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

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Speaker 1: We have another older episode of the show for you

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Speaker 1: here today. This is going to be one that published

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Speaker 1: three twelve, twenty twenty one. It is the nineteen forty

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Speaker 1: special effects showcase Doctor Cyclops, from the director of King Kong.

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Speaker 1: This is a lot of fun. It is a miniaturized

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Speaker 1: people film. Let's jump right in.

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

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Speaker 1: Hey, welcome to Weird How Cinema. This is Rob Lamb.

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Speaker 3: And I'm Joe McCormack, and today we're going to be

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Speaker 3: talking about the nineteen forty size related thriller Doctor Cyclops.

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Speaker 3: You know that line, that classic Hollywood line about how

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Speaker 3: I stayed big it's the pictures that got small. Well,

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Speaker 3: you can't say that about this movie, because this movie

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Speaker 3: is really truly about actors getting small.

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Speaker 1: That's right. This is our first nineteen forties film. I

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Speaker 1: mean barely since it's a nineteen forty release. But yeah,

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Speaker 1: this is one I was not familiar with. I've never

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Speaker 1: heard of it, despite the fact that it has a

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Speaker 1: pretty famous director who we'll get into more about in

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Speaker 1: a second. But it's Ernest B. Showedsack, who if that

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Speaker 1: name doesn't ring a bell, I think his most famous

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Speaker 1: film will for you. It was, of course King Kong.

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Speaker 3: Yeah, this movie I thought was a real firecracker, Like

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Speaker 3: it looks great, it has amazing special effects. The story

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Speaker 3: isn't as complex as you might hope. But then again,

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Speaker 3: I mean this was a I don't know, a horror

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Speaker 3: thriller of the nineteen thirties and forties, of the Hayes

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Speaker 3: Code era, so you can only expect so much moral

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Speaker 3: and intellectual complexity. But just as a big special effects thriller,

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Speaker 3: the kind of Transformers or Independence Day of nineteen forty,

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Speaker 3: it's it's fantastic.

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Speaker 1: Yeah, And I think that's also only the way you

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Speaker 1: have to approach it. It is a it is a

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Speaker 1: nineteen forty special effects fiasco, and the special effects very

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Speaker 1: much come first. And you know, by today's standards they

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Speaker 1: might not look as you know, as amazing. But if

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Speaker 1: you but that's again only if you're looking at it

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Speaker 1: as a modern viewer and not thinking about the history

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Speaker 1: of filmmaking. Because I think if you, if you sit

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Speaker 1: there and watch the film in its entirety and keep

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Speaker 1: reminding yourself like this is nineteen forty you know, this

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Speaker 1: is what had been done before with similar effects, and

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Speaker 1: it will impress you.

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Speaker 3: Oh, I think the special effects in this movie do

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Speaker 3: look fantastic. I mean, I think they look so much

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Speaker 3: better than the quote realistic CGI that floods the films

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Speaker 3: of today.

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Speaker 1: Well that's true, Yeah, I mean it. You know, it's

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Speaker 1: it's very polished, you know, using the tools of the day.

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Speaker 1: It creates I think, some high quality visuals.

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Speaker 3: So this is We've talked about a number of mad

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Speaker 3: scientist movies, and I'm sure we will talk about many

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Speaker 3: more mad scientist movies in the future. Mad Scientists are

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Speaker 3: kind of the hub of the wheel of weird house cinema,

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Speaker 3: and this particular mad scientist is a mad scientist who

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Speaker 3: likes to shrink people with radiation.

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Speaker 1: Yes, the villainous doctor Thorkle. And yeah, he's pretty great

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Speaker 1: because he's you know, I guess his real defining characteristic

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Speaker 1: is he's a complete megalomaniac. You know, he already feels

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Speaker 1: himself to be a giant among tiny people, and his

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Speaker 1: super science just enables him to make that, you know,

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Speaker 1: an objective reality.

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Speaker 3: Now, I think doctor Thorkel would probably shrink you to

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Speaker 3: death for the way he pronounced his name. Because of

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Speaker 3: the one of the funny things in this movie. So

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Speaker 3: his name is spelled t h o r k e L.

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Speaker 3: So I read that in like any other normal American

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Speaker 3: English speaker, I would think Thorkele.

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Speaker 1: Yeah. If I had to go to an appointment with

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Speaker 1: doctor Thorkell, I would call and be like, yeah, I'm

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Speaker 1: a patient of doctor Thorkle's.

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Speaker 3: But the characters in this movie make a really special

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Speaker 3: effort to always emphasize the second letter. So it's like

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Speaker 3: sar Dough, no, mister, accent on the doe. Here we

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Speaker 3: get thor Kel. No mister, it's doctor accent on the kel.

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Speaker 1: Doctor thor Kel. Yeah. And in this picture, you can,

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Speaker 1: I mean you can basically, well, here's the Elevator Pitch,

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Speaker 1: a mad scientist working in the South American jungle, miniaturizes

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Speaker 1: his colleagues when he feels his megalomania is threatened. So

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Speaker 1: it's basically it's apocalypse now, but with doctor thor Kel

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Speaker 1: instead of Colonel Kurtz. Science instead of war, and miniaturization

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Speaker 1: instead of the horror.

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Speaker 3: I'd say that's about accurate. Yeah, and well, and instead

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Speaker 3: of Martin Sheen. It's a ragtag team of the world's

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Speaker 3: greatest scientists and a mule guy.

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Speaker 1: Yeah. And instead of spending like a large portion of

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Speaker 1: the film about the journey, that journey is really quick

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Speaker 1: in this movie. They just skippy right through it.

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Speaker 3: Should we hit that trailer audio?

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Speaker 1: Yeah, let's hear it.

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Speaker 4: Then a crocodile becomes as huge as a prehistoric monster,

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Speaker 4: a rifle as unwieldy.

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Speaker 3: As a siege gun.

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Speaker 4: A terrifying black cat whose jaws me death. A dog

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Speaker 4: looms larger than an elephant, dead in the hands of

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Speaker 4: a ruthless monster.

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Speaker 1: All right, So let's talk about the people involved here. Really,

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Speaker 1: the one we're going to spend the most time on is,

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Speaker 1: of course, the director Ernest B. Shudsack.

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Speaker 3: I know almost nothing about the life of shod Sack

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Speaker 3: except that he is involved with one of the great

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Speaker 3: early special effects and I don't know what you might

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Speaker 3: call it science fiction horror films of the big studio era,

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Speaker 3: which is King Kong.

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Speaker 1: Yeah, I mean really, King Kong. Despite being very much

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Speaker 1: a genre film, it transcends genre like it is it is.

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Speaker 1: That film is an icon of cinematic history itself. You know,

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Speaker 1: it's kind of it's kind of difficult to overstate its

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Speaker 1: importance in the history of film. But he and certainly

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Speaker 1: I think you, mister you Science Theater three thousand fans

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Speaker 1: would agree it is a great eight movie. But Shodzak

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Speaker 1: also directed another great Epe movie, and that would be

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Speaker 1: Mighty Joe Young. So if you're not familiar with King

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Speaker 1: Kong for reasons unimaginable, then perhaps you've heard of Mighty

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Speaker 1: Joe Young.

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Speaker 3: Did that get some kind of remake in the nineteen nineties.

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Speaker 1: Yes, it did. Goodness, I forget who was in it,

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Speaker 1: but they had. Mighty Joe Young is a and is

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Speaker 1: an enlarged ape as well, but not nearly as enlarged

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Speaker 1: as King Kong.

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Speaker 3: It's a medium enlarged ape.

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Speaker 1: Yeah, and I think I've seen some account some comparisons.

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Speaker 1: Just in the same way that Godzilla gets keeps getting

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Speaker 1: bigger and bigger in films, King Kong also inevitably just

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Speaker 1: gets bigger and bigger. But Mighty Joe Young was always

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Speaker 1: a smaller giant ape.

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Speaker 3: So some of this guy's big movies seem all focused

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Speaker 3: on changes in size perspective, either really big creatures or

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Speaker 3: really little creatures. Smaller than they're supposed to be. And

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Speaker 3: this is funny because I think there were This is

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Speaker 3: sort of the A list version of that kind of director,

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Speaker 3: but there were also B list versions of that kind

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Speaker 3: of director, because you get people like bert I Gordon,

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Speaker 3: who made B movies, almost all of which are about

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Speaker 3: creatures of unusual size, either like a person or a

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Speaker 3: creature that gets shrunken down or creatures that get blown

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Speaker 3: up real big.

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Speaker 1: Yeah, and you know, I think ultimately bird Eye Gordon

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Speaker 1: was able to make some really interesting films, but they're

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Speaker 1: generally not put on the same pedestal as King Kong.

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Speaker 3: None of them look as beautiful as Doctor Cyclops does.

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Speaker 3: Another thing that Doctor Cyclops really has going for it

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Speaker 3: with the modern release, especially or at least the blu

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Speaker 3: ray of it that we watched, it has three color

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Speaker 3: Technicolor and the tech color is gorgeous. The colors are

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Speaker 3: just dripping off the screen.

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Speaker 1: Yeah, in a similar way to Doctor X, though that

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Speaker 1: was not technicolor. That was what two tone technicolor.

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Speaker 3: Two color technicolor. Yeah, this is three colors. So this

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Speaker 3: is like the color you know, color films that would

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Speaker 3: come later.

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Speaker 1: Yeah, So there's a certain unreality to it. But it's

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Speaker 1: beautiful and it certainly I mean, I find it more

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Speaker 1: engaging than a lot of black and light films of

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Speaker 1: the period. Just you know, I guess it depends, like

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Speaker 1: you wouldn't want to see mad Love and color. Mad

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Speaker 1: Love belongs in black and white, like that is the

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Speaker 1: world of that film, but this one really benefits from the.

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Speaker 3: Color well and taking place in the jungle. I feel

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Speaker 3: like there are a lot of shots in it that

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Speaker 3: I wonder if they were only included to take advantage

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Speaker 3: of that beautiful three color technicolor, Like like there are

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Speaker 3: parts where it will just cut away to some kind

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Speaker 3: of tropical bird that is squawking in a tree, and

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Speaker 3: you know, we see all of its beautiful feathers.

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Speaker 4: Yeah.

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Speaker 1: Yeah, so you know before three D there was there

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Speaker 1: was technicolor.

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Speaker 3: Yeah.

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Speaker 1: Again, it's quite quite a beautiful looking film. So let's

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Speaker 1: let's talk about the director behind it again. Ernest b.

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Speaker 1: Showed Zach who lived eighteen ninety three through nineteen seventy nine.

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Speaker 1: We're not going to really be able to touch on

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Speaker 1: his entire biography here, but if you want a good one,

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Speaker 1: you know, you can go to the usual places. I

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Speaker 1: found Britannica had a nice one online. But here's some

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Speaker 1: of the interesting points, sort of the bullet points of

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Speaker 1: his life that I think are with driving home here. So,

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Speaker 1: first of all, he ran away from home as a

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Speaker 1: teenager and worked as a surveyor in San Francisco. He

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Speaker 1: got a job as a cameraman from help with help

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Speaker 1: from his brother in nineteen fourteen, and then during the

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Speaker 1: First World War he served as a cameraman in the

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Speaker 1: Signal Corps in France. He stayed in Europe after that

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Speaker 1: he got involved in adventure filmmaking. So this is this

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Speaker 1: is interesting because it makes sense given the nature of

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Speaker 1: films like King Kong. But it also, you know, it

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Speaker 1: seems to run, you know, against the grain if you

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Speaker 1: think about his success in fiction, because earlier on it's

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Speaker 1: less purely fictional. There's a certain documentary aspect to it,

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Speaker 1: like fictionalized documentary work. So he served with the Red

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Speaker 1: Cross in nineteen nineteen, helped refugees from the Russo Polish War,

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Speaker 1: and he also filmed this conflict as well as the

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Speaker 1: Greco Turkish War of nineteen twenty one through twenty two,

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Speaker 1: and in this he essentially wound up working as a

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Speaker 1: conflict journalist and was then sponsored by the New York

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Speaker 1: Times as a cameraman on an around the world expedition. Wow,

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Speaker 1: so he worked on this. He worked with a pilot

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Speaker 1: by the name of Marion C. Cooper, and then began

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Speaker 1: producing what they called natural dramas, which were a kind

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Speaker 1: of combination of travelog and drama. This is super fascinating

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Speaker 1: given what we've covered. Stuff to blow your mind before.

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Speaker 1: In nineteen twenty five, he joined William Beebe's expedition to

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Speaker 1: the Galapagos Islands as a cameraman. Ah.

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Speaker 3: Now William Biebe was if you'll called the was he

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Speaker 3: a marine biologist. He was a researcher who who got

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Speaker 3: down into a basically a gigantic metal ball that just

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Speaker 3: was dangled down deep into the ocean to see what

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Speaker 3: kind of life could be observed through a tiny window

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Speaker 3: in this ball at depths that had never before been

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Speaker 3: documented firsthand. Yeah, the bathosphere horrifying because this ball had

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Speaker 3: no means of self propulsion. It was not a submersible,

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Speaker 3: It was not a submarine. It was just a hollow

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Speaker 3: metal sphere and dangling by a chain. So if the

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Speaker 3: chain breaks, you just sink to the bottom. Of the Ocean.

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Speaker 1: Yes, but he was as we discussed in past episodes

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Speaker 1: of Stuff to Blow Your Mind. He was also notable

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Speaker 1: because he tended to surround himself not only with technicians

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Speaker 1: on these expeditions, but also artists like people who could

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Speaker 1: write about it, people who could illustrate what was going on.

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Speaker 1: And it turns out Showed Sac was one of the

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Speaker 1: creatives that he brought a board to document the work

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Speaker 1: at least on one of the expeditions.

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Speaker 3: Now, I think the bath fear of observations were not

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Speaker 3: in the Galapago, so that was somewhere in the Atlantic

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Speaker 3: of itself, what Bermuda, or somewhere in the Bahamas.

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Speaker 1: Yeah, I believe, So this would have been a yeah,

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Speaker 1: this would have been a different journey. But still it's

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Speaker 1: wonderful how these two came together. I wasn't expecting him

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Speaker 1: to come up in this so anyway, from here Showed

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Speaker 1: Sac and Cooper, they go on to produce a natural

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Speaker 1: drama titled Chang, a Drama of the Wilderness from twenty

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Speaker 1: set in nineteen twenty seven. This earned a nomination for

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Speaker 1: Best Picture at the very first Academy Awards. He then

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Speaker 1: directed The Four Feathers in nineteen twenty nine, based on

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Speaker 1: the nineteen oh two novel, shot in California and the Sudan.

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Speaker 1: And then he shot Rango in Sumatra, which was a

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Speaker 1: film about and this just sounds like super ambitious for

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Speaker 1: any filmmaker because it's about a boy and a rangutang

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Speaker 1: and a tiger, filmed in thirty one. Again, then he

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Speaker 1: shot The Most Dangerous Game in thirty two.

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Speaker 3: Oh okay, wait, didn't we just talk about No, we

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Speaker 3: talked about Ernest Dickerson's Survivor Is it Surviving the Game?

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Speaker 1: Surviving the Game? Yep?

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Speaker 3: The Iced Tea movie, which which is sort of a

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Speaker 3: based on the similar concept the novella or novel The

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Speaker 3: Most Dangerous Game, which is about a human who hunts men.

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Speaker 1: Yes, and so it's been popular for a while. It's

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Speaker 1: one of those those stories that's going to keep getting

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Speaker 1: adapted in one form or the other. Now. From here,

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Speaker 1: Showtech and Cooper moved on to what would be the

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Speaker 1: most famous motion picture that they worked on, and that

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Speaker 1: was King Kong of nineteen thirty three, and then they

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Speaker 1: followed this up with the Sun of Kong, which also

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Speaker 1: came out in nineteen thirty three, and then they did.

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Speaker 1: They also did a movie titled Blind Adventure, which also

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Speaker 1: came out in nineteen thirty three. So it was quite

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Speaker 1: for these.

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Speaker 3: Two regular Roger Corman over here. This is like Roger

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Speaker 3: Corman's in nineteen fifty seven or whatever your year it

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Speaker 3: was that he made like fourteen movies.

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Speaker 1: Yeah, yeah, so yeah, an impressive year. They were really

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Speaker 1: just firing on all cylinders. Now, in nineteen thirty five

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Speaker 1: they made a film titled The Last Days of POMPEII,

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Speaker 1: and this was an ultimately, at least commercially, a failed

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Speaker 1: attempt at an historical epic. So after this, you know,

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Speaker 1: they were kind of, I guess in some version of

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Speaker 1: director's jail. He ended up doing smaller pictures. But then

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Speaker 1: he got another shot at a big genre film, a

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Speaker 1: special effects feature, and that is nineteen forty's Doctor Cyclops.

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Speaker 1: And Cooper was an uncredited producer on this film. Now,

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Speaker 1: of course we'll get back to selector Cyclops in depth here.

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Speaker 1: But World War II broke out and should Zach was

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Speaker 1: like a lot of people sucked into the war machine.

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Speaker 1: A knew, and while testing photographic equipment at high altitude

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Speaker 1: for the US Army Air Corps, he suffered a severe

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Speaker 1: eye injury. I was trying to get like a firm

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Speaker 1: account of it. If there's a good biography about showed Zach.

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Speaker 1: I wasn't able to find one, like a you know,

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Speaker 1: like a book length biography. I believe what happened is

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Speaker 1: he accidentally dropped his face mask. I'm and I'm a

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Speaker 1: little foggy on the exact nature of what the injury was,

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Speaker 1: if we're talking about like some sort of a light

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Speaker 1: blast based injury or of its pressure based, but the

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Speaker 1: end result was severely damaged his eyesight. And he only

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Speaker 1: directed a couple of additional films, really only one notable

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Speaker 1: film after that, and this was Mighty Joe Young in

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Speaker 1: nineteen forty nine, which featured Oscar winning special effects by

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Speaker 1: O'Brien and Ray Harry Housen. Oh god, yeah, yeah, so

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Speaker 1: another big name. And then he finally directed a portion

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Speaker 1: of This Is Cinerama in nineteen fifty two, uncredited to

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Speaker 1: promote the Cinerama widescreen projection process. But that was pretty

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Speaker 1: much yet, like after this eye injury, you know, he

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Speaker 1: just wasn't able and or you know, or didn't want

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Speaker 1: to direct. I think it was, you know, more about

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Speaker 1: ability and then he died in nineteen seventy nine. Cooper

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Speaker 1: died in nineteen seventy three. He did a bit more

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Speaker 1: work after Mighty Joe Young came out, including serving as

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Speaker 1: executive producer on nineteen fifty six as The Searchers, directed

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Speaker 1: by John Ford and starring, of course John Wayne.

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Speaker 3: This is a fantastic coincidence how this story about his

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Speaker 3: damaged eyesight connects to the plot of Doctor Cyclops. It

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Speaker 3: almost makes me wonder, do you know what exactly the

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Speaker 3: time of his injury was. Could it have been before

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Speaker 3: Doctor Cyclops or was it after?

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Speaker 1: I believe that's that's the weird thing about this. I've

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Speaker 1: not been able to find like a firm date for

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Speaker 1: this injury, you know, like a statement, you know, in

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Speaker 1: this year or in this month this is when showed

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Speaker 1: Sack suffered the eye injury. But it's it's my understanding

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Speaker 1: that that the the eye injury occurred after Doctor Cyclops. Wow.

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Speaker 3: Because so we'll get into this a little bit more

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Speaker 3: when we discuss the plot. But one of the main

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Speaker 3: uh situation points of Doctor Cyclops is that the the

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Speaker 3: titular doctor uh doctor Thorkel is a is a brilliant

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Speaker 3: scientist but he's limited by damage to his eyes. He

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Speaker 3: has got poor eyesight already and relies on these really

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Speaker 3: thick glasses.

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Speaker 1: Yeah, so this is this is just mysterious to me,

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Speaker 1: Like it's either an amazing coincidence or I have it

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Speaker 1: wrong and there is more connective tissue here, like you know,

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Speaker 1: maybe he had you know, previously damaged his eyes in

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Speaker 1: some fashion, or his eyesight was already fading. I'm not

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Speaker 1: sure you know what the answer is here. But as

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Speaker 1: it turns out, like his actual biography and in some

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Speaker 1: of the plot elements in Doctor Cyclops do line up.

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Speaker 3: Now. He did not write Doctor Cyclops though correct right.

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Speaker 1: Doctor Cyclops was written by a writer by the name

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Speaker 1: of Tom Kilpatrick who lived eighteen ninety eight through nineteen

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Speaker 1: sixty two, and you can look him up on IMDb.

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Speaker 1: But basically he wrote various crime in Western screenplays and teleplays,

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Speaker 1: but nothing that really jumped out to me personally.

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Speaker 3: I mean, the script here is not really anything to

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Speaker 3: write home about, except in the skillful way that it

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Speaker 3: string that it efficiently strings together excellent special effects set pieces.

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Speaker 3: But you're not going to like run into interesting character

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Speaker 3: development or like super witty dialogue in this movie. This

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Speaker 3: is very much a sets and special effects driven film,

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Speaker 3: but I will give the script credit for connecting each

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Speaker 3: one of those things to the next in a very

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Speaker 3: fast paced and enjoyable way.

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Speaker 1: Yeah. All right, well let's talk about doctor Thorkel. In

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Speaker 1: this film, he is played by an actor by the

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Speaker 1: name of Albert Decker who lived nineteen oh five through

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Speaker 1: nineteen sixty eight. He was a Broadway star turn film actor,

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Speaker 1: and later in his life he served on the California

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Speaker 1: State Legislature and largely transitioned back to stage. In his

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Speaker 1: later career. He often played aggressive characters, and this is

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Speaker 1: probably due to his great size. So he was six two,

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Speaker 1: which granted isn't like super tall, but it's I mean,

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Speaker 1: it's reasonably tall. I'm six two or so, and I

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Speaker 1: bought my head way too often.

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Speaker 3: It's big in this movie.

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Speaker 1: Yeah, And I think part of that too, is that

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Speaker 1: not only is he six two, but he's he's got

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Speaker 1: kind of a thick physique, like not you know, not

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Speaker 1: obese or anything, but he has this kind of he

359
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Speaker 1: looks kind of beefy, especially for a mad scientist in

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Speaker 1: a movie. Usually they're a bit scrawnier and like doctor

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Speaker 1: Thorkel looks like he could really throw down.

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Speaker 3: You would not want to tangle with Thorkel, right.

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Speaker 1: So, yeah, this guy Albert Decker played him. Notable roles

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Speaker 1: for him include roles in Kiss Me Deadly and East

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Speaker 1: of Eden, which was fifty five I believe, as well

366
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Speaker 1: as his last film role, which was in nineteen sixty

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Speaker 1: nine's The Wild Bunch.

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Speaker 4: Ah.

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Speaker 3: Yeah, the hyper violent Sam Peckinpah movie in which I

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Speaker 3: think he plays. He plays some kind of like railroad

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Speaker 3: policeman or like a railway detective. He's hunting the outlaws

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Speaker 3: in the movie. If I recall, Ah, that's one that

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Speaker 3: I have.

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Speaker 1: Somehow I managed to get through my twenties and thirties

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Speaker 1: without seeing The Wild Bunch.

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Speaker 3: It is a dusty, dirty, nasty, violent movie. It makes

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Speaker 3: you need a bath. In fact, I would say the

378
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Speaker 3: full vibe of that movie is some up. In one exchange,

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Speaker 3: the outlaws arrive at the at the compound of this

380
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Speaker 3: powerful guy, and the guy says to them like, you're filthy,

381
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Speaker 3: you need baths. And one of the outlaws says, we

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Speaker 3: don't want baths, we want women.

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Speaker 1: It sounds delightful.

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Speaker 3: One sentence that communicates a lot.

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Speaker 1: All right, Well in this film, yeah, like like we've said,

386
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Speaker 1: he's he's delightful. He's got this wonderful, imposing physical presence.

387
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Speaker 1: He's got these you know, these scheming eyes that are

388
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Speaker 1: accentuated by his his his glasses, bald head in evil mustache.

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Speaker 1: And I have to say he was reminding me of

390
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Speaker 1: somebody as I was watching this, and I figured out

391
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Speaker 1: who it is. It's British actor Julian Barrett, who mighty

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Speaker 1: boosche fans out there. You might recognize him as the

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Speaker 1: actor who played Howard Moon, but he also showed up

394
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Speaker 1: on Dark Place with Darth Morangi as a priest, okay,

395
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Speaker 1: and he also was in something recently he was. He

396
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Speaker 1: was the titular character in Mindhorn, which I've heard good

397
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Speaker 1: things about.

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Speaker 3: I never caught him in Dark Place, but I should

399
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Speaker 3: go back and watch that whole series again in one sitting.

400
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Speaker 1: It's ironically it is the ape heavy episode I believe.

401
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Speaker 3: Oh interesting.

402
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Speaker 1: So anyway, Howard Moon or Julian Barrett same height as

403
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Speaker 1: as Albert Decker, and I feel like Doctor Thorkel could

404
00:21:25,960 --> 00:21:29,720
Speaker 1: have easily been a Julian Barrett character. I included a

405
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Speaker 1: photos here if you can compare the two like they

406
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Speaker 1: just they have very similar physicality facial features. Both are

407
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Speaker 1: prone to wearing a mustache, So I include that for

408
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Speaker 1: what it's worth.

409
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Speaker 3: Yes, I can see and like Doctor Thorkel, he's gonna

410
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Speaker 3: hurt you real bad.

411
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Speaker 1: All right. So there are other humans in this film,

412
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Speaker 1: and we'll touch on them with in less detail because

413
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Speaker 1: there's not much else for non Doctor Thorkel characters to

414
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Speaker 1: do in this film.

415
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Speaker 3: I mean, I would say they execute their functions correctly,

416
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Speaker 3: which is to move the plot from one fantastic set

417
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Speaker 3: and prop sort of extravaganza to another.

418
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Speaker 1: Yes, and do so, you know, with a serious look

419
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Speaker 1: on their face. So the first one to mention here

420
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Speaker 1: is Thomas Coley, who plays Bill Stockton. He lived nineteen

421
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Speaker 1: thirteen through nineteen eighty nine. This was his very first

422
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Speaker 1: film role, followed by mostly a lot of TV work.

423
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Speaker 1: His partner was actor and writer William Rock and Roorick

424
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Speaker 1: was a theater actor on Broadway who is also in

425
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Speaker 1: Not of This Earth.

426
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Speaker 3: Oh wow, So that was the nineteen fifty seven Roger

427
00:22:41,880 --> 00:22:44,600
Speaker 3: Korman movie that we have covered on a previous episode

428
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Speaker 3: of Weird House Cinema. It was I believe the b

429
00:22:48,440 --> 00:22:51,240
Speaker 3: side to Attack of the Crab Monsters. So if in

430
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Speaker 3: fifty seven you went out to a drive in theater

431
00:22:53,880 --> 00:22:56,880
Speaker 3: to watch a sci fi double feature, you may well

432
00:22:56,880 --> 00:22:59,320
Speaker 3: have seen Attack of the Crab Monsters and then Not

433
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Speaker 3: of This Earth with this guy. What was his name again,

434
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Speaker 3: William Rorick?

435
00:23:03,760 --> 00:23:04,680
Speaker 1: Yeah, William Rourick.

436
00:23:04,920 --> 00:23:07,840
Speaker 3: He was the doctor in the movie. I think, not

437
00:23:07,960 --> 00:23:10,280
Speaker 3: to be mean, I think we did not draw a

438
00:23:10,320 --> 00:23:12,280
Speaker 3: lot of attention to his performance in the movie because

439
00:23:12,280 --> 00:23:14,840
Speaker 3: there's not much to say about it except his character.

440
00:23:15,640 --> 00:23:18,320
Speaker 3: If you recall, he played doctor Rochelle, who was the

441
00:23:18,800 --> 00:23:22,439
Speaker 3: blood clinic doctor who gets hypnotized by the aliens so

442
00:23:22,480 --> 00:23:25,440
Speaker 3: that he's unable to talk about the alien's blood condition.

443
00:23:26,440 --> 00:23:29,040
Speaker 3: So so other characters would you know. They'd be sitting

444
00:23:29,040 --> 00:23:31,720
Speaker 3: at a table in a restaurant and the other characters

445
00:23:31,720 --> 00:23:33,639
Speaker 3: would be like, don't you think it's strange that that

446
00:23:33,760 --> 00:23:36,480
Speaker 3: man had alien blood? And Doctor Rochelle would be like,

447
00:23:36,760 --> 00:23:38,320
Speaker 3: you guys want to get some appetizers.

448
00:23:39,880 --> 00:23:43,240
Speaker 1: Yeah. Yes, I wasn't the most memorable of roles, but

449
00:23:44,640 --> 00:23:47,960
Speaker 1: Rock was in a number of interesting films, though several

450
00:23:47,960 --> 00:23:49,919
Speaker 1: of which I've seen. He was in God told me

451
00:23:49,960 --> 00:23:54,520
Speaker 1: to This was the with the Larry Cohen film about

452
00:23:54,880 --> 00:23:58,240
Speaker 1: alien Messiah's. He was in Day of the Dolphin, he

453
00:23:58,320 --> 00:24:01,040
Speaker 1: was in The Wasp Woman, and he was a friend.

454
00:24:01,040 --> 00:24:03,720
Speaker 1: This is interesting biographically. He was a friend of author

455
00:24:03,760 --> 00:24:08,800
Speaker 1: Iam Forrester and Coley and Rorick. Apparently they would like,

456
00:24:08,920 --> 00:24:10,639
Speaker 1: you know, entertain him when he was in town, that

457
00:24:10,680 --> 00:24:12,560
Speaker 1: sort of thing. They'd go out and see shows and stuff.

458
00:24:13,800 --> 00:24:17,280
Speaker 1: But yeah, that's the connect They're all connected here to Koley.

459
00:24:17,400 --> 00:24:20,480
Speaker 1: Coley is the one in this film, not Rorick, but

460
00:24:20,520 --> 00:24:23,040
Speaker 1: the two of them apparently collaborated on various projects over

461
00:24:23,080 --> 00:24:24,760
Speaker 1: the course of their careers and lives together.

462
00:24:25,080 --> 00:24:28,840
Speaker 3: Coley plays the like sort of lead love interest in

463
00:24:28,880 --> 00:24:32,199
Speaker 3: the movie. He's the only character who's hunky enough to

464
00:24:32,359 --> 00:24:35,879
Speaker 3: potentially end up falling in love with the one female character,

465
00:24:36,080 --> 00:24:38,040
Speaker 3: so you kind of know what's gonna happen.

466
00:24:38,200 --> 00:24:41,760
Speaker 1: Yeah, it's a very g golly role. And again this

467
00:24:41,880 --> 00:24:44,479
Speaker 1: was his first screen role to boot, so the results

468
00:24:44,520 --> 00:24:47,480
Speaker 1: are very wooden. There's just not much to this part here,

469
00:24:47,520 --> 00:24:49,800
Speaker 1: but that still it seems like he had an interesting

470
00:24:49,840 --> 00:24:53,240
Speaker 1: life and career. All right, let's talk about the what

471
00:24:53,359 --> 00:24:56,679
Speaker 1: the sole female character in this film. The character is

472
00:24:56,680 --> 00:25:00,440
Speaker 1: doctor Mary Robinson. The actor is Janice Logan was born

473
00:25:00,480 --> 00:25:03,200
Speaker 1: in nineteen fifteen died in nineteen sixty five. She only

474
00:25:03,240 --> 00:25:06,480
Speaker 1: appeared in six films, and this was her third. But

475
00:25:06,960 --> 00:25:10,080
Speaker 1: here here's again a nice connection to the previous episode

476
00:25:10,160 --> 00:25:13,480
Speaker 1: of Weird House Cinema. Her last two film roles were

477
00:25:13,480 --> 00:25:17,119
Speaker 1: both Mexican films directed by Renee Cardona.

478
00:25:17,600 --> 00:25:20,520
Speaker 3: The director of Santo in the Treasure of Dracula.

479
00:25:20,240 --> 00:25:25,800
Speaker 1: Exactly, yes, a major name in Mexican cinema, so both

480
00:25:25,800 --> 00:25:29,080
Speaker 1: were of these films were from nineteen forty four. One

481
00:25:29,400 --> 00:25:31,560
Speaker 1: the translated name is The Black Ace and the other

482
00:25:31,640 --> 00:25:35,399
Speaker 1: is Summer Hotel. And I was looking this up. The

483
00:25:35,440 --> 00:25:39,800
Speaker 1: Black Ace also featured a Dutch occultist and magician named

484
00:25:40,080 --> 00:25:44,199
Speaker 1: David Tobias Bamberg who built himself as Fu Manchu and

485
00:25:44,280 --> 00:25:47,800
Speaker 1: Bamberg also co wrote it. But yeah, which I don't know.

486
00:25:48,000 --> 00:25:51,240
Speaker 1: It sounds like he was sort of an occult star

487
00:25:51,560 --> 00:25:54,199
Speaker 1: or would be star of the day, and so he

488
00:25:54,280 --> 00:25:56,359
Speaker 1: just I guess he wound up in Mexico City and

489
00:25:56,440 --> 00:26:00,000
Speaker 1: was like, Hey, let's do a movie anyway. Logan is

490
00:26:00,119 --> 00:26:03,439
Speaker 1: also rather wooden in this role, but it's not like

491
00:26:03,480 --> 00:26:05,520
Speaker 1: the film gives her much to do other than scurry

492
00:26:05,520 --> 00:26:07,800
Speaker 1: around and try not to be grabbed by giant hands

493
00:26:07,880 --> 00:26:11,040
Speaker 1: or eaten by giant cats. Then we have the character

494
00:26:11,080 --> 00:26:14,000
Speaker 1: of doctor Bullfinch played by Charles Halton who lived eighteen

495
00:26:14,000 --> 00:26:16,800
Speaker 1: seventy six through nineteen fifty nine. Actor of stage and film.

496
00:26:17,240 --> 00:26:19,359
Speaker 1: I would say he has a little more to do

497
00:26:19,400 --> 00:26:22,760
Speaker 1: in this. He's actually pretty funny because he's this stuck

498
00:26:22,840 --> 00:26:25,880
Speaker 1: up professor through and through, even after he's been reduced

499
00:26:25,920 --> 00:26:28,480
Speaker 1: to a tiny human wearing a handkerchief toga.

500
00:26:28,640 --> 00:26:31,280
Speaker 3: Yeah. He refuses a lot of things in the movie,

501
00:26:31,280 --> 00:26:34,000
Speaker 3: like he's constantly being told to do things and saying like.

502
00:26:34,000 --> 00:26:39,800
Speaker 1: I refuse yes on scientific grounds, doctor Thorkel. I absolutely, yeah,

503
00:26:39,800 --> 00:26:43,520
Speaker 1: that kind of thing. Yea, let's see. Then we have

504
00:26:44,119 --> 00:26:48,120
Speaker 1: the character of Steve Baker played by Victor Chillian who

505
00:26:48,119 --> 00:26:50,560
Speaker 1: lived eighteen ninety one through nineteen seventy nine. He was

506
00:26:50,600 --> 00:26:53,080
Speaker 1: in films like Only Angels Have Wings and the ox

507
00:26:53,119 --> 00:26:56,840
Speaker 1: Bow Incident. He wound up blacklisted from Hollywood, presumably for

508
00:26:57,040 --> 00:26:59,639
Speaker 1: political beliefs, but he ended up doing a lot of

509
00:26:59,640 --> 00:27:02,640
Speaker 1: TV and stage work instead after that. And I mean

510
00:27:02,800 --> 00:27:04,920
Speaker 1: he's all right in this. He's also it's a very

511
00:27:04,920 --> 00:27:07,800
Speaker 1: typical type of performance and role for this time period.

512
00:27:07,960 --> 00:27:11,040
Speaker 3: He's the mule guy. He's all about the mules.

513
00:27:11,320 --> 00:27:15,879
Speaker 1: Yeah, all right. Next, we have an actor by the

514
00:27:15,960 --> 00:27:21,480
Speaker 1: name of Frank Jacanelli who plays the character Pedro. So

515
00:27:22,240 --> 00:27:24,520
Speaker 1: this guy lived eighteen ninety eight through nineteen sixty five.

516
00:27:24,600 --> 00:27:27,040
Speaker 1: He was an Italian born World War One vet who

517
00:27:27,040 --> 00:27:30,320
Speaker 1: became a natralized US citizen, and he was a vaudeville

518
00:27:30,400 --> 00:27:34,800
Speaker 1: performer later a USO tour manager. He played a lot

519
00:27:34,800 --> 00:27:37,000
Speaker 1: of Italian characters, as one might admit, but he also

520
00:27:37,400 --> 00:27:41,160
Speaker 1: expect rather but he also seemed to have a lot

521
00:27:41,200 --> 00:27:45,600
Speaker 1: of roles in films playing stereotypical Mexican characters. And in

522
00:27:45,640 --> 00:27:48,320
Speaker 1: this film he plays Pedro, which is very much a

523
00:27:48,359 --> 00:27:49,959
Speaker 1: goofy stereotype character.

524
00:27:50,200 --> 00:27:52,760
Speaker 3: Yeah, they don't say what nationality Pedro is supposed to be,

525
00:27:52,760 --> 00:27:55,880
Speaker 3: but he is playing a Latin American character. Pedro who

526
00:27:55,960 --> 00:27:58,320
Speaker 3: at least definitely in the first half of the movie

527
00:27:58,600 --> 00:28:02,200
Speaker 3: movie as the butt some jokes yeah about like trying

528
00:28:02,280 --> 00:28:04,880
Speaker 3: to find his lost horse, which has actually been shrunken

529
00:28:04,960 --> 00:28:05,680
Speaker 3: with a shrink ray.

530
00:28:06,000 --> 00:28:10,000
Speaker 1: Yeah. So you know, this was a you know, a

531
00:28:10,040 --> 00:28:14,320
Speaker 1: casting situation that definitely made me sigh a bit. But

532
00:28:15,080 --> 00:28:17,520
Speaker 1: if you want to know more about the Yack and Ellie.

533
00:28:17,640 --> 00:28:21,680
Speaker 1: I did find a page on Bewesterns dot com like

534
00:28:21,880 --> 00:28:25,119
Speaker 1: bee Hyphenwesterns dot com that that has like seems to

535
00:28:25,160 --> 00:28:27,480
Speaker 1: be the only place I could find online, Like you

536
00:28:27,520 --> 00:28:30,199
Speaker 1: can only find much of a biography of him on IMDb,

537
00:28:30,240 --> 00:28:32,480
Speaker 1: but this site gets a little more into like his

538
00:28:32,640 --> 00:28:35,040
Speaker 1: what kind of audeville acts he was involved in, and

539
00:28:35,080 --> 00:28:37,280
Speaker 1: he did seem to kind of make a career in

540
00:28:37,320 --> 00:28:41,880
Speaker 1: places out of playing a Mexican stereotype, and certainly that's

541
00:28:41,920 --> 00:28:44,640
Speaker 1: what more or less he's doing in this film. Now,

542
00:28:44,720 --> 00:28:50,360
Speaker 1: another interesting character that is involved in this film ultimately uncredited,

543
00:28:50,640 --> 00:28:53,040
Speaker 1: but there's a guy by the name of Charles Gemora

544
00:28:53,560 --> 00:28:56,360
Speaker 1: who lived nineteen oh three through nineteen sixty one, and

545
00:28:56,400 --> 00:29:00,440
Speaker 1: he's an uncredited makeup artist on this film. You familiar

546
00:29:00,480 --> 00:29:03,040
Speaker 1: with this guy before Joe Well.

547
00:29:02,880 --> 00:29:05,120
Speaker 3: I guess by his work, but not by name.

548
00:29:05,480 --> 00:29:07,720
Speaker 1: Okay, So he was born in the Philippines. He was

549
00:29:07,720 --> 00:29:10,720
Speaker 1: a Hollywood makeup artist who became known as the King

550
00:29:10,800 --> 00:29:14,720
Speaker 1: of the Gorilla Men. And it's interesting how this came to be, Like,

551
00:29:14,760 --> 00:29:17,760
Speaker 1: apparently he's a guy who would he would hang around

552
00:29:17,800 --> 00:29:20,280
Speaker 1: outside the studio and he would he would offer to

553
00:29:20,320 --> 00:29:22,520
Speaker 1: paint for you or draw for you, like he had

554
00:29:23,080 --> 00:29:25,160
Speaker 1: sort of an innate and I'm guessing kind of like

555
00:29:25,240 --> 00:29:29,000
Speaker 1: self taught artistic ability. And of course people eventually notice

556
00:29:29,000 --> 00:29:30,400
Speaker 1: this and they're like, Oh, bring this guy in, we

557
00:29:30,520 --> 00:29:33,680
Speaker 1: got some stuff to paint. Let's get him going. And

558
00:29:33,680 --> 00:29:36,240
Speaker 1: and I guess he was up for anything. And at

559
00:29:36,280 --> 00:29:39,000
Speaker 1: one point in one of these films, they busted out

560
00:29:39,000 --> 00:29:41,600
Speaker 1: a gorilla suit and he's like, Hey, that should be me.

561
00:29:42,200 --> 00:29:44,240
Speaker 1: I'm the right just the right height. I've got the

562
00:29:44,240 --> 00:29:47,800
Speaker 1: physicality to carry this heavy suit. Let me get in there.

563
00:29:48,240 --> 00:29:51,280
Speaker 1: And so that's what he did. And aside to doing

564
00:29:51,280 --> 00:29:52,920
Speaker 1: a lot of he did a lot of monster makeup

565
00:29:52,960 --> 00:29:55,520
Speaker 1: in other films. But he had and he has sixty

566
00:29:55,560 --> 00:29:59,680
Speaker 1: makeup credits on IMDb, but he also has sixty acting credits,

567
00:30:00,120 --> 00:30:04,080
Speaker 1: most of which are playing gorillas wearing gorilla costumes. And

568
00:30:04,440 --> 00:30:06,320
Speaker 1: so if I do recommend looking him up because it's

569
00:30:06,400 --> 00:30:09,000
Speaker 1: kind of amazing, Like if there was a gorilla costume

570
00:30:09,000 --> 00:30:11,680
Speaker 1: in a film, this was often the guy that was

571
00:30:11,760 --> 00:30:15,040
Speaker 1: wearing it. In addition to some you know, aliens here

572
00:30:15,080 --> 00:30:17,440
Speaker 1: and there, he definitely did some alien costumes and other

573
00:30:17,520 --> 00:30:20,880
Speaker 1: kind of like humanoid monster costumes. But his specialty was

574
00:30:20,920 --> 00:30:21,840
Speaker 1: the gorilla costume.

575
00:30:22,000 --> 00:30:24,040
Speaker 3: Oh and I see what do you know? He's in

576
00:30:24,080 --> 00:30:27,040
Speaker 3: at least one adaptation of The Murders in the Room Morgue.

577
00:30:27,280 --> 00:30:30,800
Speaker 1: Yeah. In addition to being an actor and an artist,

578
00:30:31,000 --> 00:30:33,360
Speaker 1: he was also an inventor and he held, actually held

579
00:30:33,360 --> 00:30:35,800
Speaker 1: a couple of patents, including a I would look these

580
00:30:35,880 --> 00:30:39,320
Speaker 1: up on Google scholar, a sanitary pad holder, and a

581
00:30:39,400 --> 00:30:44,520
Speaker 1: tissue dispenser. Wow. Yeah, so interesting fella. Now again, he

582
00:30:44,600 --> 00:30:46,560
Speaker 1: was just a you know, makeup guy in this The

583
00:30:46,760 --> 00:30:50,960
Speaker 1: two main special effects names were of Farcio Edward and

584
00:30:51,080 --> 00:30:55,000
Speaker 1: Gordon Jennings. These were the two that were nominated for

585
00:30:55,080 --> 00:30:57,920
Speaker 1: an OSCAR for the special effects in this film for

586
00:30:57,960 --> 00:31:01,640
Speaker 1: the thirteenth Academy Awards. They ultimately lost to the Thief

587
00:31:01,640 --> 00:31:05,680
Speaker 1: of Bagdad. But these are some impressive special effects. Like

588
00:31:05,720 --> 00:31:09,520
Speaker 1: we said, they're impressive for their time. It's not the

589
00:31:09,560 --> 00:31:13,920
Speaker 1: first time that we see miniaturized humans or giant animals

590
00:31:13,920 --> 00:31:17,880
Speaker 1: in a film. Certainly Todd Browning's nineteen thirty six film

591
00:31:18,080 --> 00:31:22,080
Speaker 1: The Devil Doll predates it, but this film makes some

592
00:31:22,120 --> 00:31:26,320
Speaker 1: impressive use of supersized sets, giant hands, creative combinations of footage.

593
00:31:26,480 --> 00:31:29,160
Speaker 3: Yeah, the special effects in this film are really top notch.

594
00:31:29,360 --> 00:31:31,600
Speaker 3: I was trying to think of earlier examples of really

595
00:31:31,600 --> 00:31:35,760
Speaker 3: good looking special effects for miniaturized humans, and I recall

596
00:31:35,920 --> 00:31:37,720
Speaker 3: the main example I could think of there are the

597
00:31:37,920 --> 00:31:41,880
Speaker 3: excellent shrunken human effects in Bride of Frankenstein. Oh Yes,

598
00:31:42,120 --> 00:31:45,320
Speaker 3: by James Whale, which was released in nineteen thirty five.

599
00:31:45,880 --> 00:31:48,640
Speaker 3: Now you might remember in that movie when we first meet,

600
00:31:49,160 --> 00:31:52,560
Speaker 3: you could argue the villain of the film, Doctor Septimus Pretorius,

601
00:31:53,080 --> 00:31:56,360
Speaker 3: also just one of my favorite mad scientists in movies,

602
00:31:56,880 --> 00:32:00,680
Speaker 3: Doctor Thorkel and doctor Septimus Pretorious. They're really up there

603
00:32:00,720 --> 00:32:02,920
Speaker 3: in the canons of mad science in the first few

604
00:32:02,920 --> 00:32:05,640
Speaker 3: decades of studio motion pictures.

605
00:32:06,040 --> 00:32:10,120
Speaker 1: I love doctor Pretorius because in the Frankenstein film, Brider

606
00:32:10,160 --> 00:32:13,680
Speaker 1: Frankenstein's he's such a mad science enabler, you know. Yes,

607
00:32:13,800 --> 00:32:16,120
Speaker 1: Frankenstein is like, I can't do it anymore. I'm emotionally

608
00:32:16,160 --> 00:32:18,239
Speaker 1: rotted from that last film, and he's like, no, no,

609
00:32:18,560 --> 00:32:20,120
Speaker 1: we've got to get you back in there. We've got

610
00:32:20,120 --> 00:32:21,640
Speaker 1: to get you back in there. You can do it.

611
00:32:21,920 --> 00:32:22,920
Speaker 1: Let's do some evil.

612
00:32:23,800 --> 00:32:27,200
Speaker 3: There's also a great part in Right at Frankenstein where

613
00:32:27,200 --> 00:32:31,160
Speaker 3: we see doctor Pretorius just going down into a crypt

614
00:32:31,840 --> 00:32:34,280
Speaker 3: just to have like a midnight snack. Like he goes

615
00:32:34,360 --> 00:32:37,240
Speaker 3: down into a crypt at night for a picnic. He

616
00:32:37,360 --> 00:32:40,000
Speaker 3: lays out a spread with like food and wine and

617
00:32:40,040 --> 00:32:42,520
Speaker 3: stuff on a big tombstone. It's wonderful.

618
00:32:42,720 --> 00:32:44,720
Speaker 1: Oh man, I forgot about that part.

619
00:32:45,320 --> 00:32:47,800
Speaker 3: Yeah, but I think it's like, right when we first

620
00:32:47,840 --> 00:32:50,360
Speaker 3: meet doctor Pretorius in the movie, I think, what is it.

621
00:32:50,800 --> 00:32:53,280
Speaker 3: Who is it who's playing doctor Frankenstein in the movie.

622
00:32:53,280 --> 00:32:54,120
Speaker 3: Is it Colin Clive.

623
00:32:54,360 --> 00:32:55,640
Speaker 1: Yes, that's Colin Clive.

624
00:32:55,720 --> 00:32:55,920
Speaker 4: Yeah.

625
00:32:55,920 --> 00:32:59,400
Speaker 3: So he's meeting with Colin Clive and he's like showing

626
00:32:59,440 --> 00:33:03,920
Speaker 3: off his latest work, which are these jars of homemade homunculi.

627
00:33:04,160 --> 00:33:07,560
Speaker 3: So he's got like tiny humans in jars, and I

628
00:33:07,560 --> 00:33:10,600
Speaker 3: think he has like a tiny king in one glass vial,

629
00:33:10,720 --> 00:33:14,160
Speaker 3: and a tiny queen and another. I don't really recall

630
00:33:14,240 --> 00:33:16,960
Speaker 3: this special effect relating to the plot much. Maybe I'm

631
00:33:17,000 --> 00:33:19,240
Speaker 3: forgetting how it connects, But no.

632
00:33:19,320 --> 00:33:21,440
Speaker 1: It doesn't really. It's just like, look at what I

633
00:33:21,480 --> 00:33:25,240
Speaker 1: can do. Yeah, I'm pretty great. You're great. Let's work

634
00:33:25,240 --> 00:33:28,440
Speaker 1: together and you will do great mad sciencey things.

635
00:33:28,600 --> 00:33:28,719
Speaker 2: Well.

636
00:33:28,760 --> 00:33:30,719
Speaker 3: Yeah, it seems like one of those things that I

637
00:33:30,800 --> 00:33:35,400
Speaker 3: suspect often happened in early Special effects driven movies like this,

638
00:33:35,480 --> 00:33:38,760
Speaker 3: which is that somebody had figured out how to do

639
00:33:38,960 --> 00:33:41,720
Speaker 3: a certain kind of effect in a way that looked good,

640
00:33:41,840 --> 00:33:44,040
Speaker 3: so you just find a way to work it into

641
00:33:44,040 --> 00:33:45,840
Speaker 3: the movie. It's like, well, we can do it, why

642
00:33:45,880 --> 00:33:50,760
Speaker 3: not do it? So let's get a homunculus in this movie. Yeah,

643
00:33:51,000 --> 00:33:53,360
Speaker 3: and I didn't look deep into it. But as a

644
00:33:53,360 --> 00:33:56,120
Speaker 3: side note, I think those homunculous effects in Bride of

645
00:33:56,160 --> 00:34:00,520
Speaker 3: Frankenstein were done by John Fulton and David Horseley. Uh,

646
00:34:00,560 --> 00:34:03,080
Speaker 3: and that was but it was done by like combining

647
00:34:03,240 --> 00:34:05,360
Speaker 3: different different shots, so you'd have a you know, a

648
00:34:05,400 --> 00:34:08,640
Speaker 3: shot of people inside full sized glass jars with a

649
00:34:08,640 --> 00:34:11,240
Speaker 3: certain kind of background, and then that was matted over

650
00:34:11,360 --> 00:34:15,080
Speaker 3: the full shot, you know, at normal distance, with with

651
00:34:15,200 --> 00:34:17,560
Speaker 3: the actors looking huge in comparison.

652
00:34:26,160 --> 00:34:28,319
Speaker 1: All right, well let's let's get into the plot of

653
00:34:28,400 --> 00:34:29,440
Speaker 1: Doctor Cyclops.

654
00:34:29,760 --> 00:34:31,600
Speaker 3: Okay, here's the full plot breakdown.

655
00:34:31,920 --> 00:34:32,080
Speaker 4: Uh.

656
00:34:32,120 --> 00:34:34,520
Speaker 3: You know, we always have to comment on the opening credits,

657
00:34:34,680 --> 00:34:38,279
Speaker 3: and this movie also has excellent opening credits. Like a

658
00:34:38,360 --> 00:34:42,360
Speaker 3: lot of the weird older movies we have watched. I

659
00:34:42,400 --> 00:34:46,720
Speaker 3: feel like opening credits used to be really cool for

660
00:34:46,719 --> 00:34:49,719
Speaker 3: for weird sci fi movies, and then they they got

661
00:34:50,000 --> 00:34:52,560
Speaker 3: kind of whatever. You know, it'd just be some like

662
00:34:52,640 --> 00:34:55,640
Speaker 3: words on a starfield background for a few decades, and

663
00:34:55,680 --> 00:34:58,440
Speaker 3: then they just started doing away with opening credits altogether.

664
00:34:59,000 --> 00:35:01,200
Speaker 1: Yeah, but for for while, certainly in this age, it

665
00:35:01,200 --> 00:35:03,720
Speaker 1: feels like the opening credits were treated like the poster,

666
00:35:04,200 --> 00:35:07,160
Speaker 1: you know, as if you might be walking by the

667
00:35:07,520 --> 00:35:10,520
Speaker 1: projection screen and deciding whether you're going to stop and

668
00:35:10,560 --> 00:35:12,680
Speaker 1: finish watching. I mean, that's the ultimate weird. I guess

669
00:35:12,680 --> 00:35:15,400
Speaker 1: you get in the audience revved up, but it's like

670
00:35:15,400 --> 00:35:17,800
Speaker 1: they've already paid their money, they're already in the seat.

671
00:35:18,120 --> 00:35:21,239
Speaker 1: They're clearly they're not going to walk out yet, but

672
00:35:21,480 --> 00:35:24,239
Speaker 1: I guess it's about just preparing them for what's to come.

673
00:35:24,719 --> 00:35:27,799
Speaker 3: Well, there's actually a kind of visual continuity from the

674
00:35:27,840 --> 00:35:30,520
Speaker 3: opening credits to the opening scene in this movie, because

675
00:35:30,640 --> 00:35:33,680
Speaker 3: you've got While the credits are rolling, there is this

676
00:35:33,800 --> 00:35:37,879
Speaker 3: flickering light effect that creates a kind of auroral unease

677
00:35:38,400 --> 00:35:40,759
Speaker 3: that is then replicated again once you get to the

678
00:35:40,760 --> 00:35:44,840
Speaker 3: opening scene. It's like the same shimmering, flickering light effect

679
00:35:44,960 --> 00:35:48,680
Speaker 3: carries over into the scene of a bal deman in

680
00:35:48,760 --> 00:35:52,520
Speaker 3: welding goggles who is leaning over a table examining a

681
00:35:52,560 --> 00:35:56,080
Speaker 3: fluorescent green tube in a room lit by the shimmering

682
00:35:56,120 --> 00:36:00,279
Speaker 3: green light. And of course this is doctor Thorkel, and

683
00:36:00,360 --> 00:36:03,799
Speaker 3: the movie gets right to it because his colleague Mendoza

684
00:36:04,040 --> 00:36:06,480
Speaker 3: enters the room, and of course, I my brain every

685
00:36:06,560 --> 00:36:09,400
Speaker 3: time somebody said Mendoza, my brain kept going to the Simpsons.

686
00:36:10,480 --> 00:36:14,080
Speaker 3: But his colleague Mendoza enters the room and he says

687
00:36:14,120 --> 00:36:17,040
Speaker 3: to doctor Thorkel, how much longer will you struggle before

688
00:36:17,080 --> 00:36:20,320
Speaker 3: you realize you can't do it? And thor Kel says,

689
00:36:20,480 --> 00:36:23,560
Speaker 3: no longer, my dear Mendoza, because I have done it.

690
00:36:23,840 --> 00:36:27,400
Speaker 3: Look for yourself. So, you know, they examine what it

691
00:36:27,480 --> 00:36:30,880
Speaker 3: is that Thorkel has been looking at, and Mendoza is aghast.

692
00:36:31,000 --> 00:36:35,000
Speaker 3: He has shaken. Thorkel says, there should be sufficient radium

693
00:36:35,040 --> 00:36:37,600
Speaker 3: to tear it to shreds, and yet it's still alive.

694
00:36:38,320 --> 00:36:40,640
Speaker 3: And we don't know what they're talking about, but Mendoza

695
00:36:40,719 --> 00:36:45,080
Speaker 3: is horrified. He's terrified of the power of whatever they've discovered,

696
00:36:45,400 --> 00:36:47,680
Speaker 3: and he says he starts saying like you must destroy

697
00:36:47,760 --> 00:36:50,680
Speaker 3: your slides, you must burn your notes, and then we

698
00:36:50,719 --> 00:36:56,440
Speaker 3: get some classic backstory through utterly implausible dialogue. You know,

699
00:36:56,480 --> 00:36:59,360
Speaker 3: when somebody says something to another character that that person

700
00:36:59,440 --> 00:37:02,759
Speaker 3: would have no occasion to say to them, just obviously

701
00:37:02,800 --> 00:37:06,000
Speaker 3: for the benefit of the audience. So Mendoza says, when

702
00:37:06,040 --> 00:37:09,840
Speaker 3: I discovered this gigantic radium deposit, I first thought of you,

703
00:37:10,080 --> 00:37:15,040
Speaker 3: doctor Thorkel, my teacher of Doctor Thorkel, the great biologist.

704
00:37:15,320 --> 00:37:17,799
Speaker 3: I sent for you to counsel me. I began to

705
00:37:17,840 --> 00:37:21,560
Speaker 3: imagine here in the jungle, the Thorkell Institute, a palace

706
00:37:21,600 --> 00:37:24,400
Speaker 3: of healing to which all might come. And it was

707
00:37:24,520 --> 00:37:27,160
Speaker 3: very much like Grandpa Seth has been dead for three

708
00:37:27,200 --> 00:37:29,399
Speaker 3: weeks now, and it's been hard on all of us,

709
00:37:29,440 --> 00:37:30,960
Speaker 3: including me his daughter.

710
00:37:31,560 --> 00:37:34,520
Speaker 1: That is correct Joe, my podcast partner who has podcasted

711
00:37:34,520 --> 00:37:35,479
Speaker 1: with me for many years.

712
00:37:35,480 --> 00:37:42,000
Speaker 3: At this point, but Thorkel is immediately dismissive of Mendoza's concerns.

713
00:37:42,040 --> 00:37:44,600
Speaker 3: He's like, you know, bah, we now have the very

714
00:37:44,640 --> 00:37:47,960
Speaker 3: cosmic force of creation itself. We can shape life like clay.

715
00:37:48,760 --> 00:37:52,800
Speaker 3: And then Mendoza again with the classic sci fi movie line.

716
00:37:53,080 --> 00:37:56,360
Speaker 3: He says, you are tampering with powers reserve to God,

717
00:37:56,760 --> 00:38:00,200
Speaker 3: which is almost verbatim the last line of Bride to

718
00:38:00,239 --> 00:38:01,600
Speaker 3: the Monster by ed Wood.

719
00:38:01,800 --> 00:38:03,920
Speaker 1: You remember that part, Yeah, yeah, I think so.

720
00:38:04,160 --> 00:38:08,799
Speaker 3: The movie with Bella Legosi and Tor Johnson. And at

721
00:38:08,840 --> 00:38:12,279
Speaker 3: the end of the movie, Bella's mansion explodes. I don't

722
00:38:12,280 --> 00:38:16,239
Speaker 3: remember why. There's a giant octopus attack and the mansion explodes,

723
00:38:16,640 --> 00:38:19,200
Speaker 3: and then a guy just kind of soberly looks at

724
00:38:19,200 --> 00:38:22,080
Speaker 3: the camera and says he tampered in God's domain.

725
00:38:24,160 --> 00:38:26,360
Speaker 1: So Mendoza is like, we shouldn't tamper in God's domain.

726
00:38:26,440 --> 00:38:29,520
Speaker 1: But doctor Thorkel was like, yeah, that's what we're doing,

727
00:38:29,680 --> 00:38:30,600
Speaker 1: and we're gonna do it.

728
00:38:30,800 --> 00:38:34,440
Speaker 3: He literally says, he says, like, you're tampering with powers

729
00:38:34,440 --> 00:38:36,800
Speaker 3: were served to God. And Thorkel says, that is good.

730
00:38:37,120 --> 00:38:41,000
Speaker 3: That is just what I am doing. And so Mendoza

731
00:38:41,120 --> 00:38:43,959
Speaker 3: tries to forbid it, but Thorkel he's tasted the God

732
00:38:44,040 --> 00:38:46,520
Speaker 3: power now and there's no going back, so it is

733
00:38:46,600 --> 00:38:50,080
Speaker 3: time to murder. And the Mendoza murder is a very

734
00:38:50,120 --> 00:38:54,799
Speaker 3: cool scene. I thought. Thorkel shoves Mendoza's head through this

735
00:38:54,960 --> 00:38:58,359
Speaker 3: radioactive green tube he's been looking at, and then there's

736
00:38:58,360 --> 00:39:03,080
Speaker 3: a photographic effect where Mendoza's face is just gradually layered

737
00:39:03,280 --> 00:39:04,800
Speaker 3: over by skull paint.

738
00:39:05,239 --> 00:39:08,359
Speaker 1: I liked that. It's a weird scene. Apparently this one

739
00:39:08,400 --> 00:39:12,279
Speaker 1: was removed from some TV airings of the film, so

740
00:39:12,280 --> 00:39:13,799
Speaker 1: I don't know if they found it like maybe it

741
00:39:13,840 --> 00:39:16,680
Speaker 1: was for time or it was just considered too graphic.

742
00:39:16,719 --> 00:39:18,880
Speaker 1: There is a like a severity to it, like it

743
00:39:19,200 --> 00:39:24,080
Speaker 1: firmly establishes doctor Thorkel as a guy who will murder,

744
00:39:25,480 --> 00:39:27,600
Speaker 1: you know, for for his science. And we'll really not

745
00:39:27,680 --> 00:39:29,600
Speaker 1: think twice about It's not like there was a struggle

746
00:39:29,719 --> 00:39:31,600
Speaker 1: or some sort of accidents. It wasn't one of those

747
00:39:31,800 --> 00:39:34,880
Speaker 1: situations where oh, I've stumbled into murder and now this

748
00:39:34,960 --> 00:39:37,080
Speaker 1: is who I am. He's like, got to kill you now,

749
00:39:37,120 --> 00:39:38,279
Speaker 1: and he does it right.

750
00:39:39,040 --> 00:39:41,240
Speaker 3: So next we cut to some guys in a fancy

751
00:39:41,320 --> 00:39:43,800
Speaker 3: study and it's it's a room that sort of reminds

752
00:39:43,840 --> 00:39:47,200
Speaker 3: me of M's office in the Sean Connery James Bond movies.

753
00:39:47,400 --> 00:39:50,440
Speaker 3: But weirdly, despite what you might assume about the sort

754
00:39:50,480 --> 00:39:54,320
Speaker 3: of pipe tobacco drabness of such an environment, the first

755
00:39:54,360 --> 00:39:57,720
Speaker 3: thing I couldn't ignore was how much the colors drip

756
00:39:58,520 --> 00:40:00,840
Speaker 3: just in this scene in a study, because the opening

757
00:40:00,880 --> 00:40:04,640
Speaker 3: scene is very much shimmering green and black. It's actually

758
00:40:04,719 --> 00:40:07,400
Speaker 3: sort of closer to the look of the two color

759
00:40:07,440 --> 00:40:10,440
Speaker 3: technicolor range in Doctor X, which we watched for a

760
00:40:10,480 --> 00:40:13,400
Speaker 3: previous episode. Remember how that whole movie was very had

761
00:40:13,400 --> 00:40:16,880
Speaker 3: a kind of diseased green and orange palette without the

762
00:40:17,200 --> 00:40:20,920
Speaker 3: full range of full color Technicolor. This has all the colors.

763
00:40:20,960 --> 00:40:23,760
Speaker 3: Now now that we're in the office and the greens,

764
00:40:23,880 --> 00:40:27,080
Speaker 3: the reds, blue, and orange, the color is almost violent

765
00:40:27,160 --> 00:40:31,120
Speaker 3: and it is really beautiful. It pops. But anyway, so

766
00:40:31,160 --> 00:40:34,160
Speaker 3: we're in the study now and these two stuffy old

767
00:40:34,200 --> 00:40:38,560
Speaker 3: guys are discussing attempts by Thorkel to recruit them by

768
00:40:38,640 --> 00:40:42,120
Speaker 3: mail for research at his remote institute and the Amazon

769
00:40:42,120 --> 00:40:44,160
Speaker 3: I think it's supposed to be in Peru. And this

770
00:40:44,200 --> 00:40:46,719
Speaker 3: is doctor Bullfinch we're meeting. He's one of these two

771
00:40:46,800 --> 00:40:49,799
Speaker 3: guys here, and they're discussing the pros and cons of

772
00:40:49,880 --> 00:40:53,960
Speaker 3: joining doctor Thorkel's jungle institute. Pros are that he is

773
00:40:54,040 --> 00:40:57,000
Speaker 3: the greatest living biologist, so be good to work with him.

774
00:40:57,400 --> 00:41:01,520
Speaker 3: Cons are at he's a strange man, secretive about his experiments.

775
00:41:02,320 --> 00:41:05,040
Speaker 3: You already get the impression that these guys suspect he

776
00:41:05,080 --> 00:41:09,520
Speaker 3: may kill them. Uh, And I love the strong vibe

777
00:41:09,520 --> 00:41:11,480
Speaker 3: from the very beginning that this is going to be

778
00:41:11,560 --> 00:41:14,520
Speaker 3: like the fire Festival of scientific research. It's just like

779
00:41:14,680 --> 00:41:18,120
Speaker 3: lure everybody to a remote location and then just watch

780
00:41:18,160 --> 00:41:19,000
Speaker 3: it all go to hell.

781
00:41:19,400 --> 00:41:21,799
Speaker 1: Yeah. Yeah, Like it's it's pretty obvious where this is,

782
00:41:21,920 --> 00:41:24,600
Speaker 1: at least in general, where this is going, Like mad

783
00:41:24,640 --> 00:41:27,000
Speaker 1: scientist is up to bad stuff in the middle of nowhere,

784
00:41:27,040 --> 00:41:30,480
Speaker 1: where where there is no law but his own. Let's go,

785
00:41:30,640 --> 00:41:32,480
Speaker 1: let's go hang out with him and see what happens.

786
00:41:32,760 --> 00:41:35,319
Speaker 3: Yeah, and then there's a sort of recruiting montage.

787
00:41:35,560 --> 00:41:38,520
Speaker 1: These scenes are they're brief, there's not much to them. Yeah,

788
00:41:38,600 --> 00:41:41,799
Speaker 1: it's kind of like, hey, if you paid your hotel bill, no,

789
00:41:42,080 --> 00:41:44,439
Speaker 1: well better join up with us then, right.

790
00:41:44,480 --> 00:41:46,600
Speaker 3: So we get doctor Bullfinch and then we get doctor

791
00:41:46,640 --> 00:41:49,879
Speaker 3: Mary Robinson who's writing a letter saying she's joining the team.

792
00:41:50,440 --> 00:41:54,560
Speaker 3: I think letter, Yeah, I think the letter says something

793
00:41:54,719 --> 00:42:00,319
Speaker 3: like should should be no problem or something. And then

794
00:42:00,320 --> 00:42:03,320
Speaker 3: we see the recruitment of a good for nothing, deadbeat

795
00:42:03,400 --> 00:42:07,560
Speaker 3: geologist named doctor Bill Stockton. This is the guy played

796
00:42:07,560 --> 00:42:10,239
Speaker 3: by Thomas Coley, and he has pulled in on the

797
00:42:10,280 --> 00:42:14,279
Speaker 3: promise of having his mini IOUs remitted. So when we

798
00:42:14,360 --> 00:42:18,080
Speaker 3: meet him, he's lounging in a patio recliner and I

799
00:42:18,120 --> 00:42:20,520
Speaker 3: don't know if you noticed this did you notice that

800
00:42:20,560 --> 00:42:22,760
Speaker 3: there are just in at least one of these shots,

801
00:42:22,800 --> 00:42:26,040
Speaker 3: there are bugs crawling all over his lap.

802
00:42:26,640 --> 00:42:27,840
Speaker 1: No, I did not notice that.

803
00:42:28,320 --> 00:42:30,879
Speaker 3: I mean, it's easy to miss. It goes by pretty quick,

804
00:42:30,880 --> 00:42:32,520
Speaker 3: and I don't think it's supposed to be like that.

805
00:42:32,640 --> 00:42:34,439
Speaker 3: I think it's just something that happened to get caught

806
00:42:34,480 --> 00:42:36,520
Speaker 3: by the camera. But in one of the shots there

807
00:42:36,520 --> 00:42:40,360
Speaker 3: are at least three flies simultaneously. A couple are on

808
00:42:40,440 --> 00:42:42,759
Speaker 3: his belt buckle, ones kind of to the side of

809
00:42:42,800 --> 00:42:45,480
Speaker 3: his crotch. And it makes me wonder, like, what did

810
00:42:45,480 --> 00:42:48,200
Speaker 3: he spill sugar water and his lap or something in

811
00:42:48,239 --> 00:42:49,040
Speaker 3: an earlier take.

812
00:42:49,960 --> 00:42:52,000
Speaker 1: I don't know. I mean, is he suretless in the scene?

813
00:42:52,400 --> 00:42:53,880
Speaker 3: No? No, no, no, he's got a shirt on.

814
00:42:53,960 --> 00:42:55,799
Speaker 1: Yeah, okay. I was thinking maybe they oiled him up

815
00:42:55,800 --> 00:42:58,759
Speaker 1: a bit, you know. Okay, but who knows.

816
00:42:59,400 --> 00:43:02,480
Speaker 3: But yeah, they're recruiting him because I think there was

817
00:43:02,520 --> 00:43:06,240
Speaker 3: supposed to be another mineralogist or geologist and that person

818
00:43:06,320 --> 00:43:09,000
Speaker 3: fell through, So now they're trying to get the deadbeat guy.

819
00:43:09,040 --> 00:43:11,560
Speaker 3: But he's a handsome dead beat. And then finally they're

820
00:43:11,600 --> 00:43:15,120
Speaker 3: out in the field in Peru and Bullfinch, Robinson and

821
00:43:15,200 --> 00:43:20,200
Speaker 3: Stockton recruit a minor slash mule wrangler named Steve who

822
00:43:20,280 --> 00:43:22,480
Speaker 3: has a lot of mule thoughts and he wants to

823
00:43:22,480 --> 00:43:26,040
Speaker 3: get rich. And there's a mule haglin scene between Bullfinch

824
00:43:26,080 --> 00:43:28,480
Speaker 3: and Steve, which is pretty funny. Steve's like, you can't

825
00:43:28,480 --> 00:43:31,120
Speaker 3: have the mules. I need him for something, and then

826
00:43:31,160 --> 00:43:33,799
Speaker 3: all these eggheads are like, but doctor Thorkel is the

827
00:43:33,840 --> 00:43:38,320
Speaker 3: greatest living authority on organic molecular structure, and the muleman

828
00:43:38,440 --> 00:43:40,560
Speaker 3: is not very impressed. But eventually they get him to

829
00:43:40,600 --> 00:43:44,200
Speaker 3: go along by promising him riches and saying that he

830
00:43:44,280 --> 00:43:46,960
Speaker 3: can come with them to I guess make sure the

831
00:43:47,040 --> 00:43:48,880
Speaker 3: mules are okay, yeah.

832
00:43:48,680 --> 00:43:52,480
Speaker 1: It's it didn't make tremendous amount of sense, but okay,

833
00:43:52,480 --> 00:43:53,080
Speaker 1: he's coming.

834
00:43:52,920 --> 00:43:55,879
Speaker 3: Along, right, So they journey through the jungle. They arrive

835
00:43:55,920 --> 00:44:01,080
Speaker 3: at doctor Thorkell's compound Thorkel's assistant Pedro to inform him

836
00:44:01,160 --> 00:44:05,440
Speaker 3: that they've arrived, and when Thorkel is interrupted, I just

837
00:44:05,480 --> 00:44:08,560
Speaker 3: want to say he's wearing an awesome helmet slash suit.

838
00:44:09,239 --> 00:44:11,560
Speaker 3: Rabbi attached a picture I found of the helmet for

839
00:44:11,600 --> 00:44:12,120
Speaker 3: you to look at.

840
00:44:12,120 --> 00:44:12,319
Speaker 4: Here.

841
00:44:12,400 --> 00:44:16,000
Speaker 3: It is it's just like it's just like a can,

842
00:44:16,200 --> 00:44:19,479
Speaker 3: just like a straight up thick can with two eye

843
00:44:19,560 --> 00:44:23,120
Speaker 3: holes surrounded by glass and then a kind of rounded top.

844
00:44:23,440 --> 00:44:26,160
Speaker 3: It's not very elaborate, but it looks great.

845
00:44:26,480 --> 00:44:28,319
Speaker 1: Yeah, it looks kind of I mean, it reminds me

846
00:44:28,360 --> 00:44:31,200
Speaker 1: a lot of some of the stock rocketmen and robot

847
00:44:31,320 --> 00:44:34,239
Speaker 1: costumes of the of the day. You know. It looks

848
00:44:34,239 --> 00:44:36,080
Speaker 1: a little bit like a medieval night as well.

849
00:44:36,360 --> 00:44:38,560
Speaker 3: Oh, it's kind of the night guarding the bridge and

850
00:44:38,680 --> 00:44:40,080
Speaker 3: Monty Python and the Holy Grail.

851
00:44:41,000 --> 00:44:41,239
Speaker 1: Yep.

852
00:44:41,600 --> 00:44:43,840
Speaker 3: And so they get there and they all meet doctor Thorkel,

853
00:44:44,000 --> 00:44:47,360
Speaker 3: and Doctor Thorkel is a creep from the first minute.

854
00:44:47,400 --> 00:44:50,120
Speaker 3: They do not like ease into it. He's got the

855
00:44:50,200 --> 00:44:53,920
Speaker 3: unholy combo of a huge head with tiny glasses, and

856
00:44:54,280 --> 00:44:58,040
Speaker 3: he's he's huge in general. But it's just this like large,

857
00:44:58,080 --> 00:45:01,240
Speaker 3: bulky bald man grabbing people by the arm and moving

858
00:45:01,280 --> 00:45:04,239
Speaker 3: them around and saying like, I'm so glad you've come.

859
00:45:04,320 --> 00:45:06,480
Speaker 3: He might as well be saying, you know what lovely

860
00:45:06,600 --> 00:45:09,920
Speaker 3: cells you're made out of. And so we find out

861
00:45:09,960 --> 00:45:12,839
Speaker 3: that doctor Thorkel sent for the assistance of the other

862
00:45:12,920 --> 00:45:16,600
Speaker 3: scientists because of damage to his eyes. The damage to

863
00:45:16,640 --> 00:45:20,239
Speaker 3: his eyes no longer allows him to use the microscope,

864
00:45:20,640 --> 00:45:23,200
Speaker 3: but I was wondering, Wait a minute, then, if that's

865
00:45:23,239 --> 00:45:26,359
Speaker 3: the only problem, why did he send for three different scientists?

866
00:45:26,360 --> 00:45:29,680
Speaker 3: Then it almost seems like the implication is that doctor

867
00:45:29,719 --> 00:45:32,680
Speaker 3: Thorkel thinks that if he had fully functioning eyes, he

868
00:45:32,719 --> 00:45:34,920
Speaker 3: would be worth four scientists put together.

869
00:45:36,280 --> 00:45:39,239
Speaker 1: Yeah, that makes sense, or you know, or maybe it's

870
00:45:39,280 --> 00:45:43,200
Speaker 1: it's he doesn't expect all of them to live that long.

871
00:45:43,280 --> 00:45:45,920
Speaker 1: You know, it needs multiple sets of spare eyes.

872
00:45:46,480 --> 00:45:49,080
Speaker 3: Well, this is weird because so here's a question I have.

873
00:45:49,239 --> 00:45:52,440
Speaker 3: He is a creep from the beginning, but the movie

874
00:45:52,480 --> 00:45:55,280
Speaker 3: does not suggest that he planned to kill them all along.

875
00:45:55,480 --> 00:45:58,680
Speaker 3: Like the fact that he kills them does genuinely seem

876
00:45:58,719 --> 00:46:01,880
Speaker 3: to be an unexpect to development for him. He kills

877
00:46:01,920 --> 00:46:04,560
Speaker 3: them because they discover his secrets.

878
00:46:04,640 --> 00:46:08,400
Speaker 1: Basically, yeah, yeah, I mean, I guess he what he

879
00:46:08,560 --> 00:46:10,440
Speaker 1: I think, has revealed that he he sort of needed

880
00:46:10,640 --> 00:46:15,040
Speaker 1: a mineralist, a mineral specialist, uh to uh, to weigh

881
00:46:15,120 --> 00:46:17,520
Speaker 1: in on some of his work. He needed somebody with

882
00:46:17,560 --> 00:46:21,680
Speaker 1: a bio biology background. But I don't know about the professor,

883
00:46:21,719 --> 00:46:23,600
Speaker 1: did he I mean just sort of brought him into

884
00:46:24,360 --> 00:46:27,359
Speaker 1: to boast to him about like maybe part of it

885
00:46:27,400 --> 00:46:30,560
Speaker 1: is like ultimately he needs an audience, like he's he's

886
00:46:30,600 --> 00:46:33,799
Speaker 1: doing amazing thing. So yes, I need I need a

887
00:46:33,840 --> 00:46:36,640
Speaker 1: basically a team of judges to come here and tell

888
00:46:36,680 --> 00:46:37,520
Speaker 1: me how great I am.

889
00:46:37,719 --> 00:46:39,960
Speaker 3: I think we're sort of rewriting the script as we go.

890
00:46:40,040 --> 00:46:42,440
Speaker 3: But that's I think you're onto something there that that

891
00:46:42,560 --> 00:46:45,440
Speaker 3: is part of it. Like he as a megalomaniac, he

892
00:46:45,520 --> 00:46:47,719
Speaker 3: needs people to witness his greatness.

893
00:46:48,040 --> 00:46:50,840
Speaker 1: Yeah, so that that's one of the downsides to working

894
00:46:50,840 --> 00:46:53,600
Speaker 1: out in the jungle, is that in the jungie is

895
00:46:53,600 --> 00:46:56,799
Speaker 1: you occasionally have to bring people in to recognize your greatness.

896
00:46:57,040 --> 00:46:59,840
Speaker 3: Right, And so they're there and they recognize his greatness,

897
00:46:59,840 --> 00:47:02,239
Speaker 3: but he wants them to get right to work. So

898
00:47:02,320 --> 00:47:04,359
Speaker 3: he has them look at some stuff in a microscope

899
00:47:04,760 --> 00:47:08,560
Speaker 3: and Stockton, the deadbeat hunk, he sees some iron crystals

900
00:47:08,640 --> 00:47:11,440
Speaker 3: under the microscope. This is like minutes after they've arrived,

901
00:47:11,960 --> 00:47:15,120
Speaker 3: and he says, yes, it's iron crystals in the microscope.

902
00:47:15,400 --> 00:47:18,440
Speaker 3: And doctor Thorkel is like, ah, eureka, Okay, that's it.

903
00:47:18,480 --> 00:47:22,600
Speaker 3: Well I'm done with you guys now. But Bullfinch, which

904
00:47:22,719 --> 00:47:25,920
Speaker 3: is funny, I mean very funny, Bullfinch is mad. He

905
00:47:25,960 --> 00:47:29,239
Speaker 3: immediately gets super indignant and starts yelling and he's like,

906
00:47:29,280 --> 00:47:33,920
Speaker 3: you can't do this to us. At one point, Bullfinch

907
00:47:34,000 --> 00:47:36,279
Speaker 3: is like, are you are you intimating that you brought

908
00:47:36,320 --> 00:47:39,400
Speaker 3: us here just for five minutes of work? And Thorkel

909
00:47:39,560 --> 00:47:42,240
Speaker 3: is like, I am not intimating. I am merely stating

910
00:47:42,280 --> 00:47:46,600
Speaker 3: a fact. Which that's man. That's one of my favorite

911
00:47:46,600 --> 00:47:50,040
Speaker 3: types of statements in English, the like I'm merely stating

912
00:47:50,040 --> 00:47:52,719
Speaker 3: a fact like that wasn't a threat, it was a promise.

913
00:47:53,480 --> 00:47:57,279
Speaker 3: I'm not suggesting anything. I'm merely stating a fact. I

914
00:47:57,320 --> 00:47:59,120
Speaker 3: wonder when was the first instance of that.

915
00:48:00,160 --> 00:48:03,040
Speaker 1: I don't know, but yeah, this seems like at least

916
00:48:03,080 --> 00:48:05,160
Speaker 1: an early variation on the theme.

917
00:48:05,440 --> 00:48:08,319
Speaker 3: But anyway, Bullfinch and Robinson they are mad and they

918
00:48:08,320 --> 00:48:10,520
Speaker 3: want to know what it is that that Thorp is

919
00:48:10,560 --> 00:48:14,360
Speaker 3: working on before they leave. Steve the mule guy, he

920
00:48:14,440 --> 00:48:16,759
Speaker 3: thinks he knows. He thinks the answer is that there

921
00:48:16,840 --> 00:48:19,719
Speaker 3: is a mind full of precious ore somewhere around here.

922
00:48:20,480 --> 00:48:22,799
Speaker 3: Stockton doesn't seem to care much. It seems like he's

923
00:48:22,840 --> 00:48:25,239
Speaker 3: fine to just like get his bill settled and then leave.

924
00:48:25,800 --> 00:48:25,960
Speaker 1: You know.

925
00:48:26,000 --> 00:48:27,600
Speaker 3: All he wants to do is lay around in a

926
00:48:27,719 --> 00:48:28,600
Speaker 3: chair basically.

927
00:48:29,080 --> 00:48:30,759
Speaker 1: Yeah, but the other two It is kind of like

928
00:48:30,840 --> 00:48:33,200
Speaker 1: they thought they thought this was going to be Thorkel

929
00:48:33,320 --> 00:48:35,879
Speaker 1: at all. Yes, you know, they thought they were.

930
00:48:35,800 --> 00:48:38,400
Speaker 3: Going to go author credit, Yes exactly.

931
00:48:38,080 --> 00:48:41,239
Speaker 1: But no, there's only one author on Thorkel research, and

932
00:48:41,280 --> 00:48:42,360
Speaker 1: that's doctor Thorkel.

933
00:48:43,000 --> 00:48:45,080
Speaker 3: Now you might know more about this than me. I

934
00:48:45,160 --> 00:48:49,640
Speaker 3: was kind of curious about this movie's abundance of unflattering pants.

935
00:48:50,000 --> 00:48:53,520
Speaker 3: There are multiple characters wearing pants that have like big

936
00:48:53,680 --> 00:48:57,160
Speaker 3: saggy butt and thigh areas that sometimes make it look

937
00:48:57,200 --> 00:48:59,880
Speaker 3: like they're wearing like a weird sort of diaper or

938
00:49:00,120 --> 00:49:02,600
Speaker 3: just sort of just have a saggy butt in the pants.

939
00:49:02,840 --> 00:49:06,160
Speaker 3: Are these some specific kind of rugged outdoor pants of

940
00:49:06,200 --> 00:49:10,319
Speaker 3: the era, like the go into the Jungle pants. I

941
00:49:10,320 --> 00:49:11,640
Speaker 3: didn't know what the deal with this was.

942
00:49:12,239 --> 00:49:14,560
Speaker 1: I don't know. I just I just thought maybe that

943
00:49:14,640 --> 00:49:16,040
Speaker 1: was the style of the day. You know, he just

944
00:49:16,040 --> 00:49:19,760
Speaker 1: wore big balloony pants. But I could be wrong. Maybe

945
00:49:20,160 --> 00:49:21,960
Speaker 1: the pants experts out there can weigh in.

946
00:49:22,320 --> 00:49:22,440
Speaker 4: Well.

947
00:49:22,440 --> 00:49:25,399
Speaker 3: Anyway, Steve the mule guy goes out snooping at night

948
00:49:25,800 --> 00:49:28,440
Speaker 3: the day before Thorkell has told them they're supposed to leave.

949
00:49:28,600 --> 00:49:31,000
Speaker 3: Thorkell says you need to leave tomorrow, and so is

950
00:49:31,040 --> 00:49:33,399
Speaker 3: that night, and Steve goes out snooping around. I think

951
00:49:33,440 --> 00:49:37,280
Speaker 3: he wants to track down the mine. So while Thorkel

952
00:49:37,360 --> 00:49:41,720
Speaker 3: is inside wearing his crazy helmet and doing science works,

953
00:49:42,000 --> 00:49:44,560
Speaker 3: Steve is snooping around this big hole in the ground

954
00:49:44,640 --> 00:49:47,319
Speaker 3: that has a giant like rigging over it and with

955
00:49:47,360 --> 00:49:49,760
Speaker 3: some kind of rope dangling something down in the hole.

956
00:49:50,320 --> 00:49:53,160
Speaker 3: And then he's almost caught by Thorkell. Thorkell comes out

957
00:49:53,200 --> 00:49:56,920
Speaker 3: and Baker hides, and it is revealed that Thorkell is

958
00:49:56,960 --> 00:50:01,080
Speaker 3: operating some kind of awesome giant copper ill in the

959
00:50:01,160 --> 00:50:04,279
Speaker 3: Thorkel Super Deep borehole. He's like drilling down into the

960
00:50:04,320 --> 00:50:07,160
Speaker 3: earth and getting something out of the earth. I don't know.

961
00:50:07,719 --> 00:50:09,640
Speaker 3: I think maybe it's the radium samples.

962
00:50:10,440 --> 00:50:14,240
Speaker 1: Yeah, there's this. They don't talk about it that much,

963
00:50:14,280 --> 00:50:19,120
Speaker 1: but there's this sense that he's somehow absorbing radiation out

964
00:50:19,160 --> 00:50:24,520
Speaker 1: of the ground itself, you know, by lowering this probe

965
00:50:24,600 --> 00:50:28,200
Speaker 1: down into it. That's kind of the sense I was

966
00:50:28,239 --> 00:50:28,839
Speaker 1: getting from it.

967
00:50:29,239 --> 00:50:32,120
Speaker 3: Yeah, and then we see at some point Thorkel is

968
00:50:32,160 --> 00:50:34,960
Speaker 3: alone in his lab later and it reveals that he

969
00:50:35,040 --> 00:50:38,279
Speaker 3: has created a tiny pony. This is very much like

970
00:50:38,320 --> 00:50:43,760
Speaker 3: the Septimus Pretorious images so there is somehow they've superimposed

971
00:50:43,800 --> 00:50:47,880
Speaker 3: footage of a full sized pony kind of neighing and

972
00:50:47,920 --> 00:50:51,520
Speaker 3: clumping around, but they have matted that onto the shot

973
00:50:51,600 --> 00:50:54,160
Speaker 3: of Thorkel sitting at a table, and so it looks

974
00:50:54,200 --> 00:50:57,640
Speaker 3: like the pony is on the table and it looks great. Yeah,

975
00:50:57,680 --> 00:50:59,279
Speaker 3: but then later we check in. I guess this is

976
00:50:59,320 --> 00:51:03,200
Speaker 3: The next morning, Bullfinch is examining some pig remains that

977
00:51:03,280 --> 00:51:06,359
Speaker 3: he came across, and it claims he claims that he's

978
00:51:06,400 --> 00:51:08,919
Speaker 3: discovered a new species of pig that is only four

979
00:51:08,960 --> 00:51:12,279
Speaker 3: inches long at maturity. And Bullfinch tries to name the

980
00:51:12,320 --> 00:51:18,120
Speaker 3: species after himself, like you do, and then Thorkell rolls

981
00:51:18,200 --> 00:51:21,319
Speaker 3: up on them and he's immediately like, haha, you weak

982
00:51:21,360 --> 00:51:25,120
Speaker 3: minded fool, you think you've discovered a new pig. And

983
00:51:25,160 --> 00:51:28,480
Speaker 3: he said, I wrote down this quote. Strange how absorbed

984
00:51:28,560 --> 00:51:31,680
Speaker 3: man has always been in the size of things.

985
00:51:34,040 --> 00:51:36,040
Speaker 1: Because of course he knows what this is. This is

986
00:51:36,080 --> 00:51:38,160
Speaker 1: not a new species of pig. This is just a

987
00:51:38,200 --> 00:51:40,040
Speaker 1: normal pig that he shrank down.

988
00:51:40,520 --> 00:51:44,000
Speaker 3: He's been shrinking pigs for months. And they're all here amazed,

989
00:51:44,000 --> 00:51:47,080
Speaker 3: thinking they've discovered new species of pigs, and he's like, ah,

990
00:51:47,239 --> 00:51:50,480
Speaker 3: you idiots. You don't understand pig shrinking. I'll tell you

991
00:51:50,520 --> 00:51:55,840
Speaker 3: about pig shrinking. But Bullfinch retorts, he says that size

992
00:51:55,880 --> 00:51:58,880
Speaker 3: is the chief difference between mammals. I wrote down this

993
00:51:58,960 --> 00:52:01,920
Speaker 3: quote as well. He says, in all essentials, a mouse

994
00:52:02,000 --> 00:52:08,399
Speaker 3: and a whale are identical. Yeah, so Bullfinch, I guess

995
00:52:08,440 --> 00:52:10,600
Speaker 3: he's supposed to be like the second best biologist in

996
00:52:10,600 --> 00:52:13,120
Speaker 3: the world. But I'm not sure about that one.

997
00:52:13,160 --> 00:52:15,560
Speaker 1: There was a big gap between first and second greatest

998
00:52:15,600 --> 00:52:18,200
Speaker 1: biologists of the time. I guess, yeah, No, I don't

999
00:52:18,239 --> 00:52:20,759
Speaker 1: think there were. I think Gray Bao just in real

1000
00:52:20,800 --> 00:52:24,520
Speaker 1: life before these guys would have argued, no, a mouse

1001
00:52:24,560 --> 00:52:27,800
Speaker 1: isn't in a whale or not essentially the same creature.

1002
00:52:27,640 --> 00:52:29,800
Speaker 1: There are some major differences.

1003
00:52:30,800 --> 00:52:33,640
Speaker 3: But after this, I like this. Thorkel, like we said,

1004
00:52:33,680 --> 00:52:36,200
Speaker 3: even though he is very much a creep from the beginning,

1005
00:52:36,760 --> 00:52:39,000
Speaker 3: he does seem to give them another chance. He tries

1006
00:52:39,040 --> 00:52:41,000
Speaker 3: to send them away again. He's like, be on your way,

1007
00:52:41,080 --> 00:52:44,399
Speaker 3: but Bullfinch is just so mad. He refuses to leave

1008
00:52:44,560 --> 00:52:47,520
Speaker 3: until he finds out what's going on, and then Thorkel

1009
00:52:47,680 --> 00:52:50,120
Speaker 3: begins to threaten them. He's like, if you do not

1010
00:52:50,239 --> 00:52:52,960
Speaker 3: leave within the hour, you will remain at your own peril.

1011
00:52:55,320 --> 00:52:58,480
Speaker 3: So there's some snooping around After this, Thorkell goes back.

1012
00:52:58,560 --> 00:53:01,400
Speaker 3: I guess, assuming that there's they're gonna leave, but they

1013
00:53:01,480 --> 00:53:04,240
Speaker 3: end up investigating. They're too curious for their own good.

1014
00:53:04,520 --> 00:53:07,680
Speaker 3: They hear some horse sounds and they end up spying

1015
00:53:07,719 --> 00:53:10,960
Speaker 3: on Thorkel, appearing to like search around for a horse

1016
00:53:11,040 --> 00:53:13,920
Speaker 3: in tall grass. So they all start to think, Okay,

1017
00:53:13,960 --> 00:53:18,520
Speaker 3: Thorkell has gone mad, but Pedro explains that actually he

1018
00:53:18,640 --> 00:53:21,400
Speaker 3: has delivered a bunch of animals to Thorkel, and he

1019
00:53:21,440 --> 00:53:23,880
Speaker 3: doesn't know where they are now. He's delivered rats and

1020
00:53:24,000 --> 00:53:27,319
Speaker 3: chickens and dogs and cats, and he doesn't know where

1021
00:53:27,320 --> 00:53:33,160
Speaker 3: they are now except for there's this cat, Satanas, and

1022
00:53:33,440 --> 00:53:36,439
Speaker 3: oh my god, Satanas is a good cat.

1023
00:53:37,120 --> 00:53:41,800
Speaker 1: Yeah. Upon just mere introduction of Satanas by doctor Thorkel,

1024
00:53:42,040 --> 00:53:44,879
Speaker 1: I instantly laugh, in part because just seeing a cat

1025
00:53:45,000 --> 00:53:47,759
Speaker 1: just sitting there looking slightly bored in a film is

1026
00:53:47,800 --> 00:53:52,279
Speaker 1: always it a light but also because it doesn't take

1027
00:53:52,400 --> 00:53:55,759
Speaker 1: much to realize where this is going. You know that

1028
00:53:55,880 --> 00:53:58,200
Speaker 1: cat is going to try and eat a tiny person

1029
00:53:58,200 --> 00:54:00,920
Speaker 1: at some point in this film, oh yeah, which.

1030
00:54:00,760 --> 00:54:03,040
Speaker 3: Is a brilliant idea for for a horror movie. By

1031
00:54:03,040 --> 00:54:05,799
Speaker 3: the way, I mean, a cat of sufficient size to

1032
00:54:05,840 --> 00:54:08,440
Speaker 3: attack you is a terrifying proposition.

1033
00:54:09,040 --> 00:54:11,960
Speaker 1: Oh yeah, Like anybody who owns a cat can can

1034
00:54:11,960 --> 00:54:14,880
Speaker 1: attest to this because you know, sometimes they will they

1035
00:54:14,880 --> 00:54:18,399
Speaker 1: will hunt the feet of full sized adults like me. Uh,

1036
00:54:18,440 --> 00:54:23,160
Speaker 1: and their their speed, the reflexes are terrifying despite how

1037
00:54:23,320 --> 00:54:25,760
Speaker 1: much time they spend, you know, laying around doing nothing

1038
00:54:26,080 --> 00:54:29,520
Speaker 1: and sleeping. When they want to move, they can do

1039
00:54:29,640 --> 00:54:32,880
Speaker 1: so with just incredible speed. So it's easy to imagine

1040
00:54:32,920 --> 00:54:37,000
Speaker 1: yourself as a small creature and having to face you know,

1041
00:54:37,040 --> 00:54:41,360
Speaker 1: the ferocity of a domestic cat. You know, you wouldn't

1042
00:54:41,360 --> 00:54:43,960
Speaker 1: you wouldn't stand a chance your your only chance really

1043
00:54:43,960 --> 00:54:45,960
Speaker 1: would be that it would grow bored and torturing you

1044
00:54:46,000 --> 00:54:46,359
Speaker 1: to death.

1045
00:54:46,760 --> 00:54:49,760
Speaker 3: Yeah, I mean, I would say seek out water because

1046
00:54:49,800 --> 00:54:51,520
Speaker 3: you know, a lot of a lot of domestic cats

1047
00:54:51,560 --> 00:54:54,879
Speaker 3: don't don't really like getting too wet. I guess there's

1048
00:54:54,920 --> 00:54:56,960
Speaker 3: some exceptions, but you know they can be scared about

1049
00:54:57,000 --> 00:54:59,200
Speaker 3: getting too close to water. But then again, if you're

1050
00:54:59,360 --> 00:55:02,600
Speaker 3: very small, I guess water would probably like a shrunken

1051
00:55:02,680 --> 00:55:05,800
Speaker 3: human might very well be in extreme danger from water.

1052
00:55:06,200 --> 00:55:07,719
Speaker 3: We can talk about this more as we go on.

1053
00:55:07,880 --> 00:55:10,880
Speaker 3: But I recall again the JBS Halliday and Essay, you know,

1054
00:55:10,960 --> 00:55:14,080
Speaker 3: on being the right size, where he talks about how

1055
00:55:14,280 --> 00:55:17,720
Speaker 3: getting wet is an entirely different proposition for a small

1056
00:55:17,800 --> 00:55:20,480
Speaker 3: animal than it is for a larger animal, because like

1057
00:55:20,480 --> 00:55:23,160
Speaker 3: if if a rat gets wet, like a huge percent

1058
00:55:23,320 --> 00:55:26,160
Speaker 3: of its body weight is now clinging to the outside

1059
00:55:26,200 --> 00:55:26,400
Speaker 3: of it.

1060
00:55:26,800 --> 00:55:27,720
Speaker 1: Yeah.

1061
00:55:27,719 --> 00:55:30,359
Speaker 3: But anyway, so there's this question like where did all

1062
00:55:30,360 --> 00:55:33,520
Speaker 3: the animals go, you know, all the animals that Pedro delivered,

1063
00:55:33,840 --> 00:55:36,160
Speaker 3: and where are they now? Pedro says, I don't know.

1064
00:55:36,280 --> 00:55:38,800
Speaker 3: But Satanas every day she gets more fat.

1065
00:55:39,320 --> 00:55:41,960
Speaker 1: She is really living her best life here. She's getting

1066
00:55:41,960 --> 00:55:46,239
Speaker 1: to kill, to hunt, and kill so many animals that

1067
00:55:46,320 --> 00:55:47,520
Speaker 1: she wouldn't get to otherwise.

1068
00:55:47,640 --> 00:55:52,239
Speaker 3: Shrunken pigs, shrunken horses. It's all gravy for Satanas.

1069
00:55:52,560 --> 00:55:53,400
Speaker 1: Yeah.

1070
00:55:53,400 --> 00:55:56,479
Speaker 3: But anyway, so they're packing up to actually leave this time,

1071
00:55:56,520 --> 00:55:59,760
Speaker 3: I think, But then they discovered that they keep finding

1072
00:55:59,800 --> 00:56:03,759
Speaker 3: re to stay. They discovered that the ore that they've

1073
00:56:03,800 --> 00:56:06,759
Speaker 3: been finding around this place contains radium, which at this

1074
00:56:06,880 --> 00:56:09,200
Speaker 3: time they're like, WHOA, that's worth a lot of money

1075
00:56:09,239 --> 00:56:12,480
Speaker 3: and it's very important for scientific research. I guess this

1076
00:56:12,480 --> 00:56:14,719
Speaker 3: would have been on the cusp of the era of

1077
00:56:14,760 --> 00:56:17,000
Speaker 3: the discovery of nuclear power.

1078
00:56:17,360 --> 00:56:20,319
Speaker 1: Yeah, so certainly you know that. The scientists are like,

1079
00:56:20,400 --> 00:56:23,840
Speaker 1: this is great for science. And then mule guy is like, like,

1080
00:56:23,920 --> 00:56:27,080
Speaker 1: there's there's that's some expensive radium. I want a piece

1081
00:56:27,080 --> 00:56:27,359
Speaker 1: of it.

1082
00:56:27,520 --> 00:56:30,120
Speaker 3: Yes, get me the money. And so they start snooping

1083
00:56:30,160 --> 00:56:33,120
Speaker 3: around in Thorkel's stuff and then there's a big confrontation.

1084
00:56:34,040 --> 00:56:37,720
Speaker 3: They find records of him saying that he has shrunk things,

1085
00:56:37,760 --> 00:56:41,600
Speaker 3: and they're like, well, he's obviously lost his mind, and

1086
00:56:41,640 --> 00:56:44,120
Speaker 3: they and then he comes in and discovers them going

1087
00:56:44,160 --> 00:56:47,799
Speaker 3: through his stuff that they have a confrontation and he's like, here,

1088
00:56:47,880 --> 00:56:50,319
Speaker 3: well let me explain everything to you. Come into this

1089
00:56:50,400 --> 00:56:52,920
Speaker 3: room and look at my condenser. And so they all

1090
00:56:52,920 --> 00:56:58,480
Speaker 3: go in there, Robinson, Bullfinch, Steve Stockton, and Pedro.

1091
00:56:58,760 --> 00:57:01,160
Speaker 1: Yeah. At last he's like, Heyedro, get in here this room.

1092
00:57:01,239 --> 00:57:04,359
Speaker 3: Yeah sure, yeah, everybody cram into this into this room.

1093
00:57:04,360 --> 00:57:07,080
Speaker 3: Don't be suspicious. Just look at the condenser. And then

1094
00:57:07,120 --> 00:57:09,680
Speaker 3: he slams the door on them and shrinks them. And

1095
00:57:09,719 --> 00:57:13,480
Speaker 3: now we've reached the situation of the film. Everybody except

1096
00:57:13,520 --> 00:57:25,840
Speaker 3: Thorkel has been shrunk to about thirteen inches tall, and

1097
00:57:25,920 --> 00:57:28,680
Speaker 3: so After this, you know, they're trapped in a room

1098
00:57:28,720 --> 00:57:32,600
Speaker 3: having been shrunk, and Thorkel is like doing some playful diagnostics,

1099
00:57:32,600 --> 00:57:35,520
Speaker 3: saying like, wow, you know, oh your your vocal cords

1100
00:57:35,600 --> 00:57:38,440
Speaker 3: still work, and oh you're you're of this size, and

1101
00:57:38,480 --> 00:57:41,880
Speaker 3: he's crowing over his victory over them, while the rest

1102
00:57:41,880 --> 00:57:44,560
Speaker 3: of the main characters scamper around on the floor trying

1103
00:57:44,560 --> 00:57:47,400
Speaker 3: to hide and escape. And here's where the special effects

1104
00:57:47,440 --> 00:57:50,000
Speaker 3: just get wonderful, because a lot of what you have

1105
00:57:50,080 --> 00:57:55,440
Speaker 3: here are fully built sets to make actors that normal

1106
00:57:55,560 --> 00:57:58,760
Speaker 3: size appear to be like, you know, somewhere between like

1107
00:57:58,800 --> 00:58:02,400
Speaker 3: six and thirteen inches according to perspectives. So there were

1108
00:58:02,400 --> 00:58:04,520
Speaker 3: like giant chairs and they'll go up to one of

1109
00:58:04,520 --> 00:58:06,960
Speaker 3: the legs of the chair and crouch behind it, and

1110
00:58:07,040 --> 00:58:08,880
Speaker 3: giant books and things like that.

1111
00:58:09,680 --> 00:58:12,600
Speaker 1: Yeah, I love it when films would do this, and

1112
00:58:12,600 --> 00:58:15,800
Speaker 1: I guess they still do variations on this. But I

1113
00:58:15,880 --> 00:58:20,080
Speaker 1: talked to a guy once in real life who had

1114
00:58:20,120 --> 00:58:24,200
Speaker 1: previously worked in special effects, and he had worked on

1115
00:58:24,320 --> 00:58:27,440
Speaker 1: the film Stephen King's Cat's Eye, which you might remember

1116
00:58:27,720 --> 00:58:30,640
Speaker 1: doesn't have any miniaturization occurring, but it does have a

1117
00:58:30,720 --> 00:58:33,520
Speaker 1: troll creature, which was of course played by like an

1118
00:58:33,560 --> 00:58:36,040
Speaker 1: adult in a full size costume. In order to make

1119
00:58:36,120 --> 00:58:38,560
Speaker 1: him seem like a tiny creature, they had to build

1120
00:58:38,600 --> 00:58:43,640
Speaker 1: like an enormous child's bed for this actor to prance

1121
00:58:43,680 --> 00:58:46,320
Speaker 1: around on. So I got to see some behind the

1122
00:58:46,320 --> 00:58:48,280
Speaker 1: scenes photos of that. He had an album and it

1123
00:58:48,320 --> 00:58:48,959
Speaker 1: was super cool.

1124
00:58:49,240 --> 00:58:52,200
Speaker 3: I love it. I love it. I really really missed

1125
00:58:52,200 --> 00:58:56,920
Speaker 3: the era of special effects through built sets and built environments.

1126
00:58:57,720 --> 00:59:00,000
Speaker 3: I do feel like something really is lost, no matter

1127
00:59:00,160 --> 00:59:03,520
Speaker 3: how good an animated environment can look. I mean, the

1128
00:59:03,560 --> 00:59:06,880
Speaker 3: green screen world, I do feel like has lost something beautiful.

1129
00:59:07,840 --> 00:59:09,680
Speaker 1: Yeah, there's a craftsmanship to it. I mean not to

1130
00:59:09,680 --> 00:59:12,400
Speaker 1: say there's not a craftsmanship in creating virtual environments, but

1131
00:59:14,000 --> 00:59:18,600
Speaker 1: there's a physical craft to it that perhaps is kind

1132
00:59:18,600 --> 00:59:19,520
Speaker 1: of lost. You know.

1133
00:59:19,560 --> 00:59:21,800
Speaker 3: One thing I noticed at the very beginning is that

1134
00:59:22,040 --> 00:59:23,720
Speaker 3: as soon as we come on the new characters, I

1135
00:59:23,720 --> 00:59:26,000
Speaker 3: guess they are too small for their original clothes now.

1136
00:59:26,040 --> 00:59:29,120
Speaker 3: So instead the characters have all replaced their original clothes

1137
00:59:29,160 --> 00:59:32,760
Speaker 3: with like togas. They're like little torn pieces of cloth

1138
00:59:32,840 --> 00:59:36,439
Speaker 3: that they're wearing like togas and stuff. And this really

1139
00:59:36,520 --> 00:59:38,800
Speaker 3: I think heightens the connection to the odyssey.

1140
00:59:39,480 --> 00:59:42,240
Speaker 1: That's right, And of course this the film will continue

1141
00:59:42,240 --> 00:59:44,640
Speaker 1: to it will let you know that it is referencing

1142
00:59:44,720 --> 00:59:47,480
Speaker 1: the Odyssey. It's going to be very direct about it.

1143
00:59:47,880 --> 00:59:49,800
Speaker 1: But yeah, this may be the first sign that they're

1144
00:59:49,840 --> 00:59:52,400
Speaker 1: going in that direction. So I love this because they

1145
00:59:52,520 --> 00:59:56,040
Speaker 1: their clothes were not shrunk. Doctor Thorkel is picking up

1146
00:59:56,080 --> 00:59:58,320
Speaker 1: their clothes and putting them in a bag later. But

1147
00:59:58,480 --> 01:00:01,840
Speaker 1: I guess he left either are pristine handkerchiefs in there

1148
01:00:02,000 --> 01:00:05,800
Speaker 1: and some sewing equipment at scale for them, or he

1149
01:00:05,920 --> 01:00:10,640
Speaker 1: had pre arranged clothing made from handkerchiefs for them, one

1150
01:00:10,680 --> 01:00:12,400
Speaker 1: or the other, because they seem to fit rather well.

1151
01:00:12,680 --> 01:00:15,400
Speaker 3: Yeah, and so Thorkel says that, you know, he's like, well,

1152
01:00:15,440 --> 01:00:17,720
Speaker 3: I've been working for days without rest, and now I'm

1153
01:00:17,760 --> 01:00:20,479
Speaker 3: going to fall asleep. So he falls asleep, and while

1154
01:00:20,480 --> 01:00:24,320
Speaker 3: he's asleep, they escaped the room by building a tower

1155
01:00:24,400 --> 01:00:26,720
Speaker 3: out of books and using a match stick to draw

1156
01:00:26,800 --> 01:00:29,120
Speaker 3: back the bolt on the door. And then there's a

1157
01:00:29,240 --> 01:00:31,200
Speaker 3: there's a great moment I loved where they're trying to

1158
01:00:31,240 --> 01:00:34,560
Speaker 3: sneak around outside once they've gotten out, and there are

1159
01:00:34,560 --> 01:00:38,480
Speaker 3: some chickens just like ye, giant chickens and giant chickens

1160
01:00:38,680 --> 01:00:40,880
Speaker 3: that would be really scary. I mean, that's like a dinosaur.

1161
01:00:41,520 --> 01:00:45,400
Speaker 1: Yeah, I would be terrified, Yes, like a big feathered

1162
01:00:45,440 --> 01:00:47,760
Speaker 1: t rex. And you know, I guess with any of

1163
01:00:47,800 --> 01:00:49,560
Speaker 1: these animals, you have to ask yourself, what is the

1164
01:00:49,600 --> 01:00:54,320
Speaker 1: threshold of miniaturization at which I am identified as potential

1165
01:00:54,360 --> 01:00:55,720
Speaker 1: prey by this animal?

1166
01:00:55,960 --> 01:00:58,840
Speaker 3: Right, And the chickens never try to eat them, but

1167
01:00:58,880 --> 01:01:01,120
Speaker 3: the implication is there, I mean I really do. Yeah.

1168
01:01:01,160 --> 01:01:03,160
Speaker 3: So if you were thirteen inches tall and you were

1169
01:01:03,200 --> 01:01:05,680
Speaker 3: walking past a chicken, I mean, that'd probably be like

1170
01:01:05,760 --> 01:01:09,800
Speaker 3: a a human walking past a dynonicus or something like

1171
01:01:09,880 --> 01:01:12,000
Speaker 3: therapod dinosaur, the predatory one.

1172
01:01:12,320 --> 01:01:14,120
Speaker 1: Yeah, if it decided you were worth a pack, I

1173
01:01:14,160 --> 01:01:15,640
Speaker 1: mean that could that would be death.

1174
01:01:15,920 --> 01:01:17,760
Speaker 3: But they do a thing that really did make me laugh.

1175
01:01:17,800 --> 01:01:20,400
Speaker 3: They do the justac natural walk while they walk past

1176
01:01:20,400 --> 01:01:24,040
Speaker 3: the chickens, like pretend like we're supposed to be here,

1177
01:01:25,280 --> 01:01:28,680
Speaker 3: and then they get attacked by Satanas the cat, and

1178
01:01:28,720 --> 01:01:31,280
Speaker 3: they have to hide among a bunch of cactus, which

1179
01:01:31,440 --> 01:01:32,680
Speaker 3: I thought was a cool idea.

1180
01:01:33,040 --> 01:01:33,240
Speaker 4: Yeah.

1181
01:01:33,320 --> 01:01:36,920
Speaker 3: Yeah, And Pedro's dog Tipo eventually comes to the rescue,

1182
01:01:37,040 --> 01:01:40,600
Speaker 3: chases off Satanas, and here we get we here we

1183
01:01:40,640 --> 01:01:43,640
Speaker 3: get the movie. I guess offering thoughts about how you

1184
01:01:43,640 --> 01:01:46,880
Speaker 3: would be treated differently if you were miniaturized by a

1185
01:01:46,920 --> 01:01:48,520
Speaker 3: cat versus by a dog.

1186
01:01:49,160 --> 01:01:51,880
Speaker 1: Yeah, this was fun because I've heard this this many

1187
01:01:51,880 --> 01:01:54,600
Speaker 1: times before, people commenting that, Okay, if you were to

1188
01:01:54,640 --> 01:01:58,520
Speaker 1: suddenly be you know, an inch tall or whatever, you

1189
01:01:59,240 --> 01:02:02,040
Speaker 1: your dog would'll be your friend, but your cat would

1190
01:02:02,160 --> 01:02:06,840
Speaker 1: just eat you immediately. And I don't disagree with that principle,

1191
01:02:07,520 --> 01:02:10,640
Speaker 1: though I do. If I'm gonna seriously consider the question,

1192
01:02:10,680 --> 01:02:12,400
Speaker 1: I'm gonna wonder if a dog would be able to

1193
01:02:12,440 --> 01:02:16,480
Speaker 1: recognize you by side or by smell in a miniaturized form,

1194
01:02:17,360 --> 01:02:20,280
Speaker 1: like if you start asking hard scientific questions about all

1195
01:02:20,320 --> 01:02:20,440
Speaker 1: of this.

1196
01:02:21,280 --> 01:02:23,440
Speaker 3: I don't know. I am a dog lover, but I

1197
01:02:23,480 --> 01:02:24,680
Speaker 3: kind of think the dog would eat you.

1198
01:02:25,160 --> 01:02:28,520
Speaker 1: Yeah. Yeah, I guess it's we're more inclined to believe

1199
01:02:28,560 --> 01:02:31,360
Speaker 1: and want to believe. The dog would be like, oh, master,

1200
01:02:31,440 --> 01:02:33,520
Speaker 1: why are you so small? Let me help you, whereas

1201
01:02:33,840 --> 01:02:35,919
Speaker 1: there's no doubt with the cat, like the cat would

1202
01:02:35,920 --> 01:02:39,680
Speaker 1: be like, sorry, the table has turned, and you know

1203
01:02:39,760 --> 01:02:40,560
Speaker 1: what I have to do.

1204
01:02:40,840 --> 01:02:43,120
Speaker 3: The cat would one hundred percent each you. I feel

1205
01:02:43,120 --> 01:02:45,360
Speaker 3: like I'm at about eighty percent, and the dog would

1206
01:02:45,360 --> 01:02:45,720
Speaker 3: eat you.

1207
01:02:46,040 --> 01:02:48,720
Speaker 1: Yeah. In a way, it's like that slight level of

1208
01:02:48,840 --> 01:02:51,200
Speaker 1: uncertainty that makes it more terrifying. Like if you were

1209
01:02:51,240 --> 01:02:53,480
Speaker 1: suddenly miniaturized in your home, you'd be like, oh crap,

1210
01:02:53,520 --> 01:02:55,440
Speaker 1: I got to avoid the cat at all costs because

1211
01:02:55,440 --> 01:02:57,080
Speaker 1: that is death. But then you're like, I don't know

1212
01:02:57,080 --> 01:02:59,320
Speaker 1: about the dog. The dog could be my savior, but

1213
01:02:59,400 --> 01:03:01,320
Speaker 1: the dog might just eat me anyway, or at least

1214
01:03:01,320 --> 01:03:02,760
Speaker 1: put me in his mouth for a while.

1215
01:03:03,200 --> 01:03:03,520
Speaker 3: Yeah.

1216
01:03:03,600 --> 01:03:04,080
Speaker 1: Yeah.

1217
01:03:04,320 --> 01:03:06,880
Speaker 3: So after this we get a little interlude where we

1218
01:03:06,920 --> 01:03:09,760
Speaker 3: see the humans sort of adapting to their new scale,

1219
01:03:10,000 --> 01:03:13,480
Speaker 3: and it sort of turns into one of those recapitulation

1220
01:03:13,720 --> 01:03:16,880
Speaker 3: of the discovery of technology narratives like you get in

1221
01:03:17,360 --> 01:03:20,200
Speaker 3: stories like the Swiss Family Robinson. I think that's really

1222
01:03:20,680 --> 01:03:23,040
Speaker 3: part of the pleasure people get in a lot of

1223
01:03:23,160 --> 01:03:26,720
Speaker 3: castaway stories. Is they really like that, like watching people

1224
01:03:27,480 --> 01:03:31,920
Speaker 3: rebuild technological capability out of the materials available to them.

1225
01:03:32,200 --> 01:03:36,200
Speaker 1: Yeah, like a Robinson Crusoe or to a certain extent,

1226
01:03:36,240 --> 01:03:38,480
Speaker 1: Flight of the Phoenix was like that. I think they

1227
01:03:38,560 --> 01:03:40,720
Speaker 1: remade it at some point, but the original was like

1228
01:03:40,760 --> 01:03:43,520
Speaker 1: a god, was it a be not to be twenty four?

1229
01:03:44,080 --> 01:03:46,520
Speaker 1: It was a b oh, it was a B twenty nine.

1230
01:03:46,520 --> 01:03:49,640
Speaker 1: Of course, B twenty nine crashes in the desert and

1231
01:03:49,680 --> 01:03:53,520
Speaker 1: then they have to take it apart and try and

1232
01:03:53,520 --> 01:03:56,880
Speaker 1: build a new airplane out of this four prop engine

1233
01:03:56,920 --> 01:03:59,040
Speaker 1: airplane and then fly out of the desert in it.

1234
01:03:59,360 --> 01:04:03,120
Speaker 3: Yeah, obviously, the fact that this type of narrative recurs

1235
01:04:03,160 --> 01:04:05,440
Speaker 3: so much, I mean, I do think it's clear that, like,

1236
01:04:05,520 --> 01:04:08,120
Speaker 3: some people really enjoy watching this sort of thing happen.

1237
01:04:09,040 --> 01:04:12,120
Speaker 3: It's some kind of fantasy fulfillment. And this movie has

1238
01:04:12,160 --> 01:04:14,240
Speaker 3: stuff kind of like this, except instead of a desert

1239
01:04:14,280 --> 01:04:18,320
Speaker 3: island where you're trying to recreate known technology and solutions

1240
01:04:18,360 --> 01:04:20,880
Speaker 3: and stuff out of I don't know, coconuts or whatever.

1241
01:04:21,120 --> 01:04:23,560
Speaker 3: Instead it's on a tiny scale, so you see them

1242
01:04:23,600 --> 01:04:26,480
Speaker 3: figuring out how to use a needle as a giant drill,

1243
01:04:27,040 --> 01:04:29,680
Speaker 3: or a scissor handle as a sword and stuff like that.

1244
01:04:30,240 --> 01:04:31,920
Speaker 1: Oh man, you know, I have to jump back in

1245
01:04:31,960 --> 01:04:34,360
Speaker 1: and say, I'm mistaken. It was not a B twenty

1246
01:04:34,440 --> 01:04:36,040
Speaker 1: nine and Flight of the Phoenix. It was a C

1247
01:04:36,160 --> 01:04:39,960
Speaker 1: eighty two. But I think I'm confusing it with some

1248
01:04:40,120 --> 01:04:42,640
Speaker 1: Disney film that came out where they the characters did

1249
01:04:42,640 --> 01:04:45,320
Speaker 1: a similar thing and turned a B twenty nine into

1250
01:04:45,600 --> 01:04:48,280
Speaker 1: a sailing vessel of some sort. But at any rate,

1251
01:04:48,360 --> 01:04:50,720
Speaker 1: it's a it's a trope. It's a fun thing that

1252
01:04:50,760 --> 01:04:51,800
Speaker 1: you see in a lot of films.

1253
01:04:52,000 --> 01:04:52,880
Speaker 3: Is that water World.

1254
01:04:53,600 --> 01:04:55,080
Speaker 1: They might have had one of these in water World,

1255
01:04:55,080 --> 01:04:57,000
Speaker 1: but it was a different film that I don't think

1256
01:04:57,040 --> 01:05:00,640
Speaker 1: I ever saw, but I vaguely remember the VHS box

1257
01:05:00,680 --> 01:05:00,920
Speaker 1: for it.

1258
01:05:01,120 --> 01:05:04,840
Speaker 3: Wait, it's the version of Noah's Arc made made with

1259
01:05:04,920 --> 01:05:07,960
Speaker 3: John Voight. I'm pretty sure that had some aircraft in it.

1260
01:05:08,400 --> 01:05:12,200
Speaker 1: Actually, I've looked it up, Joe, and it is the

1261
01:05:12,320 --> 01:05:15,800
Speaker 1: Last Flight of Noah's Arc from nineteen eighty. He had

1262
01:05:15,840 --> 01:05:19,280
Speaker 1: starred Elliott Gould and a B twenty nine.

1263
01:05:19,520 --> 01:05:21,560
Speaker 3: The Last Flight of Noah's Ark. You're not kidding.

1264
01:05:21,920 --> 01:05:23,320
Speaker 1: I'm not kidding. That was the name. It was a

1265
01:05:23,320 --> 01:05:25,240
Speaker 1: Disney film. I don't think this one has been added

1266
01:05:25,280 --> 01:05:26,280
Speaker 1: to Disney Plus yet.

1267
01:05:26,880 --> 01:05:29,320
Speaker 3: I was joking the John Voight Noah's Ark does have

1268
01:05:29,400 --> 01:05:31,480
Speaker 3: pirates in it, but I don't recall aircraft.

1269
01:05:31,840 --> 01:05:37,080
Speaker 1: Yeah, all right, anyway back to miniaturize people. They're making tools,

1270
01:05:37,080 --> 01:05:39,640
Speaker 1: they're rediscovering what they can use for a weapon, et cetera.

1271
01:05:39,720 --> 01:05:44,400
Speaker 1: They're making new clothes all while Doctor Thorkel is snoozing

1272
01:05:44,480 --> 01:05:45,920
Speaker 1: off his latest science bender.

1273
01:05:46,160 --> 01:05:48,960
Speaker 3: Yeah, and when he does wake up from the science bender.

1274
01:05:49,040 --> 01:05:51,560
Speaker 3: He has got a bit of a science hangovers. He's

1275
01:05:51,640 --> 01:05:54,520
Speaker 3: kinda he's kind of frisky, but he's also kind of mad,

1276
01:05:54,560 --> 01:05:56,160
Speaker 3: and he's like, what is he going to do with

1277
01:05:56,200 --> 01:06:01,280
Speaker 3: these these with these shrunken people, And doctor Bilfinch starts

1278
01:06:01,760 --> 01:06:05,040
Speaker 3: he's still just like mouth and off to Thorpell, he's like,

1279
01:06:05,280 --> 01:06:08,880
Speaker 3: he's like, we are prisoners in cyclops cave, again recalling

1280
01:06:08,920 --> 01:06:12,960
Speaker 3: the story from the Odyssey where Ulysses or he calls

1281
01:06:13,040 --> 01:06:15,320
Speaker 3: him Ulysses in the movie Ulysses may be better known

1282
01:06:15,320 --> 01:06:20,240
Speaker 3: today as Odysseus and his crew are captured within the

1283
01:06:20,280 --> 01:06:24,120
Speaker 3: cave of Polyphemus the Cyclops I don't remember on some

1284
01:06:24,240 --> 01:06:27,440
Speaker 3: island and they have to find a way to escape,

1285
01:06:27,480 --> 01:06:30,160
Speaker 3: and they end up blinding the Cyclops by stabbing in

1286
01:06:30,200 --> 01:06:32,680
Speaker 3: the him in the eye. But Odysseus has said that

1287
01:06:32,760 --> 01:06:36,160
Speaker 3: his name is no One, So when somebody comes to

1288
01:06:36,200 --> 01:06:39,960
Speaker 3: ask if the Cyclops needs help, the Cyclops says, no

1289
01:06:40,040 --> 01:06:45,600
Speaker 3: one is hurting me. Very clever, yes. But doctor Thorkel

1290
01:06:45,840 --> 01:06:48,520
Speaker 3: ends up catching Bullfinch in a net oh after a

1291
01:06:48,520 --> 01:06:51,720
Speaker 3: part where Bullfinch tells off a chicken, He's like, go away,

1292
01:06:51,760 --> 01:06:57,000
Speaker 3: you ridiculous vowl and Bullfinch, as always, is extremely uncooperative.

1293
01:06:57,040 --> 01:06:59,800
Speaker 3: Thorkel is like, he brings him inside to measure him

1294
01:06:59,840 --> 01:07:03,480
Speaker 3: in various ways, and then Thorkel expresses disappointment. This is

1295
01:07:03,520 --> 01:07:06,000
Speaker 3: privately just between him and Bullfinch. All the other people

1296
01:07:06,040 --> 01:07:09,280
Speaker 3: are still outside. He says, you know what, Your bodies

1297
01:07:09,320 --> 01:07:12,480
Speaker 3: are growing. Your bodies are reacting as if you have

1298
01:07:12,560 --> 01:07:15,800
Speaker 3: reverted to childhood, and you will eventually grow back to

1299
01:07:15,880 --> 01:07:20,120
Speaker 3: regular size. And Thorkel, of course can't allow this because

1300
01:07:20,160 --> 01:07:23,760
Speaker 3: then they would interfere with his work again. So Thorkel

1301
01:07:24,160 --> 01:07:27,800
Speaker 3: turns to murder once again. We've seen him. We've seen

1302
01:07:27,880 --> 01:07:29,760
Speaker 3: him murder to solve a problem at the beginning of

1303
01:07:29,800 --> 01:07:32,760
Speaker 3: the movie. And his eyes, his eyes become cold, and

1304
01:07:32,800 --> 01:07:34,840
Speaker 3: he's like, I'm gonna do it again. And he gets

1305
01:07:34,880 --> 01:07:37,080
Speaker 3: a cotton swab and puts it in some kind of

1306
01:07:37,120 --> 01:07:40,120
Speaker 3: chemical and smothers doctor Bullfinch with it and kills him.

1307
01:07:40,640 --> 01:07:43,680
Speaker 3: And there's like a giant fake hand for Bullfinch to

1308
01:07:43,720 --> 01:07:45,040
Speaker 3: be held in. It's pretty good.

1309
01:07:45,280 --> 01:07:49,800
Speaker 1: It's a great scene and again very brutal. You know,

1310
01:07:50,240 --> 01:07:53,000
Speaker 1: despite the sanitized nature of this film as a whole,

1311
01:07:53,240 --> 01:07:56,320
Speaker 1: it's just a cold murder of the of this professor,

1312
01:07:57,680 --> 01:08:00,000
Speaker 1: you know. But also during this scene, I was thinking

1313
01:08:00,040 --> 01:08:03,240
Speaker 1: about what the doctor Thorkel said about how you're gonna

1314
01:08:03,240 --> 01:08:05,880
Speaker 1: grow as if you were children into adult form again,

1315
01:08:06,160 --> 01:08:08,600
Speaker 1: which in this movie all it means is you're gonna

1316
01:08:08,600 --> 01:08:10,280
Speaker 1: get big again by the end of the film and

1317
01:08:10,320 --> 01:08:12,600
Speaker 1: the and it's saying like, if you had hidden, you

1318
01:08:12,600 --> 01:08:15,040
Speaker 1: would have just returned to normal anyway, but instead you

1319
01:08:15,080 --> 01:08:16,720
Speaker 1: came back to me and now it will kill you.

1320
01:08:17,120 --> 01:08:19,600
Speaker 1: But I had a moment there where I was imagining,

1321
01:08:19,920 --> 01:08:23,360
Speaker 1: like what does this mean? Because a baby is not

1322
01:08:23,520 --> 01:08:26,479
Speaker 1: like a miniature adult, you know, it changes a lot

1323
01:08:26,520 --> 01:08:29,040
Speaker 1: as it becomes a grown person. So I was trying

1324
01:08:29,080 --> 01:08:31,240
Speaker 1: to just contemplate, like what would that mean if you

1325
01:08:31,240 --> 01:08:34,000
Speaker 1: were a miniaturized person and then you grew, like what

1326
01:08:34,200 --> 01:08:37,519
Speaker 1: monstrous full sized forms would they grow into.

1327
01:08:37,800 --> 01:08:40,720
Speaker 3: You're gonna have skull plates fusing together again, Like what's

1328
01:08:40,760 --> 01:08:41,760
Speaker 3: going like?

1329
01:08:41,840 --> 01:08:44,280
Speaker 1: So I that was kind of a nightmare scenario that

1330
01:08:44,360 --> 01:08:46,639
Speaker 1: this film does not explore. But I had a moment

1331
01:08:46,640 --> 01:08:47,519
Speaker 1: there I was like, oh my.

1332
01:08:47,479 --> 01:08:50,840
Speaker 3: God, doctor Bullfinch say hello to a second round of

1333
01:08:50,880 --> 01:08:57,840
Speaker 3: baby teeth. Yeah, And then so we mentioned that scene

1334
01:08:57,920 --> 01:09:01,160
Speaker 3: is kind of brutal. There's another there's a lot of imployed,

1335
01:09:01,320 --> 01:09:03,680
Speaker 3: Like this is not a bloody film, but there's a

1336
01:09:03,680 --> 01:09:07,519
Speaker 3: lot of implied violence in it that is very brutal

1337
01:09:07,560 --> 01:09:10,080
Speaker 3: in its suggestions. So you see that the other humans

1338
01:09:10,120 --> 01:09:13,479
Speaker 3: after Bullfinch is murdered, they're hiding in this big thicket

1339
01:09:13,479 --> 01:09:16,200
Speaker 3: of cactus and then Thorkel comes out and I guess

1340
01:09:16,200 --> 01:09:18,160
Speaker 3: he's trying to kill them, and he starts chopping up

1341
01:09:18,200 --> 01:09:21,639
Speaker 3: the cactus with a shovel. It's messed up, but uh,

1342
01:09:21,680 --> 01:09:23,599
Speaker 3: we find when he chops it all up, and then

1343
01:09:23,640 --> 01:09:26,439
Speaker 3: finds they've escaped through a hole in the wall out

1344
01:09:26,479 --> 01:09:29,880
Speaker 3: into the jungle, and Thorkel taunts them over the wall,

1345
01:09:30,000 --> 01:09:32,200
Speaker 3: saying that they will never live half an hour out

1346
01:09:32,200 --> 01:09:35,200
Speaker 3: in the jungle, and sure enough there comes along a storm,

1347
01:09:35,280 --> 01:09:38,880
Speaker 3: which again to think about how terrifying of a threat

1348
01:09:38,960 --> 01:09:41,880
Speaker 3: a storm would be if you were tiny, if you

1349
01:09:41,920 --> 01:09:44,000
Speaker 3: were like, you know, six inches tall or a foot

1350
01:09:44,000 --> 01:09:44,759
Speaker 3: tall or whatever.

1351
01:09:44,800 --> 01:09:46,680
Speaker 1: This is, Yeah, I mean just on top of the

1352
01:09:46,960 --> 01:09:50,040
Speaker 1: jungle itself. Like when Thorkel said that, I was like, no,

1353
01:09:50,120 --> 01:09:52,599
Speaker 1: he's absolutely right, Like to go into the jungle at

1354
01:09:52,600 --> 01:09:55,920
Speaker 1: this size is just death, Like everything is going to

1355
01:09:55,960 --> 01:09:56,800
Speaker 1: potentially eat you.

1356
01:09:57,240 --> 01:09:57,559
Speaker 3: Yeah.

1357
01:09:57,840 --> 01:09:59,960
Speaker 1: But and then on top of that the storm right.

1358
01:10:00,080 --> 01:10:01,960
Speaker 3: And again this comes back to the hall day and

1359
01:10:02,040 --> 01:10:04,280
Speaker 3: essay I mentioned earlier on being the right size. The

1360
01:10:04,320 --> 01:10:09,000
Speaker 3: thing about how when you have a much larger surface

1361
01:10:09,040 --> 01:10:12,720
Speaker 3: area to mass ratio as smaller creatures do. There are

1362
01:10:12,760 --> 01:10:14,960
Speaker 3: advantages to that, Like you can fall off of a

1363
01:10:15,040 --> 01:10:17,280
Speaker 3: roof and probably not be hurt because you know the

1364
01:10:17,880 --> 01:10:21,559
Speaker 3: amount of air resistance provided by the surface of your

1365
01:10:21,560 --> 01:10:23,880
Speaker 3: body will be enough to keep you going pretty slow

1366
01:10:23,960 --> 01:10:26,799
Speaker 3: actually as you fall compared to the mass in your body.

1367
01:10:27,120 --> 01:10:30,440
Speaker 3: But the downsides are like getting wet is a terrifying

1368
01:10:30,479 --> 01:10:33,880
Speaker 3: proposition when you are tiny, Like the surface tension of

1369
01:10:33,920 --> 01:10:37,800
Speaker 3: water clings to you like a kind of slime. And

1370
01:10:37,840 --> 01:10:40,040
Speaker 3: so imagine, yeah, you're out in the jungle and the

1371
01:10:40,120 --> 01:10:44,120
Speaker 3: rain is coming down and there's rivulets everywhere. Very scary.

1372
01:10:45,439 --> 01:10:47,360
Speaker 3: So they end up coming across a boat in a

1373
01:10:47,479 --> 01:10:50,360
Speaker 3: river later on, and they try to use technology to

1374
01:10:50,400 --> 01:10:52,920
Speaker 3: free it, and they get attacked by a crocodilian. I

1375
01:10:52,920 --> 01:10:55,400
Speaker 3: think it's a crocodile, might have been an alligator. I

1376
01:10:55,439 --> 01:10:58,600
Speaker 3: didn't check the nose shaped too well, but the crocodile

1377
01:10:58,640 --> 01:11:01,559
Speaker 3: attack sequence is great. Trying to fend it off with fire,

1378
01:11:01,720 --> 01:11:04,400
Speaker 3: but they've got these like little tiny sticks that are

1379
01:11:04,439 --> 01:11:06,679
Speaker 3: on fire that are just not enough fire.

1380
01:11:06,960 --> 01:11:09,160
Speaker 1: Yeah, they're just kind of dropping it on the creature

1381
01:11:09,160 --> 01:11:10,479
Speaker 1: and doesn't seem to particularly care.

1382
01:11:10,800 --> 01:11:13,160
Speaker 3: Yeah, and then eventually, after they chase it off by

1383
01:11:13,200 --> 01:11:16,919
Speaker 3: throwing a bunch of flaming sticks on it, Thorkel returns.

1384
01:11:16,920 --> 01:11:21,559
Speaker 3: He comes and finds them, and again it's brutal. Pedro

1385
01:11:21,760 --> 01:11:26,679
Speaker 3: heroically leads his dog away from them, drawing off the smell,

1386
01:11:26,800 --> 01:11:30,000
Speaker 3: and so he saves the rest of the people, but

1387
01:11:30,120 --> 01:11:33,280
Speaker 3: Thorkel sees him and shoots him, and so Pedro has

1388
01:11:33,320 --> 01:11:35,960
Speaker 3: been murdered. And then after that, the rest of the

1389
01:11:35,960 --> 01:11:39,440
Speaker 3: people are hiding in some grass and Thorkel starts stomping

1390
01:11:39,479 --> 01:11:41,920
Speaker 3: through the grass, and then when he can't find them,

1391
01:11:41,920 --> 01:11:43,200
Speaker 3: he burns the grass.

1392
01:11:43,560 --> 01:11:48,160
Speaker 1: Yeah, so there's this inferno that he starts here, just

1393
01:11:48,400 --> 01:11:50,960
Speaker 1: trying to flush them out. Yeah, but he doesn't quite work,

1394
01:11:51,080 --> 01:11:54,920
Speaker 1: because they find another place that they can hide themselves, right.

1395
01:11:55,120 --> 01:11:58,320
Speaker 3: They stow away in his specimen box, the box that

1396
01:11:58,400 --> 01:12:00,599
Speaker 3: he was going to put them in when he found them.

1397
01:12:01,439 --> 01:12:04,720
Speaker 3: And so Robinson, Stockton and Steve the mule Guy are

1398
01:12:04,760 --> 01:12:07,640
Speaker 3: the three people left alive, and they ride back in

1399
01:12:07,720 --> 01:12:11,360
Speaker 3: this box to Thorkell's hut, and once they get there,

1400
01:12:11,400 --> 01:12:14,880
Speaker 3: they get out and Stockton decides, no, I'm gonna stand

1401
01:12:14,920 --> 01:12:17,040
Speaker 3: my ground this time. I'm not gonna try to escape.

1402
01:12:17,080 --> 01:12:20,040
Speaker 3: We've got to kill Thorkel and the other to agree.

1403
01:12:20,439 --> 01:12:22,960
Speaker 3: So first they try to aim a shotgun like a

1404
01:12:23,000 --> 01:12:26,320
Speaker 3: cannon at his pillow in his bed, but then Thorkel

1405
01:12:26,400 --> 01:12:29,080
Speaker 3: doesn't go to bed. Instead he falls asleep in his chair.

1406
01:12:29,920 --> 01:12:32,880
Speaker 3: And then it really gets into the blinding of Polyphemus

1407
01:12:32,960 --> 01:12:35,760
Speaker 3: in the Odyssey because they steal his glasses. Remember it

1408
01:12:35,760 --> 01:12:38,719
Speaker 3: said at the beginning that he called them there because

1409
01:12:38,880 --> 01:12:41,639
Speaker 3: his eyes were so damaged he really couldn't see without

1410
01:12:41,640 --> 01:12:44,600
Speaker 3: his glasses. And they they know where he keeps his

1411
01:12:44,680 --> 01:12:46,920
Speaker 3: extra pairs of glasses because they find them when they're

1412
01:12:46,960 --> 01:12:49,439
Speaker 3: going through his stuff earlier, and they hide those.

1413
01:12:49,960 --> 01:12:51,680
Speaker 1: Yeah, they stick them through like a hole on the

1414
01:12:51,680 --> 01:12:53,960
Speaker 1: floor of the wall. So now he has the only,

1415
01:12:54,120 --> 01:12:57,719
Speaker 1: only the one pair, and they remove those as well.

1416
01:12:57,800 --> 01:13:02,479
Speaker 1: So yeah, suddenly you have this this blinded polythemous trope

1417
01:13:02,560 --> 01:13:03,240
Speaker 1: going on here.

1418
01:13:03,680 --> 01:13:07,439
Speaker 3: Yeah, and so Thorkel is enraged. He's smashing, you know,

1419
01:13:07,479 --> 01:13:11,040
Speaker 3: he's running around trying to destroy them. He does recover

1420
01:13:11,240 --> 01:13:14,320
Speaker 3: one pair of glasses, but one of the lenses is smashed,

1421
01:13:14,560 --> 01:13:17,400
Speaker 3: and he says, now you can call me Cyclops because

1422
01:13:17,400 --> 01:13:18,559
Speaker 3: I have one good eye.

1423
01:13:19,120 --> 01:13:21,639
Speaker 1: Thank you for being clear about the title the film,

1424
01:13:21,680 --> 01:13:22,439
Speaker 1: Doctor thorp Kel.

1425
01:13:22,880 --> 01:13:26,720
Speaker 3: I think they could have done without that. Yeah, But

1426
01:13:26,760 --> 01:13:30,720
Speaker 3: so there's a final confrontation in the end. I won't

1427
01:13:30,760 --> 01:13:34,000
Speaker 3: spoil exactly how it happens, but they are victorious. They

1428
01:13:34,040 --> 01:13:37,360
Speaker 3: end up they end up defeating doctor Cyclops here and

1429
01:13:37,439 --> 01:13:41,160
Speaker 3: in the end, the three remaining characters they regrow to

1430
01:13:41,240 --> 01:13:45,240
Speaker 3: full size and they travel back to civilization. And the

1431
01:13:45,280 --> 01:13:48,200
Speaker 3: main things now we find are that Stockton and Robinson

1432
01:13:48,280 --> 01:13:50,840
Speaker 3: are now in love because of course, and we find

1433
01:13:50,840 --> 01:13:53,880
Speaker 3: that Steve the mule guy does not like cats. Like

1434
01:13:53,960 --> 01:13:56,080
Speaker 3: he sees a cat back in the town they go

1435
01:13:56,160 --> 01:13:58,200
Speaker 3: to and he's like, scram.

1436
01:13:58,160 --> 01:14:00,720
Speaker 1: Well, maybe you remember this. I watched it last week,

1437
01:14:00,720 --> 01:14:02,720
Speaker 1: and I think you watched it this morning. Did we

1438
01:14:02,760 --> 01:14:05,920
Speaker 1: ever get any real payoff with Satanas? Like, like, it's

1439
01:14:05,920 --> 01:14:08,640
Speaker 1: not like they had a big throwdown with the Like

1440
01:14:08,680 --> 01:14:10,320
Speaker 1: they didn't have a big fight with the cat. They

1441
01:14:10,320 --> 01:14:12,320
Speaker 1: didn't have to like slay the cat or I think

1442
01:14:12,360 --> 01:14:14,760
Speaker 1: the dog just chased Satanas off and that was it.

1443
01:14:14,960 --> 01:14:16,720
Speaker 3: Yeah, I'm glad they didn't have to kill the cat

1444
01:14:16,720 --> 01:14:18,280
Speaker 3: because I mean, the cat's just being a cat.

1445
01:14:18,479 --> 01:14:20,840
Speaker 1: It's true, yeah, I mean, but but I also wonder

1446
01:14:20,960 --> 01:14:23,320
Speaker 1: like was that like maybe something they wanted to do

1447
01:14:23,720 --> 01:14:26,120
Speaker 1: but they just didn't have the effects, Like maybe that

1448
01:14:26,200 --> 01:14:28,160
Speaker 1: was just too much of an effects asked to have,

1449
01:14:28,200 --> 01:14:31,160
Speaker 1: like a big fight with a giant cat. I don't know, Yeah,

1450
01:14:31,200 --> 01:14:33,920
Speaker 1: I don't know. Because of you know, there there were

1451
01:14:33,960 --> 01:14:36,400
Speaker 1: films that you know, they would later go more in

1452
01:14:36,400 --> 01:14:39,320
Speaker 1: that direction of having you know, the cat to aggressively

1453
01:14:39,920 --> 01:14:41,599
Speaker 1: go after tiny humans.

1454
01:14:42,280 --> 01:14:44,040
Speaker 3: Well like Cat's Eide the one you mentioned.

1455
01:14:44,240 --> 01:14:45,160
Speaker 1: Yeah, yeah, that's true.

1456
01:14:45,160 --> 01:14:48,080
Speaker 3: Well not a tiny human, an evil troll and the

1457
01:14:48,120 --> 01:14:50,759
Speaker 3: cat there is the hero going that's right, the evil

1458
01:14:50,800 --> 01:14:51,479
Speaker 3: tiny monster.

1459
01:14:51,960 --> 01:14:55,200
Speaker 1: So yeah, this is this is absolutely a fun film.

1460
01:14:55,560 --> 01:14:57,840
Speaker 1: You know, there's not not a you know, tremendous amount

1461
01:14:57,880 --> 01:15:00,680
Speaker 1: of depth to it. There's not a huge amount of

1462
01:15:00,680 --> 01:15:02,559
Speaker 1: monster science to discuss about it. I mean, you can

1463
01:15:02,600 --> 01:15:04,960
Speaker 1: take various saying. You can certainly get really pedantic on

1464
01:15:05,040 --> 01:15:07,720
Speaker 1: the idea of miniaturizing organisms and then how does that

1465
01:15:07,760 --> 01:15:15,280
Speaker 1: miniaturize organism react and fit in with an immediate environment

1466
01:15:15,360 --> 01:15:18,599
Speaker 1: that it was not miniaturized, And depending on how small

1467
01:15:18,640 --> 01:15:22,519
Speaker 1: you go, those problems can be you can be quite extreme.

1468
01:15:23,800 --> 01:15:26,240
Speaker 1: But then there are other directions as well. You know,

1469
01:15:26,479 --> 01:15:28,880
Speaker 1: we found this interesting paper that we were both looking

1470
01:15:28,920 --> 01:15:33,440
Speaker 1: at titled Human Engineering and Climate Change by LALs Sendberg

1471
01:15:33,520 --> 01:15:37,799
Speaker 1: and Roche. This was from twenty twelve published in Ethics,

1472
01:15:37,840 --> 01:15:40,640
Speaker 1: Policy and Environment, and it's pretty wild read. You can

1473
01:15:40,680 --> 01:15:44,200
Speaker 1: find it for free online. I think we found it

1474
01:15:44,200 --> 01:15:48,320
Speaker 1: at BLC dot Arizona dot edu. And one of the

1475
01:15:48,320 --> 01:15:49,800
Speaker 1: things they get into is like, if you were to

1476
01:15:49,840 --> 01:15:53,840
Speaker 1: shrink humans down, they would have less of an environmental footprint,

1477
01:15:53,920 --> 01:15:55,839
Speaker 1: so it would ultimately be better for the environment.

1478
01:15:56,400 --> 01:15:59,960
Speaker 3: This paper is this is something doctor Thorkel would write.

1479
01:16:00,479 --> 01:16:02,840
Speaker 3: I started reading it and I was just like, what

1480
01:16:03,479 --> 01:16:07,960
Speaker 3: it is interesting, but it is nuts and I don't know.

1481
01:16:08,040 --> 01:16:10,439
Speaker 3: I mean, it seems like there may be more direct

1482
01:16:10,439 --> 01:16:12,920
Speaker 3: things that could be done about climate change than saying,

1483
01:16:12,960 --> 01:16:15,320
Speaker 3: like what if we were to shrink humans so that

1484
01:16:15,360 --> 01:16:17,000
Speaker 3: they consume fewer resources.

1485
01:16:17,360 --> 01:16:21,799
Speaker 1: Yeah, there are other levers we should pull first. Certainly

1486
01:16:22,720 --> 01:16:25,000
Speaker 1: we shouldn't take the thor kelp that path, the thor

1487
01:16:25,080 --> 01:16:27,799
Speaker 1: Kel way on that particular problem.

1488
01:16:27,920 --> 01:16:29,719
Speaker 3: I mean, it's at least got to go like solar

1489
01:16:29,760 --> 01:16:31,560
Speaker 3: panels before shrinking.

1490
01:16:31,160 --> 01:16:36,920
Speaker 1: People absolutely all right, Well you might be wondering where

1491
01:16:36,920 --> 01:16:40,479
Speaker 1: can I watch Doctor Cyclops. Well, these things are always

1492
01:16:40,520 --> 01:16:42,720
Speaker 1: subject to change. But we actually had a hard time

1493
01:16:43,000 --> 01:16:45,559
Speaker 1: tracking this one down. We couldn't find it streaming anywhere,

1494
01:16:45,680 --> 01:16:48,240
Speaker 1: or for digital purchaser rental. We couldn't even find a

1495
01:16:48,280 --> 01:16:50,879
Speaker 1: We couldn't find a physical rental either. So we actually

1496
01:16:50,920 --> 01:16:54,280
Speaker 1: bought it on special edition blu ray from KL Studio

1497
01:16:54,320 --> 01:16:58,840
Speaker 1: Classics aka Keno Lorber. It's a brand new four K Master.

1498
01:16:59,200 --> 01:17:02,280
Speaker 1: It also has an audio commentary by film historian Richard

1499
01:17:02,280 --> 01:17:04,519
Speaker 1: Harlan Smith. I didn't I didn't have a chance to

1500
01:17:04,560 --> 01:17:06,680
Speaker 1: listen to it, but it sounds like it would be

1501
01:17:06,720 --> 01:17:09,679
Speaker 1: pretty cool. The box art on this one is great,

1502
01:17:10,120 --> 01:17:12,400
Speaker 1: Unlike some of the other previous releases that have come

1503
01:17:12,439 --> 01:17:14,600
Speaker 1: out that had kind of like cheesy box art, like

1504
01:17:14,680 --> 01:17:18,080
Speaker 1: this one has that that weird probe mechanism in the

1505
01:17:18,080 --> 01:17:20,759
Speaker 1: center that is lowered into the earth. You have a

1506
01:17:20,800 --> 01:17:24,879
Speaker 1: picture of doctor Thorkel there with it looks like lasers

1507
01:17:24,880 --> 01:17:26,400
Speaker 1: coming out of his eyes. It's pretty good.

1508
01:17:26,840 --> 01:17:28,000
Speaker 3: Yeah, it's really good art.

1509
01:17:28,600 --> 01:17:30,680
Speaker 1: But then again, this is also a classic film by

1510
01:17:30,720 --> 01:17:34,120
Speaker 1: a notable director, so it's it's it's entirely possible. You

1511
01:17:34,200 --> 01:17:36,120
Speaker 1: might be able to catch this one on you know,

1512
01:17:36,160 --> 01:17:38,640
Speaker 1: one of like I don't know Turner Classic Movies or

1513
01:17:38,680 --> 01:17:40,880
Speaker 1: something to that effect. I know we've we heard from

1514
01:17:40,920 --> 01:17:43,120
Speaker 1: some people after we did our episode on Mad Love,

1515
01:17:43,840 --> 01:17:45,960
Speaker 1: chiming in and saying, oh, they're showing Mad Love tonight,

1516
01:17:46,000 --> 01:17:48,120
Speaker 1: so who knows. Maybe check your local listings. This is

1517
01:17:48,120 --> 01:17:51,400
Speaker 1: what I'm saying, Well, let's do it. Then let's go

1518
01:17:51,439 --> 01:17:54,960
Speaker 1: ahead and call it done. We're done with Doctor Cyclops here.

1519
01:17:55,000 --> 01:17:56,599
Speaker 1: But this was a This was a fun one to watch,

1520
01:17:56,640 --> 01:18:00,120
Speaker 1: a fun one to discuss, and if if you would

1521
01:18:00,160 --> 01:18:02,880
Speaker 1: like to listen to us discuss other films. You can

1522
01:18:02,880 --> 01:18:06,000
Speaker 1: catch other episodes of Weird House Cinema every Friday in

1523
01:18:06,080 --> 01:18:09,240
Speaker 1: the Stuff to Blow Your Mind podcast feed. So our

1524
01:18:09,240 --> 01:18:12,559
Speaker 1: core episodes are about science and culture and those published

1525
01:18:12,560 --> 01:18:14,960
Speaker 1: on Tuesdays and Thursdays. We do an artifact episode on

1526
01:18:15,000 --> 01:18:18,800
Speaker 1: Wednesdays listener mail on Mondays. But Friday that's when we

1527
01:18:18,840 --> 01:18:21,880
Speaker 1: get to cut loose and discuss some sort of weird

1528
01:18:21,960 --> 01:18:25,000
Speaker 1: cinematic gem, generally from Yesterdayear.

1529
01:18:24,520 --> 01:18:27,719
Speaker 3: That's right, so keep tuning in. Huge thanks as always

1530
01:18:27,720 --> 01:18:31,479
Speaker 3: to our excellent audio producer Seth Nicholas Johnson. If you

1531
01:18:31,520 --> 01:18:33,320
Speaker 3: would like to get in touch with us to let

1532
01:18:33,360 --> 01:18:35,840
Speaker 3: us know feedback on this episode or any other, to

1533
01:18:35,880 --> 01:18:38,320
Speaker 3: suggest a topic for the future, or just to say hello,

1534
01:18:38,400 --> 01:18:41,240
Speaker 3: you can email us at contact that's Stuff to Blow

1535
01:18:41,280 --> 01:18:49,680
Speaker 3: Your Mind dot com.

1536
01:18:49,760 --> 01:18:52,720
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1537
01:18:52,800 --> 01:18:55,599
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1538
01:18:55,760 --> 01:18:58,519
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.