury the lead. If there is 0:15:39.200 --> 0:15:42.320 one reason to watch this movie, it is our villain 0:15:42.600 --> 0:15:44.000 played by Patricia Lafon. 0:15:44.840 --> 0:15:49.480 That's right, she plays Naya. This is our martian visitor. E. 0:15:49.560 --> 0:15:54.560 Lafon lived nineteen nineteen through twenty fourteen. And yeah, this 0:15:54.800 --> 0:15:57.600 is this is a really fun role of our vamping 0:15:57.640 --> 0:16:00.760 space lord here. And it's fitting because herr biggest film 0:16:00.840 --> 0:16:04.480 role outside of this, and I guess, probably being fair, 0:16:04.520 --> 0:16:08.280 probably her biggest screen role period was playing Empress Pompeia 0:16:08.640 --> 0:16:13.160 in MGMs Sword and Sandal blockbuster Quovadis from nineteen fifty one. 0:16:13.600 --> 0:16:16.880 That was a film that had Robert Taylor Peter Euston 0:16:16.960 --> 0:16:20.120 Off in it, and also an uncredited role as a 0:16:20.200 --> 0:16:22.800 chariot driver. We have Christopher Lee. Christopher Lee is just 0:16:22.840 --> 0:16:26.280 in the background, creeping around, uncredited with a goatee I learned, 0:16:26.320 --> 0:16:28.960 sometimes credited in at number of pictures from this era. 0:16:29.640 --> 0:16:33.120 This movie, I don't know if it's primarily about Nero, 0:16:33.400 --> 0:16:36.240 but it's Nero is a major character in an Emperor 0:16:36.280 --> 0:16:39.920 Nero and I think she plays a Queen of Rome. 0:16:40.120 --> 0:16:40.640 Is that right? 0:16:40.880 --> 0:16:43.360 Oh, yes, she's queenly. Yeah, you can look up footage 0:16:43.400 --> 0:16:45.400 and stills from it. She's in that. She's decked out 0:16:45.400 --> 0:16:50.200 in gold and this elaborate hairdoo. But she has that 0:16:50.560 --> 0:16:53.120 look on her face. She's got that smirk and those eyes. 0:16:53.480 --> 0:16:55.880 And I do have to say, like, if you look 0:16:55.960 --> 0:16:58.240 up images from Devil Girl from Mars, there are probably 0:16:58.240 --> 0:17:02.840 any of her performances. Yes, stunning outfit, stunning screen presence, 0:17:03.120 --> 0:17:05.480 but you're missing it. You're missing out on all the 0:17:05.560 --> 0:17:08.600 nuances if you don't see her alive in the scene. 0:17:08.600 --> 0:17:12.359 Because her her sneer has a life on its own. 0:17:12.520 --> 0:17:16.440 She's using her her eyebrows in very expressive ways. It's 0:17:16.440 --> 0:17:18.359 a it's a wonderful performance. 0:17:18.680 --> 0:17:20.600 Yeah, I mean, in some ways you would say it's 0:17:20.600 --> 0:17:24.119 a it's a very emotionally flat performance, like she's supposed 0:17:24.160 --> 0:17:28.520 to play like a very like unfeeling, like a cold, imperious, 0:17:28.640 --> 0:17:32.040 unfeeling creature. But she is very expressive in like the 0:17:32.080 --> 0:17:36.320 way she raises her eyebrows at the pathetic attempts at 0:17:36.359 --> 0:17:37.880 heroism by earth men. 0:17:39.240 --> 0:17:42.280 Yeah, it's kind of like sometimes you hear a criticism 0:17:42.320 --> 0:17:43.879 of a villain role and say, well, this is a 0:17:43.880 --> 0:17:47.640 real mustache twirling villain role, meaning that, yes, it's leaning 0:17:47.680 --> 0:17:51.600 into a whole bunch of stereotypes and and tropes regarding 0:17:51.760 --> 0:17:54.480 you know, the particular classic cinematic villain. 0:17:54.520 --> 0:17:56.320 And this over the top evil. Yeah. 0:17:56.400 --> 0:17:58.720 Yeah, and this is very much similar case. But the 0:17:58.840 --> 0:18:03.440 thing is when a mustash is twirl just right on screen, 0:18:04.400 --> 0:18:08.120 it's satisfying. So this is definitely a performance that satisfies. 0:18:08.480 --> 0:18:11.760 Yes, this is a pencil thin, eyebrow twirling role. 0:18:12.240 --> 0:18:16.200 Yes. So. Lafon also appeared in twenty three Paces to 0:18:16.240 --> 0:18:18.879 Baker Street in fifty six that had Van Johnson and 0:18:19.040 --> 0:18:21.560 Estelle Winwood in it. She was an actor of stage 0:18:21.560 --> 0:18:23.800 and screen, and she also seems to have had some 0:18:23.840 --> 0:18:26.800 connections to the London, Paris, New York fashion world. 0:18:27.160 --> 0:18:30.960 I love her every time. It's like, you know, it's 0:18:30.960 --> 0:18:34.520 like Pooci. It's like every time Nya was not on screen, 0:18:35.160 --> 0:18:37.720 character should be asking where is Naya? When is she 0:18:37.800 --> 0:18:38.439 coming back? 0:18:38.840 --> 0:18:42.719 I felt the same way. Yeah, all right, I'm going 0:18:42.760 --> 0:18:45.760 to mention some of these male performers, though again they're 0:18:45.800 --> 0:18:48.040 the least interesting part about the film. For the most part, 0:18:48.280 --> 0:18:52.840 you have Hugh McDermott playing Michael, a journalist. This actor 0:18:52.840 --> 0:18:55.439 lived nineteen oh six through nineteen seventy two, Scottish actor, 0:18:55.760 --> 0:18:59.320 also known for Pimpernel's Smith from forty one in The 0:18:59.359 --> 0:19:02.920 Flying Swan from nineteen sixty five. Not familiar with either 0:19:02.960 --> 0:19:03.640 of those pictures. 0:19:03.880 --> 0:19:07.919 He plays a loudmouth journalist who I think is supposed 0:19:07.960 --> 0:19:10.560 to be likable, but he is not. He comes off 0:19:10.600 --> 0:19:12.840 as an absolutely insufferable jerk. 0:19:13.200 --> 0:19:16.240 Yeah, but hey, now we have another of the female 0:19:16.240 --> 0:19:19.280 players in this film, and it's a really good one. 0:19:19.359 --> 0:19:22.840 We have Hazel Court playing Ellen, a fashion model. 0:19:23.040 --> 0:19:25.239 You know, I haven't introduced this concept yet, but the 0:19:25.280 --> 0:19:27.879 beginning of this movie is sort of like the prologue 0:19:27.960 --> 0:19:31.520 to the Canterbury Tales, where it's just a gathering of 0:19:31.560 --> 0:19:35.840 all of these randos into an inn somewhere and finding 0:19:35.840 --> 0:19:38.400 out all about like why is this person here? Oh, 0:19:38.400 --> 0:19:41.520 it's a surprise that they showed up. And she is 0:19:41.600 --> 0:19:44.400 also like sort of an odd puzzle piece amongst all 0:19:44.400 --> 0:19:50.080 the others here. She's like a fancy London fashion model 0:19:50.119 --> 0:19:53.760 who's all glitz and glam. She drinks tomato juice notably, 0:19:53.800 --> 0:19:56.680 and people repeatedly point this out throughout the movie. In fact, 0:19:56.720 --> 0:19:59.360 I think they even refer to her sometimes as Tomato 0:19:59.440 --> 0:20:02.639 juice Girl, and I think she's meant to be taken 0:20:02.840 --> 0:20:04.800 in the situation of the film as sort of a 0:20:04.880 --> 0:20:06.800 gem amongst the rough pebbles. 0:20:07.320 --> 0:20:07.600 Yeah. 0:20:07.760 --> 0:20:11.680 Yeah, So it's fun. It's a fun performance. I feel 0:20:11.720 --> 0:20:15.320 like she breathes a lot of life and character into 0:20:15.400 --> 0:20:20.800 this role, probably more than was necessary, and also in 0:20:20.840 --> 0:20:23.480 a way that lets it gives you a hint of 0:20:23.480 --> 0:20:26.360 what's to come. Because a British actor here, but also 0:20:27.200 --> 0:20:31.160 essentially a horror queen of the late fifties early sixties, 0:20:31.720 --> 0:20:34.160 she'd go on to become a star of Hammer horror films, 0:20:34.200 --> 0:20:36.399 and she also worked with the likes of Roger Korman. 0:20:36.880 --> 0:20:40.480 Her credits include The Curse of Frankenstein from nineteen fifty seven, 0:20:40.920 --> 0:20:43.639 The Mask of the Red Death from sixty four, The 0:20:43.680 --> 0:20:46.119 Man Who Could Cheat Death in nineteen fifty nine, Doctor 0:20:46.119 --> 0:20:49.000 Blood's Coffin in sixty one, and also nineteen sixty three 0:20:49.080 --> 0:20:51.760 Is the Raven. On TV, she appeared on both the 0:20:51.760 --> 0:20:55.360 twilight Zone and Thriller, and I suspect we'll discuss her 0:20:55.560 --> 0:20:59.960 once again in an upcoming Halloween selection for Weird House Cinema. 0:21:00.000 --> 0:21:03.119 The final film was nineteen eighty one's The Final Conflict, 0:21:03.359 --> 0:21:06.520 in which she had basically a cameo. But this was 0:21:06.560 --> 0:21:09.120 the OMEN picture that had Sam Neil playing a grown 0:21:09.200 --> 0:21:09.800 up Damien. 0:21:10.119 --> 0:21:13.000 Oh okay, it's called The Final Conflict, but it's the 0:21:13.040 --> 0:21:15.800 Omen three, right, It's like the OMEN three colon the 0:21:15.840 --> 0:21:16.720 Final Conflict. 0:21:17.080 --> 0:21:19.320 Yeah, or sometimes I think it's just called the Final Conflict. 0:21:19.440 --> 0:21:19.840 I don't know. 0:21:19.920 --> 0:21:22.800 You're right, Yeah, it's both. I think the demonic Sam 0:21:22.840 --> 0:21:24.960 Neil becomes President of the United States. 0:21:25.240 --> 0:21:27.040 I think something like that. I don't think I ever 0:21:27.119 --> 0:21:29.480 saw that one. I think I always saw the first one. Yeah, 0:21:29.520 --> 0:21:33.240 all right, But she's not the only exciting female presence 0:21:33.280 --> 0:21:37.120 in the picture. We also have Adrian Corey, who plays Doris, 0:21:37.320 --> 0:21:41.200 a bar maid. So Corey lived nineteen thirty one through 0:21:41.240 --> 0:21:45.200 twenty sixteen, Scottish born actor known for her roles, probably 0:21:45.280 --> 0:21:48.200 best known for roles in Doctor Schivago and A Clockwork Orange, 0:21:48.480 --> 0:21:51.880 along with such films as nineteen sixty five's A Study 0:21:51.920 --> 0:21:55.439 in Terror. This is a film that had John Neville 0:21:55.440 --> 0:21:58.760 as Sherlock Holmes taking on Jack the Ripper. And then 0:21:58.800 --> 0:22:01.040 she's also in a film that I know you've seen, 0:22:01.400 --> 0:22:03.199 but I haven't. I remember you talking about this one 0:22:03.280 --> 0:22:06.080 nineteen seventy four is Mad House, starring Vincent Price and 0:22:06.080 --> 0:22:06.800 Peter Cushion. 0:22:07.040 --> 0:22:09.560 Looking this up, I don't know have. 0:22:09.400 --> 0:22:11.200 I seen this? Maybe you haven't seen it. 0:22:11.680 --> 0:22:16.480 Maybe if I said I've seen it, I don't remember 0:22:16.520 --> 0:22:17.280 seeing it now. 0:22:17.840 --> 0:22:20.600 Okay, well maybe we just will see it in the 0:22:20.600 --> 0:22:25.000 future at some point. But Corey was also in the 0:22:25.200 --> 0:22:29.000 fun Hammer Space Romp Moon zero two from nineteen sixty nine, 0:22:29.320 --> 0:22:32.399 in a film from seventy two called Vampire Circus that 0:22:32.440 --> 0:22:34.040 I don't know much about, but with a title like 0:22:34.119 --> 0:22:36.720 Vampire Circus, you know that there's got to be something 0:22:36.720 --> 0:22:37.560 interesting in there. 0:22:37.800 --> 0:22:40.840 I would say that both Hazel Court and Adrian Corey 0:22:40.960 --> 0:22:43.840 do more with the roles they have in this movie 0:22:43.840 --> 0:22:45.760 than is actually there on the page. 0:22:45.920 --> 0:22:49.680 Right, Yeah, they both like clearly, these are two actors 0:22:49.680 --> 0:22:52.159 who would go on to have much bigger roles and 0:22:52.200 --> 0:22:54.120 bigger pictures, and you can see why. 0:22:54.400 --> 0:22:56.720 Oh you know. I would also actually say that about 0:22:57.080 --> 0:23:00.359 mainly because this is just a really underwritten movie for 0:23:00.400 --> 0:23:04.840 the just you know, delicious weirdness of all the scenes 0:23:04.840 --> 0:23:07.440 where Nya is explaining her home planet, their and their 0:23:07.480 --> 0:23:10.439 plans and stuff. But other than that, it's it's the 0:23:10.520 --> 0:23:14.160 characters are kind of underwritten. But the guy who plays 0:23:14.160 --> 0:23:16.359 the Professor also does a little bit more with the 0:23:16.440 --> 0:23:18.040 role than you might have expected. 0:23:18.440 --> 0:23:20.760 Yeah, he's played by and acted by the name of 0:23:21.080 --> 0:23:23.080 I think I'm saying his last name Ryd could be wrong. 0:23:23.160 --> 0:23:24.680 Joseph Tomalty. 0:23:24.840 --> 0:23:25.760 Yeah, that's what I thought. 0:23:26.040 --> 0:23:30.200 Tomalty. He lived nineteen ten through nineteen ninety five, Northern 0:23:30.280 --> 0:23:34.520 Irish novelist, playwright and character actor, and he was in 0:23:34.560 --> 0:23:36.720 at least I don't know the extent of these roles, 0:23:36.760 --> 0:23:39.680 but he is credited as having appeared in nineteen fifty 0:23:39.720 --> 0:23:42.840 eight Tonight to Remember I Believe that's a Titanic movie, 0:23:43.160 --> 0:23:45.440 and nineteen fifty six is Moby Dick. 0:23:45.720 --> 0:23:51.200 So he plays Professor Hennessy. Yes, that's right, and he 0:23:51.280 --> 0:23:54.040 had I think, despite the fact that the movie is 0:23:54.119 --> 0:23:58.080 all really all Nya. The line that Rachel and I 0:23:58.160 --> 0:24:01.080 kept quoting back and forth at each other is one 0:24:01.080 --> 0:24:03.480 of his lines, the part where he says, I am 0:24:03.480 --> 0:24:06.960 a scientist. I believe what my brain tells me to believe. 0:24:08.840 --> 0:24:12.240 Oh that's not how it works. I love it. 0:24:12.320 --> 0:24:14.919 I also believe what my brain tells me to believe. 0:24:15.160 --> 0:24:22.720 I really have no choice. 0:24:25.480 --> 0:24:28.600 All right, let's see another I'm not including all of 0:24:28.600 --> 0:24:30.760 the because here are at least a half does another 0:24:30.840 --> 0:24:31.359 male characters? 0:24:31.359 --> 0:24:33.200 Way too many characters in this movie. 0:24:33.480 --> 0:24:35.720 Yeah, but there is another one by the name of 0:24:35.800 --> 0:24:38.960 David who is a handyman, and he's played by James Edmund. 0:24:39.359 --> 0:24:43.000 James Edmund was a Canadian actor, probably best known for 0:24:43.040 --> 0:24:46.040 this film, but he was also in nineteen seventy four's 0:24:46.119 --> 0:24:50.320 Black Christmas, alongside one kind of forgets that. That had 0:24:50.320 --> 0:24:53.959 a pretty good cast. Black Christmas. It had Olivia Hussey, 0:24:54.359 --> 0:24:58.320 it had Ker Delay, Margo Kidder and John Saxon. I 0:24:58.359 --> 0:24:59.480 saw it many years ago. 0:24:59.560 --> 0:25:01.760 I remember it did not leave a good impression. 0:25:01.880 --> 0:25:04.400 But now it's kind of a kind of a nasty film, 0:25:04.400 --> 0:25:07.680 as I recall. But there's no argument with that cast. 0:25:07.680 --> 0:25:10.119 That's a good cast. Oh yeah, all right. On the 0:25:10.240 --> 0:25:14.040 music front Edwin Astley did the music. British composer of 0:25:14.119 --> 0:25:16.720 nineteen twenty two through nineteen ninety eight, worked in a 0:25:16.760 --> 0:25:19.720 lot of British action TV shows, such as The Saint. 0:25:19.760 --> 0:25:22.359 That's probably what he's most known for. He also did 0:25:22.480 --> 0:25:25.159 music for The Hammer adaptation of The Phantom of the 0:25:25.160 --> 0:25:28.720 Opera from sixty two starring Herbert Lohm, and a nineteen 0:25:28.760 --> 0:25:32.000 fifty eight Jack the Ripper TV movie starring Boris Karloff. 0:25:32.520 --> 0:25:37.840 Now, one name that caught my attention from the credits 0:25:37.880 --> 0:25:42.480 for the wrong reason was it said that Patricia Lafon's 0:25:42.520 --> 0:25:46.879 costume was by Ronald Cobb, and I was like, Ron 0:25:46.960 --> 0:25:50.639 Cobb like from Alien and Raiders of the Lost Ark. No, 0:25:50.840 --> 0:25:54.720 it is a different ron Cobb, but also a second 0:25:54.840 --> 0:25:58.320 excellent Ron cob This world has at least two genius 0:25:58.440 --> 0:25:59.320 ron Cobbs in it. 0:25:59.520 --> 0:26:01.320 Yeah, this was a lot of fun to dive into 0:26:01.359 --> 0:26:03.240 because of Initially, when I did the scan of the 0:26:03.240 --> 0:26:05.520 people involved, I saw that credit too, and I saw 0:26:05.560 --> 0:26:07.640 this guy, Ronald Cobb, and I saw that he had 0:26:07.640 --> 0:26:09.720 no other film credits, so I thought, well, maybe it's 0:26:09.760 --> 0:26:11.480 just a one off, but it's worth mentioning, and because 0:26:11.920 --> 0:26:14.960 the costume is great and clearly is one of the 0:26:15.000 --> 0:26:17.840 selling points of the whole picture. But looking into it 0:26:17.880 --> 0:26:20.760 a bit more, Yeah, this is a Ronald Cobb who 0:26:20.800 --> 0:26:26.080 lived nineteen oh seven, through nineteen seventy seven, and this 0:26:26.200 --> 0:26:30.960 guy worked primarily in theater and especially in cabaret during 0:26:31.160 --> 0:26:34.959 this time period. I ran across some of his watercolors 0:26:35.000 --> 0:26:38.359 for various costumes that he designed over the years, several 0:26:38.440 --> 0:26:40.040 of which seemed to be in the collection of the 0:26:40.119 --> 0:26:44.080 Victoria and Albert Museum. I included a link here for you, Joe, 0:26:44.480 --> 0:26:47.840 and also include these links in the blog post I 0:26:47.880 --> 0:26:50.920 do for this at im mutamusic dot com. I didn't 0:26:50.960 --> 0:26:53.520 find anything that looked like a sketch that he had 0:26:53.520 --> 0:26:57.560 put together for Devil Girls specifically, but oh wow, there's 0:26:57.640 --> 0:27:02.680 some really wild, imaginative, dark and ahead of their time 0:27:02.840 --> 0:27:05.480 I think kind of designs that he put together for 0:27:05.520 --> 0:27:06.320 these costumes. 0:27:06.720 --> 0:27:09.800 Right, So, these he has a lot of costume designs for, 0:27:09.920 --> 0:27:12.520 like it appears to be burlesque clubs of some kind 0:27:12.600 --> 0:27:16.360 in London in like the sixties and seventies. But they 0:27:16.400 --> 0:27:20.200 are not just your your standard sexy outfits. They are weird. 0:27:20.640 --> 0:27:23.760 Like one is kind of grim Reaper themed with like 0:27:23.800 --> 0:27:26.280 a big gallows and I don't even know what it 0:27:26.320 --> 0:27:27.160 has bats. 0:27:27.960 --> 0:27:31.240 Yeah, yeah, there's another one that has this like a 0:27:31.280 --> 0:27:34.520 flag with a pentagram on it, Like this really wild 0:27:34.600 --> 0:27:36.800 stuff that seems that, you know, you wouldn't expect to 0:27:37.000 --> 0:27:39.840 be emerging from this time period necessarily unless you're you know, 0:27:39.920 --> 0:27:42.440 really into I guess too, you know, or less costume 0:27:42.480 --> 0:27:45.680 design of the period. There's also a headdress that has 0:27:46.000 --> 0:27:48.560 something that looks like a like a kind of like 0:27:48.600 --> 0:27:52.240 a muppet goblin on top of it. It's really really cool, 0:27:52.440 --> 0:27:54.760 kind of almost it also looks almost like a camera. 0:27:54.880 --> 0:27:56.840 I don't know, it's weird. I can't really put it 0:27:56.840 --> 0:28:00.680 all together. But you can find all these images online 0:28:00.760 --> 0:28:04.479 and the collection of the Victoria and Albert Museum. There 0:28:04.480 --> 0:28:08.119 are also some images. Apparently he did some of his 0:28:08.240 --> 0:28:11.280 designs for Murray's Club and SOHO back in the day, 0:28:11.640 --> 0:28:14.640 and so if you go to the website for Murray's Club, 0:28:14.680 --> 0:28:17.160 they have some of these watercolors as well for other 0:28:17.200 --> 0:28:19.000 designs that he did. Some of these are not as 0:28:19.040 --> 0:28:21.040 weird as the ones we're describing here, but they're still 0:28:21.040 --> 0:28:25.720 pretty interesting. Now. The costume that that Naya has on 0:28:25.800 --> 0:28:29.880 in this picture, it's not nearly as as revealing as 0:28:29.880 --> 0:28:35.399 these various cabaret designs, but still you can see you 0:28:35.400 --> 0:28:37.679 can see some of the connections to this world, you know, 0:28:37.800 --> 0:28:42.920 like That's why it is perhaps a little more alluring 0:28:42.960 --> 0:28:45.840 than what you would normally see going on with costuming 0:28:46.200 --> 0:28:47.719 in pictures from this time period. 0:28:48.080 --> 0:28:51.040 No, the Devil Girl from Mars is dressed kind of 0:28:51.080 --> 0:28:55.440 like a cross between the astronauts in Planet of the 0:28:55.520 --> 0:29:00.080 Vampires and Batman, but with a burlesque TWI. 0:29:00.840 --> 0:29:05.719 Yeah, now, I read that writer John mather We referenced 0:29:05.720 --> 0:29:08.600 earlier later claimed in an interview that the suit was 0:29:08.640 --> 0:29:13.320 actually constructed by John Sutcliffe, a British fashion and fetish 0:29:13.400 --> 0:29:16.360 designer and photographer who worked a lot with leather and 0:29:16.440 --> 0:29:21.440 rubber and PVC, so lots of like catsuits and gas masks. However, 0:29:21.440 --> 0:29:25.120 I couldn't find anything of anything firm about his connection 0:29:25.200 --> 0:29:27.920 to this film, and there do seem to be some 0:29:28.000 --> 0:29:32.000 misconceptions about film projects that he is sometimes said to 0:29:32.040 --> 0:29:34.560 have been involved in. For instance, I think sometimes it's 0:29:34.600 --> 0:29:37.040 been said that he designed the cat suit that m 0:29:37.040 --> 0:29:41.360 appeal We wears in The Avengers. That doesn't seem to 0:29:41.400 --> 0:29:44.120 be the case. But he did design the cat suit 0:29:44.160 --> 0:29:47.520 that Maryanne Faithful wears in nineteen sixty eight's The Girl 0:29:47.560 --> 0:29:50.600 on a Motorcycle, and I think that inspired the cat 0:29:50.640 --> 0:29:53.520 suit worn by him appeal, So I don't know where 0:29:53.520 --> 0:29:55.600 the truth lies and all of that. It seems like 0:29:55.680 --> 0:29:58.480 maybe it's a situation where yeah, Cobb designs it, and 0:29:58.480 --> 0:30:00.520 then they're like, well, somebody needs to build this thing, 0:30:00.920 --> 0:30:02.800 and someone's like, well, I know this guy named John, 0:30:03.360 --> 0:30:05.320 he's really into this stuff. He can make it come 0:30:05.360 --> 0:30:05.760 to life. 0:30:07.280 --> 0:30:09.640 All right, Well, are you ready to talk about the plot? 0:30:10.560 --> 0:30:13.880 Let's dive into the first twenty minutes of The Devil 0:30:13.880 --> 0:30:14.600 Girl from Mars. 0:30:15.040 --> 0:30:17.280 Really, I feel like the first twenty minutes of this 0:30:17.360 --> 0:30:19.440 movie is going to be more fun to discuss than 0:30:19.480 --> 0:30:22.360 to watch. And then it's a flip side once Naya 0:30:22.440 --> 0:30:22.960 shows up. 0:30:23.280 --> 0:30:24.240 What starts with the bank? 0:30:24.400 --> 0:30:24.600 Yeah? 0:30:24.680 --> 0:30:27.160 Yeah, well he starts with big Ben. I mean, how 0:30:27.200 --> 0:30:29.680 could you deny that? We see that, you know, there's 0:30:29.680 --> 0:30:32.760 like a title card a London film's international release, and 0:30:32.800 --> 0:30:36.600 then we see an airplane coasting through the clouds, then 0:30:36.600 --> 0:30:39.680 a whistling sound growing higher in pitch, and then boom, 0:30:39.960 --> 0:30:43.840 plane explodes in a stupendous fireball, and we see the 0:30:43.840 --> 0:30:47.560 title It's Devil Girl from Mars in block letters. Now, 0:30:47.560 --> 0:30:49.719 there were several things I thought were funny about the credits. 0:30:49.760 --> 0:30:51.880 There was seeing the name Ron Cobb, even though it 0:30:51.920 --> 0:30:54.000 was a different one. There was seeing that this was 0:30:54.000 --> 0:30:56.160 based on a play. But then the other funny thing 0:30:56.160 --> 0:30:59.600 that caught my attention is the producer credit screen. The 0:30:59.640 --> 0:31:03.120 producer get their own screen, and the screen makes it 0:31:03.160 --> 0:31:06.360 look like we're supposed to already know who the producers are. 0:31:06.400 --> 0:31:10.280 It says produced by the Danzigers, and then it's got 0:31:10.280 --> 0:31:14.440 two little signatures, like in handwriting Edward J. Danziger and 0:31:14.520 --> 0:31:16.960 what does it say Harry Lee Danziger. I have no 0:31:17.040 --> 0:31:20.080 idea who those people are, but like it it presents 0:31:20.120 --> 0:31:22.520 it as if they're like the Osman's or something. 0:31:23.880 --> 0:31:26.400 Yeah, I looked at it into them briefly. They apparently 0:31:26.440 --> 0:31:29.080 were very active producers at the time, American born brothers 0:31:29.120 --> 0:31:31.320 who produced many British films and TV shows in the 0:31:31.400 --> 0:31:34.400 fifties and sixties. I'm not sure most of the titles 0:31:34.440 --> 0:31:38.640 they were involved with really resonated beyond their time, so 0:31:38.760 --> 0:31:41.560 I think it's it's unless you're really into pictures of 0:31:41.560 --> 0:31:43.080 this time period that you probably don't know who the 0:31:43.120 --> 0:31:46.360 dan Ziggers are. Devil Girl seems to be one of 0:31:46.400 --> 0:31:50.280 the best remembered productions from everything they put out. For example, 0:31:50.760 --> 0:31:53.800 along with perhaps The only film that maybe is a 0:31:53.800 --> 0:31:57.760 little more famous than this one would be the nineteen 0:31:57.800 --> 0:32:01.080 fifty six sci fi movie Satellite in This Sky. This 0:32:01.120 --> 0:32:04.160 one had Kirian Moore in it, who many out there 0:32:04.200 --> 0:32:07.240 may remember as the actor who played Pony in Darby 0:32:07.240 --> 0:32:09.720 O'Gill and the Little People. He was also in Crack 0:32:09.760 --> 0:32:11.680 in the World and Invasion of the Triffets. 0:32:12.160 --> 0:32:13.720 I haven't seen any of that. 0:32:13.720 --> 0:32:16.800 So ah, you haven't seen Darby Ogill. No, oh, it's 0:32:16.840 --> 0:32:20.600 a fun one. When St. Patti's Day rolls back around, 0:32:20.280 --> 0:32:21.800 you should watch that one. 0:32:22.000 --> 0:32:24.680 Oh, okay, all right, Well, after the credits wrap up, 0:32:24.760 --> 0:32:27.840 we establish the setting of the movie, which is the 0:32:27.960 --> 0:32:32.040 Bonnie Charlie. It is a rustic country inn nestled upon 0:32:32.080 --> 0:32:35.600 the Scottish more, supposed to be somewhere in Inverness Shire, 0:32:35.800 --> 0:32:38.520 which is up in the highlands. And it's said to 0:32:38.520 --> 0:32:41.880 be wintertime, so it's cold, and this is a you know, 0:32:42.080 --> 0:32:46.920 a lonely, cozy little country house and inn. And the 0:32:46.920 --> 0:32:48.680 first thing we hear is a radio going so we 0:32:48.960 --> 0:32:51.120 go inside and the radio is saying, this is the 0:32:51.160 --> 0:32:54.120 BBC Home Service. Here is the news. It was announced 0:32:54.120 --> 0:32:58.080 by the Home Office today that the mysterious noise heard 0:32:58.120 --> 0:33:01.640 over a lonely part of Inverness Shire yesterday was caused 0:33:01.680 --> 0:33:05.320 by a supposed meteor falling to Earth. And here we 0:33:05.360 --> 0:33:08.200 meet a couple of characters. We meet Tommy the annoying Kid, 0:33:08.720 --> 0:33:12.320 and we meet Doris the barmaid. And of course she 0:33:12.440 --> 0:33:15.360 is going to be very busy in this movie because 0:33:15.360 --> 0:33:18.080 a major theme of Devil Girl from Mars is needing 0:33:18.120 --> 0:33:18.600 a drink. 0:33:18.960 --> 0:33:21.200 And granted, the characters in this film are put in 0:33:21.280 --> 0:33:25.960 exceptional circumstances, but it's still their intake of scotch suggests 0:33:27.280 --> 0:33:32.480 a daily, regular intake of scotch that seems a bit 0:33:32.800 --> 0:33:34.239 beyond what I would be comfortable with. 0:33:34.440 --> 0:33:37.920 Well, yeah, and the excessive intake of scotch begins long 0:33:38.000 --> 0:33:39.680 before any aliens appear on the. 0:33:39.680 --> 0:33:43.920 Same right, Yeah, they're already hard drinking before anything supernatural 0:33:44.000 --> 0:33:45.200 or out of this world occurs. 0:33:45.560 --> 0:33:48.560 So, you know, the radio's blabern on with exposition about 0:33:48.600 --> 0:33:51.880 an unidentified white aircraft seen floating in the sky over 0:33:51.880 --> 0:33:55.520 the Hebrides, and Tony the Kid is like, OI, what's 0:33:55.560 --> 0:33:58.880 a meteor? And Doris says, I don't know, but you know, 0:33:59.400 --> 0:34:01.680 let's say good job to the media for not landing 0:34:01.720 --> 0:34:04.760 on us. And then here comes Missus Jamison, who is 0:34:04.800 --> 0:34:07.640 Tommy's aunt, and she is the proprietor of the inn, 0:34:08.239 --> 0:34:11.120 and she kept reminding me of Maggie Smith. But her 0:34:11.200 --> 0:34:14.960 main characteristics are being suspicious of strangers, which is a 0:34:15.080 --> 0:34:19.040 very good quality for an innkeeper, and scolding her husband 0:34:19.080 --> 0:34:22.719 for having his seventeenth dram of Scotch. I can't remember 0:34:22.760 --> 0:34:24.880 if I've already flagged this or not. Maybe I have, 0:34:24.960 --> 0:34:28.080 but I just want to emphasize again. The owners of 0:34:28.120 --> 0:34:31.920 the inn are named Jamison, and the husband is apparently 0:34:32.000 --> 0:34:33.480 named Jamie Jamison. 0:34:33.760 --> 0:34:35.520 Wow, that'd be like if you had a character named 0:34:35.960 --> 0:34:37.600 Jack Jack Danielson. 0:34:37.800 --> 0:34:41.080 Jack Jack Danielson, or I think the professor's character name 0:34:41.239 --> 0:34:45.839 is Henny Hennessy. So anyway, Tommy the kid, he's sent 0:34:45.920 --> 0:34:49.000 to bed and Doris and Missus Jamison discussed the medior. 0:34:49.040 --> 0:34:51.520 Doris thinks it mighty romantic that it came all the 0:34:51.520 --> 0:34:53.680 way from outer space to land in their sleepy neck 0:34:53.719 --> 0:34:57.959 of the woods, and Missus Jamison is not impressed. She's 0:34:58.080 --> 0:35:00.160 just like, oh, a bit of rock from the sky. 0:35:01.040 --> 0:35:05.560 But after Missus Jamison leaves, Doris, the barmaid surreptitiously turns 0:35:05.600 --> 0:35:08.400 the radio back on. It's like she has a secret 0:35:08.480 --> 0:35:12.920 science news habit. And the radio says, Professor, Oh, okay, 0:35:12.920 --> 0:35:16.680 it's not Henny Hennessy, it's Professor Arnold Hennessee. The radio says, 0:35:17.520 --> 0:35:21.200 the well known astrophysicist has traveled north today to investigate 0:35:21.239 --> 0:35:23.719 the mysterious object, and we'll give a detailed report to 0:35:23.760 --> 0:35:26.279 the Home Office. So we've got the Jamisons, so we 0:35:26.360 --> 0:35:29.120 got the Hennessy's, and we know that their paths are 0:35:29.120 --> 0:35:31.600 going to collide. And you cut from here to two 0:35:31.640 --> 0:35:34.200 guys in a car in the dark. One is Professor 0:35:34.239 --> 0:35:38.080 Hennessy himself, and the other is a fast talking, wise 0:35:38.160 --> 0:35:42.800 cracking journalist named Michael Carter played by Hugh McDermott. Michael 0:35:42.840 --> 0:35:46.120 Carter is such an insufferable lout. I guess they've been 0:35:46.200 --> 0:35:48.759 driving around all day to find the mediaite. But now 0:35:48.800 --> 0:35:52.680 they are lost in Scotland, in the land of perpetual darkness, 0:35:53.120 --> 0:35:55.319 and they are unable to figure out the map that 0:35:55.360 --> 0:35:59.440 they're consulting. And then there's some really clunky expository dialogue 0:35:59.440 --> 0:36:02.160 where Carter says something like, you mean to tell me 0:36:02.239 --> 0:36:05.800 you spend your whole career plotting stars millions of miles apart, 0:36:05.840 --> 0:36:08.080 and yet you can't read a road map of Scotland. 0:36:09.080 --> 0:36:11.759 I really think they should have inserted a prize in there, 0:36:11.800 --> 0:36:13.440 like he should have said, you mean to tell me 0:36:13.520 --> 0:36:16.200 you won the Nobel Prize for plotting stars millions of 0:36:16.200 --> 0:36:19.920 miles apart. But Professor Hennessy reveals that he believes the 0:36:19.960 --> 0:36:23.719 whole investigation is a waste of time. Anyway, He says 0:36:23.800 --> 0:36:25.960 he doesn't believe it will turn out to be a meteor. 0:36:26.320 --> 0:36:28.800 He thinks it will be more probably turn out to 0:36:28.840 --> 0:36:30.879 be the engine cowling of an airplane. 0:36:31.200 --> 0:36:33.120 Well, let's hope he's wrong, because that sounds like that. 0:36:33.560 --> 0:36:35.040 That would be terrible for this film. 0:36:35.200 --> 0:36:38.759 That would be boring. Yes, we also get more exposition 0:36:38.880 --> 0:36:42.759 via the radio. The radio announcer says Robert Justin, who 0:36:42.840 --> 0:36:46.759 earlier today escaped from Sterling Prison, is still at large. 0:36:46.920 --> 0:36:50.640 His description is as follows, height five feet ten inches, 0:36:51.000 --> 0:36:53.719 fair hair. And then what do you know? Next thing 0:36:53.800 --> 0:36:57.240 we see as a guy, presumably the escaped prisoner, darting 0:36:57.280 --> 0:37:00.160 around between hiding places in the dark beside the road 0:37:00.239 --> 0:37:02.720 as the professor and the journalists passing their. 0:37:02.600 --> 0:37:06.400 Car, and he's so unremarkable looking. 0:37:06.960 --> 0:37:08.839 Yeah, well when we first see him, he's got kind 0:37:08.840 --> 0:37:10.560 of a wild look in his eye. But he's also 0:37:10.760 --> 0:37:13.960 he's kind of blandly handsome, so you could probably tell 0:37:14.000 --> 0:37:15.399 he's going to turn out to be the hero. 0:37:16.000 --> 0:37:18.839 Yeah, he doesn't look he doesn't look menacing. So that's 0:37:18.880 --> 0:37:22.520 the that's the key, that's what that's the tail here. 0:37:23.360 --> 0:37:26.000 Do you think it's possible all these characters will make 0:37:26.040 --> 0:37:29.880 their way over to the Bonnie Charlie the end? Anyway, 0:37:30.000 --> 0:37:32.759 next thing is we see Doris the barmaid, and then 0:37:32.800 --> 0:37:35.760 mister and Missus Jamison doing some chores around the house 0:37:36.160 --> 0:37:38.920 while mister Jamison is trying to sneak off into the 0:37:38.960 --> 0:37:42.359 other room and she's like. Miss Jamison is like, where 0:37:42.360 --> 0:37:44.600 are you going? And he says, oh, I'm just going 0:37:44.600 --> 0:37:47.560 into the lounge and she says into the lounge bar 0:37:47.760 --> 0:37:51.040 you mean, well, you'll stay here if you're thirsty. There's 0:37:51.080 --> 0:37:54.279 plenty of water in the tap. So this is the 0:37:54.320 --> 0:37:57.640 ongoing dynamic between mister and Missus Jamison. He is always 0:37:57.640 --> 0:38:00.440 getting caught in an attempt to sneak away for draft 0:38:00.440 --> 0:38:03.640 of Scotch and Missus Jamison forbids it. Though I will 0:38:03.640 --> 0:38:06.680 say starting about halfway through the movie, he just starts 0:38:06.719 --> 0:38:09.400 getting away with consuming scotch and she just sort of 0:38:09.480 --> 0:38:11.760 like laughs about it, like, oh, there he goes again. 0:38:12.400 --> 0:38:15.840 He sees the opportunity. It's like alien visitation. This is 0:38:15.920 --> 0:38:20.560 my chance to just drink scotch NonStop without being fussed at. 0:38:20.920 --> 0:38:23.360 But Doris the barmaid instead goes off to the lounge 0:38:23.400 --> 0:38:26.399 where she hears a strange rapping at the door, and 0:38:26.640 --> 0:38:28.640 she opens it up, and what do you know, it's 0:38:28.680 --> 0:38:31.799 that escaped prisoner we saw earlier. And he comes in 0:38:31.880 --> 0:38:34.719 and she says Robert, and he says, no, it's not 0:38:34.880 --> 0:38:39.239 Robert anymore. It's Albert, Albert Simpson. Okay, so he was 0:38:39.400 --> 0:38:43.600 Robert justin but now he's going by Albert Simpson. And confusingly, 0:38:44.160 --> 0:38:46.200 this is how everyone will refer to him for the 0:38:46.200 --> 0:38:48.759 rest of the movie, even though they first introduced him 0:38:48.760 --> 0:38:51.799 by a different name. Okay, so what happened, Well, we 0:38:51.880 --> 0:38:56.680 find out quote Albert Simpson escaped from prison and Doris 0:38:56.680 --> 0:38:59.960 and Albert already have a relationship. In fact, they were 0:39:00.120 --> 0:39:03.280 in love, and while he was in prison, she promised 0:39:03.280 --> 0:39:05.239 to wait for him to get out, and she took 0:39:05.280 --> 0:39:08.040 the job in Invernesshire to be close, I guess to 0:39:08.160 --> 0:39:11.480 Sterling Prison where he was being held. But he escaped 0:39:11.520 --> 0:39:14.120 and here he is. Why was he in prison? We 0:39:14.200 --> 0:39:17.640 find out it is for murdering his wife, but he 0:39:17.760 --> 0:39:20.440 maintains that it was not murder, it was an accident. 0:39:21.040 --> 0:39:23.480 This is never really resolved. He just says it was 0:39:23.520 --> 0:39:25.759 an accident, and that's as much as we ever find 0:39:25.800 --> 0:39:26.399 out about it. 0:39:26.600 --> 0:39:29.399 That red flag just remains hanging there the whole time, 0:39:29.560 --> 0:39:30.960 flying in the breeze. 0:39:31.200 --> 0:39:33.920 I think we're meant to understand that he's telling the 0:39:33.960 --> 0:39:36.359 truth and he didn't really murder her. I don't know. 0:39:36.560 --> 0:39:37.960 Yeah, I feel like the film should have put in 0:39:37.960 --> 0:39:39.200 a little more leg work on that one. 0:39:39.320 --> 0:39:42.360 Yeah, at least explained, like it doesn't go into how 0:39:42.360 --> 0:39:45.359 it was an accident or like why it was he 0:39:45.400 --> 0:39:48.160 was falsely accused. Yeah, maybe that would sell it a 0:39:48.160 --> 0:39:50.440 little better. I don't know, but anyway, Okay, so he's 0:39:50.480 --> 0:39:53.279 convicted of murdering his wife. He escapes from prison. He 0:39:53.360 --> 0:39:55.640 finds his old girlfriend at the end and he's like, 0:39:55.760 --> 0:39:58.680 hide me. But in the middle of them talking about 0:39:58.680 --> 0:40:01.400 how she needs to hide him, O, here comes missus Jamison. 0:40:01.440 --> 0:40:06.160 You know, Maggie Smith comes in basically, and and they've 0:40:06.160 --> 0:40:08.400 got to come up with a ruse really fast. So 0:40:08.560 --> 0:40:12.080 Doris is like, oh, this is a hiker. His name's 0:40:12.080 --> 0:40:15.480 Albert Simpson. He was out hiking, you know, in Scotland, 0:40:15.800 --> 0:40:18.040 and he dropped his wallet in a stream while he 0:40:18.120 --> 0:40:21.239 was trying to look at a fish. They say, and 0:40:21.280 --> 0:40:23.799 now he is lost and he needs to stay at 0:40:23.800 --> 0:40:26.719 the end and he will work for his keep. And 0:40:26.800 --> 0:40:31.080 Missus Jamison accepts this, but she's very suspicious of him. 0:40:31.120 --> 0:40:35.920 She says, I'm counting the spoons. Oh and you know 0:40:36.000 --> 0:40:38.360 what does Doris do? First thing? She's like, would you 0:40:38.400 --> 0:40:40.319 like a drop of something? So she pours him a 0:40:40.320 --> 0:40:44.120 scotch and she's got all these questions about his time 0:40:44.160 --> 0:40:47.000 in prison. She just keeps asking, like did you read 0:40:47.080 --> 0:40:48.920 a lot? You used to love to read? What was 0:40:48.960 --> 0:40:51.520 it like inside? And you can just see the pressure 0:40:51.560 --> 0:40:55.120 building up. He's like, stop, stop asking. Yeah and so 0:40:55.560 --> 0:40:57.560 and then Albert Simpson's like, okay, well, I got to 0:40:57.600 --> 0:41:00.360 know who all's here while I'm hiding out And Doris 0:41:00.400 --> 0:41:03.000 tells him this is confusing. She's like, the only people 0:41:03.040 --> 0:41:06.760 here are mister and Missus Jamison and their nephew Tommy. 0:41:07.200 --> 0:41:09.360 But then the rest of the scene is other people 0:41:09.520 --> 0:41:12.520 like coming in who she didn't list. So the first 0:41:12.600 --> 0:41:15.239 guy is this guy David, who appears to live and 0:41:15.320 --> 0:41:17.160 work at the end. He's kind of he's the tor 0:41:17.280 --> 0:41:21.000 go of the inn, you know, he's carrying wood around 0:41:21.040 --> 0:41:25.440 and stuff. And Doris confides that David gives her the creeps. 0:41:25.800 --> 0:41:27.640 But then she also says, oh yeah, and there is 0:41:27.680 --> 0:41:31.040 somebody else here. It's miss Prestwick. She is a gorgeous 0:41:31.080 --> 0:41:33.759 model from London. What she's doing in a place like this, 0:41:33.880 --> 0:41:36.760 I don't know. This, of course is Hazel Court playing 0:41:36.800 --> 0:41:39.560 Ellen Prestwick. And then we see her come down to 0:41:39.600 --> 0:41:42.800 the lounge where Jamie Jamison tries to flirt with her. 0:41:43.560 --> 0:41:46.680 He's being very inappropriate. He's like, oh, you're always pretty 0:41:46.680 --> 0:41:51.080 as a picture, and she's like doing a little fashion 0:41:51.200 --> 0:41:53.280 show for him in the hall. I don't know, it's weird. 0:41:53.360 --> 0:41:56.960 She's like, she's like talking about the outfit she's wearing 0:41:57.040 --> 0:41:59.080 as if it's in a fashion catalog. 0:41:59.600 --> 0:42:01.680 Yeah, yeah, I mean it's kind of fun. Like he's, 0:42:02.000 --> 0:42:03.600 like I said, she's breathing a lot of life into 0:42:03.600 --> 0:42:07.120 this character. Yeah, fully inflating the character here. 0:42:07.480 --> 0:42:11.600 And then more hotel high jenks ensue Jamie keeps sneaking booze, 0:42:11.600 --> 0:42:15.800 and he says, my wife has the most unpatriotic contempt 0:42:15.800 --> 0:42:19.520 for her national beverage, and miss Jamison, Missus Jamison says, 0:42:19.520 --> 0:42:21.600 you should see him when he has a patriotic head 0:42:21.640 --> 0:42:22.240 in the morning. 0:42:22.560 --> 0:42:22.759 Ah. 0:42:33.040 --> 0:42:35.640 Meanwhile, the professor and the journalist, they were the ones 0:42:35.680 --> 0:42:38.000 lost in the car. Well, they're done being lost on 0:42:38.000 --> 0:42:39.560 the road. They see a sign for a pub and 0:42:39.560 --> 0:42:41.719 they're like, let's go get a drink. So they pull 0:42:41.800 --> 0:42:44.000 up outside and they run in talking about how they're 0:42:44.040 --> 0:42:47.680 going to get quote, a couple of big scotches, and 0:42:47.719 --> 0:42:50.120 then they come in and there's more like can we 0:42:50.280 --> 0:42:53.800 accommodate them type hand ringing like we got with Albert 0:42:53.840 --> 0:42:58.640 Simpson earlier, and eventually missus Jamison informs them, was like, well, 0:42:58.680 --> 0:43:00.840 we're supposed to be closed for the enter right now. 0:43:01.600 --> 0:43:03.799 The rooms aren't ready, they're not in ship shape, but 0:43:04.000 --> 0:43:07.080 you can sleep there. She says the beds are good, 0:43:07.360 --> 0:43:10.280 and Rachel and I both reacted to that, like something 0:43:10.280 --> 0:43:13.439 about the Bonnie Charlie does not seem like it would 0:43:13.440 --> 0:43:16.000 have good beds. My impression is this place would have 0:43:16.320 --> 0:43:19.680 beds that are basically a piece of flagstone wrapped in 0:43:19.800 --> 0:43:23.960 wool that feels like barbed wire. And I don't know 0:43:24.000 --> 0:43:27.959 if you also got the same just uncomfortable vibes from 0:43:28.080 --> 0:43:31.839 the setting. Like I think inside this building, it's one 0:43:31.880 --> 0:43:34.560 of those places that feels like it would be somehow 0:43:34.600 --> 0:43:37.680 cold and stuffy at the same time, like it's too 0:43:37.719 --> 0:43:40.040 cold and too hot simultaneously. 0:43:40.640 --> 0:43:43.040 Yeah, and one of those situations where you know that 0:43:43.080 --> 0:43:45.759 wooden bar that it probably has that situation going on 0:43:45.800 --> 0:43:47.719 where you have like the dust and the grime have 0:43:47.880 --> 0:43:50.719 kind of they're kind of one thing. Now this kind 0:43:50.760 --> 0:43:54.520 of like sticky like black film over everything, like you 0:43:54.640 --> 0:43:56.319 know that has to be the case here. 0:43:56.640 --> 0:44:00.319 Well, missus Jamison offers them something to eat, but Michael 0:44:00.360 --> 0:44:03.120 Carter says, what I need most is a drink. So 0:44:03.320 --> 0:44:06.359 they go and they get drinks and Jamie is trying 0:44:06.400 --> 0:44:08.840 to serve them, and there's more bickering about whether he 0:44:08.880 --> 0:44:11.839 will serve them drinks or not. As they settle in, 0:44:11.920 --> 0:44:15.719 Michael Carter, the journalist, begins obnoxiously hitting on Miss Prestwick. 0:44:17.120 --> 0:44:20.560 He's commenting on the fact that she's drinking tomato juice 0:44:20.880 --> 0:44:23.400 and he's like, not many girls drink tomato juice unless 0:44:23.400 --> 0:44:26.520 they're afraid of putting on weight. So he's like trying 0:44:26.560 --> 0:44:29.719 to do some kind of nagging pickup artist routine. And 0:44:29.760 --> 0:44:32.319 I was just thinking, when will the Martians kill this man? 0:44:32.880 --> 0:44:35.440 Unfortunately never he turns out to be one of the 0:44:35.480 --> 0:44:40.719 heroes of the movie. But then Professor Hennessy introduces himself 0:44:41.320 --> 0:44:46.000 and they decide to have another we scotch. And I 0:44:46.000 --> 0:44:47.719 think this is the scene where in the span of 0:44:47.800 --> 0:44:51.120 thirty seconds they like, go get a drink three separate times. 0:44:52.360 --> 0:44:55.200 Yeah, gosh, there's just so much scotch drinking. And occasionally 0:44:55.239 --> 0:44:59.600 other liquids are suggested as possible beverages, possible liquids that 0:44:59.680 --> 0:45:02.880 could be andsumed, but generally everyone seems to be of 0:45:02.880 --> 0:45:04.800 the opinion and no scotch is the best. 0:45:05.360 --> 0:45:08.719 Yeah. They do sit down to have some dinner, to 0:45:08.719 --> 0:45:11.680 have some supper, which for which they're having scotch broth. 0:45:11.719 --> 0:45:13.759 And know, if you're not familiar, that is actually a 0:45:13.760 --> 0:45:15.440 type of soup. It is not just a term for 0:45:15.520 --> 0:45:19.680 hot scotch in a bowl. And one of the things 0:45:19.719 --> 0:45:22.680 they talk about at dinner is Jamie Jamison giving a 0:45:22.840 --> 0:45:26.040 passionate defense of the lockness monster. He's like, I will 0:45:26.080 --> 0:45:29.600 not have anyone speak ill of that fine creature. Yes, 0:45:30.200 --> 0:45:33.560 but can we explain the scene of Michael Carter blowing 0:45:33.680 --> 0:45:38.320 Albert Simpson's cover. So the escaped convict comes in, he's, 0:45:38.400 --> 0:45:40.600 you know, working for his stay. So he's like serving 0:45:40.640 --> 0:45:46.279 bread at the table, and then the journalist recognizes him. 0:45:46.320 --> 0:45:48.480 He's like, do you know who that is? That's not 0:45:48.600 --> 0:45:53.759 Albert Simpson, that's this other guy. And unless I was mistaken, 0:45:53.920 --> 0:45:57.799 I think we're supposed to believe that he recognizes him 0:45:57.920 --> 0:46:01.840 based on the description that was given on the radio earlier. 0:46:02.200 --> 0:46:05.360 I guess, though that is a very vague description. Yeah, 0:46:05.440 --> 0:46:08.960 so I guess Michael Carter is a journalist though, right, Yeah, 0:46:09.080 --> 0:46:11.960 so maybe he's seen a picture through journalism. 0:46:12.160 --> 0:46:14.360 I don't know, Oh, he just happened to cover this 0:46:14.400 --> 0:46:15.680 guy's trial or something. 0:46:16.320 --> 0:46:19.480 Maybe, I mean, it's it's not explained anyway. 0:46:19.560 --> 0:46:22.200 The tension of this confrontation, when it's at its peak, 0:46:22.480 --> 0:46:26.799 it's suddenly interrupted by a cataclysmic event. There's like a 0:46:26.840 --> 0:46:30.640 shaking of the house, and it is the approach and 0:46:30.800 --> 0:46:34.560 landing of a flying saucer, which when they go outside 0:46:34.560 --> 0:46:37.239 they can't even get close to it because it's too hot, 0:46:37.440 --> 0:46:41.160 and this flying saucer, I'm gonna say the effect looks 0:46:41.160 --> 0:46:43.640 a little too good for the movie that it's in. 0:46:44.440 --> 0:46:47.520 Yeah, it is way better UFO, way better flying saucer 0:46:47.520 --> 0:46:49.799 than you might expect from this film, a film that 0:46:49.880 --> 0:46:51.960 is often One of the things that's often written about 0:46:52.000 --> 0:46:53.719 it is that it had a low budget. It's not 0:46:53.760 --> 0:46:57.879 a high budget affair. And also, you see enough films 0:46:57.880 --> 0:47:00.000 from this area, you see enough films with flying sauce 0:47:00.239 --> 0:47:03.759 in it, you get used to a certain level of cheapness. 0:47:03.800 --> 0:47:05.960 You know, you can have like some sort of a 0:47:06.000 --> 0:47:10.480 dinky model and some large tripods for characters to stand around. 0:47:10.719 --> 0:47:13.480 That's essentially all you need. And it can be fun, 0:47:13.520 --> 0:47:16.600 it can, but there's sort of a standard level of 0:47:16.719 --> 0:47:19.600 quality that you kind of accept things to hover around, 0:47:19.800 --> 0:47:22.000 and I feel like this flying saucer goes beyond that. 0:47:22.080 --> 0:47:25.640 It's it's got this, you know, it's got plenty of 0:47:25.640 --> 0:47:28.760 the elements of a standard's fifties, standard fifties flying saucer 0:47:28.760 --> 0:47:31.799 that you might come to to expect, but it also 0:47:31.840 --> 0:47:33.560 has this kind of different energy to it. You know, 0:47:33.600 --> 0:47:37.640 it's described as being hot, it portrayed as being hot. 0:47:37.800 --> 0:47:41.120 It has this kind of industrial atomic sensibility to it, 0:47:41.560 --> 0:47:44.600 and it has these like telescopic legs that come out. 0:47:44.760 --> 0:47:47.440 Yeah, it has moving parts, and it seems to emit 0:47:47.520 --> 0:47:48.279 its own light. 0:47:48.719 --> 0:47:52.279 Yeah. So it's this is a really cool flying saucer model, 0:47:52.320 --> 0:47:52.879 I have to say. 0:47:53.080 --> 0:47:55.600 All right, So they all react to that in various ways. 0:47:56.040 --> 0:48:00.600 Mister Carter, the journalist runs to the telephone and I think, 0:48:00.680 --> 0:48:04.680 quite hilariously, just keeps like screaming into it, Hello hello, hello, hello, 0:48:04.719 --> 0:48:09.360 hello hello. And meanwhile Doris gets her convict boyfriend to 0:48:09.400 --> 0:48:12.279 hide in the attic. Others scramble around trying to get 0:48:12.280 --> 0:48:15.640 a car working or define a functional telephone, all to 0:48:15.680 --> 0:48:18.319 no avail. We get our first action scene. In our 0:48:18.360 --> 0:48:24.080 first scene seeing Patricia Lafon is NYA when the ship 0:48:24.160 --> 0:48:28.160 opens up and a ramp extends down out of the 0:48:28.200 --> 0:48:31.319 hull and we see Nia come out. She hasn't said 0:48:31.320 --> 0:48:34.560 anything yet. She's just silent and wearing all this shiny 0:48:34.600 --> 0:48:37.920 black leather with the skull cap. She looks very dangerous 0:48:38.360 --> 0:48:41.400 and she comes down the ramp and uh, oh, there's 0:48:42.000 --> 0:48:46.800 you know, there's David the ends the Bonnie Charlie's torgo 0:48:46.960 --> 0:48:51.120 wandering around outside and he collapses outside the ship and 0:48:51.440 --> 0:48:53.160 she just vaporizes him. 0:48:53.440 --> 0:48:57.279 Yeah, he is not a specimen that she thinks is 0:48:57.360 --> 0:49:01.120 going to help Mars out at all. So intantly vaporized 0:49:01.320 --> 0:49:03.680 leaves nothing but smoke and a pair of spectacles. 0:49:04.000 --> 0:49:07.680 That's right, it's just like a steaming patch of sod 0:49:07.800 --> 0:49:12.840 and the major tote glasses. But it's hard facts of life. 0:49:12.840 --> 0:49:16.000 She's looking for hunks and torgo here does not make 0:49:16.040 --> 0:49:16.440 the cut. 0:49:17.160 --> 0:49:20.560 This is in stark contrast to a ship of monsters, remember, 0:49:20.600 --> 0:49:23.719 because in that one, our females from Venus arrive. They 0:49:23.840 --> 0:49:26.400 encounter our male hero and they're like, oh, it's a 0:49:26.400 --> 0:49:28.320 male and they ask him. It's like, are you the 0:49:28.640 --> 0:49:31.400 prime specimen? Are you like the peak specimen for your species? 0:49:31.400 --> 0:49:33.080 And he's like, yeah, I am. 0:49:33.360 --> 0:49:34.200 And they believe him. 0:49:34.239 --> 0:49:37.359 Yeah, they may believe him in this She's like, no, now, 0:49:37.400 --> 0:49:39.080 this isn't it vaporize? 0:49:39.440 --> 0:49:39.520 No? 0:49:40.120 --> 0:49:43.040 What this is nineteen fifty four. I guess she'd be like, 0:49:43.120 --> 0:49:46.200 where is rock Hudson? Take me to your Rock Hudsons. 0:49:46.120 --> 0:49:49.600 Though interestingly, this film has no Rock Hudson caliber actress 0:49:49.600 --> 0:49:49.840 in it. 0:49:50.040 --> 0:49:56.239 So no, So that unfortunate thing happens to David, and meanwhile, 0:49:56.320 --> 0:49:58.799 the Professor and Michael Carter have been trying to fix 0:49:58.880 --> 0:50:01.000 up the phone in the car, but to no avail. 0:50:01.120 --> 0:50:03.359 It says if all of their Earth technology has been 0:50:03.360 --> 0:50:08.240 magically disabled, And so they come back inside and they're like, hey, Doris, 0:50:08.280 --> 0:50:10.440 fix us up a couple of big scotches, will you. 0:50:10.800 --> 0:50:13.839 That is a direct quote. But Doris can't fix them 0:50:13.880 --> 0:50:17.080 big scotches because she has been hypnotized. And this is 0:50:17.080 --> 0:50:19.880 something that will happen to multiple characters throughout the movie. Later, 0:50:20.320 --> 0:50:24.520 the escape convict, it gets hypnotized. The Martians appear to 0:50:24.520 --> 0:50:28.759 have some kind of like mind control ray and when 0:50:28.840 --> 0:50:31.400 somebody suggests do you think her catatonic state could have 0:50:31.440 --> 0:50:34.960 anything to do with the flying saucer outside, the Professor 0:50:35.080 --> 0:50:38.280 for some reason, is just categorically opposed to the idea 0:50:38.480 --> 0:50:40.839 that the flying saucer could have anything to do with it. 0:50:40.960 --> 0:50:44.640 He goes, I tell you that's absurd. But this is 0:50:44.680 --> 0:50:48.600 the scene where we meet Patricia Lavon. She suddenly throws 0:50:48.640 --> 0:50:52.040 the doors to the room open and comes inside, and 0:50:52.160 --> 0:50:55.120 here she is, folks. The alien commander is standing between 0:50:55.160 --> 0:50:58.759 the French doors, you know, cold and imperious, and this 0:50:58.840 --> 0:51:03.040 scene just rocks. There is something so unusual in a 0:51:03.320 --> 0:51:09.360 simultaneously funny and kind of spellbinding way. About the rhythm 0:51:09.360 --> 0:51:11.960 of the dialogue and this scene, the way it mostly 0:51:12.080 --> 0:51:16.160 consists of fairly short questions and answers, like the Earthlings 0:51:16.200 --> 0:51:21.080 will ask a question of the Martian and then she 0:51:21.200 --> 0:51:23.400 will answer in a short form, and the way she 0:51:23.520 --> 0:51:26.160 delivers her lines. I don't know if you know what 0:51:26.200 --> 0:51:29.680 I'm talking about, rob, but it just establishes this amazing 0:51:29.760 --> 0:51:33.400 rhythm that's so consistently weird and funny. 0:51:33.960 --> 0:51:36.840 Oh yeah, yeah, the rapport here is pretty great. And 0:51:37.440 --> 0:51:39.919 I also have to say the scene where suddenly she's there, 0:51:40.960 --> 0:51:45.520 Naya is there, emerging through these the French doors. There 0:51:45.560 --> 0:51:48.480 was something about this that, I mean, it's a visually 0:51:48.800 --> 0:51:53.320 captivating a scene, but it was tingling something in my memory, 0:51:53.760 --> 0:51:57.839 and then I realized what it was. It's Jim Henson's 0:51:58.320 --> 0:52:01.799 nineteen eighty six film Labyrinth. Pretty early on when we 0:52:01.920 --> 0:52:06.360 encounter Jareth the Goblin King, he is standing. It's not 0:52:06.480 --> 0:52:11.919 exactly the same, but it's very similar, like these terrestrial 0:52:12.320 --> 0:52:15.640 door French doors or something, or windows that have been opened, 0:52:15.960 --> 0:52:22.560 and inside this opening you have this just exquisite character 0:52:22.760 --> 0:52:26.360 from another world in this amazing costume. That's, you know, 0:52:26.520 --> 0:52:28.400 bold and confident and sexy. 0:52:28.560 --> 0:52:30.319 I see exactly what you're talking about. 0:52:30.400 --> 0:52:31.080 Yeah. 0:52:31.360 --> 0:52:34.960 So she comes in and the guys in the room 0:52:35.200 --> 0:52:37.400 ask her who she is. She says her name is Nia. 0:52:37.800 --> 0:52:41.000 They ask her where she's from. She says Mars. Professor 0:52:41.040 --> 0:52:44.239 Hennessy objects that it is preposterous that she could be 0:52:44.280 --> 0:52:47.600 from Mars. No way, and then she says, you men 0:52:47.680 --> 0:52:51.480 on Earth are not as we expect it. She's very disappointed, 0:52:53.040 --> 0:52:57.239 and Professor Hennessy says, we scientists were always skeptical about 0:52:57.239 --> 0:53:01.160 the possibility of life on Mars, but certainly nothing so human. 0:53:01.920 --> 0:53:05.640 And she asks him you are a scientist. He says yes. 0:53:06.239 --> 0:53:09.880 Then she says you are a very poor physical specimen, 0:53:11.600 --> 0:53:15.640 so cold, so mean. But then she just sort of 0:53:15.680 --> 0:53:18.680 shoves the professor out of the way, presumably because I 0:53:18.719 --> 0:53:20.560 don't know, she's trying to get a look at Michael Carter. 0:53:20.680 --> 0:53:24.239 I guess he's a better physical specimen. But Michael Carter's like, 0:53:24.320 --> 0:53:27.400 you speak English, and she says, of course you are English, 0:53:27.440 --> 0:53:30.359 aren't you. What other language should I speak? And then 0:53:30.400 --> 0:53:33.680 she does this weird hand gesture. I don't know what 0:53:33.760 --> 0:53:35.640 this is all about. I think maybe she's like turning 0:53:35.680 --> 0:53:39.560 off the hypnosis mode on Doris. And then she says 0:53:39.680 --> 0:53:42.239 that she in fact speaks all languages by picking up 0:53:42.280 --> 0:53:45.279 Earth Radio. They ask her, is this the first time 0:53:45.320 --> 0:53:48.399 Martians have landed on Earth? And she says yes. They 0:53:48.400 --> 0:53:51.839 ask why did she land here, and she says, it's 0:53:51.880 --> 0:53:54.680 a miscalculation. You see, she was trying to get to London, 0:53:54.760 --> 0:53:58.600 presumably to locate the stud district of London, but Earth's 0:53:58.600 --> 0:54:01.239 atmosphere was thicker than the spected and part of the 0:54:01.280 --> 0:54:04.000 ship was torn off and they were forced to land 0:54:04.120 --> 0:54:06.960 in Scotland, and the part of the ship being torn 0:54:07.000 --> 0:54:11.080 off explains the meteor from earlier. She says repairs are 0:54:11.080 --> 0:54:14.600 going to take about four earth hours and in the meantime, 0:54:14.640 --> 0:54:16.680 I guess she's probably just going to toy with them 0:54:16.800 --> 0:54:20.040 very cruelly. Now they ask her is she alone in 0:54:20.080 --> 0:54:23.400 the ship, and her answer is, according to the version 0:54:23.440 --> 0:54:25.719 I was watching in the subtitles that came with it, 0:54:25.800 --> 0:54:29.719 the answer is Johnny is with me. I have read 0:54:29.800 --> 0:54:33.080 elsewhere that the character she's referring to is actually named 0:54:33.480 --> 0:54:39.080 Chohnnie spelled Ani, but it sounds like they're every time 0:54:39.120 --> 0:54:42.000 she says it it sounds like Johnny, and the subtitle 0:54:42.080 --> 0:54:44.200 spelled it Johnny, so I don't know what to believe. 0:54:44.680 --> 0:54:48.000 Yeah, I read it somewhere as Chawnny, but when she's 0:54:48.000 --> 0:54:50.520 saying it in the picture, it's really hard to hear 0:54:50.520 --> 0:54:53.719 anything other than Johnny. But Chawnie would be a more 0:54:53.760 --> 0:54:57.200 fitting name, I think for an off world robot. 0:54:57.160 --> 0:55:00.239 Right, because Johnny is a killbot. She explains, john Fani 0:55:00.320 --> 0:55:03.120 is a mechanical man, a robot with many of the 0:55:03.200 --> 0:55:06.239 characteristics of a human. This is hilarious when you see 0:55:06.280 --> 0:55:09.319 him later, because he does he's not very much like 0:55:09.320 --> 0:55:13.640 a human. But she says, yeah, he's a refrigerator with 0:55:13.760 --> 0:55:17.920 arms and legs. But they but she says, oh, but 0:55:18.040 --> 0:55:21.319 he is improved by an electronic brain. And then here 0:55:21.360 --> 0:55:24.680 we got a bunch of voluntary technobabble from Naya. She 0:55:24.840 --> 0:55:29.720 just offers up explanations about how all of her stuff works. 0:55:30.120 --> 0:55:33.120 She says, the metal from which her spaceship is constructed 0:55:33.200 --> 0:55:38.520 can reproduce itself. And then, weirdly, I don't know why 0:55:38.560 --> 0:55:41.960 this is, but we see miss Prestwick outside the door, 0:55:42.080 --> 0:55:46.040 like listening in, like she's spying on them. But eventually 0:55:46.040 --> 0:55:48.279 she gets Fomo and just sort of comes into the room. 0:55:49.120 --> 0:55:52.319 But the professor and everybody arguing about this, do you 0:55:52.360 --> 0:55:57.280 realize what you've said? They've turned the inorganic into the organic. Okay, 0:55:57.280 --> 0:55:59.000 well we're about to get to the main premise. So 0:55:59.160 --> 0:56:02.439 they start questioning her why she's going to London. This 0:56:02.480 --> 0:56:05.600 is what Nia says. She says, many of your Earth 0:56:05.800 --> 0:56:10.040 years ago, our women were similar to yours today. Our 0:56:10.080 --> 0:56:13.760 emancipation took several hundred years and ended in a bitter, 0:56:13.960 --> 0:56:18.200 devastating war between the sexes, the last war we ever had. 0:56:19.520 --> 0:56:22.799 Henny here says, So you've had wars too. I was like, 0:56:22.840 --> 0:56:23.680 why would you ask that? 0:56:23.880 --> 0:56:26.440 Obviously she just said, they just said that. 0:56:26.480 --> 0:56:30.960 She just said that that. Nia says, all inhabited planets 0:56:30.960 --> 0:56:34.520 have had wars. Some have ended by wiping themselves out. 0:56:34.680 --> 0:56:38.920 For every new weapon invented, a defense was perfected until 0:56:38.920 --> 0:56:44.640 the ultimate weapon was developed, a perpetual motion shaane reactor beam. 0:56:46.760 --> 0:56:50.520 God, this has got to be peak technobabble, Like what 0:56:51.520 --> 0:56:54.360 is that even? And then how even I'm failing to 0:56:55.000 --> 0:56:57.359 imagine what that could be? Much less hallid is than 0:56:57.520 --> 0:57:01.880 utilized in an on planet battle. Queen two factions based 0:57:01.920 --> 0:57:03.120 on sex. 0:57:03.200 --> 0:57:06.120 Oh I mean, she explains a little bit. He's the 0:57:06.160 --> 0:57:08.280 Professor's like, tell me more. I want to know about 0:57:08.280 --> 0:57:11.399 the perpetual motion chain reactor beam and she says, as 0:57:11.480 --> 0:57:14.279 fast as matter was created, it was changed by its 0:57:14.320 --> 0:57:18.920 molecular structure into the next dimension and so destroyed itself. 0:57:19.640 --> 0:57:22.280 Okay, well, I don't know if that actually helps me any, 0:57:22.400 --> 0:57:23.840 but that she's got more to say. 0:57:24.560 --> 0:57:28.160 The professor his comment on this is so there is 0:57:28.200 --> 0:57:33.760 a fourth dimension. But Nya explains more. She says, you know, 0:57:33.840 --> 0:57:36.800 after the War of the Sexes, women became the rulers 0:57:36.840 --> 0:57:40.320 of Mars, but now the male has fallen into a decline. 0:57:40.640 --> 0:57:45.120 The birth rate is dropping tremendously. For despite our advanced science, 0:57:45.240 --> 0:57:49.240 we still have found no way of creating life. I 0:57:49.280 --> 0:57:52.480 guess she means other than like standard sexual reproduction, which 0:57:52.520 --> 0:57:55.160 we assume is their method, though they're never explicit about that, 0:57:55.320 --> 0:57:59.480 so I don't know. But then Miss Prestwick she kind 0:57:59.520 --> 0:58:02.880 of challenged jiz Nia on this. She goes, so you've 0:58:02.920 --> 0:58:06.360 come here for new Blood, and I love the way 0:58:07.400 --> 0:58:11.680 Hazel Court here has this like defiant tone, like Miss 0:58:11.760 --> 0:58:16.120 Prestwick is feeling territorial, and she's like, you're not gonna 0:58:16.120 --> 0:58:20.160 steal my beloved earth schlubs. You know they belong here 0:58:20.200 --> 0:58:24.320 with us. But Nya just you know, she's not having 0:58:24.360 --> 0:58:27.600 any any defiance. She's like, yes, we're here to steal 0:58:27.640 --> 0:58:30.240 your males. We're going to kidnap your males and breed 0:58:30.280 --> 0:58:33.200 with them. But also we are here to test a 0:58:33.280 --> 0:58:37.680 newly invented organic metal quote of which my ship is 0:58:37.680 --> 0:58:41.200 built on Mars. Some think I will not return, that 0:58:41.280 --> 0:58:44.280 the metal is too unstable, but when I get back, 0:58:44.400 --> 0:58:48.000 we will build more spaceships. Meanwhile, I will select some 0:58:48.080 --> 0:58:50.840 of your strongest men to return with me to Mars. 0:58:51.280 --> 0:58:53.760 Okay, so it's it's a dual mission. 0:58:53.920 --> 0:58:57.160 Yeah, yeah, it's you know, it's testing out the prototype 0:58:57.200 --> 0:59:00.720 metal and it's collecting Earthmen. And Michael Card of the 0:59:00.800 --> 0:59:03.360 Earthman says, and if I don't want to go with you, 0:59:03.960 --> 0:59:08.520 just assuming he's going to be picked, and Nia says 0:59:08.560 --> 0:59:12.160 there is no if. She says, she will take her 0:59:12.240 --> 0:59:16.280 pick of quote the Man and subdue London with the 0:59:16.320 --> 0:59:18.240 help of a nuclear paralyzer. 0:59:18.360 --> 0:59:18.560 Ray. 0:59:19.600 --> 0:59:22.720 So like the humans start arguing about this with each other, 0:59:23.160 --> 0:59:26.880 Miss Prestwick says to the professor, don't you understand that 0:59:26.960 --> 0:59:30.560 this thing from Mars can destroy all life. And then 0:59:30.920 --> 0:59:33.800 very funny. So most of the earth males don't want 0:59:33.840 --> 0:59:35.680 to go to Mars, but I thought it was funny 0:59:35.720 --> 0:59:37.760 here how the professor is like, well, hold on, now, 0:59:38.360 --> 0:59:43.040 we must think objectively about what is happening. He says, 0:59:43.080 --> 0:59:45.400 this is the turning point in the history of the world. 0:59:45.440 --> 0:59:47.240 Maybe you know, I think he's saying we need to 0:59:47.240 --> 0:59:47.880 hear her out. 0:59:48.160 --> 0:59:50.920 But it's also extra funny given how cold she was 0:59:50.960 --> 0:59:53.480 to him earlier. He's like, yeah, He's like, but but 0:59:53.680 --> 0:59:56.320 maybe it's me. Maybe I'm the one you should go. 0:59:57.000 --> 1:00:03.040 No, you're a very poor male specimen. But then, oh, 1:00:03.080 --> 1:00:05.440 but then one of the funniest parts of the whole movie, 1:00:05.640 --> 1:00:10.280 Missus Jamison comes into the room and she sees this 1:00:10.440 --> 1:00:14.240 lady here just dressed in this like crazy leather spacesuit, 1:00:14.960 --> 1:00:19.240 and Michael Carter says, Missus Jamison, may I introduce your 1:00:19.280 --> 1:00:24.680 newest guest, miss Nia. She comes from Mars. And then 1:00:24.720 --> 1:00:26.160 what does Missus Jamison reply? 1:00:26.520 --> 1:00:30.880 She says, oh, well that'll mean another bed. Yeah, And 1:00:30.960 --> 1:00:32.840 it is one of the It's always kind of neat 1:00:32.840 --> 1:00:35.640 when in a film like this you have one or 1:00:35.680 --> 1:00:39.240 two lines that are legitimately intentionally funny. That was some 1:00:39.280 --> 1:00:40.080 good riding there. 1:00:40.440 --> 1:00:42.200 Yeah, but then she does a double take. 1:00:52.680 --> 1:00:54.280 By the way, Joe, you included here for me a 1:00:54.320 --> 1:00:56.360 screenshot of the of the character standing in front of 1:00:56.360 --> 1:00:58.400 the bar. Do you think those are all scotch bottles? 1:00:58.400 --> 1:01:00.080 Back there on the wall? They have like four, I 1:01:00.120 --> 1:01:03.720 don't know, shelves of liquor bottles, and I'm just I'm 1:01:03.720 --> 1:01:05.560 suddenly wondering, what are we looking at here? 1:01:05.720 --> 1:01:08.760 It's a lot of bottles, and I don't I don't know. 1:01:08.800 --> 1:01:10.720 I'm not seeing a lot of gin back there. It 1:01:10.760 --> 1:01:13.880 all looks like a brown liquor of various sorts. 1:01:14.320 --> 1:01:16.640 Scotch enthusiasts will have to let us know. I really 1:01:16.720 --> 1:01:18.880 only know my way around a couple of scotches. 1:01:19.120 --> 1:01:23.000 Yeah, though it's funny. I just remembered something when Rachel 1:01:23.000 --> 1:01:25.240 and I were watching this, you know, with all the 1:01:25.360 --> 1:01:29.200 characters that are named Hennessy and Jamison, When when Nya 1:01:29.280 --> 1:01:32.160 first came in and Rachel said, my name is cam PARI. 1:01:34.840 --> 1:01:35.919 That's good. It's a good riff. 1:01:36.240 --> 1:01:36.439 Oh. 1:01:36.520 --> 1:01:39.120 Suddenly, at this point in the movie, everybody gets agitated 1:01:39.120 --> 1:01:41.959 that they can't find David, the guy that she vaporized 1:01:42.000 --> 1:01:45.240 out on the lawn and they're like he's missing. And 1:01:45.280 --> 1:01:48.040 then they all turned to her and they're like, miss Naya, 1:01:48.320 --> 1:01:51.640 have you and she says, of course he was no 1:01:51.800 --> 1:01:57.920 stud muffin, so I killed him. And Michael Michael Carter 1:01:58.000 --> 1:02:00.560 gets really mad about this. They have to like him. 1:02:00.640 --> 1:02:03.000 He's like trying to punch her or something, and they're 1:02:03.040 --> 1:02:04.080 all holding him back. 1:02:04.760 --> 1:02:06.760 I don't know why they felt they needed to establish 1:02:06.800 --> 1:02:09.200 that they found him creepy earlier, like that. There was 1:02:09.240 --> 1:02:12.200 no payoff for that, Like, yeah, he never did anything 1:02:12.280 --> 1:02:15.240 that was creepy, there was no Sometimes you introduce the 1:02:15.680 --> 1:02:19.760 stereotypical creepy grounds keeper character because you want to have 1:02:19.880 --> 1:02:22.960 him be a suspect in the you know or something, 1:02:23.120 --> 1:02:25.600 or you know, or he's creeping around and happens to, 1:02:26.600 --> 1:02:29.360 you know, run a foul of the Jason or whatever 1:02:29.440 --> 1:02:32.520 is running around on the on the grounds. But in 1:02:32.560 --> 1:02:34.840 this case, he was just out getting wood. Like, why 1:02:34.880 --> 1:02:36.280 did it matter that he was creepy. 1:02:36.600 --> 1:02:39.480 He didn't actually do anything wrong. Yeah, you kind of 1:02:39.520 --> 1:02:42.640 gotta feel bad for David, Like, for all we know, 1:02:42.680 --> 1:02:45.880 he was a totally nice guy. He had no lines. Yeah, 1:02:45.880 --> 1:02:49.880 But anyway, here Naya leaves and she says, Okay, around 1:02:49.880 --> 1:02:52.320 this house, I've drawn an invisible wall. You can't get 1:02:52.360 --> 1:02:54.600 through it, so I don't even try to leave. I'm 1:02:54.640 --> 1:02:56.800 going to do repairs on my ship and I'll be 1:02:56.880 --> 1:02:59.320 back to kill you all and maybe take some of 1:02:59.320 --> 1:03:02.760 the strongest mans. And then the rest of the movie 1:03:02.800 --> 1:03:04.960 is just people coming and going back and forth from 1:03:05.000 --> 1:03:09.440 the ship like fifteen times. Uh Naya in a quite 1:03:09.600 --> 1:03:13.200 funny manner. In fact, keeps leaving and then coming back 1:03:13.240 --> 1:03:17.520 to the inn. And then there there are some more 1:03:17.560 --> 1:03:20.000 scenes between the humans that are I think trying to 1:03:20.720 --> 1:03:23.920 do character development, Like there is a scene where Michael Carter, 1:03:24.200 --> 1:03:28.160 the the really annoying journalist, and miss Prestwick fall in love. 1:03:29.320 --> 1:03:32.160 Like he ostensibly he comes up to her room at 1:03:32.160 --> 1:03:36.120 the hotel, knocking on the door with the excuse that 1:03:36.200 --> 1:03:39.160 he has come to see if she has any scotch. 1:03:39.840 --> 1:03:41.680 Like like they're old downstairs, Like. 1:03:42.120 --> 1:03:44.840 Yeah, no, they're clearly not. It's like, hey, I was 1:03:44.880 --> 1:03:47.320 wondering if there's any air in your room that I 1:03:47.320 --> 1:03:50.760 could breathe. I couldn't find any anywhere else. But if 1:03:50.760 --> 1:03:52.840 she invites him in and he's like, you got any 1:03:52.840 --> 1:03:56.160 scotch and she says no, but I've got some brandy, okay, 1:03:58.040 --> 1:04:01.280 and uh and so, and we get their backstories. Miss 1:04:01.360 --> 1:04:04.960 Prestwick talks about how she's in Scotland. Actually she doesn't 1:04:05.000 --> 1:04:08.720 volunteer this information. He does like a cold reading routine 1:04:08.760 --> 1:04:11.880 where he tells her her whole backstory just by I 1:04:11.920 --> 1:04:15.640 don't know, by like observing her and I guess it's 1:04:15.680 --> 1:04:18.080 all correct, you know. He figures out that she's in 1:04:18.080 --> 1:04:22.280 Scotland because she's she's hiding from a married man with 1:04:22.360 --> 1:04:25.600 whom she is having an affair. I think he is 1:04:25.680 --> 1:04:29.840 the fashion designer and she is his muse. And then meanwhile, 1:04:29.920 --> 1:04:34.000 Michael Carter explains his backstory is like He's like, oh, 1:04:34.040 --> 1:04:36.680 I've seen all the terrible things in the war zones, 1:04:36.960 --> 1:04:39.320 but now I'm done with all that. And then he says, 1:04:39.440 --> 1:04:42.200 now I'm letting my hair down, which was a laugh 1:04:42.320 --> 1:04:44.760 out loud moment because he does not have much hair 1:04:44.840 --> 1:04:46.160 to let down, right. 1:04:47.520 --> 1:04:50.560 Oh. But then there's also the invisible wall. This was 1:04:50.600 --> 1:04:54.400 a lot of fun because you have a Nya established 1:04:54.440 --> 1:04:57.400 that she was going to set a perimeter, an invisible 1:04:57.400 --> 1:05:01.040 wall to keep people from leaving. And again, these characters 1:05:01.040 --> 1:05:04.560 have been drinking Scotch non stop, and then you have 1:05:04.600 --> 1:05:05.760 the professor bumble in. 1:05:06.080 --> 1:05:09.040 Right, so they look out the window. Actually, before this, sorry, 1:05:09.040 --> 1:05:14.160 before this, Michael and miss Prestwick have a dialogue exchange 1:05:14.200 --> 1:05:18.040 that is so funny. It means nothing, but at one 1:05:18.080 --> 1:05:21.520 point he's just I guess he's just frustrated. He just goes, 1:05:21.640 --> 1:05:24.320 it's that thing out there, and then she says, it 1:05:24.480 --> 1:05:31.360 is there. Michael, Yeah, thanks thanks movie. Yes, oh yeah, 1:05:31.440 --> 1:05:34.520 I remember. Now there is a spaceship outside and they're. 1:05:34.440 --> 1:05:37.560 Trying to also an invisible wall though, and. 1:05:37.520 --> 1:05:39.680 That's right, well maybe that's the thing they were talking about. 1:05:39.680 --> 1:05:41.240 I don't know, is it the spaceship or is it 1:05:41.320 --> 1:05:46.160 the robot or the spaceship. But so the professor comes back. 1:05:46.520 --> 1:05:49.000 He's got blood on his head now and they're like, Professor, 1:05:49.080 --> 1:05:52.080 what happened And he's like, well, I went out walking 1:05:52.200 --> 1:05:55.360 and then I crashed into the invisible wall. There really 1:05:55.480 --> 1:05:58.320 is an invisible wall. I thought it impossible by all 1:05:58.360 --> 1:05:59.680 that is known to science. 1:06:01.000 --> 1:06:04.040 Yeah, I don't know. I just found that also hilarious. 1:06:04.360 --> 1:06:06.680 I think this might be the scene with I believe 1:06:06.720 --> 1:06:09.720 what my brain tells me to believe, and. 1:06:09.720 --> 1:06:13.480 My brain ran into an invisible wall. 1:06:13.800 --> 1:06:15.680 Now Here we get the first of a couple of 1:06:15.720 --> 1:06:17.640 times where the people at the end try to figure 1:06:17.680 --> 1:06:21.760 out how to outsmart Naya. Like there's another scene later 1:06:21.760 --> 1:06:25.200 where they set literally set an electrical trap for her, 1:06:25.360 --> 1:06:27.760 like in the Thing from Another World, which doesn't work, 1:06:28.240 --> 1:06:30.360 but in this scene they try to. They find a 1:06:30.400 --> 1:06:32.800 gun and they're like, well, we can just shoot her 1:06:32.880 --> 1:06:36.720 when she comes in, and Naya makes a fabulous entrance. 1:06:36.760 --> 1:06:39.520 She like throws the doors open and steps in. And 1:06:40.040 --> 1:06:43.280 I wish I could like show you the listener out 1:06:43.280 --> 1:06:46.120 there a gif of this because it's it's such a 1:06:46.160 --> 1:06:47.680 wonderful step in move. 1:06:48.080 --> 1:06:51.800 Yeah, it's very jerious from Labyrinth. Again, there's no owl, 1:06:52.000 --> 1:06:53.400 but it has that same energy. 1:06:53.760 --> 1:06:57.160 Yes, And they try shooting her with a revolver, but 1:06:57.200 --> 1:07:00.720 the bullets have no effect. The posture that Michael Carter 1:07:01.520 --> 1:07:04.320 does while he's shooting at her is so funny. He's 1:07:04.360 --> 1:07:07.880 got his non shooting hand tucked behind his back and 1:07:07.880 --> 1:07:10.840 he's just standing up straight with the gun sort of 1:07:10.840 --> 1:07:14.360 at stomach level, just going bang bang, And of course 1:07:14.400 --> 1:07:17.320 the bullets bounce off of Naya because you know, she's 1:07:17.360 --> 1:07:21.120 she's perfect, She's she's literally nothing could. 1:07:20.960 --> 1:07:23.720 Defeat her, absolutely right. 1:07:23.880 --> 1:07:27.360 She says, you pour demented humans to imagine you can 1:07:27.400 --> 1:07:31.120 destroy me with your old fashioned toy. What do you 1:07:31.280 --> 1:07:34.440 know of force? Force as we use it on Mars, 1:07:35.000 --> 1:07:38.880 I could control power beyond your wildest dreams. Come and 1:07:38.960 --> 1:07:42.280 you shall see. So she's going to give him demonstration. 1:07:42.440 --> 1:07:45.280 I love it when aliens give a demonstration of their 1:07:45.320 --> 1:07:49.000 power for a for a crowd of earth onlookers. And 1:07:49.520 --> 1:07:52.160 so they so she takes them out to the spaceship 1:07:52.480 --> 1:07:55.680 to show her robot Johnny, to show them what Johnny 1:07:55.680 --> 1:07:59.560 can do. So Johnny, he comes out. Johnny is gigantic. 1:07:59.640 --> 1:08:02.360 He is a refrigerator with arms and legs. His arms 1:08:02.400 --> 1:08:05.000 are kind of like made out of a stack of 1:08:05.040 --> 1:08:09.440 solo cups. His head is a police siren, and he 1:08:10.000 --> 1:08:14.360 walks around. He's slow moving, and he hates trees and 1:08:14.400 --> 1:08:17.880 he's gonna incinerate them and he vaporizes a bunch of 1:08:17.920 --> 1:08:20.200 stuff with his death ray while people watch. He does 1:08:20.240 --> 1:08:24.880 the tree, he does a car, he does a barn. Yeah, 1:08:25.680 --> 1:08:26.960 you don't want to mess with Johnny. 1:08:27.680 --> 1:08:29.400 I think it's a pretty good robot design. I mean 1:08:29.400 --> 1:08:31.080 it's one of the it's kind of like the the UFO, 1:08:31.200 --> 1:08:33.840 kind of like the flying saucer in this film, where yes, 1:08:34.160 --> 1:08:36.519 it does match up with what you would expect from 1:08:36.520 --> 1:08:41.679 this time period Boxy, you know, sort of lumbering around, 1:08:42.439 --> 1:08:46.320 but overall well executed. I like how it's it's arms 1:08:46.400 --> 1:08:48.200 though you just described him as being kind of like 1:08:48.200 --> 1:08:51.440 stacked silo cups, but they kind of have that telescoping 1:08:51.600 --> 1:08:54.960 energy that matches up with the flying saucer. Well, like 1:08:55.000 --> 1:08:56.960 you feel like these are two things from the same 1:08:57.000 --> 1:08:57.919 design universe. 1:08:58.320 --> 1:08:59.479 Sure, yeah, I can see that. 1:08:59.800 --> 1:09:02.800 And again, he's really tall, He's like fifteen feet tall. 1:09:02.840 --> 1:09:04.360 Maybe I don't know, he's powering. 1:09:05.240 --> 1:09:07.679 She's like, he is like one of your Earth humans, 1:09:07.720 --> 1:09:12.360 but with an improved brain. And then Nya, let's see, 1:09:12.360 --> 1:09:15.760 oh oh, Albert Simpson, remember him, the convict. He's been 1:09:15.840 --> 1:09:18.000 hiding in the attic. Well, he sneaks out of the 1:09:18.040 --> 1:09:21.080 window along with Tommy the kid. They both climb down 1:09:21.080 --> 1:09:24.679 a tree and they're running around outside. Eventually Nya comes 1:09:24.680 --> 1:09:28.559 across them and she's like, ah, this Earth, Tommy, I 1:09:28.640 --> 1:09:31.120 will take this boy back to Mars with me. And 1:09:31.160 --> 1:09:35.479 Tommy literally goes goodie. He wants to go to Mars. 1:09:36.280 --> 1:09:39.160 But as you might guess, this turns into for the 1:09:39.200 --> 1:09:41.000 rest of the plot. A lot of it's like various 1:09:41.080 --> 1:09:44.080 adult men trying to find a way to rescue Tommy 1:09:44.160 --> 1:09:47.280 and destroy the spaceship. Again, there's the part where they 1:09:47.280 --> 1:09:50.920 try to set an electricity trap for Nya that does 1:09:50.960 --> 1:09:55.519 not work. At one point, Professor Hennessy tricks Naya into 1:09:55.600 --> 1:09:58.519 showing him the inside of her spaceship, and the way 1:09:58.560 --> 1:10:01.679 he does it by his by like appealing to her pride. 1:10:01.760 --> 1:10:06.120 He's like, we Earthlings also have powerful machines, and this 1:10:06.200 --> 1:10:09.000 makes her really mad. She's like, none equal to those 1:10:09.040 --> 1:10:11.880 of Mars. So she takes him to see the inside 1:10:11.920 --> 1:10:14.960 of the spaceship and he's gonna get a look at 1:10:14.960 --> 1:10:17.640 things to figure out what the weak point inside the 1:10:18.040 --> 1:10:20.400 ship is. And you know what he finds out. 1:10:20.439 --> 1:10:25.000 Yeah, he's You can imagine him being like like, oh 1:10:25.080 --> 1:10:27.360 you should You should see the self destruct mechanisms we 1:10:27.439 --> 1:10:30.280 have on earth ships and just like those are nothing. 1:10:30.360 --> 1:10:34.680 Look at this self destruct button. Yeah, this mechanism is 1:10:34.680 --> 1:10:35.480 far superior. 1:10:36.000 --> 1:10:38.679 But the design of the inside of the spaceship is cool. 1:10:39.000 --> 1:10:41.080 Yeah. I really liked it as well. It has some 1:10:41.080 --> 1:10:43.200 some cool angles in it. They do some nice things 1:10:43.280 --> 1:10:46.759 with shadow and light, and this leads me to another 1:10:46.880 --> 1:10:50.400 interesting visual connection. This is not one that I made. 1:10:50.439 --> 1:10:52.720 This is one that I ran across when I was 1:10:52.720 --> 1:10:57.160 looking at images from the film Jane Voss of sci 1:10:57.160 --> 1:11:01.320 fiast dot net that's sci sd I guess it looks 1:11:01.360 --> 1:11:06.960 like sciphist dot net anyway. This author made this particular comparison, 1:11:07.040 --> 1:11:11.520 pointing out that that the the inside of the spaceship 1:11:12.520 --> 1:11:15.960 matches up at least a bit with the meditation chamber 1:11:16.080 --> 1:11:19.120 of Darth Vader and the Empire strikes Back. They do 1:11:19.160 --> 1:11:22.960 a side by side comparison here, and you know, I'm 1:11:23.000 --> 1:11:25.920 not sure. I one hundred percent am convinced. I think 1:11:25.960 --> 1:11:28.920 it's a nifty comparison. The author points out that Lucas 1:11:28.960 --> 1:11:32.599 certainly was inspired by older genre films and the and 1:11:32.640 --> 1:11:34.680 in making the Star Wars films, they did look to 1:11:35.439 --> 1:11:38.680 older cinematic images, so it's I don't know, it's any 1:11:38.720 --> 1:11:42.559 connection of nothing else. The author also points to the 1:11:43.080 --> 1:11:48.400 possible connections between Nia and doctor Frankenforter from the Rocky 1:11:48.400 --> 1:11:52.320 Horror Picture Show. Again, I'm not so sure personally, but 1:11:52.520 --> 1:11:55.439 maybe there's certainly some shared DNA between Nia and the 1:11:55.600 --> 1:11:59.519 likes of Jaff from Labyrinth or Frankenfurter from Rocky Horror, 1:11:59.760 --> 1:12:02.120 And I guess you could also make some comparisons in 1:12:02.160 --> 1:12:05.360 a different way between Nia and Darth Vader. I mean 1:12:05.360 --> 1:12:09.799 they're both you know, stunning characters clad in black, shiny 1:12:10.640 --> 1:12:11.880 you know, garments and armor. 1:12:12.080 --> 1:12:15.080 Yeah, well they both have the black like the shoulder 1:12:15.160 --> 1:12:18.280 pads and the and the smooth head piece and the 1:12:18.920 --> 1:12:20.320 foot the floor length cape. 1:12:20.439 --> 1:12:23.080 Yeah. Yeah, so I don't know, maybe so at any rate, 1:12:23.160 --> 1:12:24.639 cool ship interior I like it. 1:12:24.840 --> 1:12:28.080 Yeah, yeah, So there's a bunch more intrigue. I'm not 1:12:28.120 --> 1:12:30.360 going to go into detail about everything else that happens, 1:12:30.400 --> 1:12:33.280 especially between the humans. There's one part where like the 1:12:33.320 --> 1:12:35.800 one of the humans gets hypnotized and then they gets 1:12:35.840 --> 1:12:37.920 into a fist fight with one of the other guys 1:12:37.960 --> 1:12:40.600 and they argue about how to defeat the alien in 1:12:40.640 --> 1:12:45.040 the end, but ultimately the movie ends with Albert Simpson, 1:12:45.240 --> 1:12:50.080 the convict, doing a brave act of heroic self sacrifice 1:12:50.520 --> 1:12:54.439 to use the information gained by the professor about the 1:12:54.439 --> 1:12:57.080 weak point on the ship and to save the day 1:12:57.160 --> 1:12:57.679 for Earth. 1:12:58.360 --> 1:13:00.920 It's a fun ending because, on one level, I don't know, 1:13:01.080 --> 1:13:02.800 I guess we were supposed to think this as well, 1:13:03.320 --> 1:13:05.960 because we see him get on the ship. He boards 1:13:05.960 --> 1:13:08.400 the ship with Naya, and the ship takes off and 1:13:08.439 --> 1:13:12.840 again wonderful flying saucer effect. It feels dangerous and you know, 1:13:12.920 --> 1:13:16.280 almost almost explosive, and it takes off and it's ascending 1:13:16.320 --> 1:13:18.480 up in the atmosphere. It's going to leave her this atmosphere, 1:13:18.600 --> 1:13:21.599 return to Mars, and we know what he is supposed 1:13:21.640 --> 1:13:24.559 to do. He is supposed to hit that self destruct. 1:13:24.800 --> 1:13:28.160 He's supposed to make the ship explode, and we already 1:13:28.160 --> 1:13:30.880 have a built in kind of they don't really dwell 1:13:30.920 --> 1:13:34.200 on this, but she established earlier that the other Martians 1:13:34.200 --> 1:13:36.200 think that the ship won't survive the trip, so there's 1:13:36.200 --> 1:13:38.680 almost like a guarantee if they can only blow this 1:13:38.760 --> 1:13:41.760 ship up, they're not expecting her back. But on the 1:13:41.760 --> 1:13:44.040 other hand, it's like this guy escaped from prison and 1:13:44.080 --> 1:13:47.439 his biggest his plan consisted of, well maybe we can 1:13:47.479 --> 1:13:51.200 I can flee to Ireland. But now like he's got 1:13:51.280 --> 1:13:54.160 a chance to flee the planet, he can flee the 1:13:54.320 --> 1:13:58.400 terrestrial legal system entirely and go to Mars, and yeah, 1:13:58.400 --> 1:14:00.559 maybe he's going to end up in a eating pod 1:14:00.640 --> 1:14:02.840 somewhere with a with a you know, some sort of 1:14:02.880 --> 1:14:05.200 a sensor stuck in his brain, but hey, at least 1:14:05.240 --> 1:14:08.680 he's not in prison or in Ireland doing whatever he 1:14:08.760 --> 1:14:11.439 was planning to do in Ireland. So there's kind of 1:14:11.439 --> 1:14:13.880 this tension building as you watch the ship go up. 1:14:13.920 --> 1:14:17.479 It's like, is he gonna betray everyone out of his 1:14:17.520 --> 1:14:20.520 own self interest or is he going to sacrifice himself 1:14:20.760 --> 1:14:25.000 for Earth? And then suddenly the ship does explode. But 1:14:25.880 --> 1:14:29.200 this is great because again, watching a movie from this 1:14:29.280 --> 1:14:33.040 time period, you have certain expectations for that explosion. You 1:14:33.160 --> 1:14:35.160 kind of expect, you know, a sort of a dynamite 1:14:35.200 --> 1:14:38.680 explosion in the sky, but no, instead you get this 1:14:38.960 --> 1:14:43.880 really cool, kind of like underwater smoke explosion, which is 1:14:44.280 --> 1:14:47.479 extra nice here in black and white, and it looks 1:14:47.600 --> 1:14:51.240 really super creepy, like, indeed, like a dangerous piece of 1:14:51.280 --> 1:14:54.840 advanced technology from another world just blew up in our atmosphere, 1:14:55.200 --> 1:14:58.479 ripped a hole. Perhaps in reality, you know, it looks 1:14:58.479 --> 1:15:01.400 like it's created a stain the sky that's going to 1:15:01.439 --> 1:15:06.280 stick around for quite some time. But indeed, he came through, 1:15:06.560 --> 1:15:09.880 He saved the Earth, and the alien threat has been 1:15:10.280 --> 1:15:16.479 destroyed or maybe just avoided for a little while. The 1:15:16.520 --> 1:15:20.240 Martians maybe won't come back to Earth for a few decades. 1:15:20.280 --> 1:15:23.320 Anyway, I agree that explosion looks really cool, and it 1:15:23.400 --> 1:15:26.320 actually I think the way the explosion looks kind of 1:15:26.479 --> 1:15:30.759 unusual maybe relates to something a scene we didn't actually 1:15:30.760 --> 1:15:33.639 talk about, the one where Naya like folds herself into 1:15:33.680 --> 1:15:35.760 the fourth dimension and disappears. 1:15:36.160 --> 1:15:39.400 She becomes blurry and they're like, ah, the fourth dimension. 1:15:39.560 --> 1:15:42.040 This is another scene where she's like basically just showing 1:15:42.040 --> 1:15:43.840 off how great Martian technology is. 1:15:44.120 --> 1:15:45.880 Well, you know, I'd say in the end, Devil Girl 1:15:45.920 --> 1:15:49.560 from Mars is great fun. I do recommend it. I 1:15:49.600 --> 1:15:52.680 would also say stick around at least until Nya shows up. 1:15:52.880 --> 1:15:55.559 It will drag for the first twenty twenty five minutes 1:15:55.680 --> 1:15:59.000 or so, but once Nya's on screen, it's a hoot. 1:15:59.200 --> 1:16:01.000 Yeah, this one's a lot of fun. Again, some great 1:16:01.000 --> 1:16:04.720 design work in here, some fun performances, you know, some 1:16:04.760 --> 1:16:08.639 surprisingly good effects and costuming that in many ways, despite 1:16:08.680 --> 1:16:10.920 the budget, despite the time period, you know, I mean, 1:16:11.080 --> 1:16:14.599 it feels very ahead of its time. The ending's pretty solid, 1:16:14.800 --> 1:16:17.640 though part of me still thinks that Scotland should have 1:16:17.640 --> 1:16:20.679 surrendered and become a breeding colony from Mars. I think 1:16:20.800 --> 1:16:24.040 I think Nia ultimately she made a good show of force. 1:16:24.600 --> 1:16:26.880 She was busting out just a lot of just cold 1:16:26.960 --> 1:16:32.400 facts on these poor earthlings. So maybe they should have 1:16:32.400 --> 1:16:34.800 gone in the other direction, but still hard to argue 1:16:34.800 --> 1:16:35.639 with the solid ending. 1:16:36.040 --> 1:16:39.240 That scene where she explains about the negative condensity is just. 1:16:41.080 --> 1:16:44.679 Oh so much quality technobabble in this one. I wonder 1:16:45.680 --> 1:16:49.240 is there still technobabble of this quality in sci fi 1:16:49.320 --> 1:16:50.040 films today? 1:16:50.360 --> 1:16:53.240 I don't know. I mean, I feel like, unfortunately the 1:16:53.280 --> 1:16:56.479 direction has gone more into just like not saying as 1:16:56.600 --> 1:16:59.920 much or trying to make it more at least, so 1:17:00.040 --> 1:17:03.479 am I realistic or plausible or just referencing things that 1:17:03.560 --> 1:17:07.400 have no relationship to real words? You know that it 1:17:07.479 --> 1:17:08.840 might as well be magic. 1:17:08.920 --> 1:17:11.280 Yeah, or you just I guess nowadays you can you 1:17:11.320 --> 1:17:16.000 see a lot of the casual invocation of quantum mechanics 1:17:16.160 --> 1:17:19.840 or nanobots, and that explains everything. They're like, yeah, Tony 1:17:19.880 --> 1:17:23.880 Stark's power armor, it's basically magic. It just melts away 1:17:23.880 --> 1:17:26.479 into nothing, It crawls inside of I guess, like a 1:17:26.479 --> 1:17:28.800 little pocket in its skin or something. It comes back 1:17:28.800 --> 1:17:31.880 out again and then it's everywhere and it's shooting rockets. 1:17:31.920 --> 1:17:34.000 Like don't don't, don't worry about it. It's just it's 1:17:34.120 --> 1:17:40.360 quantum mechanics. It's nanobots. It all works out. Don't worry carbs. Yeah, 1:17:40.400 --> 1:17:42.519 it's just carbon nanotudes. That's all you need to know. 1:17:42.920 --> 1:17:45.960 But they didn't have that excuse back in the old day. 1:17:46.000 --> 1:17:48.600 You had to work a lot more to create quality technobabble. 1:17:48.880 --> 1:17:51.560 You had to come up with phrases like a perpetual 1:17:51.680 --> 1:17:55.800 motion chain reactor beam or the negative condensity. 1:17:56.280 --> 1:17:59.160 Oh so good. All right, we'll go ahead and close 1:17:59.200 --> 1:18:01.000 it out here, But obviously we'd love to hear from 1:18:01.000 --> 1:18:03.400 everyone out there if you have thoughts on Devil Girl 1:18:03.479 --> 1:18:06.599 from Mars or any of the players in this film, 1:18:06.760 --> 1:18:10.200 or or films in a similar genre. Yeah, right in. 1:18:10.320 --> 1:18:12.200 We'd love to hear from if you have memories of 1:18:12.240 --> 1:18:16.320 catching this film on TV back in the day. Yeah, yeah, 1:18:16.439 --> 1:18:20.600 We're always always interested to hear those stories. And in 1:18:20.640 --> 1:18:24.360 the meantime, Yeah, we're primarily a science podcast with core 1:18:24.400 --> 1:18:26.840 episodes on Tuesdays and Thursdays, but on Fridays we do 1:18:26.920 --> 1:18:29.280 weird house cinema here. That's our time to set aside 1:18:29.280 --> 1:18:31.679 most serious concerns and just talk about a weird film. 1:18:32.479 --> 1:18:36.080 I do blog posts about these episodes at simmutamusic dot 1:18:36.080 --> 1:18:39.240 com and if you use letterbox, that's L E T 1:18:39.240 --> 1:18:42.640 T E R bo x D dot com. Well you 1:18:42.680 --> 1:18:44.960 can find us on there. Our username is weird House. 1:18:45.280 --> 1:18:47.599 We maintain a list of all the movies we've covered 1:18:47.640 --> 1:18:50.200 so far, and sometimes we'll include a preview of what 1:18:50.240 --> 1:18:51.639 we're about to cover as well. 1:18:51.920 --> 1:18:54.800 Huge thanks as always to our excellent audio producer Seth 1:18:54.880 --> 1:18:57.400 Nicholas Johnson. If you would like to get in touch 1:18:57.400 --> 1:18:59.920 with us with feedback on this episode or any other two, 1:19:00.120 --> 1:19:02.679 suggest a topic for the future, or just to say hello, 1:19:02.960 --> 1:19:06.120 you can email us at contact at stuffdblow your Mind 1:19:06.280 --> 1:19:13.840 dot com. 1:19:13.960 --> 1:19:16.920 Stuff to Blow Your Mind is production of iHeartRadio. For 1:19:17.000 --> 1:19:19.800 more podcasts from my Heart Radio, visit the iHeartRadio app, 1:19:19.960 --> 1:19:22.719 Apple Podcasts, or wherever you listen to your favorite shows.