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

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is BIM. Excuse me, this is Joe mccor

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Speaker 3: bim excuse me. My name is Joe mccorm mick. And

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Speaker 3: I am so excited to BIM. I mean, I am

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Speaker 3: so excited to talk about today's movie.

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Speaker 2: Yeah, I mean the bimnus is strong. The bim is

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Speaker 2: strong in this picture because in today's episode we are

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Speaker 2: going to be talking about nineteen eighties The Apple. This

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Speaker 2: is a film that has been requested before by listeners.

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Speaker 2: This is a film that I was previously familiar with

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Speaker 2: from being featured on Riff Tracks many years ago. But yeah,

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Speaker 2: this one is a tremendously weird and wonderful and flawed

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Speaker 2: rock and roll disco musical that is also so dystopian,

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Speaker 2: it's biblical, it's everything and more. It's like a Willy

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Speaker 2: Wonka candy.

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Speaker 3: This is one of the weirdest movies we have ever

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Speaker 3: covered on the show. Is It's up there with like

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Speaker 3: Super Mario Brothers and the other ones that are just

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Speaker 3: kind of impossible to describe the feeling of. You just

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Speaker 3: have to see it. And this is another one that

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Speaker 3: I can't believe I made it this far in my

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Speaker 3: life without ever having seen before. It's like, right up

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Speaker 3: my alley. This is the kind of movie I should

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Speaker 3: have seen when I was twenty years old and watched

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Speaker 3: fifteen times since then, but this actually was my first viewing.

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Speaker 3: So I'm very very grateful to you for choosing it

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Speaker 3: this week, Rob, And it's going to be It's a

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Speaker 3: new classic. It's going to be a favorite in our house.

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Speaker 2: I know. I watched it, rewatched it on a flight

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Speaker 2: a few weeks back, and after we selected it here,

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Speaker 2: I watched it two more times. So it's rare that

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Speaker 2: I watch a film twice in preparation for an episode

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Speaker 2: of Weird House. And I don't think I've ever watched

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Speaker 2: a film three times in preparation for a Weird House.

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Speaker 2: But this one's irresistible.

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Speaker 3: But yes, now, now, what did you say to describe

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Speaker 3: its rough genre alignment. It's like a biblical allegorical dystopian

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Speaker 3: science fiction musical.

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Speaker 2: Yeah, yeah, it is, yeah, because it's very much like

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Speaker 2: nineteen eighty four. There's this Orwellian kind of vibe going on,

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Speaker 2: you know, And then at the same time, it is

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Speaker 2: biblical in nature. This is a movie that will take

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Speaker 2: you to the hell, and in the same way that

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Speaker 2: the Coffin Joe movie that we will watch, it takes

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Speaker 2: you to the hell that I think they've those two

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Speaker 2: visions of hell line up rather rather well alongside each other.

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Speaker 2: But yeah, on the other hand, it's a Perils of

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Speaker 2: Fame movie. Again, it's very disco. It's also very glam rock.

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Speaker 2: It dabbles in some other musical genres as well, but

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Speaker 2: it is. Yeah, it's tremendous. It's I should also mention

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Speaker 2: it again, it is a musical. So this would be

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Speaker 2: I believe, only the third musical that we've covered on

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Speaker 2: Weird House Cinema, the others being nineteen sixties The Ship

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Speaker 2: of Monsters and nineteen eighty five's Billy the Kid and

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Speaker 2: the Green Bays Vampire.

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Speaker 3: For me personally, two very strong highlights from our back catalog.

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Speaker 3: I loved both of those movies, especially Ship of Monsters.

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Speaker 3: I just think of fondly so often.

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Speaker 2: This is a film that apparently did not do well

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Speaker 2: upon release. It was not received well by the general

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Speaker 2: movie going public. I think it was. It's a situation

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Speaker 2: where it was both a little past its time and

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Speaker 2: before its time, because certainly it's been well received in

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Speaker 2: more recent years. I mean, it has a cult following.

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Speaker 2: People love it. People there have been showings of it.

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Speaker 2: Sometimes they've even brought in some of the filmmakers in

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Speaker 2: the cast, and you have people showing up with the

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Speaker 2: little bimstickers on their forehead, which all sounds like a

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Speaker 2: great deal of fun. But at the time people boot it.

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Speaker 2: People walked out allegedly during some of the musical numbers,

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Speaker 2: And I think part of that is that this again

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Speaker 2: is a film that it's not all disco, but it

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Speaker 2: has very strong disco elements, and it comes out in

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Speaker 2: nineteen eighty that's just like in the year following the

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Speaker 2: whole Disco Demolition night thing, like sort of mainstream backlash

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Speaker 2: against disco where some people, I don't think they were

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Speaker 2: really in a position to make this claim, decided, you

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Speaker 2: know what, Disco's dead, Disco's lame, We're not doing disco anymore.

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Speaker 2: Kind of a backlash I guess against Saturday Night Fever

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Speaker 2: and all of its success. But also, you know, I

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Speaker 2: think also a backlash that was very much based in

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Speaker 2: homophobia and racism and you know, you don't have to

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Speaker 2: like disco, but disco's dead. Come on, that's ridiculous. And

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Speaker 2: disco didn't die. Disco lived on, and certainly it continued

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Speaker 2: to survive outside of this sort of mainstream backlash in

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Speaker 2: North America. Anyway, it's a bit of a tangent, but

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Speaker 2: basically I'm saying, this is a film that has sort

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Speaker 2: of mid seventies energy and it was unfortunate enough to

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Speaker 2: come out in nineteen eighty.

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Speaker 3: All right, well, Rob, maybe you can set me straight

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Speaker 3: on this if I'm wrong. But the way I understand

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Speaker 3: the sort of market positioning of The Apple is it

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Speaker 3: was a movie that came out a couple of years

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Speaker 3: after like Greece, and so Greece was a big hit.

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Speaker 3: It was a big, you know, rock musical movie hit.

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Speaker 3: While exactly what makes it appealing to me is how

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Speaker 3: off the wall and it just absolutely bananas it is.

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Speaker 3: I think that probably did not appeal to a lot

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Speaker 3: of the crowd that went and saw Greece and loved it.

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Speaker 2: Yeah. Yeah, I'm glad you mentioned Greece though, because I

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Speaker 2: think you can certainly look at this picture and you

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Speaker 2: can identify the successful buckets of content musical of content

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Speaker 2: that it's drawing from. You know, it's like, let's get

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Speaker 2: a little Grease in there, Let's get a little bit

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Speaker 2: rocky horror in there, Let's get a little bit of

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Speaker 2: god Spell in there. You know, these elements are very clear.

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Speaker 2: It wears these influences on its sleeve.

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Speaker 3: In fact, there are even moments in this movie that

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Speaker 3: very strongly reminded me of Grease. Despite the dystopian sci

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Speaker 3: fi setting and all of the like vampires and devils

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Speaker 3: and everything. There's like one song in it that basically

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Speaker 3: sounds like a copy of the song Sandy from Grease,

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Speaker 3: except it's talking about ALPHI.

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Speaker 2: Okay, I know the song you're talking about, but I've

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Speaker 2: never actually seen Greece, so I can't. Oh, okay, I

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Speaker 2: can't compare it as well, And so that that comparison

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Speaker 2: didn't jump out at me when I was watching it.

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Speaker 2: But of course I love Rocky Heart, and I love

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Speaker 2: God's Spell, I love I love a number of these

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Speaker 2: big musicals from that time period.

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Speaker 3: You know, there is another weird rock musical movie that

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Speaker 3: has I would say significant overlap with The Apple, but

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Speaker 3: I think is widely considered a much better film and

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Speaker 3: that's Phantom of the Paradise, but that came out way

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Speaker 3: back in seventy four.

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Speaker 2: Oh yeah, that one's also on our list to cover

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Speaker 2: at some point, and I believe Yeah, I should also

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Speaker 2: throw in that The Apple is a production of Canon films.

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Speaker 3: Oh so, how can we leave that out?

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Speaker 2: Yeah, we'll get into some of the details beyond behind that.

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Speaker 2: But that's kind of like the seal of excellence that

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Speaker 2: kind of prepares you for your experience with The Apple.

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Speaker 2: You know that this is a canon film, and if

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Speaker 2: you're familiar with other canon productions, you know what that

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Speaker 2: might imply.

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Speaker 3: Well, yes and no. So on one hand, it does

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Speaker 3: have some very campy canon qualities. Cannon films are widely

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Speaker 3: known not to be unkind, but they're widely known for

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Speaker 3: being hacked, sort of like poster first movie making. It's like, here,

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Speaker 3: we have a poster of Chuck Norris holding a machine gun.

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Speaker 3: There's some like jungle leaves around him. We can write

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Speaker 3: a script around that, have the movie out. You know.

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Speaker 3: It's that kind of marketing first movie making, which is

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Speaker 3: funny because that exact approach to music is lampooned within

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Speaker 3: The Apple. But I would say The Apple is by far,

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Speaker 3: of all the canon films I can think of that

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Speaker 3: I've seen, it feels the most like a movie that

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Speaker 3: was made with genuine passion behind it. Like it may

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Speaker 3: not be executed with the sharpest ear for tone, but

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Speaker 3: this does feel in some ways like a passion project,

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Speaker 3: and there were other elements of it that do have

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Speaker 3: some of that canon hackiness, but it feels like some

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Speaker 3: people working on this movie thought they were making something

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Speaker 3: meaningful that like had emotional resonance and mattered. It feels

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Speaker 3: that way to me.

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Speaker 2: Yeah, yeah, I think this was a passion project in

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Speaker 2: many ways, and not to say it was completely a

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Speaker 2: passion project, but there's there's some real authentic energy that

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Speaker 2: went into creating it here. So we're gonna have a

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Speaker 2: lot to say more to say about all of this,

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Speaker 2: but I would say my elevator pitch is basically Adam

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Speaker 2: Eve God the Devil, disco drugs and rock and roll.

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Speaker 3: The musical I was gonna say, American Idol meets the

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Speaker 3: Running Man.

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Speaker 2: Oh, that's perfect. Let's go ahead and hear that fantastic

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Speaker 2: trailer audio in which you'll get to hear some of

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Speaker 2: the music that makes this film so special.

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Speaker 4: In nineteen ninety four. The world is controlled by one power.

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Speaker 4: The apple is success.

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Speaker 3: There no good very show there.

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Speaker 4: The Apple brings you everything but about happiness show. I

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Speaker 4: want you to release Phoebe from a contract.

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Speaker 3: Cheers, Where is she?

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Speaker 2: I stand long, stand along, Crown.

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Speaker 4: The apple is the temptation. The Apple is the experience.

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Speaker 2: Take the apple warm?

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Speaker 3: Why apple?

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Speaker 4: The apple is the forbidden fruit.

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Speaker 2: Come in, take me and ship me, and mom me

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Speaker 2: and make me and fill me up with your fire.

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Speaker 3: Come do.

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Speaker 2: To me your little heart desire. I've never been to

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Speaker 2: high my life. Must see. I'm gonna talk to you.

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Speaker 4: The Apple takes your soul. You got have too early.

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Speaker 1: Everybody down in.

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Speaker 4: Her way, fucking power everybody hour.

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Speaker 3: I can bear the use that weekends.

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Speaker 4: Shame fucking Powerboddy hour Now a special experience in moviegoing entertainment.

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Speaker 2: The Apple all all right? Well, if you're convinced, you've

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Speaker 2: got to see the apple as well before you hear

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Speaker 2: us talk about it. You can find it in a

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Speaker 2: number of formats. There are multiple streaming options. I think

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Speaker 2: there are some like sort of free streaming options as well.

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Speaker 2: There's also a physical Blu ray from Keno lorber So. Yeah,

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Speaker 2: get your physical media, if you would or if you

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Speaker 2: would like to own the Apple forever, because like I say,

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Speaker 2: once you get into it, you're going to want to

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Speaker 2: watch it multiple times. All Right, Let's talk about the

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Speaker 2: individuals who made this film. Let's start at the top

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Speaker 2: with Manahim Golan. He was the director, the writer, and

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Speaker 2: of course one of the producers. He lived nineteen twenty

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Speaker 2: nine through twenty fourteen.

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Speaker 3: Manahim Golan is the Golan in Golan Globis, which is

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Speaker 3: another the Golan Globis or the heads of Cannon films

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Speaker 3: in the eighties.

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Speaker 2: Yeah, with Globus being your Globus his cousin. Yeah, but

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Speaker 2: Golan here Israeli film producer, screenwriter, director and co owner

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Speaker 2: of the Canning Group from seventy nine through eighty five,

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Speaker 2: which again gave us a whole bunch of stupendous Cannon films.

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Speaker 2: They occasionally busted out some critically praised movies as well,

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Speaker 2: like nineteen eighty five's Runaway Train, but other stuff it

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Speaker 2: was like Chuck Norris' Is the Delta Force from eighty

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Speaker 2: six or nineteen eighty one's Enter the Ninja starring franko'neiro

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Speaker 2: as a Ninja. Both of those were also directed by Goland.

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Speaker 3: I was trying to think, what canon films have we

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Speaker 3: actually done on the podcast. I think Treasure of the

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Speaker 3: Four Crowns was a Cannon film? Was it not?

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Speaker 2: I think you're right. You know, I was struggling earlier.

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Speaker 2: I was like, have we talked about I know we

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Speaker 2: haven't talked about a Golan film, but have we talked

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Speaker 2: about a Cannon film? And I think you're right if

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Speaker 2: that one either is a cannon film or it's so

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Speaker 2: cannony that it's an understandable mistake.

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Speaker 3: We haven't done it on the show yet. And I

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Speaker 3: wouldn't have known this off the top of my head,

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Speaker 3: but I just saw on a list that Life is

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Speaker 3: indeed also a canon film.

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Speaker 2: Oh man, we've come close to covering Life Force. It's

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Speaker 2: very much on the list anyway. As for Goland here

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Speaker 2: he produced over two hundred films during his lifetime. He

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Speaker 2: directed forty four of them. His first directorial credit was

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Speaker 2: a nineteen sixty three western called El Dorado that starred

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Speaker 2: Topol and when it comes to musicals, he produced a

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Speaker 2: good dozen of these, including nineteen eighty five's Rappin' exclamation

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Speaker 2: Point and nineteen eighty four's Break into Electric Boogaloo. But

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Speaker 2: this was the first musical he directed, but not his last,

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Speaker 2: because he also directed nineteen eighty nine's Mac the Knife,

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Speaker 2: which I haven't seen and I understand not everyone loves.

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Speaker 2: But it features a cast that includes Rale Julia in

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Speaker 2: the lead, Richard Harris, Roger Daltrey, and Bill Nye. I mean,

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Speaker 2: how can you go wrong with that cast, especially with

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Speaker 2: Raul Julia in the end of the league.

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Speaker 3: It's funny that nine years after he made The Apple

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Speaker 3: he made a movie star Roger Daltrey. Because there is

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Speaker 3: a guy in this movie who I am positive he wanted.

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Speaker 3: Roger Daltrey couldn't get him. So he's like, get me

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Speaker 3: the guy you can find who looks closest to Roger Daltrey.

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Speaker 3: And that's how we end up with the wonderful Alan

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Speaker 3: Love in the role of Dandy.

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Speaker 2: Yeah, they're like, give me the guy from Merlin. We'll

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Speaker 2: talk about that second, all right. So this is so again.

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Speaker 2: Golan was the director. He was also the writer, but

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Speaker 2: we also have story credits as well as composition and

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Speaker 2: lyric credits to a pair of individuals, the main one

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Speaker 2: of being Kobe Wrecked and this and this other individual.

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Speaker 2: I'm not sure if this is Kobe's wife or what

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Speaker 2: the relationship is, but same last name. Iris Wrecked and

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Speaker 2: Kobe reck was an Israeli rock producer who acted in

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Speaker 2: a handful of pictures, but his only other credited film

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Speaker 2: composition is nineteen eighty nine's The Mask of the Red

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Speaker 2: Death starring Frank Still and Herbert Lohm. What that sounds

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Speaker 2: great on paper.

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Speaker 3: But they thought they could one up the one with

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Speaker 3: Vincent Price.

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Speaker 2: I think I briefly looked into this one. I think

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Speaker 2: Lom was filling in for someone else that they tried

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Speaker 2: to get, not Vincent Price, but someone of that caliber.

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Speaker 2: But of course Lom I think he was in some

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Speaker 2: Hammer horror films as well, so you know, solid pedigree there.

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Speaker 2: And then Iris. This is her only credit, but she

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Speaker 2: also plays the character Dominique, who I think is the

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Speaker 2: presenter at the euro Song type of event that we're

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Speaker 2: going to talk about here in a minute.

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Speaker 3: Oh okay, Yeah, she comes out and introduces Alphie and BB.

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Speaker 2: Yeah. So these two individuals seem to be the main

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Speaker 2: creative forces behind the music, and we'll have a lot

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Speaker 2: to say about the music as we get into the plot.

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Speaker 2: All right, now the cast proper. We are really our

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Speaker 2: main character. We have a pair of characters, two lovers

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Speaker 2: that enter into this world of fame and sin as innocence,

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Speaker 2: very mentor Adam and Eve character. These are the characters

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Speaker 2: Bibe and Alfie. Bebe was played by Katherine Mary Stewart

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Speaker 2: born nineteen fifty nine, Canadian actor who was not born

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Speaker 2: in Moose Jaw. But this was her big break, so

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Speaker 2: it's kind of like, you know, reality mirroring fiction here.

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Speaker 2: In nineteen eighty four, she went on to appear in

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Speaker 2: both The Last Starfighter, so he did previously talk about

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Speaker 2: her in our episode on The Last star Fighter as

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Speaker 2: well as Knight of the Comet Ah. Yeah. And in

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Speaker 2: nineteen eighty seven she was in the wonderfully nutty adaptation

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Speaker 2: of George R. R. Martin's Night Flyers. That one is

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Speaker 2: also on the list for Weird House Cinema because it's ridiculous.

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Speaker 2: She did one hundred and fifty episodes of Days of

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Speaker 2: Our Lives from eighty two through eighty three. She did

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Speaker 2: two different episodes of the nineteen nineties Outer Limits series,

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Speaker 2: and she's still very active. She appeared on a Law

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Speaker 2: and Order episode in twenty twenty three.

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Speaker 3: In general, I think Catherine Mary Stewart is great. I

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Speaker 3: don't I would say her performance in this movie is

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Speaker 3: a kind of inconsistent. On one hand, what the story

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Speaker 3: requires of her is to be kind of like the innocent, yeah,

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Speaker 3: the sinless character who is introduced into an evil world

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Speaker 3: and corrupted by it. But there are parts where she

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Speaker 3: does seem just kind of like dazed, like she's just

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Speaker 3: like wandering through the movie as things are happening. But

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Speaker 3: then there are other scenes, like especially some of her

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Speaker 3: musical numbers, where she's fantastic.

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Speaker 2: Yeah, yeah, I think the dazed parts this is a

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Speaker 2: film where that works. Like if you look a little dazed,

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Speaker 2: you know, a little out of it. I mean that's

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Speaker 2: kind of her character for a large portion of the film.

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Speaker 2: So it doesn't doesn't, you know, knock her performance any

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Speaker 2: but but yeah's it's a great physical performance. During the

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Speaker 2: musical numbers. I'm to understand that her singing voice is

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Speaker 2: actually provided by someone by the name of Mary Hyland,

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Speaker 2: which you know is understandable. Not everybody, not everybody's a singer,

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Speaker 2: and this is you know, standard operating procedure. Certainly in

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Speaker 2: like say, Bollywood cinema, as we've discussed before. All right,

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Speaker 2: so that's Babie and then there is her boyfriend. Also.

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Speaker 2: This character is also supposed to be from Moose joh Canada.

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Speaker 2: This is Alfie, played by George Gilmore. I couldn't find

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Speaker 2: any dates on him when he was born or so forth.

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Speaker 2: I think he's still around. This is his only acting credit.

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Speaker 2: He was allegedly a member of the Scottish band the

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Speaker 2: bow Weavils in the nineteen sixties, but I couldn't find

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Speaker 2: much about that on discogs, so I'm not even entirely

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Speaker 2: sure if that's correct, or maybe I was looking at

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Speaker 2: the wrong bow Weavils. But it's a very earnest performance. It's,

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Speaker 2: you know, a green performance. But he's at least very handsome.

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Speaker 3: He is very handsome. I'm a little unsure why he

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Speaker 3: has a British accent if he's supposed to be from

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Speaker 3: Moose Jaw, Canada. But I don't know. Maybe he's a

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Speaker 3: British person who moved to Moose Jaw, Canada and then

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Speaker 3: started performing alongside bb here. Yeah, this character is a

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Speaker 3: little stiff. I think a reaction to Alfie will make

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Speaker 3: more since when we talked about the plot in more detail.

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Speaker 2: So those are two, you know, babes in the woods.

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Speaker 2: There are two innocents that are entering into this world

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Speaker 2: of sin. So let's talk about the people that are

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Speaker 2: active in the industry here. First up, we have Pandy.

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Speaker 2: Pandy is played by Grace Kennedy born nineteen fifty eight,

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Speaker 2: Jamaican born actress who was a successful singer and BBC precenter.

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Speaker 2: Now she's apparently a luxury wedding and event designer. She

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Speaker 2: had four albums out between seventy nine and eighty one,

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Speaker 2: so she's very much like the top female star in

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Speaker 2: the music industry that's presented in the film. Looks fabulous

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Speaker 2: throughout and of course has just tremendous vocal ability.

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Speaker 3: Yeah, Grace Kennedy is great. So she's part of this duo.

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Speaker 3: And I was going to say, and it is Dandy

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Speaker 3: and Pandy, and they, I think, in contrast to our

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Speaker 3: two main characters, are really fun, devilish performances. And then

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Speaker 3: Pandy has a late late narrative change of heart and

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Speaker 3: redemption arc which works pretty well too.

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Speaker 2: That's right, that's right. Not so not so much Dandy.

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Speaker 3: No, Dandy's just a he's just a cad.

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Speaker 2: Yeah, Dandy is our seductive brit rocker. This is the

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Speaker 2: one that you said was clearly they wanted Roger Daltreve

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Speaker 2: and they couldn't get him at the time. He was

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Speaker 2: out of their budget. I guess for the time being.

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Speaker 2: If only they'd made this film later, they could have

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Speaker 2: definitely hired, like wooed him away from the Highlander of

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Speaker 2: the series. But but they got they couldn't get him

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Speaker 2: for this.

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Speaker 3: But you know what, Alan Love is great. He is

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Speaker 3: just a bad rock and roll man.

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Speaker 2: Yeah. He has this wonderful like seductive, kind of sleazy

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Speaker 2: quality to him. So that Alan Love was born in

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Speaker 2: nineteen forty six, still very much around him to understand,

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Speaker 2: and he has the pedigree. He was the lead singer

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Speaker 2: of the mid seventies glam rock band Merlin. Definitely looked

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Speaker 2: them up on discog so you can see the awesome

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Speaker 2: album cover for their self titled release.

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Speaker 3: Merlin seems like a band I would know, but somehow

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Speaker 3: I don't. I'm gonna check him out after this.

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Speaker 2: He was also in the earlier British rock band I've

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Speaker 2: seen it described as just kind of like psych rock.

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Speaker 2: It was called Opal Butterfly, but he also put out

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Speaker 2: a single Can't Get Over Losing You in seventy nine,

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Speaker 2: you know, right before this film. His acting credits are few,

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Speaker 2: but he did one episode of Fox Mystery Theater in

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Speaker 2: eighty four, and he acted and composed for nineteen eighty

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Speaker 2: four's Pop Pirates, which actually does feature Roger Daltrey, as

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Speaker 2: well as the actor John Finch, who was in Hitchcock's

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Speaker 2: Frenzy and also in that excellent nineteen seventies adaptation of Midpeth.

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Speaker 2: Love went on to open a restaurant that was featured

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Speaker 2: on an episode of Kitchen Nightmares with Gordon Rams time

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Speaker 2: to understand that it is and has subsequently closed.

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Speaker 3: Oh is this the UK or the US? Kitchen Nightmares?

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Speaker 3: I assume UK.

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Speaker 2: I think it's UK. Yeah, I looked into it. I

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Speaker 2: think it's like it was like a fish restaurant or something. Yeah.

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Speaker 3: Okay, Well, by the way, if you get if you

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Speaker 3: get a chance to look up Alan Love's album Can't

395
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Speaker 3: Get Over Losing You. It is funny because he's doing

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Speaker 3: the pose. He's doing like the seventies album cover pose

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Speaker 3: that you've probably seen on many albums, the one that

398
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Speaker 3: came up when I was searching for this because I

399
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Speaker 3: knew i'd seen it before. Is like the Teddy Pendergrass

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Speaker 3: It's time for love, but it's like where you lay

401
00:23:40,200 --> 00:23:42,480
Speaker 3: back sort of you prop up on one arm and

402
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Speaker 3: then have one knee bent up in a triangle shape.

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Speaker 2: Yeah.

404
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Speaker 3: I don't know who decided this would be like the

405
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Speaker 3: look for album covers at this time, but apparently people

406
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Speaker 3: thought it was cool.

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Speaker 2: Yeah. I mean, I guess it's just a pose that

408
00:23:56,400 --> 00:23:58,960
Speaker 2: invites love making. You know, it's like the individual in

409
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Speaker 2: the pictures, like, hey, it's thinking about birds, but love

410
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Speaker 2: making maybe. So Yeah, it's tremendous to take a look

411
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Speaker 2: at it, all right. Other members of the cast, we

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Speaker 2: have the great Joss Ackland in this who has a

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Speaker 2: dual role sort of kind of. He plays mister Tops,

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Speaker 2: who does not feature into the plot at all until

415
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Speaker 2: the very end, and then he also plays another late

416
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Speaker 2: character that is referred to as the hippie leader, but

417
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Speaker 2: I don't think has a name other than that.

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Speaker 3: He plays the two out of nowhere characters in the movie,

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Speaker 3: and one one of them is really out of nowhere.

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Speaker 2: Yeah. Now, it's often been pointed out on the various

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Speaker 2: film sites and write ups about this that there was

422
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Speaker 2: they filmed, and there was supposed to be a big

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Speaker 2: opening number set in heaven or in paradise or something.

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Speaker 2: They clearly establishes, mister Tops, that establishes the presence of

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Speaker 2: God all my li in this picture. But for various reasons,

426
00:25:03,160 --> 00:25:06,399
Speaker 2: it just didn't work, and so they cut it. So

427
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Speaker 2: that's the reason the biblical ending of the film really

428
00:25:11,960 --> 00:25:15,280
Speaker 2: seems to come out of nowhere. But Ackland's great, if

429
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Speaker 2: for no other reason, He's definitely a reason you want

430
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Speaker 2: to stick around and watch the full film. His acting

431
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Speaker 2: credits go back to the mid forties for stage and

432
00:25:24,200 --> 00:25:27,159
Speaker 2: the late forties for TV and screen. His credits include

433
00:25:27,160 --> 00:25:30,439
Speaker 2: the nineteen seventy one Amicus horror anthology The House That

434
00:25:30,480 --> 00:25:34,120
Speaker 2: Tripped Blood seventy two is The Mind Snatchers with Christopher

435
00:25:34,119 --> 00:25:36,800
Speaker 2: Walken and Ronnie Cox. He's the voice of the Black

436
00:25:36,880 --> 00:25:40,080
Speaker 2: Rabbit in nineteen seventy eight s adaptation of Watership Down.

437
00:25:40,440 --> 00:25:43,720
Speaker 2: He did two episodes of Tales of the Unexpected Lethal

438
00:25:43,760 --> 00:25:45,920
Speaker 2: Weapon two in eighty nine, The Hunt for Red October

439
00:25:45,960 --> 00:25:49,000
Speaker 2: in nineteen ninety Bill and Ted's Bogus Journey in ninety one.

440
00:25:49,080 --> 00:25:52,080
Speaker 2: He did both The Mighty Ducks in ninety two and

441
00:25:52,240 --> 00:25:55,280
Speaker 2: D three in ninety six, that's what the kids call

442
00:25:55,359 --> 00:25:59,639
Speaker 2: the third Mighty Ducks movie, but not D two. I

443
00:25:59,640 --> 00:26:01,520
Speaker 2: don't think he was Indy two. I think just D three,

444
00:26:01,600 --> 00:26:02,120
Speaker 2: you know, is.

445
00:26:02,080 --> 00:26:04,679
Speaker 3: His triumphant return in the Partia.

446
00:26:05,200 --> 00:26:08,879
Speaker 2: And then he's he's really wonderful as the wizard Mustroom

447
00:26:10,280 --> 00:26:13,119
Speaker 2: Rid Kohley, I forget how it's pronounced in two thousand

448
00:26:13,119 --> 00:26:16,320
Speaker 2: and six is the hog Father, so he often played

449
00:26:16,359 --> 00:26:19,359
Speaker 2: He's really good at playing like very serious characters. But

450
00:26:20,080 --> 00:26:23,520
Speaker 2: as his apparent in this adaptation of The Hogfather the

451
00:26:23,560 --> 00:26:26,359
Speaker 2: Terry Pratchett novel, he gets to play a very silly

452
00:26:26,359 --> 00:26:27,960
Speaker 2: wizard and it's a lot of fun.

453
00:26:28,680 --> 00:26:33,320
Speaker 3: So his appearance in The Apple is categorically ludicrous. Yet

454
00:26:33,320 --> 00:26:37,520
Speaker 3: he does a pretty good job of bringing gravitas to it,

455
00:26:37,680 --> 00:26:39,919
Speaker 3: Like he's he tries to like tamp it down and

456
00:26:39,960 --> 00:26:43,040
Speaker 3: make it serious. I don't think there is any actor

457
00:26:43,119 --> 00:26:45,720
Speaker 3: alive who could really sell it and make it not

458
00:26:45,960 --> 00:26:49,439
Speaker 3: hilarious when he shows up, But Acklin does a pretty

459
00:26:49,440 --> 00:26:49,920
Speaker 3: good job.

460
00:26:50,320 --> 00:26:53,240
Speaker 2: He somehow classes up the joint just by walking onto

461
00:26:53,240 --> 00:26:56,639
Speaker 2: the screen and really just just you know, using just

462
00:26:56,680 --> 00:26:58,639
Speaker 2: a few lines here and there, like he doesn't have

463
00:26:58,800 --> 00:27:01,200
Speaker 2: a huge presence in the movie, but it's kind of

464
00:27:01,240 --> 00:27:02,560
Speaker 2: like he shows up and you're like, Okay, we have

465
00:27:02,600 --> 00:27:05,399
Speaker 2: to take things seriously now, and it actually makes you

466
00:27:05,520 --> 00:27:09,360
Speaker 2: forget how unearned any of it is. Yeah, all right,

467
00:27:09,400 --> 00:27:11,639
Speaker 2: So if we have a god figure in this picture,

468
00:27:11,680 --> 00:27:15,080
Speaker 2: we also have to have a devil. And our devil

469
00:27:15,359 --> 00:27:20,600
Speaker 2: is mister Boogolaw played by Vladix Shayball Live nineteen twenty

470
00:27:20,640 --> 00:27:24,880
Speaker 2: three through nineteen ninety two, our chief villain, the satanic

471
00:27:24,920 --> 00:27:28,520
Speaker 2: head of BIM. A tremendous Polish actor of stage, screen

472
00:27:28,560 --> 00:27:31,560
Speaker 2: and TV. His biggest credits include nineteen sixty Three's From

473
00:27:31,640 --> 00:27:35,160
Speaker 2: Russia with Love sixty seven, Casino Royale in nineteen eighty

474
00:27:35,160 --> 00:27:38,560
Speaker 2: four is read Dawn, I say tremendous. I don't remember

475
00:27:38,680 --> 00:27:41,159
Speaker 2: his presence in these other films that I've seen. I

476
00:27:41,240 --> 00:27:44,000
Speaker 2: just know he's tremendous in this movie. And any time

477
00:27:44,080 --> 00:27:48,000
Speaker 2: Booglaw is on the screen, you're just captivated by what

478
00:27:48,040 --> 00:27:49,800
Speaker 2: is he going to say next? What is he gonna do,

479
00:27:50,200 --> 00:27:51,879
Speaker 2: What's he gonna do with his face? Is he going

480
00:27:51,920 --> 00:27:53,480
Speaker 2: to look directly at us again?

481
00:27:54,400 --> 00:27:54,600
Speaker 3: Oh?

482
00:27:54,640 --> 00:27:55,120
Speaker 2: He's great.

483
00:27:55,400 --> 00:27:58,200
Speaker 3: He does love looking straight into the camera. It's boog

484
00:27:58,440 --> 00:28:03,480
Speaker 3: Low because when we Boglelow, yes, Microsoft word kept trying

485
00:28:03,520 --> 00:28:05,880
Speaker 3: to auto correct that to Bungalow.

486
00:28:06,359 --> 00:28:08,320
Speaker 2: Yeah yeah, same, yeah.

487
00:28:08,480 --> 00:28:12,360
Speaker 3: But yeah, I remember this actor from definitely from From

488
00:28:12,440 --> 00:28:14,879
Speaker 3: Russia with Love. That's one of the Sean Connery James

489
00:28:14,880 --> 00:28:18,520
Speaker 3: Bond movies where I think he plays some kind of

490
00:28:19,200 --> 00:28:22,320
Speaker 3: villain who plays chess. I think his name is Kronstein.

491
00:28:23,119 --> 00:28:29,440
Speaker 2: Yeah. Yeah, he has a very distinctive face. Yeah. So yeah,

492
00:28:30,080 --> 00:28:32,080
Speaker 2: he also did see I was looking around. He did

493
00:28:32,200 --> 00:28:34,720
Speaker 2: nineteen eighty. It was in the nineteen eighty TV adaptation

494
00:28:34,760 --> 00:28:37,080
Speaker 2: of Showgun. He was also a regular on that old

495
00:28:37,080 --> 00:28:40,480
Speaker 2: British UFO series that sometimes pops up in Our Connections.

496
00:28:41,040 --> 00:28:46,600
Speaker 2: But yeah, absolutely wonderful. In this Booglow is just a

497
00:28:46,640 --> 00:28:47,480
Speaker 2: wonderful villain.

498
00:28:47,920 --> 00:28:50,200
Speaker 3: Oh but we got some more wonderful villains to kind

499
00:28:50,200 --> 00:28:52,360
Speaker 3: of fill out the throne room of wickedness.

500
00:28:52,720 --> 00:28:55,600
Speaker 2: Yes, there's a number of lackeys and they're all great.

501
00:28:56,240 --> 00:28:58,600
Speaker 2: The first show and we'll cover is Shake. Shake is

502
00:28:58,720 --> 00:29:03,520
Speaker 2: his right hand man, played by Ray Schell born nineteen

503
00:29:03,600 --> 00:29:07,160
Speaker 2: fifty one. I love this character essentially kind of like

504
00:29:07,200 --> 00:29:09,600
Speaker 2: a right hand man, but also kind of a snake

505
00:29:09,680 --> 00:29:12,080
Speaker 2: man sometimes actually a snake.

506
00:29:13,440 --> 00:29:16,160
Speaker 3: Appearing in a snake costume with like a snake mouth

507
00:29:16,200 --> 00:29:16,960
Speaker 3: around his head.

508
00:29:17,320 --> 00:29:21,840
Speaker 2: Yep. Yeah. One of several characters that is sometimes sometimes

509
00:29:21,880 --> 00:29:25,440
Speaker 2: on screen only in some sort of like bejeweled thong

510
00:29:25,640 --> 00:29:30,520
Speaker 2: type of costume and still totally works that. Shell's other

511
00:29:30,560 --> 00:29:33,480
Speaker 2: film and TV roles include nineteen ninety eight Velvet gold Mine,

512
00:29:33,800 --> 00:29:36,120
Speaker 2: but he's mostly known for his stage work and musical

513
00:29:36,200 --> 00:29:40,680
Speaker 2: theater credits. On the UK stage, he apparently originated lead

514
00:29:40,760 --> 00:29:43,280
Speaker 2: roles in the musical Starlight Express in eighty four and

515
00:29:43,320 --> 00:29:47,080
Speaker 2: five Guys Named Moe in nineteen ninety, and he's worked

516
00:29:47,120 --> 00:29:51,040
Speaker 2: in various big name productions. He also was apparently part

517
00:29:51,120 --> 00:29:53,680
Speaker 2: of the British new wave music scene and is an

518
00:29:53,680 --> 00:29:55,560
Speaker 2: author of several books as well.

519
00:29:56,320 --> 00:29:59,680
Speaker 3: In a movie where some actors might have felt compelled

520
00:29:59,680 --> 00:30:02,400
Speaker 3: the phone it in Rachel, he brings his a game.

521
00:30:02,440 --> 00:30:05,760
Speaker 3: Here he is, he is giving his all to this

522
00:30:05,840 --> 00:30:07,040
Speaker 3: role and he does great.

523
00:30:07,600 --> 00:30:13,440
Speaker 2: Yes, yeah, absolutely fabulous. There are various other stooges and lackeys.

524
00:30:13,760 --> 00:30:15,400
Speaker 2: I'm not gonna mention them all here. We'll get into

525
00:30:15,440 --> 00:30:17,280
Speaker 2: some of them once we get into the plot. I

526
00:30:17,360 --> 00:30:19,480
Speaker 2: will point out that there is a character named Bold.

527
00:30:19,560 --> 00:30:24,040
Speaker 2: There are two like Big Grimlin type dudes. They're kind

528
00:30:24,040 --> 00:30:25,760
Speaker 2: of like, yeah, they're kind of like Orcs, are kind

529
00:30:25,760 --> 00:30:29,240
Speaker 2: of like the Gamorian guards from Jaba's Palace. Their names

530
00:30:29,240 --> 00:30:30,800
Speaker 2: are Bulldog and Fat Dog.

531
00:30:32,320 --> 00:30:37,960
Speaker 3: They're two. They're mister Boogalow's two bodyguards. They're both bald,

532
00:30:38,120 --> 00:30:41,800
Speaker 3: and they both have ogre teeth. They have like underbyte fangs,

533
00:30:41,840 --> 00:30:43,800
Speaker 3: which never explained why they have that, but they have

534
00:30:44,440 --> 00:30:47,520
Speaker 3: orc teeth. And when I was looking at them, I

535
00:30:47,560 --> 00:30:51,040
Speaker 3: was like, what I'm getting like calls to another movie,

536
00:30:51,080 --> 00:30:53,080
Speaker 3: and I realized, like, they look like they would fit

537
00:30:53,160 --> 00:30:55,920
Speaker 3: in with the cast of Alien three. They would be

538
00:30:56,040 --> 00:30:59,520
Speaker 3: like prisoners on the planet on the space colony there.

539
00:31:00,120 --> 00:31:03,120
Speaker 2: Yeah, it's almost a little shocking that the character, the

540
00:31:03,120 --> 00:31:07,400
Speaker 2: British actor playing Bulldog Derek Deadman, isn't in Alien three,

541
00:31:07,440 --> 00:31:10,960
Speaker 2: because it would have been perfect. He lived nineteen forty

542
00:31:10,960 --> 00:31:16,880
Speaker 2: through twenty fourteen and his credits include Time Bandits, Brazil, Robinhood,

543
00:31:16,880 --> 00:31:19,760
Speaker 2: Prince of Thieves, and he also one of his last

544
00:31:19,760 --> 00:31:22,320
Speaker 2: appearances was in Harry Potter and the Sorcerer Stone. I

545
00:31:22,320 --> 00:31:25,719
Speaker 2: think he's like a barkeep in that. Yeah, a character

546
00:31:25,760 --> 00:31:27,920
Speaker 2: actor who just did a lot of TV work. Oh.

547
00:31:27,960 --> 00:31:30,560
Speaker 2: In another major appearance in this film. This is not

548
00:31:30,600 --> 00:31:32,760
Speaker 2: a lackey or a henchman. This is just like a

549
00:31:32,840 --> 00:31:35,680
Speaker 2: normal person outside of the industry, but we have this

550
00:31:35,840 --> 00:31:40,480
Speaker 2: land lady. Alfie's landlady is played by Miriam Margolis born

551
00:31:40,600 --> 00:31:44,640
Speaker 2: nineteen forty one, English Australian actress with extensive stage, screen

552
00:31:44,680 --> 00:31:47,560
Speaker 2: and TV credits, but many filmgoers probably know her best

553
00:31:47,600 --> 00:31:52,360
Speaker 2: as Professor Sprout from the Harry Potter films. She also

554
00:31:52,400 --> 00:31:54,440
Speaker 2: had a major role in nineteen ninety three's The Age

555
00:31:54,480 --> 00:31:57,760
Speaker 2: of Innocence. I believe that's a Martin Scorsese film. For

556
00:31:57,800 --> 00:32:01,720
Speaker 2: that she won a BAFTA. Also on the TV series

557
00:32:01,760 --> 00:32:04,600
Speaker 2: called The Midwife, so if you've seen the various seasons

558
00:32:04,680 --> 00:32:07,800
Speaker 2: to Call the Midwife, you've probably a senior. And she

559
00:32:07,920 --> 00:32:10,960
Speaker 2: also has a small appearance in nineteen eighty six's Little

560
00:32:10,960 --> 00:32:14,280
Speaker 2: Shop of Horrors. She plays the I think she's a

561
00:32:14,360 --> 00:32:17,840
Speaker 2: dental assistant or something when we get into the dentist

562
00:32:17,840 --> 00:32:18,560
Speaker 2: office scenes.

563
00:32:19,200 --> 00:32:23,600
Speaker 3: So she plays Yeat, the landlady of Alfi in this movie,

564
00:32:23,600 --> 00:32:28,239
Speaker 3: one of the two heroes, and her main point is

565
00:32:28,240 --> 00:32:31,840
Speaker 3: that she is encouraging Alfi to stop trying to write

566
00:32:32,080 --> 00:32:35,840
Speaker 3: good music and to start trying to write bad music

567
00:32:35,920 --> 00:32:40,120
Speaker 3: that will make money because she wants the rent right right.

568
00:32:40,400 --> 00:32:44,040
Speaker 2: But then also she's like, yeah, you're the stuff that

569
00:32:44,080 --> 00:32:46,520
Speaker 2: your unsuccessful stuff also kind of reminds me of the

570
00:32:46,520 --> 00:32:50,320
Speaker 2: good old days, so she's also supporting of that to

571
00:32:50,440 --> 00:32:55,440
Speaker 2: a point. So in many respects, she's Alfie's biggest supporter,

572
00:32:55,880 --> 00:32:57,800
Speaker 2: all right. And finally, I do want to mention that

573
00:32:57,880 --> 00:33:01,240
Speaker 2: the art director on this film is huh Jurgen Kaibak,

574
00:33:01,560 --> 00:33:04,520
Speaker 2: who of nineteen thirty through nineteen ninety five German art

575
00:33:04,520 --> 00:33:07,200
Speaker 2: director and production designer with credits going back to the

576
00:33:07,280 --> 00:33:10,720
Speaker 2: nineteen fifties. Of note, he won an Academy Award for

577
00:33:10,760 --> 00:33:14,080
Speaker 2: his work on seventy three's Cabaret and was nominated for

578
00:33:14,120 --> 00:33:16,240
Speaker 2: an Emmy for his work on the nineteen seventy eight

579
00:33:16,280 --> 00:33:19,120
Speaker 2: mini series The Holocaust. But he worked on a lot

580
00:33:19,160 --> 00:33:22,440
Speaker 2: of smaller budget genre films as well, including the nineteen

581
00:33:22,480 --> 00:33:27,800
Speaker 2: seventy two Jess Franco slasher dere Totostrascher, The Death Avenger

582
00:33:28,160 --> 00:33:32,160
Speaker 2: von Soho, as well as nineteen sixty one's The Return

583
00:33:32,360 --> 00:33:35,640
Speaker 2: of Doctor Mabuse. I'm never sure if I'm saying that

584
00:33:35,680 --> 00:33:40,959
Speaker 2: correctly Mabuse Abuse, but that one starred Gert froeb who,

585
00:33:41,040 --> 00:33:44,680
Speaker 2: of course would go on to play Goldfinger. Oh okay,

586
00:33:45,280 --> 00:33:48,640
Speaker 2: but yeah, German talent, I guess. Of note, because this film,

587
00:33:48,720 --> 00:33:52,120
Speaker 2: though it is seemingly sort of set in New York

588
00:33:52,280 --> 00:33:54,640
Speaker 2: like a futurist at New York City, it was filmed

589
00:33:54,680 --> 00:33:57,560
Speaker 2: in Berlin, and so throughout the picture you see a

590
00:33:57,600 --> 00:34:01,720
Speaker 2: lot of examples of really like cool euturistic looking architecture.

591
00:34:01,800 --> 00:34:04,720
Speaker 2: You see a monorail and stuff like that. That that's

592
00:34:04,720 --> 00:34:09,040
Speaker 2: because they filmed it in Germany. Hmm. Okay, Like there

593
00:34:09,120 --> 00:34:11,360
Speaker 2: are scenes laid in the picture where they'll be like

594
00:34:11,400 --> 00:34:13,320
Speaker 2: some sort of crazy building in the background, and you

595
00:34:13,400 --> 00:34:15,680
Speaker 2: might think, is this a map painting, and you're like, no, no,

596
00:34:15,719 --> 00:34:18,600
Speaker 2: it's just Berlin. It's just that that's what's going on here.

597
00:34:18,880 --> 00:34:21,840
Speaker 3: Oh okay, So yeah, that explained some things I didn't

598
00:34:21,840 --> 00:34:25,200
Speaker 3: realize because I was very unclear about where the movie

599
00:34:25,239 --> 00:34:28,240
Speaker 3: was supposed to take place. You tell me, it's supposed

600
00:34:28,239 --> 00:34:31,560
Speaker 3: to be New York, okay, but it seems like it's

601
00:34:31,600 --> 00:34:38,000
Speaker 3: set in the world. It's set in Earth nineteen ninety four. Yeah, yeah, basically,

602
00:34:38,360 --> 00:34:40,319
Speaker 3: And almost to drive that point home, are are we

603
00:34:40,360 --> 00:34:41,200
Speaker 3: going to the plot? Now?

604
00:34:41,280 --> 00:34:43,600
Speaker 2: Let's get into it. Let's discuss the plot of The Apple.

605
00:34:44,000 --> 00:34:48,440
Speaker 3: Okay, we open on a sea of flags, the flags

606
00:34:48,440 --> 00:34:51,360
Speaker 3: of all the nations, like outside the UN building, and

607
00:34:51,440 --> 00:34:55,200
Speaker 3: there is an uptempo disco beat chugging along, and we

608
00:34:55,280 --> 00:34:58,640
Speaker 3: hear people letting out shrieks of excitement, so screaming crowd,

609
00:34:59,360 --> 00:35:02,640
Speaker 3: the drums are building. There's anticipation coming and then the

610
00:35:02,640 --> 00:35:07,000
Speaker 3: title reads The Apple. And now suddenly we're on the ground.

611
00:35:07,120 --> 00:35:10,520
Speaker 3: And to set the scene, there are throngs of people

612
00:35:10,640 --> 00:35:14,920
Speaker 3: surging through the streets toward a giant building. This building

613
00:35:15,239 --> 00:35:18,799
Speaker 3: is I would say, it's like if the OCP headquarters

614
00:35:18,840 --> 00:35:24,000
Speaker 3: were a concert Venue's this huge angular mass of concrete

615
00:35:24,040 --> 00:35:26,759
Speaker 3: that is supposed to let us know that things ain't right.

616
00:35:27,440 --> 00:35:30,839
Speaker 3: Also in the same frame giant metal towers and this

617
00:35:30,960 --> 00:35:34,560
Speaker 3: futuristic elevated tram or monorail. So I guess this is

618
00:35:34,560 --> 00:35:39,360
Speaker 3: probably some real world Berlin architecture. Maybe I don't know

619
00:35:39,400 --> 00:35:42,839
Speaker 3: for sure, but yeah, it is obviously used in the

620
00:35:42,840 --> 00:35:44,960
Speaker 3: context of the movie the same way the architecture in

621
00:35:45,040 --> 00:35:48,360
Speaker 3: RoboCop is used. It's to make you feel uneasy about

622
00:35:48,400 --> 00:35:52,240
Speaker 3: the esthetics and values of the future. It feels uninviting,

623
00:35:52,320 --> 00:35:56,680
Speaker 3: it feels oppressive. Also to let us know that this

624
00:35:57,000 --> 00:36:00,880
Speaker 3: is a bad future, we see police on boxing motorcycles

625
00:36:00,920 --> 00:36:04,200
Speaker 3: cruising around through the crowds. There's just this vague aura

626
00:36:04,320 --> 00:36:08,839
Speaker 3: of authoritarianism. And the cars. The cars are also these

627
00:36:09,000 --> 00:36:12,320
Speaker 3: like boxy seventies models, but with a bunch of extra

628
00:36:12,520 --> 00:36:15,399
Speaker 3: doodads stuck on top of them, like these big tall

629
00:36:15,880 --> 00:36:19,879
Speaker 3: spoilers coming off of them, and just these bubbles and

630
00:36:19,880 --> 00:36:22,160
Speaker 3: I don't know, things glued onto the hood and stuff.

631
00:36:22,200 --> 00:36:24,920
Speaker 3: It Actually it looks like the car that Homer Simpson designs.

632
00:36:25,360 --> 00:36:27,839
Speaker 2: You're right, it really does look like like the Simpsons car.

633
00:36:28,880 --> 00:36:31,600
Speaker 2: But oh man, yeah, I love these big, boxy future cars.

634
00:36:31,600 --> 00:36:34,279
Speaker 2: I just love future cars in general when they pop

635
00:36:34,360 --> 00:36:37,600
Speaker 2: up in films, like movies we've talked about before. Time

636
00:36:37,640 --> 00:36:41,480
Speaker 2: Cop has some great future cars. Goodness, there's another one.

637
00:36:41,920 --> 00:36:44,319
Speaker 3: I vaguely remember that what were they like in Time Cop.

638
00:36:44,320 --> 00:36:47,160
Speaker 3: Were they just like boxes with wheels and no windows?

639
00:36:47,400 --> 00:36:49,640
Speaker 2: Basically, yeah, there were no windows on it, so in

640
00:36:49,680 --> 00:36:50,920
Speaker 2: a way they were very convincing.

641
00:36:52,239 --> 00:36:54,280
Speaker 3: Oh but this movie has another one of my favorite

642
00:36:54,280 --> 00:36:58,920
Speaker 3: takes on the future, which is futuristic fashion. Everybody is

643
00:36:58,920 --> 00:37:02,160
Speaker 3: wearing clothes out of reflective materials, so just all the

644
00:37:02,160 --> 00:37:04,719
Speaker 3: clothes are shiny. It's like they all on the way

645
00:37:04,760 --> 00:37:07,600
Speaker 3: to the concert here decided to make tunics and conical

646
00:37:07,680 --> 00:37:12,200
Speaker 3: hats out of aluminum foil. Yeah, so out in front

647
00:37:12,200 --> 00:37:16,160
Speaker 3: of this arena, it says World Vision Song Festival. I

648
00:37:16,200 --> 00:37:18,799
Speaker 3: think this is supposed to be an evolution of the

649
00:37:18,800 --> 00:37:22,680
Speaker 3: Eurovision Song Contest, which I've never actually seen, so I

650
00:37:22,719 --> 00:37:24,960
Speaker 3: hope I'm not describing it wrong. But this is like

651
00:37:25,480 --> 00:37:28,560
Speaker 3: a competition where musical acts from around the world compete

652
00:37:28,600 --> 00:37:32,520
Speaker 3: for popularity and stardom. They all, like I guess, have

653
00:37:32,560 --> 00:37:35,839
Speaker 3: an original song or prepare performance, and then they it's

654
00:37:35,880 --> 00:37:38,040
Speaker 3: like American Idol, like they perform on stage and the

655
00:37:38,080 --> 00:37:40,480
Speaker 3: audience vote. It's deep. Do you know if that's roughly right.

656
00:37:41,040 --> 00:37:43,000
Speaker 2: I believe that's the case. I've only ever I only

657
00:37:43,000 --> 00:37:46,040
Speaker 2: ever seen clips from Eurovision, and of course the clips

658
00:37:46,040 --> 00:37:50,759
Speaker 2: are going to be the most outlandish examples as well

659
00:37:50,800 --> 00:37:56,480
Speaker 2: as examples of things that maybe do not cross cultural

660
00:37:56,560 --> 00:37:59,239
Speaker 2: lines as easily. So there's a lot of like, what

661
00:37:59,440 --> 00:38:01,600
Speaker 2: is this weird that's going on with the clips you

662
00:38:01,640 --> 00:38:03,480
Speaker 2: tend to see from Eurovision, But I've never sat down

663
00:38:03,680 --> 00:38:05,920
Speaker 2: and watched it, so I don't know, like the full

664
00:38:06,120 --> 00:38:07,839
Speaker 2: diversity of acts going on there.

665
00:38:08,120 --> 00:38:10,920
Speaker 3: I've never seen it itself, but years ago I watched

666
00:38:10,920 --> 00:38:16,279
Speaker 3: a Will Ferrell movie about it. Have you seen that too?

667
00:38:16,320 --> 00:38:18,239
Speaker 3: He played. I think he and somebody else are like

668
00:38:18,280 --> 00:38:20,120
Speaker 3: an Icelandic act that's competing.

669
00:38:20,560 --> 00:38:22,399
Speaker 2: I remember seeing the trailers for it, but I don't

670
00:38:22,400 --> 00:38:24,000
Speaker 2: think I watched it anyway.

671
00:38:24,080 --> 00:38:26,600
Speaker 3: So, within the context of the plot of The Apple,

672
00:38:27,040 --> 00:38:31,279
Speaker 3: the World Vision Song Festival is like the biggest pop

673
00:38:31,320 --> 00:38:34,080
Speaker 3: culture and media event in the world. We are told

674
00:38:34,120 --> 00:38:38,480
Speaker 3: that it has over two billion simultaneous viewers, and later

675
00:38:38,520 --> 00:38:40,600
Speaker 3: we will find out that it's not only the hottest

676
00:38:40,640 --> 00:38:44,440
Speaker 3: show on TV. Basically the entire culture and even the

677
00:38:44,480 --> 00:38:46,120
Speaker 3: government is based around it.

678
00:38:46,760 --> 00:38:50,040
Speaker 2: Yep, yep, Like everything is writing on this contest.

679
00:38:50,360 --> 00:38:52,439
Speaker 3: So it's like, you win this, you not only become

680
00:38:52,440 --> 00:38:54,360
Speaker 3: a big star and get a cash prize or whatever,

681
00:38:54,400 --> 00:38:58,240
Speaker 3: you essentially like become the governing party in the government.

682
00:38:58,480 --> 00:38:59,839
Speaker 2: Yeah, your music becomes long.

683
00:39:00,239 --> 00:39:03,839
Speaker 3: So we go inside and see see the venue, and

684
00:39:03,880 --> 00:39:06,200
Speaker 3: we see the first musical act and it is a

685
00:39:06,239 --> 00:39:08,840
Speaker 3: song performed by the characters we will come to know

686
00:39:09,000 --> 00:39:12,759
Speaker 3: as Pandy and Dandy. Pandy and Dandy are dressed like

687
00:39:12,840 --> 00:39:17,240
Speaker 3: sexual power rangers and They are surrounded by a kaleidoscope

688
00:39:17,239 --> 00:39:20,680
Speaker 3: of lights and disco dancers, and they're performing this song,

689
00:39:20,840 --> 00:39:25,920
Speaker 3: the theme of which is BIM. Don't ask questions about BIM.

690
00:39:26,280 --> 00:39:29,840
Speaker 3: It is a call and response song. Somehow the audience

691
00:39:30,000 --> 00:39:33,960
Speaker 3: knows the song already, so Dandy calls out. He screams

692
00:39:34,000 --> 00:39:36,640
Speaker 3: the letter B and the crowd knows to scream back,

693
00:39:36,920 --> 00:39:39,880
Speaker 3: I am, which I thought was kind of interesting because

694
00:39:39,960 --> 00:39:42,840
Speaker 3: I understood this as a contest where you played the

695
00:39:42,880 --> 00:39:44,760
Speaker 3: song in public for the first time.

696
00:39:45,400 --> 00:39:47,960
Speaker 2: Yeah. Yeah, that would seem to be the case. I

697
00:39:47,960 --> 00:39:50,640
Speaker 2: don't know if they leaked notes early and they're like, hey,

698
00:39:51,600 --> 00:39:53,839
Speaker 2: Dandy is gonna say be and you need to say

699
00:39:53,880 --> 00:39:54,200
Speaker 2: I am.

700
00:39:54,520 --> 00:39:56,880
Speaker 3: Now, it's possible. We're coming in, like in the middle

701
00:39:56,920 --> 00:39:59,520
Speaker 3: of a twenty minute long song and he's been doing

702
00:39:59,560 --> 00:40:02,280
Speaker 3: the bim b im thing long enough that the audience

703
00:40:02,320 --> 00:40:05,520
Speaker 3: has figured it out. But so, you know, they repeat

704
00:40:05,520 --> 00:40:08,000
Speaker 3: the colin response a bit and then the beat stops

705
00:40:08,400 --> 00:40:11,840
Speaker 3: and a guitar player who looks like Rod Stewart in

706
00:40:11,920 --> 00:40:15,719
Speaker 3: Hunter s Thompson Sunglasses, leans into a microphone and goes

707
00:40:16,120 --> 00:40:19,160
Speaker 3: do the boom.

708
00:40:20,040 --> 00:40:22,840
Speaker 2: Bim is a tremendous start of the film. I have

709
00:40:22,920 --> 00:40:25,160
Speaker 2: to say, both musically and visually, this is one of

710
00:40:25,160 --> 00:40:28,360
Speaker 2: the top tracks. Just we get off to a great

711
00:40:28,440 --> 00:40:29,400
Speaker 2: start with the apple.

712
00:40:29,880 --> 00:40:34,759
Speaker 3: Yes, it's amazing. It's and the constant references to the

713
00:40:35,600 --> 00:40:38,719
Speaker 3: concept of BIM and the power of BIM without any

714
00:40:38,800 --> 00:40:42,040
Speaker 3: explanation of what BIM is. That was what drew me

715
00:40:42,080 --> 00:40:45,000
Speaker 3: into this movie and just like Attached, it was like

716
00:40:45,040 --> 00:40:48,239
Speaker 3: a magnet for my mind. It kind of reminded me

717
00:40:48,320 --> 00:40:52,319
Speaker 3: of So I think we talked about this a little

718
00:40:52,320 --> 00:40:55,359
Speaker 3: bit off Mike, But back in the day, I saw

719
00:40:55,680 --> 00:40:58,880
Speaker 3: Highlander two The Quickening before I had ever seen the

720
00:40:58,920 --> 00:41:02,640
Speaker 3: original Highlander, so I didn't have context from the first movie.

721
00:41:03,000 --> 00:41:05,760
Speaker 3: And in Highland or two The Quickening, they talk about

722
00:41:05,800 --> 00:41:09,120
Speaker 3: the quickening, but it's never adequately explained what it is.

723
00:41:09,600 --> 00:41:11,799
Speaker 3: So I thought it was hilarious that it's this movie

724
00:41:11,840 --> 00:41:15,080
Speaker 3: where the subtitle is the Quickening and there are parts

725
00:41:15,080 --> 00:41:18,040
Speaker 3: were just like Christoph Limbert looks into the camera and

726
00:41:18,080 --> 00:41:21,200
Speaker 3: goes the quickening, but what is it? And that's what

727
00:41:21,320 --> 00:41:22,600
Speaker 3: BIM feels like here.

728
00:41:24,520 --> 00:41:27,200
Speaker 2: Yeah, yeah, it's not really established what it might be,

729
00:41:27,239 --> 00:41:30,279
Speaker 2: but it's clearly important. It's a way of life, it's

730
00:41:30,280 --> 00:41:35,640
Speaker 2: a personal philosophy. It brings people together. It's what everybody

731
00:41:35,680 --> 00:41:40,239
Speaker 2: wants exactly. So yeah, the guitar player says, do the boom,

732
00:41:40,440 --> 00:41:43,359
Speaker 2: and then they do the bim. The band comes back

733
00:41:43,360 --> 00:41:46,320
Speaker 2: in and the song really gets cooking. And I cannot

734
00:41:46,400 --> 00:41:51,919
Speaker 2: stress enough this musical number rocks. It absolutely rocks. Yeah. Yeah,

735
00:41:51,960 --> 00:41:54,120
Speaker 2: this is not a musical number that people were walking

736
00:41:54,160 --> 00:41:57,960
Speaker 2: out during. It's impossible. You can't walk out during during

737
00:41:57,960 --> 00:41:59,960
Speaker 2: the bim. It just totally captivating.

738
00:42:00,239 --> 00:42:04,759
Speaker 3: Now that's my subjective reaction. There's also how the like

739
00:42:04,840 --> 00:42:07,520
Speaker 3: the implied the narrative of the movie wants you to

740
00:42:07,680 --> 00:42:11,560
Speaker 3: take this song clearly, what it's supposed to impress upon

741
00:42:11,680 --> 00:42:17,080
Speaker 3: you is a feeling of overwhelming hyper stimulation. This song

742
00:42:17,239 --> 00:42:21,640
Speaker 3: is just blasting your brain. And there are fast, constant

743
00:42:21,800 --> 00:42:28,120
Speaker 3: cuts showing weird images, bright lights, flashing colors, bodies, reflections

744
00:42:28,160 --> 00:42:32,719
Speaker 3: bouncing everywhere, musicians, dancers. The band has at least three

745
00:42:32,760 --> 00:42:35,680
Speaker 3: different keyboard players that you can see. One of them

746
00:42:35,760 --> 00:42:38,920
Speaker 3: is playing like a gold pulpit made out of keyboards.

747
00:42:39,200 --> 00:42:43,000
Speaker 3: Another is playing a humongous, double sided, looseight key tar

748
00:42:43,600 --> 00:42:46,680
Speaker 3: with one end terminating in this big sharp angle, so

749
00:42:46,719 --> 00:42:49,360
Speaker 3: it's it's almost like a key tar is like fixed

750
00:42:49,360 --> 00:42:52,760
Speaker 3: with a bayonet. The band also has a horn section,

751
00:42:52,880 --> 00:42:55,920
Speaker 3: but the horns are maybe they're real instruments, but I

752
00:42:55,960 --> 00:42:58,759
Speaker 3: didn't recognize them. So if they are real instruments, they're

753
00:42:58,800 --> 00:43:01,680
Speaker 3: not ones I'm familiar with. One person is playing what

754
00:43:01,760 --> 00:43:05,759
Speaker 3: looks like a giant elongated pyramid box. Somebody else is

755
00:43:05,760 --> 00:43:09,600
Speaker 3: playing a capital L shaped saxophone. So I think these

756
00:43:09,600 --> 00:43:11,680
Speaker 3: are supposed to be like science fiction horns.

757
00:43:12,160 --> 00:43:14,920
Speaker 2: And clearly they have perfected disco rock and roll, and

758
00:43:15,480 --> 00:43:18,319
Speaker 2: it requires technology that we don't have today. Only in

759
00:43:18,320 --> 00:43:20,360
Speaker 2: the future of nineteen ninety four is it possible.

760
00:43:20,840 --> 00:43:23,520
Speaker 3: So Dandy and Pandy start singing, and here are some

761
00:43:23,560 --> 00:43:26,080
Speaker 3: of the lyrics to the Bim song. He goes, there

762
00:43:26,080 --> 00:43:29,640
Speaker 3: ain't no good, there ain't no bad, There ain't no happiness,

763
00:43:30,120 --> 00:43:33,680
Speaker 3: there ain't no sad, No it's there ain't no tears,

764
00:43:34,239 --> 00:43:37,600
Speaker 3: there ain't no love, there ain't no hate. There's only power.

765
00:43:38,160 --> 00:43:42,279
Speaker 3: Bim is the power. And then here's the chorus. And

766
00:43:42,360 --> 00:43:44,600
Speaker 3: I truly could not tell which of the following they

767
00:43:44,600 --> 00:43:48,200
Speaker 3: were saying. The chorus is either hey hey, hey, Bim's

768
00:43:48,320 --> 00:43:51,480
Speaker 3: on the way, or hey hey hey, Bim's the only way.

769
00:43:52,120 --> 00:43:55,480
Speaker 2: Bim's the only way makes more sense, But I've always

770
00:43:55,480 --> 00:43:57,720
Speaker 2: heard it in my brain as Bim's on the way,

771
00:43:58,000 --> 00:44:01,000
Speaker 2: which is confusing because BIM is not on the way.

772
00:44:01,040 --> 00:44:04,600
Speaker 2: BIM is already here and established, right, mister Topps is

773
00:44:04,640 --> 00:44:06,440
Speaker 2: on the way, but we don't find out about that

774
00:44:06,520 --> 00:44:09,080
Speaker 2: until later on, much later on in the picture.

775
00:44:09,040 --> 00:44:10,920
Speaker 3: And they don't want you to know that mister Tops

776
00:44:11,040 --> 00:44:13,799
Speaker 3: is on the way. I mean, right, I guess either way,

777
00:44:13,880 --> 00:44:16,000
Speaker 3: BIM is on the way because like, yes, BIM is

778
00:44:16,000 --> 00:44:18,200
Speaker 3: already here, but more BIM is on the way. So

779
00:44:18,239 --> 00:44:19,840
Speaker 3: it's like you're not going to run out of BIM.

780
00:44:19,960 --> 00:44:22,560
Speaker 3: There's BIM. There's continuous BIM on the way.

781
00:44:22,760 --> 00:44:25,280
Speaker 2: BIM continues to expand, much like the universe.

782
00:44:25,440 --> 00:44:28,920
Speaker 3: Yes, exactly, but I guess in addition to so, BIM

783
00:44:29,120 --> 00:44:31,120
Speaker 3: is on the way no matter what. But BIM, in

784
00:44:31,160 --> 00:44:33,279
Speaker 3: addition to being on the way, might also be the

785
00:44:33,320 --> 00:44:33,839
Speaker 3: only way.

786
00:44:34,440 --> 00:44:37,359
Speaker 2: Yes, well, what else can BIM teach us?

787
00:44:37,560 --> 00:44:39,560
Speaker 3: I don't. Oh, well, so there are more lyrics. There's

788
00:44:39,680 --> 00:44:42,279
Speaker 3: there ain't no pride, there ain't no shame, there ain't

789
00:44:42,280 --> 00:44:45,440
Speaker 3: no sympathy, there ain't no blame, there ain't no pleasure,

790
00:44:45,680 --> 00:44:49,560
Speaker 3: there ain't no pain. There's only power. BIM is the power,

791
00:44:50,680 --> 00:44:51,680
Speaker 3: uh and uh.

792
00:44:51,960 --> 00:44:52,160
Speaker 2: Rob.

793
00:44:52,200 --> 00:44:53,680
Speaker 3: I don't know if you have any comments on the

794
00:44:53,760 --> 00:44:56,600
Speaker 3: visuals that are accompanying this. It's it's kind of hard

795
00:44:56,600 --> 00:45:01,360
Speaker 3: to describe. It's just absolutely visually overwhelming answers the light show,

796
00:45:02,440 --> 00:45:04,560
Speaker 3: it's too much to take in.

797
00:45:04,920 --> 00:45:08,719
Speaker 2: Yeah, it's like limbs flare like crazy, so many colors.

798
00:45:08,800 --> 00:45:14,840
Speaker 2: It's just a complete brain melting rock disco performance.

799
00:45:15,200 --> 00:45:18,960
Speaker 3: And I think the idea is that that overwhelming audio

800
00:45:19,040 --> 00:45:23,480
Speaker 3: visual stimulation is supposed to help implant the meaning of

801
00:45:23,520 --> 00:45:26,240
Speaker 3: the song. And the meaning of the song is discard

802
00:45:26,320 --> 00:45:29,560
Speaker 3: or surrender everything that formerly gave meaning to your life.

803
00:45:29,640 --> 00:45:33,040
Speaker 3: There's no love, no truth, no beauty, no friendship. There's

804
00:45:33,040 --> 00:45:34,759
Speaker 3: only Bim. Bim is your God.

805
00:45:34,880 --> 00:45:37,920
Speaker 2: Now do what thou. Bim shall be the whole of

806
00:45:37,960 --> 00:45:38,319
Speaker 2: the law.

807
00:45:39,160 --> 00:45:42,640
Speaker 3: Then the crowd loves it. They are screaming for the Bim.

808
00:45:42,760 --> 00:45:46,080
Speaker 3: They want nothing more than for Bim to annihilate them

809
00:45:46,120 --> 00:45:50,200
Speaker 3: and absorb their memories. And so the song kind of

810
00:45:50,280 --> 00:45:53,000
Speaker 3: like it fades into the background and we go backstage

811
00:45:53,080 --> 00:45:56,920
Speaker 3: to a futuristic control room that is tracking the audience's

812
00:45:56,960 --> 00:45:59,839
Speaker 3: reaction to the song, and here we meet several other

813
00:46:00,120 --> 00:46:05,320
Speaker 3: major characters. We meet mister Bougalow, who is a physically

814
00:46:05,360 --> 00:46:09,360
Speaker 3: small but clearly powerful man wearing a purple velvet suit

815
00:46:09,400 --> 00:46:11,560
Speaker 3: and a bow tie, and he has kind of the

816
00:46:11,680 --> 00:46:14,680
Speaker 3: energy of a character in like a medieval movie who's

817
00:46:14,760 --> 00:46:18,600
Speaker 3: like a like a corrupt cardinal of the church or something.

818
00:46:19,239 --> 00:46:21,800
Speaker 2: Strong being the merciless vibes as well.

819
00:46:22,120 --> 00:46:26,000
Speaker 3: Yes, yes, and everyone's eager to please him. He is

820
00:46:26,080 --> 00:46:30,920
Speaker 3: the head of the Bugalow Music Company with which Pandy

821
00:46:30,960 --> 00:46:34,360
Speaker 3: and Dandy are signed, so they're like his star act

822
00:46:34,480 --> 00:46:37,360
Speaker 3: and he's eager to track their success and see that

823
00:46:37,400 --> 00:46:40,920
Speaker 3: they win this World Vision Song contest. He promises to

824
00:46:40,960 --> 00:46:44,799
Speaker 3: make them the biggest star of our decade. Also, we

825
00:46:44,840 --> 00:46:48,960
Speaker 3: meet Shake, who we described earlier. Shake is mister Bougolow's

826
00:46:49,040 --> 00:46:53,080
Speaker 3: top lieutenant and he is wearing a reflective metallic robe

827
00:46:53,120 --> 00:46:56,680
Speaker 3: and has this awesome ensemble of jewelry and makeup that

828
00:46:56,800 --> 00:46:59,520
Speaker 3: make him like sort of like a human precious gem.

829
00:47:00,360 --> 00:47:03,320
Speaker 3: Shake is some kind of marketing expert. He's been tracking

830
00:47:03,400 --> 00:47:06,640
Speaker 3: biometric feedback from the audience on the computer.

831
00:47:07,640 --> 00:47:09,920
Speaker 2: Yeah again, Shake is just fabulous.

832
00:47:10,280 --> 00:47:15,200
Speaker 3: And in the background, Boogalow has this general ensemble of

833
00:47:15,280 --> 00:47:18,360
Speaker 3: cronies and yes men, as well as the two bald

834
00:47:18,360 --> 00:47:21,000
Speaker 3: bodyguards who you know, could have been from Fury one

835
00:47:21,120 --> 00:47:23,880
Speaker 3: fifty one, or who could have been like a wrestling

836
00:47:23,960 --> 00:47:27,160
Speaker 3: tag team along the lines of like Nasty Boys or whatever.

837
00:47:27,600 --> 00:47:31,160
Speaker 2: Oh yeah, I mean you can imagine Bulldog and Fat

838
00:47:31,200 --> 00:47:33,919
Speaker 2: Dog going for the tag team titles for sure. Fat Dog,

839
00:47:33,960 --> 00:47:37,000
Speaker 2: by the way, played by German actor Gunther Nothoff, who

840
00:47:37,080 --> 00:47:39,840
Speaker 2: I think also did some special effects work in German cinema.

841
00:47:40,520 --> 00:47:42,720
Speaker 3: You know, I had one other comment about the fashion

842
00:47:42,800 --> 00:47:45,279
Speaker 3: that we start to notice in the scene, which is

843
00:47:45,320 --> 00:47:48,480
Speaker 3: that in the future it's popular to wear jackets, not

844
00:47:48,680 --> 00:47:51,480
Speaker 3: only with big shoulder pads. So, like, you know, jackets

845
00:47:51,480 --> 00:47:54,719
Speaker 3: with substantial shoulder padding were I think common in the

846
00:47:54,760 --> 00:47:58,800
Speaker 3: eighties and especially in eighties movies that envisioned the future,

847
00:47:59,239 --> 00:48:03,160
Speaker 3: But here they're beyond pads. The pads like curl up

848
00:48:03,200 --> 00:48:07,040
Speaker 3: at the ends, so your shoulders, the shoulders basically have horns.

849
00:48:08,560 --> 00:48:10,680
Speaker 2: It's one of the many details in this picture and

850
00:48:10,719 --> 00:48:13,680
Speaker 2: a lot of you know, futuristic films of this sort,

851
00:48:13,760 --> 00:48:16,560
Speaker 2: that it really drives home that basically the way science

852
00:48:16,560 --> 00:48:20,399
Speaker 2: fiction works is like, what if all of the things

853
00:48:20,400 --> 00:48:24,000
Speaker 2: I'm uneasy about now are just more in the future. Yeah,

854
00:48:24,040 --> 00:48:27,520
Speaker 2: And that includes everything from you know, you know, dystopian

855
00:48:27,600 --> 00:48:30,640
Speaker 2: elements of society to just like shoulder pads, Like I

856
00:48:30,640 --> 00:48:32,239
Speaker 2: don't really get shoulder pads, but I guess in the

857
00:48:32,239 --> 00:48:34,520
Speaker 2: future they will just be even bigger. That's the only

858
00:48:34,560 --> 00:48:37,759
Speaker 2: way it can possibly go. There's no coming back from

859
00:48:37,840 --> 00:48:41,280
Speaker 2: whatever shoulder pad level we are currently at. It's only

860
00:48:41,719 --> 00:48:42,960
Speaker 2: only going to get wider.

861
00:48:42,920 --> 00:48:47,960
Speaker 3: It's all if these trends continue. A so we cut

862
00:48:48,000 --> 00:48:50,360
Speaker 3: back to the Bim song. It's still going on Dandy

863
00:48:50,400 --> 00:48:52,400
Speaker 3: and Pandy. At this point, they're done with the lyrics

864
00:48:52,400 --> 00:48:57,040
Speaker 3: and they're just singing ha ha ha. They're like laughing

865
00:48:57,080 --> 00:49:00,920
Speaker 3: at you for being brainwashed. And at some point the

866
00:49:00,960 --> 00:49:04,200
Speaker 3: song begins to incorporate a martial arts component as well.

867
00:49:04,239 --> 00:49:08,640
Speaker 3: Do you remember this, like the kind shouts and yeah.

868
00:49:07,920 --> 00:49:10,319
Speaker 2: Yeah, It's just it's like at this point they're just

869
00:49:10,360 --> 00:49:13,799
Speaker 2: in full encore mode, Like the song really should have

870
00:49:13,880 --> 00:49:16,399
Speaker 2: ended like ten minutes ago, but you can't stop once

871
00:49:16,440 --> 00:49:17,760
Speaker 2: the crowd is this end of the app.

872
00:49:17,880 --> 00:49:20,960
Speaker 3: It ends with them singing hey, hey, hey, BIMs on

873
00:49:21,000 --> 00:49:23,960
Speaker 3: the way, like fifty times in a row. The crowd

874
00:49:24,000 --> 00:49:27,160
Speaker 3: loves it. They absolutely lose their minds. They rush the stage.

875
00:49:27,160 --> 00:49:30,439
Speaker 3: I think we can see riot police with batons having

876
00:49:30,480 --> 00:49:32,400
Speaker 3: to hold people back from the dancers.

877
00:49:34,680 --> 00:49:34,879
Speaker 2: Yeah.

878
00:49:34,920 --> 00:49:37,040
Speaker 3: And then we're back in the control room and Shake

879
00:49:37,080 --> 00:49:40,120
Speaker 3: announces that they have achieved a new biometric record, which

880
00:49:40,160 --> 00:49:43,400
Speaker 3: is one hundred and fifty heartbeats. Maybe that's beats per minute.

881
00:49:43,719 --> 00:49:47,719
Speaker 3: I'm not sure, but I think again, the way we're

882
00:49:47,760 --> 00:49:52,400
Speaker 3: supposed to understand this is that this, like biometric information,

883
00:49:52,840 --> 00:49:57,120
Speaker 3: is reflective of a cold, calculating way to measure the

884
00:49:57,160 --> 00:50:00,840
Speaker 3: success of a popular song, as opposed to I don't know,

885
00:50:00,920 --> 00:50:05,720
Speaker 3: by listening for applause or something. Yeah, mister Boglow says, gentlemen,

886
00:50:05,800 --> 00:50:07,960
Speaker 3: I predict our bim song is going to take this

887
00:50:08,040 --> 00:50:11,120
Speaker 3: competition by storm. And then he howls like a wolf,

888
00:50:12,040 --> 00:50:15,320
Speaker 3: and he says he's got another henchman named Ashley. I

889
00:50:15,320 --> 00:50:18,440
Speaker 3: don't think we've mentioned already, but he's like, Ashley prepares

890
00:50:18,440 --> 00:50:23,440
Speaker 3: some bim merchandise and Ashley says, ooh, how about bim

891
00:50:23,960 --> 00:50:29,840
Speaker 3: T shirts. Ashley Boogleow is not impressed by this. He's like,

892
00:50:30,000 --> 00:50:33,839
Speaker 3: use your imagination, Ashley, this is nineteen ninety four, and

893
00:50:33,920 --> 00:50:37,520
Speaker 3: I gotta agree with the devil here, like bim T shirts.

894
00:50:37,560 --> 00:50:39,960
Speaker 2: Come on, Yeah, you can do better than that Ashley

895
00:50:40,040 --> 00:50:44,439
Speaker 2: and Ashley's tremendous. He's played by British actor Leslie Meadows. Yeah,

896
00:50:44,560 --> 00:50:46,759
Speaker 2: just Key has this kind of like great, spaced out

897
00:50:47,200 --> 00:50:49,919
Speaker 2: vibe to him. It's really hard for me to nail

898
00:50:49,920 --> 00:50:52,840
Speaker 2: down exactly why I love this performance so much. But

899
00:50:52,960 --> 00:50:56,760
Speaker 2: it's just anytime Leslie is on the screen, you know,

900
00:50:57,080 --> 00:51:00,920
Speaker 2: busting out some merch ideas or whatever, it's just hilarious.

901
00:51:01,440 --> 00:51:05,279
Speaker 3: When he reveals the bim Ball machine later, I out

902
00:51:05,320 --> 00:51:18,560
Speaker 3: lost it. Yeah, okay, So here we go to see

903
00:51:18,600 --> 00:51:21,640
Speaker 3: the next act in the World Vision Song Competition and

904
00:51:21,960 --> 00:51:26,240
Speaker 3: it is Alfie and Bebe performing a song called Love

905
00:51:26,440 --> 00:51:30,400
Speaker 3: the Universal Melody. They're gonna be our heroes for the film.

906
00:51:30,560 --> 00:51:34,680
Speaker 3: This is a couple of humble singers from Moose Jaw, Canada,

907
00:51:34,760 --> 00:51:38,440
Speaker 3: and they come out and compared to the bim act,

908
00:51:38,600 --> 00:51:42,360
Speaker 3: they are incredibly stripped down. They don't have backup dancers,

909
00:51:42,719 --> 00:51:45,359
Speaker 3: they don't have references to bim It's just a man

910
00:51:45,400 --> 00:51:48,799
Speaker 3: and a woman in like white clothing singing along with

911
00:51:48,880 --> 00:51:51,759
Speaker 3: one acoustic guitar. And actually we can hear there's a

912
00:51:51,800 --> 00:51:54,840
Speaker 3: full backing track including drums and bass, but there's no

913
00:51:54,960 --> 00:51:57,920
Speaker 3: band visible on the stage. It's just Alfie Strumman is

914
00:51:57,960 --> 00:52:00,759
Speaker 3: acoustic and the two of them singing into one microphone,

915
00:52:01,360 --> 00:52:04,680
Speaker 3: and the lyrics begin like this, You're the light within

916
00:52:04,760 --> 00:52:08,000
Speaker 3: my darkness. You're my shelter from the storm. When my

917
00:52:08,080 --> 00:52:11,520
Speaker 3: hope grows dim and fear shuts me in, you become

918
00:52:11,640 --> 00:52:16,319
Speaker 3: my open door. And the crowd hates it. We see it.

919
00:52:16,600 --> 00:52:19,399
Speaker 3: There's a sneering boy there. He says, what the hell

920
00:52:19,520 --> 00:52:22,600
Speaker 3: is this? And the girl next to him says, it's

921
00:52:22,640 --> 00:52:26,000
Speaker 3: a love song, but I mean, what's a love song

922
00:52:26,120 --> 00:52:29,640
Speaker 3: that The boy is clearly disgusted. Another guy jumps up

923
00:52:29,640 --> 00:52:34,640
Speaker 3: and screams, do the bim.

924
00:52:33,600 --> 00:52:36,560
Speaker 2: And you know what, they're absolutely right. This is such

925
00:52:36,600 --> 00:52:41,160
Speaker 2: a stark contrast between how rockin that first number was,

926
00:52:41,200 --> 00:52:43,480
Speaker 2: and yes it's it's a tonal shift, but this number

927
00:52:43,640 --> 00:52:47,279
Speaker 2: just does not hit. It just it just it just

928
00:52:47,440 --> 00:52:50,839
Speaker 2: falls flat on the stage. And to a certain extent, Yeah,

929
00:52:50,840 --> 00:52:53,520
Speaker 2: with these characters where it seems like this is the

930
00:52:53,520 --> 00:52:56,080
Speaker 2: way we're supposed to feel, but it also seems this

931
00:52:56,239 --> 00:52:58,719
Speaker 2: movie wants us to feel like this track the universal

932
00:52:58,760 --> 00:53:02,759
Speaker 2: love song. Despite it, it's just tremendously sappy lyrics and

933
00:53:03,640 --> 00:53:06,080
Speaker 2: so forth that it is touching us in a place

934
00:53:06,120 --> 00:53:08,960
Speaker 2: that we didn't know still existed. It is supposed to

935
00:53:09,080 --> 00:53:13,680
Speaker 2: on some level just resonate deeply with us. And I

936
00:53:13,680 --> 00:53:16,440
Speaker 2: mean this is all subjective, but absolutely it does not.

937
00:53:16,520 --> 00:53:18,240
Speaker 2: For me, this song sucks.

938
00:53:18,760 --> 00:53:21,560
Speaker 3: I completely agree. Yeah, So the way I was thinking

939
00:53:21,600 --> 00:53:24,040
Speaker 3: of it, there's two different ways to process the song,

940
00:53:24,120 --> 00:53:26,080
Speaker 3: and the one is the way we are meant to

941
00:53:26,160 --> 00:53:29,040
Speaker 3: by the filmmakers, which is that it is the wholesome

942
00:53:29,120 --> 00:53:31,759
Speaker 3: contrast to the previous song we heard. You know, the

943
00:53:31,800 --> 00:53:37,000
Speaker 3: Bim Song is a gaudy, soulless technological product, a satellite

944
00:53:37,000 --> 00:53:41,560
Speaker 3: televised golden calf designed to extract money and obedience from

945
00:53:41,560 --> 00:53:45,160
Speaker 3: an unthinking audience. And in contrast to that, Alphie and

946
00:53:45,200 --> 00:53:47,640
Speaker 3: Bbi are supposed to be a breath of fresh air.

947
00:53:47,680 --> 00:53:50,279
Speaker 3: Look at them. They're so nice, they're so earnest. They

948
00:53:50,280 --> 00:53:52,720
Speaker 3: come in with a song that is simple and true

949
00:53:52,800 --> 00:53:55,040
Speaker 3: and has a genuine heart in the middle of this

950
00:53:55,200 --> 00:53:58,160
Speaker 3: baffling and heartless world. But the problem is it just

951
00:53:58,200 --> 00:54:01,440
Speaker 3: doesn't match with your experience of these songs back to

952
00:54:01,480 --> 00:54:04,080
Speaker 3: back in the movie, which in that experience is that

953
00:54:04,200 --> 00:54:05,920
Speaker 3: from my point of view, and I think probably most

954
00:54:05,960 --> 00:54:09,160
Speaker 3: of viewers would agree, the Bim Song is awesome and love.

955
00:54:09,239 --> 00:54:13,880
Speaker 3: The Universal Melody sucks. It is so bad, and so

956
00:54:13,960 --> 00:54:17,120
Speaker 3: when the audience like get up and start booing and

957
00:54:17,200 --> 00:54:20,040
Speaker 3: heckling them, is just like, yeah, yeah, get it off

958
00:54:20,080 --> 00:54:20,480
Speaker 3: my TV.

959
00:54:21,000 --> 00:54:25,319
Speaker 2: Yeah yeah. The reality here is that the Universal Love

960
00:54:25,400 --> 00:54:28,720
Speaker 2: Song feels like it was built by committee. It feels

961
00:54:28,760 --> 00:54:32,880
Speaker 2: like it is the hollow product of corporate scheming, while

962
00:54:33,080 --> 00:54:36,040
Speaker 2: the Bim song just like rocks its heart pumping, it

963
00:54:36,040 --> 00:54:37,400
Speaker 2: feels very much a part of you.

964
00:54:37,640 --> 00:54:40,600
Speaker 3: Yes, yeah, totally. You could say this is a problem

965
00:54:40,640 --> 00:54:42,560
Speaker 3: with the Apple. Actually I would say it adds to

966
00:54:42,600 --> 00:54:44,560
Speaker 3: my enjoyment of the Apple. But it's a problem with

967
00:54:44,600 --> 00:54:47,000
Speaker 3: the Apple the way it is supposed to be processed,

968
00:54:47,440 --> 00:54:50,239
Speaker 3: which is that everything in the movie that's supposed to

969
00:54:50,280 --> 00:54:53,400
Speaker 3: be evil and soulless and a reflection of a world

970
00:54:53,440 --> 00:54:56,880
Speaker 3: gone wrong is so good and so much fun, And

971
00:54:56,960 --> 00:55:00,000
Speaker 3: everything that is supposed to be good and pure and

972
00:55:00,040 --> 00:55:05,160
Speaker 3: sympathetic is boring at best and disgustingly treaqily and fake

973
00:55:05,320 --> 00:55:05,880
Speaker 3: at worst.

974
00:55:06,680 --> 00:55:10,799
Speaker 2: Yeah. Absolutely, Yeah. The film is will periodically preach at

975
00:55:10,840 --> 00:55:14,399
Speaker 2: you that, you know, rock, disco, drugs, sex, it's all

976
00:55:14,440 --> 00:55:17,040
Speaker 2: evil and dangerous, man. But at the same time, yeah,

977
00:55:17,040 --> 00:55:21,480
Speaker 2: they're delivering these songs about drugs and sex that are

978
00:55:21,640 --> 00:55:24,839
Speaker 2: and sometimes you know, with outright depictions of hell, there's

979
00:55:24,880 --> 00:55:27,840
Speaker 2: so much more fun than anything else that's presented on

980
00:55:27,880 --> 00:55:29,280
Speaker 2: the opposite side of the argument.

981
00:55:29,960 --> 00:55:32,879
Speaker 3: So while Alfie and bb are singing, we go back

982
00:55:32,880 --> 00:55:35,680
Speaker 3: to the control room with Shake and mister Bougalow and

983
00:55:35,800 --> 00:55:39,480
Speaker 3: they start getting a little concerned because what do you know, actually,

984
00:55:39,480 --> 00:55:42,799
Speaker 3: despite the fact that the audience initially hates love the

985
00:55:42,880 --> 00:55:46,640
Speaker 3: universal melody, they start kind of quieting down. The heckling

986
00:55:47,040 --> 00:55:50,879
Speaker 3: dies down, and then they start responding well like it's

987
00:55:50,920 --> 00:55:56,160
Speaker 3: actually breaking through. The heartbeats are climbing on the computer screen,

988
00:55:56,600 --> 00:55:59,040
Speaker 3: and we can see like we see shots of the

989
00:55:59,040 --> 00:56:01,359
Speaker 3: audience and some of them or crying or they're like

990
00:56:01,440 --> 00:56:05,680
Speaker 3: hugging their their boyfriend or girlfriend. And Shake insists that

991
00:56:05,760 --> 00:56:09,080
Speaker 3: the song cannot actually be popular because they're singing a

992
00:56:09,280 --> 00:56:10,120
Speaker 3: love song.

993
00:56:10,640 --> 00:56:10,920
Speaker 2: Yuck.

994
00:56:11,160 --> 00:56:15,760
Speaker 3: Love songs are out. So ultimately, uh Boogalow and Shake

995
00:56:16,239 --> 00:56:21,640
Speaker 3: decide they decide to resort to sabotage. They insert what

996
00:56:21,800 --> 00:56:26,000
Speaker 3: is called the red tape into the PA system and

997
00:56:26,040 --> 00:56:29,560
Speaker 3: it starts playing excruciating high pitch noises over the sound

998
00:56:29,560 --> 00:56:31,960
Speaker 3: system and ruins Alfie and BB's performance.

999
00:56:32,320 --> 00:56:34,759
Speaker 2: Yeah, and I uh, I like to think that this

1000
00:56:34,880 --> 00:56:37,120
Speaker 2: is the same tape the UK government uses in the

1001
00:56:37,120 --> 00:56:41,439
Speaker 2: Black Mirror episode the national anthem. You know, it's like like, quick,

1002
00:56:41,480 --> 00:56:43,000
Speaker 2: get the red tape. We've got to We've got to

1003
00:56:43,080 --> 00:56:45,719
Speaker 2: keep people from watching Slash enjoying.

1004
00:56:45,400 --> 00:56:48,839
Speaker 3: This, right, So I guess bim Song wins after all,

1005
00:56:48,920 --> 00:56:51,399
Speaker 3: even though Alfie and BB it seems like they were

1006
00:56:51,440 --> 00:56:54,600
Speaker 3: on course to win over the audience and win the contest,

1007
00:56:54,680 --> 00:56:56,440
Speaker 3: but then they got cheated out of it.

1008
00:56:56,960 --> 00:57:01,120
Speaker 2: M And we cut to this great scene where Booglow is.

1009
00:57:01,400 --> 00:57:04,239
Speaker 2: He's walking and talking and he's answering questions from the

1010
00:57:04,280 --> 00:57:09,080
Speaker 2: international media in various languages. Is seemingly fluent in any

1011
00:57:09,120 --> 00:57:11,759
Speaker 2: tongue you could possibly throw at him, because you know,

1012
00:57:11,840 --> 00:57:15,000
Speaker 2: at this point, you know, this is this character is

1013
00:57:15,000 --> 00:57:18,840
Speaker 2: supposed to be Satan. He is Satan. He's the pitch

1014
00:57:18,880 --> 00:57:22,000
Speaker 2: of this picture, you know, he is. He's a demonic figure.

1015
00:57:22,160 --> 00:57:24,120
Speaker 2: So of course he knows all human languages.

1016
00:57:24,640 --> 00:57:27,520
Speaker 3: That's that's right. And the reporters you're asking these questions. Oh,

1017
00:57:27,560 --> 00:57:31,000
Speaker 3: one reporter's like, I understand the government has adopted your

1018
00:57:31,040 --> 00:57:33,920
Speaker 3: bim Song as part of the national Fitness program. Is

1019
00:57:33,920 --> 00:57:36,200
Speaker 3: that true, and I was like, Wow, that happened fast.

1020
00:57:37,160 --> 00:57:39,280
Speaker 2: It's just that good a song. People are like, Okay,

1021
00:57:39,360 --> 00:57:41,520
Speaker 2: let's license it. Let's just do it. Let's make it laugh.

1022
00:57:41,680 --> 00:57:43,960
Speaker 3: Now, Rob, I think this was your note. But one

1023
00:57:43,960 --> 00:57:46,960
Speaker 3: of the one of the reporters says something to him.

1024
00:57:47,040 --> 00:57:50,600
Speaker 3: They're like, mister Booglow, what about something for the billion

1025
00:57:50,800 --> 00:57:52,400
Speaker 3: of Americans who are watching?

1026
00:57:54,000 --> 00:57:56,000
Speaker 2: I love that this. This is another one one of

1027
00:57:56,000 --> 00:57:58,120
Speaker 2: the moments in the film that just makes me laugh

1028
00:57:58,200 --> 00:58:02,240
Speaker 2: for no reason that I can really identify. I don't know.

1029
00:58:02,320 --> 00:58:03,800
Speaker 2: Maybe it's just kind of like the awkward way that

1030
00:58:03,840 --> 00:58:08,400
Speaker 2: he asks that. And of course where this interaction is

1031
00:58:08,440 --> 00:58:11,160
Speaker 2: going with this particular reporter is also kind of hilarious.

1032
00:58:11,520 --> 00:58:14,880
Speaker 3: Oh yeah, yeah, because there's also a question where it's like,

1033
00:58:15,560 --> 00:58:17,680
Speaker 3: we heard there was another song that came close to

1034
00:58:17,720 --> 00:58:20,680
Speaker 3: beating the bim song. Is it true this competition is rigged?

1035
00:58:21,080 --> 00:58:24,320
Speaker 3: And mister Bugalow threatens him. He like pulls the reporter aside.

1036
00:58:24,360 --> 00:58:26,000
Speaker 3: He's like, what's your name? Who do you write for?

1037
00:58:26,360 --> 00:58:28,760
Speaker 3: You print that and you'll find yourself on the unemployment

1038
00:58:28,840 --> 00:58:33,480
Speaker 3: line by tomorrow. So next we go to mister Boogalow's

1039
00:58:33,560 --> 00:58:37,200
Speaker 3: victory party and his apartment is just full of sci

1040
00:58:37,280 --> 00:58:40,200
Speaker 3: fi showbiz partygoers. I wanted to point out a couple

1041
00:58:40,240 --> 00:58:43,720
Speaker 3: of great props. There is his trophy for winning the

1042
00:58:44,040 --> 00:58:47,960
Speaker 3: World Vision Song Contest, which is a giant gold pyramid

1043
00:58:48,040 --> 00:58:51,960
Speaker 3: with an extremely pointy top, and everybody's drinking out of

1044
00:58:52,360 --> 00:58:58,840
Speaker 3: transparent drinking glasses which are gigantic, clear triangular prisms. Ashley

1045
00:58:58,880 --> 00:59:01,080
Speaker 3: explains that these are bim glasses.

1046
00:59:01,800 --> 00:59:05,680
Speaker 2: See now, this is the Ashley magic that we were expecting.

1047
00:59:05,440 --> 00:59:10,680
Speaker 3: Right, and so booglow. He raises his bim glass and says,

1048
00:59:10,760 --> 00:59:14,240
Speaker 3: ladies and gentlemen, a toast to Bim and everyone shouts bim.

1049
00:59:15,360 --> 00:59:17,800
Speaker 3: And this is where we get some more of Ashley's merchandising.

1050
00:59:17,840 --> 00:59:21,040
Speaker 3: Of course, there is the bimball machine, but then we

1051
00:59:21,120 --> 00:59:24,320
Speaker 3: get to the really important piece of merch that will

1052
00:59:24,360 --> 00:59:28,120
Speaker 3: pervade the rest of the movie, the bim mark. What

1053
00:59:28,240 --> 00:59:31,400
Speaker 3: is the bim mark. Ashley demonstrates how it works. It

1054
00:59:31,520 --> 00:59:35,240
Speaker 3: is a shiny triangular sticker. That's it. That's the bim mark.

1055
00:59:36,160 --> 00:59:38,520
Speaker 2: Yep, yep. You can wear it wherever you want to.

1056
00:59:38,680 --> 00:59:41,520
Speaker 2: That's established so you have a certain amount of freedom.

1057
00:59:41,840 --> 00:59:44,320
Speaker 2: But eventually it will become law that you do have

1058
00:59:44,360 --> 00:59:47,840
Speaker 2: to wear one, make sure that a law enforcement can

1059
00:59:48,000 --> 00:59:51,120
Speaker 2: see it on your person, you know. And obviously this

1060
00:59:51,200 --> 00:59:54,120
Speaker 2: has you know, sci fi dystopian shades of like the

1061
00:59:54,160 --> 00:59:57,640
Speaker 2: Mark of Cain and so forth, the East Mark of

1062
00:59:57,720 --> 01:00:01,840
Speaker 2: the Beast and and all. So it's it's a lot

1063
01:00:01,840 --> 01:00:04,280
Speaker 2: of fun. And also, yeah, clearly Ashley nailed this one.

1064
01:00:04,320 --> 01:00:07,160
Speaker 2: This one's going to really catch on to the point

1065
01:00:07,200 --> 01:00:09,120
Speaker 2: where it becomes a mandate.

1066
01:00:09,680 --> 01:00:12,160
Speaker 3: Right when Ashley debuts it, he says, you can stick

1067
01:00:12,200 --> 01:00:17,080
Speaker 3: it anywhere. Mister Buglow is pleased. He commands Ashley to

1068
01:00:17,160 --> 01:00:20,680
Speaker 3: make sure that everyone is wearing one immediately. And then

1069
01:00:20,760 --> 01:00:23,720
Speaker 3: somebody goes up to Dandy and Pandy goes up to

1070
01:00:23,760 --> 01:00:26,920
Speaker 3: Pandy and says, Pandy, may I bim unize you, and

1071
01:00:26,960 --> 01:00:27,680
Speaker 3: then puts.

1072
01:00:27,400 --> 01:00:30,000
Speaker 2: The bim mark on her yep, right on the forehead.

1073
01:00:30,840 --> 01:00:35,240
Speaker 3: So mister Bugalow invites bb and Alfie to the party

1074
01:00:35,360 --> 01:00:38,160
Speaker 3: at his apartment. This would seem to be, you know,

1075
01:00:38,240 --> 01:00:42,240
Speaker 3: the move of a gracious winner inviting his competition to

1076
01:00:42,280 --> 01:00:45,240
Speaker 3: celebrate with him, but we see them argue about it

1077
01:00:45,240 --> 01:00:49,040
Speaker 3: before going. Alfie doesn't trust mister Buglow. There's just something

1078
01:00:49,080 --> 01:00:51,480
Speaker 3: about the way that he is Satan incarnate that you

1079
01:00:51,560 --> 01:00:56,280
Speaker 3: can't quite trust, and BB counters that, Hey, you know,

1080
01:00:56,400 --> 01:00:58,880
Speaker 3: we need an agent. He could make us a big star.

1081
01:00:59,240 --> 01:01:01,720
Speaker 3: He made Pandy and Dandy, he made the BIM, so

1082
01:01:01,800 --> 01:01:02,720
Speaker 3: maybe he'll make us.

1083
01:01:03,560 --> 01:01:05,840
Speaker 2: Yeah, I mean it. This is you say what you will,

1084
01:01:06,560 --> 01:01:09,640
Speaker 2: mister Buglow. But he can get things done. He is

1085
01:01:09,680 --> 01:01:11,920
Speaker 2: a star maker, There's no questioning that.

1086
01:01:12,760 --> 01:01:15,000
Speaker 3: So they go to the party and for some reason,

1087
01:01:15,000 --> 01:01:17,520
Speaker 3: when they arrive at the party, Alfie is dressed like

1088
01:01:17,600 --> 01:01:20,640
Speaker 3: Indiana Jones without a hat, and BB is dressed like

1089
01:01:20,680 --> 01:01:21,520
Speaker 3: a flight attendant.

1090
01:01:23,040 --> 01:01:26,120
Speaker 2: Yeah, they're so square. They have yet to be transformed

1091
01:01:26,160 --> 01:01:28,560
Speaker 2: by the BIM. I mean, look at their shoulders.

1092
01:01:28,960 --> 01:01:31,160
Speaker 3: Yeah, I know, Oh where are the pads? Where are

1093
01:01:31,200 --> 01:01:35,600
Speaker 3: the shoulder pads? Where are the horns? But the here

1094
01:01:35,640 --> 01:01:39,400
Speaker 3: we get, like the seduction into the shallow life of showbiz. Luxury.

1095
01:01:39,720 --> 01:01:44,360
Speaker 3: Boogalow and the BIM organization offer them hospitality and compliments

1096
01:01:44,360 --> 01:01:47,520
Speaker 3: on their music and bowls of champagne. Yes, I said

1097
01:01:47,520 --> 01:01:50,040
Speaker 3: that right. It's like a soup bowl that they offer

1098
01:01:50,080 --> 01:01:51,280
Speaker 3: them with champagne in it.

1099
01:01:51,600 --> 01:01:54,760
Speaker 2: I've been thinking a lot recently about champagne glasses and

1100
01:01:54,840 --> 01:01:57,920
Speaker 2: about how the style seems to change because I was

1101
01:01:58,240 --> 01:02:01,360
Speaker 2: I really enjoyed watching the period series of the Gilded Age,

1102
01:02:01,760 --> 01:02:04,720
Speaker 2: and they're constantly drinking champagne out of more like a

1103
01:02:04,760 --> 01:02:08,440
Speaker 2: coup glass as opposed to like a fluted glass like

1104
01:02:08,480 --> 01:02:12,800
Speaker 2: you would tend to accept champagne in today. So if

1105
01:02:13,080 --> 01:02:16,360
Speaker 2: champagne in the future of nineteen ninety four is served

1106
01:02:16,520 --> 01:02:19,800
Speaker 2: in a wide glass in this case, even wider than

1107
01:02:19,840 --> 01:02:22,760
Speaker 2: a coup glass, in a way, it's like a return

1108
01:02:22,840 --> 01:02:27,200
Speaker 2: to a previous fad and then an exaggeration of that

1109
01:02:27,360 --> 01:02:30,240
Speaker 2: fad as opposed to a continuation of the current trend.

1110
01:02:30,320 --> 01:02:33,720
Speaker 3: Right, I would agree with that, except that it's huge.

1111
01:02:33,960 --> 01:02:38,280
Speaker 3: It's like everybody gets their own individual punch bowl of champagne.

1112
01:02:38,640 --> 01:02:41,040
Speaker 2: Yeah. Yeah, it's kind of like the whole like punch

1113
01:02:41,080 --> 01:02:44,640
Speaker 2: bowl margarita thing or where like a fish bowl margarita

1114
01:02:44,760 --> 01:02:47,080
Speaker 2: right where they actually have like a gummy fish in there.

1115
01:02:48,080 --> 01:02:50,680
Speaker 3: Oh, and mister Boogalow makes fun of Alfie because he

1116
01:02:50,720 --> 01:02:55,360
Speaker 3: doesn't drink alcohol, and there's clearly a divide, like Alfie

1117
01:02:55,360 --> 01:02:58,160
Speaker 3: wants to resist their charms, but bbe she just wants

1118
01:02:58,200 --> 01:03:03,640
Speaker 3: to dive. Right in Dandy of Pande and Dandy, right

1119
01:03:03,720 --> 01:03:06,160
Speaker 3: from the very first moments, just starts hitting on her.

1120
01:03:06,200 --> 01:03:07,840
Speaker 3: He's like, oh, would you like to go up to

1121
01:03:07,880 --> 01:03:11,000
Speaker 3: the roof garden. I have unspecified pills. Would you like some?

1122
01:03:11,200 --> 01:03:13,520
Speaker 3: And she's like, yeah, sounds good.

1123
01:03:13,600 --> 01:03:15,520
Speaker 2: I don't think he even tells her what the pills

1124
01:03:15,600 --> 01:03:18,600
Speaker 2: do in even broad strokes. He's just kind of like,

1125
01:03:18,840 --> 01:03:21,760
Speaker 2: they're no big deal. Would you like some? Yes?

1126
01:03:22,560 --> 01:03:25,480
Speaker 3: And she accepts and he's like, wow, you really are

1127
01:03:25,520 --> 01:03:28,520
Speaker 3: You're a hillbilly, you know, you're from the Sticks. And

1128
01:03:28,560 --> 01:03:31,880
Speaker 3: she's like, I don't understand what that means. And then yeah,

1129
01:03:31,880 --> 01:03:35,520
Speaker 3: they're just having pills and hanging out and smooching. And

1130
01:03:35,560 --> 01:03:39,120
Speaker 3: then interestingly, at about seventeen minutes into the movie, we

1131
01:03:39,200 --> 01:03:42,720
Speaker 3: get our first song and dance number that occurs outside

1132
01:03:42,960 --> 01:03:46,040
Speaker 3: of a within narrative musical performance. Did you notice this?

1133
01:03:46,120 --> 01:03:49,400
Speaker 3: So it's like a little jarring because the two songs

1134
01:03:49,440 --> 01:03:53,480
Speaker 3: that we've already heard were at a concert within the film.

1135
01:03:53,840 --> 01:03:56,320
Speaker 3: This is the first song that's just people dancing and

1136
01:03:56,320 --> 01:03:57,360
Speaker 3: singing into the camera.

1137
01:03:58,400 --> 01:04:00,640
Speaker 2: That's right, you know. I hadn't really thought about it before,

1138
01:04:00,720 --> 01:04:03,960
Speaker 2: But perhaps because I having seen it before in the

1139
01:04:03,960 --> 01:04:06,160
Speaker 2: past as a riff tracks movie and having not thought

1140
01:04:06,160 --> 01:04:08,280
Speaker 2: about it too much of them, I didn't think too

1141
01:04:08,360 --> 01:04:10,960
Speaker 2: much about how yet, Yeah, suddenly we're in full blown

1142
01:04:11,040 --> 01:04:13,520
Speaker 2: musical mode and not just musical concert picture.

1143
01:04:14,400 --> 01:04:16,840
Speaker 3: But the song is called made for Me. It is

1144
01:04:16,920 --> 01:04:20,680
Speaker 3: sung by Dandy to Bebe saying You're made for me,

1145
01:04:21,000 --> 01:04:23,800
Speaker 3: created for me. I'll be your man, You'll be my woman.

1146
01:04:24,720 --> 01:04:26,840
Speaker 3: This song getting all that great, but it does have

1147
01:04:26,920 --> 01:04:30,120
Speaker 3: a great dance number associated with it, Like in the

1148
01:04:30,160 --> 01:04:33,240
Speaker 3: Inside the Penthouse, we just see all of the wacky

1149
01:04:33,320 --> 01:04:38,320
Speaker 3: dancers and the amazing costumes and it's Yeah, it's not

1150
01:04:38,360 --> 01:04:40,320
Speaker 3: the best tune in the movie, but it is I

1151
01:04:40,360 --> 01:04:41,880
Speaker 3: think one of the best dance numbers.

1152
01:04:42,520 --> 01:04:45,760
Speaker 2: Yeah, the tune kind of has a sort of nineteen

1153
01:04:45,880 --> 01:04:50,000
Speaker 2: fifties kind of feel to it, you know, but it's

1154
01:04:50,040 --> 01:04:53,200
Speaker 2: still better than anything Alfi's bringing to the table thus far.

1155
01:04:53,840 --> 01:04:56,480
Speaker 2: And I like this scenes with the various party goers.

1156
01:04:56,520 --> 01:04:58,800
Speaker 2: It has kind of a kind of a rocky horror

1157
01:04:58,840 --> 01:05:01,680
Speaker 2: feel to it in terms of like the visuals, you know,

1158
01:05:01,720 --> 01:05:04,400
Speaker 2: with all these partygoers and strange costumes, kind of like

1159
01:05:04,440 --> 01:05:08,200
Speaker 2: you see in the time warp section of Rocky Hart.

1160
01:05:08,280 --> 01:05:09,800
Speaker 2: But of course it's a totally different.

1161
01:05:09,480 --> 01:05:12,240
Speaker 3: Song absolutely, But yeah, I see what you're saying about

1162
01:05:12,240 --> 01:05:15,160
Speaker 3: the visual comparison. It is similar and I love the

1163
01:05:15,160 --> 01:05:18,320
Speaker 3: way it's got like at the party, like the hip

1164
01:05:18,360 --> 01:05:21,160
Speaker 3: people in the squares are all singing and dancing alike.

1165
01:05:21,240 --> 01:05:23,760
Speaker 3: So like the lawyers and the bodyguards are singing in

1166
01:05:23,800 --> 01:05:27,000
Speaker 3: perfect harmony with all of the cool showbiz people.

1167
01:05:27,600 --> 01:05:30,680
Speaker 2: Yeah, it looks so fun. This it had to have

1168
01:05:30,720 --> 01:05:31,440
Speaker 2: been a fun shoot.

1169
01:05:31,720 --> 01:05:33,680
Speaker 3: So the end of the song, Alfie comes up to

1170
01:05:33,720 --> 01:05:37,760
Speaker 3: the roof garden and he catches Bebe kissing Dandy. Then

1171
01:05:37,840 --> 01:05:40,720
Speaker 3: Alfie grabs her arm and they run out of the apartment.

1172
01:05:41,120 --> 01:05:43,320
Speaker 3: And at this point I was wondering, like, wait a minute,

1173
01:05:43,360 --> 01:05:46,280
Speaker 3: are they together or not? On it? I couldn't tell.

1174
01:05:46,800 --> 01:05:49,720
Speaker 2: Yeah, now that you mention it, I'm not entirely sure it.

1175
01:05:49,880 --> 01:05:52,080
Speaker 2: Certainly this picture is from a time period in which

1176
01:05:52,280 --> 01:05:54,919
Speaker 2: it's impossible that to a man and a woman are

1177
01:05:54,920 --> 01:05:59,200
Speaker 2: not romantically linked if they are seen together, But the

1178
01:05:59,240 --> 01:06:01,240
Speaker 2: movie doesn't really put in a lot of legwork to

1179
01:06:02,320 --> 01:06:05,640
Speaker 2: really extrapolate on this this relationship.

1180
01:06:05,880 --> 01:06:10,440
Speaker 3: Yeah, so anyway, the next day we see Bogleow arriving

1181
01:06:10,640 --> 01:06:14,920
Speaker 3: at his office building. He's he's dressed like a magician

1182
01:06:14,960 --> 01:06:17,680
Speaker 3: whose act would be based on sawing women in half.

1183
01:06:18,320 --> 01:06:21,680
Speaker 3: And also his bald bodyguards have changed costumes. They've gone

1184
01:06:21,720 --> 01:06:24,360
Speaker 3: from like their white suits to these all black outfits.

1185
01:06:25,240 --> 01:06:28,280
Speaker 3: And we move inside the building because BB and Alfie

1186
01:06:28,360 --> 01:06:32,480
Speaker 3: show up to sign a contract with Boogleow. Alfie clearly

1187
01:06:32,520 --> 01:06:35,000
Speaker 3: thinks this is a bad idea, but BB cannot be

1188
01:06:35,120 --> 01:06:36,800
Speaker 3: talked out of it, so they're going to go have

1189
01:06:36,880 --> 01:06:39,840
Speaker 3: their meeting with with Booglow and they've got to wait

1190
01:06:39,960 --> 01:06:42,680
Speaker 3: here in the lobby of the building to meet with him.

1191
01:06:42,920 --> 01:06:45,920
Speaker 2: Yeah, we get in great atrium scene. It might be

1192
01:06:46,000 --> 01:06:49,520
Speaker 2: like an airport or something, but certainly I get vibes

1193
01:06:49,560 --> 01:06:53,080
Speaker 2: of a of a massive hotel atrium. I love it

1194
01:06:53,120 --> 01:06:55,560
Speaker 2: when there's an obvious atrium in a sci fi movie

1195
01:06:55,840 --> 01:06:59,720
Speaker 2: or TV show that it's it's It's often very effective

1196
01:07:00,120 --> 01:07:03,520
Speaker 2: not knocking it is a is a location because it

1197
01:07:04,280 --> 01:07:09,160
Speaker 2: often works. It's just something about this huge interior space,

1198
01:07:09,280 --> 01:07:11,800
Speaker 2: this cathedral of modern life.

1199
01:07:12,200 --> 01:07:14,520
Speaker 3: Oh yeah, yeah, I agree. I think we're supposed to

1200
01:07:14,600 --> 01:07:17,360
Speaker 3: understand the scene as being they're kind of like being

1201
01:07:17,440 --> 01:07:21,040
Speaker 3: ground down and humiliated by being forced to wait to

1202
01:07:21,080 --> 01:07:23,680
Speaker 3: see Boogalow after they've been invited, and so they're waiting

1203
01:07:23,720 --> 01:07:27,000
Speaker 3: alongside all these other acts that are aspiring to sign

1204
01:07:27,040 --> 01:07:30,200
Speaker 3: with him, and the other acts that we see there

1205
01:07:30,240 --> 01:07:33,360
Speaker 3: in the waiting area include like a baroque vampire funk

1206
01:07:33,440 --> 01:07:36,400
Speaker 3: band who brought their instruments, including a full drum kit,

1207
01:07:37,200 --> 01:07:40,920
Speaker 3: a sci fi chorus dancer troupe wearing diamond bathing suits

1208
01:07:41,000 --> 01:07:44,640
Speaker 3: that are they're called Ballet two thousand. We see like

1209
01:07:44,680 --> 01:07:48,480
Speaker 3: these feather boa opera singers. There's a wizard in a

1210
01:07:48,520 --> 01:07:50,480
Speaker 3: pointy hat and several clowns.

1211
01:07:52,440 --> 01:07:53,840
Speaker 2: This is the riff raft for sure.

1212
01:07:54,280 --> 01:07:57,480
Speaker 3: Is mister Bouglow signing clowns? Does he represent clowns?

1213
01:07:59,080 --> 01:08:01,520
Speaker 2: You know? I guess it's possible that he might find

1214
01:08:01,560 --> 01:08:04,640
Speaker 2: the right clown that he could transform into something that

1215
01:08:04,680 --> 01:08:07,800
Speaker 2: would be successful. And I think maybe that's part of

1216
01:08:07,840 --> 01:08:10,720
Speaker 2: his message to them. It's like, right now, you were nothing.

1217
01:08:10,760 --> 01:08:14,120
Speaker 2: You were unformed. You were at best raw material that

1218
01:08:14,200 --> 01:08:18,800
Speaker 2: the bim can transform through his alchemy into something successful.

1219
01:08:19,120 --> 01:08:23,400
Speaker 2: Right now, you're no better than a birthday party wizard

1220
01:08:23,760 --> 01:08:25,720
Speaker 2: or miscellaneous clowns. Yeah.

1221
01:08:25,840 --> 01:08:29,080
Speaker 3: Yeah, So here we get a song sung by mister

1222
01:08:29,120 --> 01:08:33,960
Speaker 3: Boogalow called show Business, where he sings about how he

1223
01:08:34,040 --> 01:08:36,800
Speaker 3: plans to exploit all these people and lie to them

1224
01:08:36,840 --> 01:08:41,000
Speaker 3: and trick them, and about how the world is cruel

1225
01:08:41,280 --> 01:08:44,120
Speaker 3: and hollow. The chorus of the song goes, life is

1226
01:08:44,160 --> 01:08:47,400
Speaker 3: nothing but show business in nineteen ninety four, we fight

1227
01:08:47,479 --> 01:08:50,960
Speaker 3: for the spotlight, We kill for encore. Life is nothing

1228
01:08:51,000 --> 01:08:53,920
Speaker 3: but show business. The world's a cabaret. We live for

1229
01:08:54,000 --> 01:08:56,680
Speaker 3: the fortune, we die for the fame. This song is

1230
01:08:56,680 --> 01:08:59,960
Speaker 3: also pretty great, especially for the dance number, which is

1231
01:09:00,000 --> 01:09:01,400
Speaker 3: it's fantastic.

1232
01:09:01,280 --> 01:09:05,120
Speaker 2: Great dance number. It's our first song to feature mister

1233
01:09:05,160 --> 01:09:09,000
Speaker 2: Buglow as the as the main vocalist, and his his

1234
01:09:09,080 --> 01:09:13,360
Speaker 2: singing style, it's more like a flat spoken word style,

1235
01:09:13,400 --> 01:09:16,080
Speaker 2: but it's tremendous. He's like, you know, he's talking about

1236
01:09:16,400 --> 01:09:19,040
Speaker 2: like a puppet on a string, like a monkey on

1237
01:09:19,120 --> 01:09:22,559
Speaker 2: a swing. Like that's very much the delivery style, and

1238
01:09:22,640 --> 01:09:26,559
Speaker 2: often while he's again looking directly at us, directly into

1239
01:09:26,600 --> 01:09:27,519
Speaker 2: the camera. It's great.

1240
01:09:27,840 --> 01:09:30,599
Speaker 3: So eventually Alfie and bb they go up to his office.

1241
01:09:31,000 --> 01:09:32,600
Speaker 3: But wait a minute, wasn't he just down in the

1242
01:09:32,600 --> 01:09:35,920
Speaker 3: lobby with them singing the song. This is one of

1243
01:09:35,920 --> 01:09:38,479
Speaker 3: the many questions raised in musicals about like what is

1244
01:09:38,520 --> 01:09:41,200
Speaker 3: the level of reality in the narrative when people are

1245
01:09:41,200 --> 01:09:43,880
Speaker 3: in a place singing a song. Anyway, they go up

1246
01:09:43,880 --> 01:09:46,519
Speaker 3: to his office, they you know, they come in the door.

1247
01:09:46,680 --> 01:09:50,679
Speaker 3: They go past all the bodyguards and the lawyers. They

1248
01:09:50,720 --> 01:09:55,439
Speaker 3: meet with mister Boglow's lawyers, who are introduced as James

1249
01:09:55,439 --> 01:09:59,559
Speaker 3: Clark and Clark James. Okay, and this is the signing

1250
01:09:59,720 --> 01:10:02,800
Speaker 3: the on tracked scene. I think you probably understand what's

1251
01:10:02,840 --> 01:10:06,920
Speaker 3: going on here. So Boogleow is trying to sign them

1252
01:10:06,920 --> 01:10:10,639
Speaker 3: on to his record company or maybe as their agent.

1253
01:10:11,120 --> 01:10:14,160
Speaker 3: It's not exactly clear, but uh, there's no there are

1254
01:10:14,160 --> 01:10:16,880
Speaker 3: no surprises here. The contract is a deal with the devil.

1255
01:10:17,160 --> 01:10:20,040
Speaker 3: They would be signing away everything, their rights to their music,

1256
01:10:20,120 --> 01:10:24,639
Speaker 3: their control over their careers, their souls basically. And once again,

1257
01:10:24,680 --> 01:10:27,480
Speaker 3: Alfie is aware of the danger, but bb is portrayed

1258
01:10:27,520 --> 01:10:30,600
Speaker 3: as two entranced by the promise of stardom. She just

1259
01:10:30,640 --> 01:10:33,040
Speaker 3: wants to sign on the Dodger line and get it done.

1260
01:10:33,439 --> 01:10:36,400
Speaker 2: I mean, Alfie also just comes off as maybe a

1261
01:10:36,439 --> 01:10:41,960
Speaker 2: bit too protective of his talent here, because to be clear, again,

1262
01:10:42,000 --> 01:10:45,200
Speaker 2: Boogleow is a man that can make stars and does

1263
01:10:45,280 --> 01:10:48,679
Speaker 2: make stars, and yeah, he's going to take an enormous

1264
01:10:48,720 --> 01:10:51,920
Speaker 2: cut and he's gonna kind of sort of own your soul.

1265
01:10:52,080 --> 01:10:54,840
Speaker 2: But this is a man that can and will transform

1266
01:10:54,920 --> 01:10:56,960
Speaker 2: you into what you need. To be, so you're not

1267
01:10:57,000 --> 01:10:58,639
Speaker 2: selling your soul for pennies here.

1268
01:10:58,880 --> 01:11:02,120
Speaker 3: But he does put the pressure on because Alfie wants

1269
01:11:02,160 --> 01:11:04,800
Speaker 3: time to review the contract, and Google is like, you've

1270
01:11:04,800 --> 01:11:07,679
Speaker 3: got another minute. You've got another meeting in twenty minutes

1271
01:11:07,720 --> 01:11:10,360
Speaker 3: with the fashion designer, so you better sign it quick,

1272
01:11:10,439 --> 01:11:13,280
Speaker 3: you know, and by tomorrow it's too late, so sign

1273
01:11:13,360 --> 01:11:16,559
Speaker 3: it now or don't sign it, and then uh oh.

1274
01:11:16,600 --> 01:11:18,639
Speaker 3: And then he's also like, we've already sold your first

1275
01:11:18,680 --> 01:11:21,200
Speaker 3: album and Dube is confused. She's like, we haven't made

1276
01:11:21,240 --> 01:11:24,120
Speaker 3: it yet, and then Shake explains, first you sell it,

1277
01:11:24,520 --> 01:11:26,679
Speaker 3: then you make it. That's marketing.

1278
01:11:27,120 --> 01:11:30,280
Speaker 2: Yep, Canon films, Baby.

1279
01:11:30,400 --> 01:11:33,720
Speaker 3: So while bb is signing her contract, Alfie has some

1280
01:11:33,800 --> 01:11:36,960
Speaker 3: kind of apocalyptic vision. The first one is of an

1281
01:11:37,000 --> 01:11:40,200
Speaker 3: earthquake and great winds, but then it comes back to

1282
01:11:40,240 --> 01:11:42,280
Speaker 3: the room and it's like it's all in his head.

1283
01:11:42,680 --> 01:11:46,200
Speaker 2: Or is it? Yeah? So this this again gets into

1284
01:11:46,200 --> 01:11:50,160
Speaker 2: the unreality versus reality question in the film, because I

1285
01:11:50,200 --> 01:11:52,519
Speaker 2: think you can kind of go down two different streets

1286
01:11:52,520 --> 01:11:57,680
Speaker 2: of interpretation. Either Booglow is the literal devil or the

1287
01:11:57,760 --> 01:12:01,600
Speaker 2: moose jaw hit here is beginning to break hardcore from reality,

1288
01:12:02,080 --> 01:12:05,360
Speaker 2: and so instead of seeing a world of mundane excess

1289
01:12:05,400 --> 01:12:09,760
Speaker 2: and greed. He is seeing a clear supernatural threat to

1290
01:12:09,960 --> 01:12:11,479
Speaker 2: life and spiritual liberty.

1291
01:12:12,200 --> 01:12:12,880
Speaker 3: Yeah.

1292
01:12:12,920 --> 01:12:15,839
Speaker 2: And if it's the former, yeah, you have full license

1293
01:12:15,880 --> 01:12:18,200
Speaker 2: to be alarmed and to yell and shout and try

1294
01:12:18,240 --> 01:12:21,160
Speaker 2: and drag your friend or girlfriend out of there. But

1295
01:12:21,560 --> 01:12:24,880
Speaker 2: if if it's if it's the latter, then I don't know, Alfie.

1296
01:12:25,000 --> 01:12:27,960
Speaker 2: I think maybe you're more of a danger than anything. Yeah.

1297
01:12:28,400 --> 01:12:32,599
Speaker 3: Possibly, So, Alfie, he has this vision, then he comes

1298
01:12:32,600 --> 01:12:35,120
Speaker 3: back from it, so he sort of is calm down,

1299
01:12:35,120 --> 01:12:37,599
Speaker 3: and he reluctantly goes to sign his contract. But then

1300
01:12:37,640 --> 01:12:41,439
Speaker 3: a second possible hallucination or vision begins, which is a

1301
01:12:41,560 --> 01:12:45,720
Speaker 3: darkening at noon lightning strikes. No one again sees the

1302
01:12:45,800 --> 01:12:49,080
Speaker 3: darkening but him and the next prophetic vision is a

1303
01:12:49,200 --> 01:12:51,519
Speaker 3: musical number, And here is where we finally get to

1304
01:12:51,640 --> 01:12:55,560
Speaker 3: the title track The Apple stupendous.

1305
01:12:56,200 --> 01:13:00,000
Speaker 2: This is one of, if not the greatest dance numbers

1306
01:13:00,080 --> 01:13:03,400
Speaker 2: and performances in the entire picture. This alone is worth

1307
01:13:03,479 --> 01:13:05,800
Speaker 2: worth setting around for. If you have any intention of

1308
01:13:05,880 --> 01:13:09,280
Speaker 2: walking out on a number in the Apple, this is

1309
01:13:09,320 --> 01:13:10,760
Speaker 2: not it. This one is tremendous.

1310
01:13:10,960 --> 01:13:14,320
Speaker 3: So this number is set in hell and like the

1311
01:13:14,400 --> 01:13:17,639
Speaker 3: caverns of Hell, but it also has Garden of Eden themes,

1312
01:13:18,080 --> 01:13:21,160
Speaker 3: so they're all in this misty cave. Alphie and BBI

1313
01:13:21,240 --> 01:13:23,920
Speaker 3: are suddenly dressed up like Adam and Eve. They're naked

1314
01:13:24,000 --> 01:13:28,360
Speaker 3: except for strategic leaf coverings. Mister Boogalow is dressed like

1315
01:13:28,400 --> 01:13:30,720
Speaker 3: a Halloween store Dracula costume.

1316
01:13:31,200 --> 01:13:34,760
Speaker 2: Yeah yeah, with one horn on to show that yeah,

1317
01:13:34,760 --> 01:13:35,400
Speaker 2: he was the devil.

1318
01:13:35,640 --> 01:13:38,960
Speaker 3: We got some google eyed skeletons in the background. The

1319
01:13:39,000 --> 01:13:43,519
Speaker 3: two bald bodyguards here are shirtless in black leather pants

1320
01:13:43,560 --> 01:13:46,880
Speaker 3: and studded belts, wearing these dingy dog head masks. They

1321
01:13:47,200 --> 01:13:50,160
Speaker 3: remind me of that horribly creepy dog mask guy.

1322
01:13:50,200 --> 01:13:54,240
Speaker 2: And the shining Yeah yeah, definite, definite vibes of all that.

1323
01:13:54,640 --> 01:13:57,400
Speaker 2: Also great gels for the lighting here. We got like

1324
01:13:57,520 --> 01:13:59,800
Speaker 2: red and green. It's wonderful.

1325
01:14:00,840 --> 01:14:05,320
Speaker 3: Shake is dressed like a giant serpent. Of course, Alfie

1326
01:14:05,400 --> 01:14:08,320
Speaker 3: looks around. He turns to BB's like, hey, you know,

1327
01:14:08,840 --> 01:14:11,479
Speaker 3: this is hell. That's bad. We should go, and BB

1328
01:14:11,720 --> 01:14:13,160
Speaker 3: is like, no, I love it.

1329
01:14:13,600 --> 01:14:16,920
Speaker 2: And she should love it because it looks awesome. Once more,

1330
01:14:17,320 --> 01:14:19,720
Speaker 2: the film is that it's most fun and enthralling when

1331
01:14:19,720 --> 01:14:22,320
Speaker 2: it's showing us the dark side, And yeah, this is

1332
01:14:22,360 --> 01:14:25,080
Speaker 2: nothing new. I mean, I feel like this is basically

1333
01:14:25,080 --> 01:14:29,400
Speaker 2: the situation you have with Dante's Divine Comedy. Inferno is

1334
01:14:30,320 --> 01:14:34,160
Speaker 2: fun and wicked and funny and insightful and full of creativity.

1335
01:14:34,520 --> 01:14:36,360
Speaker 2: But and you know that the rest of the Divine

1336
01:14:36,360 --> 01:14:40,000
Speaker 2: Comedy is also great in the classic. Yes, but Paradise

1337
01:14:40,240 --> 01:14:44,800
Speaker 2: is significantly less fun compared to Inferno.

1338
01:14:44,680 --> 01:14:46,800
Speaker 3: Certainly less memorable to readers.

1339
01:14:47,439 --> 01:14:49,760
Speaker 2: Yeah, and this is a version of Hell you can

1340
01:14:49,760 --> 01:14:52,080
Speaker 2: get behind. You expect Coffin Joe to show up at

1341
01:14:52,080 --> 01:14:54,640
Speaker 2: any moment. Coffin Joe would love this place.

1342
01:14:54,640 --> 01:14:57,759
Speaker 3: Oh would he ever? I mean, he's very much along

1343
01:14:57,840 --> 01:15:03,599
Speaker 3: the Count Boogula lines. So Count Boogila transforms Beebe's leaf

1344
01:15:03,680 --> 01:15:06,559
Speaker 3: suit into a sparkling fancy dress and shows her around,

1345
01:15:06,960 --> 01:15:11,120
Speaker 3: and he introduces her to Dandy, who, now in Hell

1346
01:15:11,200 --> 01:15:14,599
Speaker 3: here is wearing sparkling gold briefs and nothing else. So

1347
01:15:14,640 --> 01:15:17,439
Speaker 3: in this mode to call back to Rocky Horror once again,

1348
01:15:17,479 --> 01:15:20,559
Speaker 3: he's very reminiscent of the appearance of Rocky, except again

1349
01:15:20,600 --> 01:15:23,760
Speaker 3: he has the big mass of Roger Daltrey hair.

1350
01:15:24,400 --> 01:15:27,559
Speaker 2: Yeah. Yeah, he's maybe not as cut as Rocky, but

1351
01:15:27,760 --> 01:15:29,840
Speaker 2: he has all the charisma and charming, like, this is

1352
01:15:29,840 --> 01:15:33,559
Speaker 2: a man at ease in a golden pair of underwear.

1353
01:15:34,000 --> 01:15:36,880
Speaker 3: So they bring out the Ordu. They're making all these

1354
01:15:36,920 --> 01:15:40,479
Speaker 3: references to the Orduv, and it's this big plastic apple

1355
01:15:40,960 --> 01:15:44,080
Speaker 3: and they hand it to Bibe and everybody starts screaming

1356
01:15:44,120 --> 01:15:46,080
Speaker 3: for her to taste it. They're all yelling, taste it,

1357
01:15:46,200 --> 01:15:49,479
Speaker 3: taste it. And meanwhile, while while Dandy is seducing Bebee

1358
01:15:49,479 --> 01:15:52,120
Speaker 3: and trying to get her to taste the apple, Pandy

1359
01:15:52,280 --> 01:15:57,320
Speaker 3: starts seducing Alfie. And we see a very interesting cast

1360
01:15:57,360 --> 01:16:00,640
Speaker 3: of characters all throughout Hell here, all encourage Bebe to

1361
01:16:00,640 --> 01:16:04,360
Speaker 3: taste the apple. So some are like ladies in seventeenth

1362
01:16:04,400 --> 01:16:08,760
Speaker 3: century European clothes and bride of Frankenstein makeup like Elsa Lanchester.

1363
01:16:09,920 --> 01:16:12,640
Speaker 3: Several guys with no faces, just blank skin on the

1364
01:16:12,640 --> 01:16:16,200
Speaker 3: front of their heads, one guy with two faces. Randomly,

1365
01:16:16,240 --> 01:16:19,320
Speaker 3: we see Napoleon. I'm almost positive that's supposed to be Napoleon,

1366
01:16:19,360 --> 01:16:21,200
Speaker 3: Like he's got his hand in his shirt and everything.

1367
01:16:21,360 --> 01:16:21,599
Speaker 2: Sure.

1368
01:16:22,240 --> 01:16:28,320
Speaker 3: Yeah, And then we also see just like vampires running around.

1369
01:16:28,520 --> 01:16:31,599
Speaker 2: Oh not just a vampire, Joe, it's an actual, actual,

1370
01:16:31,760 --> 01:16:33,080
Speaker 2: actual vampire.

1371
01:16:33,920 --> 01:16:36,879
Speaker 3: That is the chorus of the song it's a natural, natural,

1372
01:16:37,040 --> 01:16:42,560
Speaker 3: natural desire meet an actual, actual, actual vampire who.

1373
01:16:43,160 --> 01:16:44,760
Speaker 2: I don't know, but I love it. They and the

1374
01:16:45,040 --> 01:16:48,519
Speaker 2: way the vampire lady like jumps up like a cat

1375
01:16:48,760 --> 01:16:52,560
Speaker 2: at that moment, turns it cocks her head sideways tremendous.

1376
01:16:52,800 --> 01:16:55,920
Speaker 2: I'm gonna say tremendous about three dozen more times in

1377
01:16:55,960 --> 01:16:59,519
Speaker 2: this episode, but it's one accurate Dandy.

1378
01:16:59,680 --> 01:17:02,559
Speaker 3: I gotta give credit to Dandy on him selling this

1379
01:17:02,760 --> 01:17:05,360
Speaker 3: ridiculous song, by the way, like the parts where he's

1380
01:17:05,960 --> 01:17:09,000
Speaker 3: singing at the crowd of damned souls in the Pit

1381
01:17:09,040 --> 01:17:15,559
Speaker 3: of Hell and he's like, oh, yeah, oh, it's so good.

1382
01:17:16,280 --> 01:17:18,559
Speaker 2: It's kind of theologically, it's kind of interesting, right because

1383
01:17:18,560 --> 01:17:21,160
Speaker 2: he's like, look at this apple. This is temptation and sin.

1384
01:17:21,280 --> 01:17:23,360
Speaker 2: This is what got you here. And they're like, yeah,

1385
01:17:23,360 --> 01:17:26,280
Speaker 2: I did, but man, that's a good apple. Yep yep.

1386
01:17:26,720 --> 01:17:30,360
Speaker 3: So I think the apple represents fame, or maybe it's

1387
01:17:30,360 --> 01:17:34,639
Speaker 3: just supposed to represent all temptations, but the core one

1388
01:17:34,640 --> 01:17:36,800
Speaker 3: would seem to be fame. Like Bbe wants to be

1389
01:17:36,840 --> 01:17:39,639
Speaker 3: a star and she is willing to put her soul

1390
01:17:39,720 --> 01:17:43,120
Speaker 3: in danger and abandon I don't know, the good life

1391
01:17:43,240 --> 01:17:45,400
Speaker 3: in order to have stardom.

1392
01:17:45,760 --> 01:17:47,920
Speaker 2: I'm just now noticing in the stills you included that

1393
01:17:47,960 --> 01:17:50,640
Speaker 2: the apple is half green and half red, much like

1394
01:17:50,680 --> 01:17:53,040
Speaker 2: the gel lighting and the scene. So it's like half

1395
01:17:53,040 --> 01:17:56,799
Speaker 2: Foucie apple, half Granny Smith apple. So half great apple

1396
01:17:56,840 --> 01:17:58,280
Speaker 2: and half just for cooking out.

1397
01:17:59,240 --> 01:18:01,080
Speaker 3: I hadn't noticed that until you pointed it out, but

1398
01:18:01,120 --> 01:18:05,679
Speaker 3: you're right. Yeah. Anyway, at the end of this excellent song,

1399
01:18:06,040 --> 01:18:09,160
Speaker 3: Alfie throws the contract on Boogalow's desk and he leaves

1400
01:18:09,200 --> 01:18:11,639
Speaker 3: without signing, yells you'll never get me never.

1401
01:18:13,720 --> 01:18:17,080
Speaker 2: So this but this hell vision was just in Alfie's head, right,

1402
01:18:17,120 --> 01:18:20,960
Speaker 2: So in reality he's coming off like a completely unhinged person.

1403
01:18:21,280 --> 01:18:24,040
Speaker 3: Yes, yeah, he goes up to sign the contract, everybody's

1404
01:18:24,040 --> 01:18:27,840
Speaker 3: standing around waiting, and then presumably he just suddenly like

1405
01:18:28,320 --> 01:18:30,880
Speaker 3: I don't know, he like closes his eyes for a

1406
01:18:30,920 --> 01:18:33,320
Speaker 3: minute and then opens them and he's like, ah, you're

1407
01:18:33,360 --> 01:18:39,000
Speaker 3: all demons. So Alfie leaves. Biebe tries to run after him,

1408
01:18:39,000 --> 01:18:41,519
Speaker 3: but Dandy and Pandy stop her. They're like, you don't

1409
01:18:41,520 --> 01:18:44,719
Speaker 3: know him anything, let him go. You're with us now.

1410
01:18:45,000 --> 01:18:47,320
Speaker 3: Pandy grabs her and says, whether you like it or not,

1411
01:18:47,479 --> 01:18:51,760
Speaker 3: you're a member of the Bim family, and this is

1412
01:18:51,800 --> 01:18:54,559
Speaker 3: sort of a transition point from here, I'm gonna kinda

1413
01:18:56,160 --> 01:18:58,640
Speaker 3: get a little more summary about the plot shift to

1414
01:18:58,680 --> 01:19:01,080
Speaker 3: a more zoomed out summary. I think we could focus

1415
01:19:01,080 --> 01:19:04,000
Speaker 3: on individual things that stood out to us, but we

1416
01:19:04,080 --> 01:19:07,719
Speaker 3: see across a couple of songs, we see Bbe falling

1417
01:19:07,760 --> 01:19:12,559
Speaker 3: prey to the lifestyle. Her earnest and innocent personality is

1418
01:19:12,640 --> 01:19:17,400
Speaker 3: replaced by an addiction to shallow materialism, drugs, and fame.

1419
01:19:18,240 --> 01:19:21,160
Speaker 3: And so the several songs in the sequence are first

1420
01:19:21,160 --> 01:19:24,639
Speaker 3: of all, a song called how to Be a Master,

1421
01:19:25,280 --> 01:19:28,280
Speaker 3: which I thought is it's the worst of the like

1422
01:19:28,400 --> 01:19:31,679
Speaker 3: bad people songs in the movie. I think it's really awkward,

1423
01:19:32,800 --> 01:19:35,400
Speaker 3: mister Bougelow singing about how he is the boss and

1424
01:19:35,439 --> 01:19:37,680
Speaker 3: how he exploits everyone under him.

1425
01:19:38,240 --> 01:19:40,599
Speaker 2: I'm not sure where I would rank it in terms

1426
01:19:40,600 --> 01:19:43,080
Speaker 2: of the villain songs. It's definitely better than any of

1427
01:19:43,120 --> 01:19:45,800
Speaker 2: the good Guys songs in my opinion. I liked it.

1428
01:19:45,800 --> 01:19:48,759
Speaker 2: It had kind of a reggae beat, and again mister

1429
01:19:48,760 --> 01:19:53,080
Speaker 2: Boglow is the main vocalist on it, as which I love.

1430
01:19:53,200 --> 01:19:54,599
Speaker 2: So I liked it.

1431
01:19:55,360 --> 01:19:58,479
Speaker 3: But then the next song I think is Rippen. It

1432
01:19:58,560 --> 01:20:01,840
Speaker 3: is a hit. That song is Speed, and it is

1433
01:20:01,880 --> 01:20:04,200
Speaker 3: a song in which Bbe sings about how she.

1434
01:20:04,320 --> 01:20:07,920
Speaker 2: Needs speed, not just speed, but speed.

1435
01:20:10,040 --> 01:20:13,920
Speaker 3: Yeah, yeah, exactly. And this song is dumb as hell,

1436
01:20:14,160 --> 01:20:16,519
Speaker 3: but it is so good it actually, I would say

1437
01:20:16,520 --> 01:20:19,360
Speaker 3: it feels a lot like a Jim Steinman song. Can't

1438
01:20:19,360 --> 01:20:21,439
Speaker 3: you just hear the song in meat Loaf's voice?

1439
01:20:22,040 --> 01:20:24,320
Speaker 2: Yep? Yeah, I think this would very much fit his

1440
01:20:24,840 --> 01:20:25,479
Speaker 2: general vibe.

1441
01:20:25,560 --> 01:20:29,799
Speaker 3: Yeah, the dance number is biker themed. The opening lines

1442
01:20:29,840 --> 01:20:34,000
Speaker 3: of the song they are America, the land of the

1443
01:20:34,040 --> 01:20:37,040
Speaker 3: Free is shooting up with pure energy.

1444
01:20:38,439 --> 01:20:41,599
Speaker 2: Yeah, this song is incredible. I suppose on some level

1445
01:20:41,600 --> 01:20:43,320
Speaker 2: it is trying to say something about the pace of

1446
01:20:43,360 --> 01:20:46,880
Speaker 2: American life and the expectations of success and work great

1447
01:20:47,000 --> 01:20:50,320
Speaker 2: and so forth. But it's also a completely unsubtle track

1448
01:20:50,360 --> 01:20:54,160
Speaker 2: about just how freaking awesome amphetamines apparently are, at least

1449
01:20:54,200 --> 01:20:59,799
Speaker 2: according to Bbe. She just really gives it all to perform.

1450
01:20:59,800 --> 01:21:02,519
Speaker 2: This number. Just high energy, as it should be for

1451
01:21:02,560 --> 01:21:04,519
Speaker 2: a song called Speed.

1452
01:21:05,000 --> 01:21:08,080
Speaker 3: It. I mean, it's almost not double on Tandra. It's

1453
01:21:08,160 --> 01:21:10,960
Speaker 3: just it seems like the more literal reading is that

1454
01:21:11,040 --> 01:21:14,000
Speaker 3: it is about drugs, and that the it's like the

1455
01:21:14,120 --> 01:21:16,840
Speaker 3: secondary meaning is interpreting it having to do with the

1456
01:21:16,920 --> 01:21:17,759
Speaker 3: rate of things.

1457
01:21:18,040 --> 01:21:22,200
Speaker 2: Yeah, yeah, it's ridiculous, but also another success for Bbe

1458
01:21:22,200 --> 01:21:25,040
Speaker 2: because now her star is just continuing to skyrocket.

1459
01:21:25,160 --> 01:21:27,679
Speaker 3: Yeah yeah. So we see her like talking to the press.

1460
01:21:27,680 --> 01:21:29,400
Speaker 3: A reporter comes up to her and says, how does

1461
01:21:29,400 --> 01:21:31,519
Speaker 3: it feel to be the world's number one BIM star?

1462
01:21:32,040 --> 01:21:34,640
Speaker 3: And BB says, it's frightening, but I put all my

1463
01:21:34,760 --> 01:21:38,840
Speaker 3: faith in mister Bugalow. And then they're talking to mister

1464
01:21:38,880 --> 01:21:41,200
Speaker 3: Bugalow and they're like, oh, does Bbe have any plans

1465
01:21:41,240 --> 01:21:45,080
Speaker 3: for marriage? And mister b says, she is already married

1466
01:21:45,479 --> 01:21:49,600
Speaker 3: to the bim Oh and if we didn't mention this,

1467
01:21:49,680 --> 01:21:52,040
Speaker 3: already Bbe is wearing the BIM mark. Now she's got

1468
01:21:52,040 --> 01:21:56,080
Speaker 3: the triangle on her forehead. Yeah, whoops, took the mark

1469
01:21:56,120 --> 01:22:09,320
Speaker 3: of the beast. Okay. So meanwhile Alfie is on the out,

1470
01:22:09,400 --> 01:22:12,280
Speaker 3: so we see him suffering without Bebe. He wants their back,

1471
01:22:12,360 --> 01:22:15,720
Speaker 3: he's feeling with a directionless she's sort of moved on.

1472
01:22:16,160 --> 01:22:16,320
Speaker 2: Uh.

1473
01:22:16,520 --> 01:22:19,200
Speaker 3: There's a scene out in the street with Alfie's landlady

1474
01:22:19,200 --> 01:22:22,479
Speaker 3: where police are writing citations for anybody not wearing the

1475
01:22:22,520 --> 01:22:27,280
Speaker 3: BIM mark. It is now required by law, but Alfie refuses.

1476
01:22:27,320 --> 01:22:29,920
Speaker 3: He's like, I will not wear the Bim mark. And

1477
01:22:30,439 --> 01:22:32,800
Speaker 3: also this is the scene where it is made clear

1478
01:22:32,840 --> 01:22:35,240
Speaker 3: that he would be rich and successful if he would

1479
01:22:35,320 --> 01:22:38,040
Speaker 3: just cave in and write if you just give in

1480
01:22:38,080 --> 01:22:41,439
Speaker 3: and write bad, heartless music, that the audience is crave

1481
01:22:41,640 --> 01:22:44,519
Speaker 3: the Bim music. But he refuses, He's going to keep

1482
01:22:44,520 --> 01:22:47,120
Speaker 3: writing good, pure music about love.

1483
01:22:47,680 --> 01:22:50,600
Speaker 2: Yeah, with the imploy again the implication being that he

1484
01:22:50,720 --> 01:22:53,000
Speaker 2: could write successful music if he wanted to have he

1485
01:22:53,080 --> 01:22:55,360
Speaker 2: just sold out a little bit. But really, the picture

1486
01:22:55,400 --> 01:22:58,240
Speaker 2: gives us nothing to go on here because his heartfelt,

1487
01:22:58,320 --> 01:23:03,519
Speaker 2: authentic songs are too terrible, even though the movie would

1488
01:23:03,520 --> 01:23:05,880
Speaker 2: have us believe that they really resonate with people and

1489
01:23:05,960 --> 01:23:08,439
Speaker 2: are great and and and are just a vision of

1490
01:23:08,479 --> 01:23:11,839
Speaker 2: purity and innocence. But no, what we we we witness

1491
01:23:11,880 --> 01:23:13,800
Speaker 2: and hear in the in the in the movie does

1492
01:23:13,840 --> 01:23:15,320
Speaker 2: not deliver those vibes.

1493
01:23:15,439 --> 01:23:18,240
Speaker 3: Once again, that is correct. So his next new his

1494
01:23:18,280 --> 01:23:20,799
Speaker 3: new song which we hear, is called where Has Love Gone?

1495
01:23:20,840 --> 01:23:23,839
Speaker 3: It's a sad love song as opposed to the hopeful

1496
01:23:23,840 --> 01:23:26,720
Speaker 3: love song from the beginning, and it's about as good

1497
01:23:26,760 --> 01:23:29,519
Speaker 3: as love the universal melody which is not very good.

1498
01:23:30,360 --> 01:23:33,360
Speaker 2: Yeah, and it's I guess it's it's ultimately a flaw

1499
01:23:33,360 --> 01:23:35,920
Speaker 2: in the film because clearly the composers were able to

1500
01:23:35,960 --> 01:23:38,840
Speaker 2: bring it with the other numbers, the other genres, but

1501
01:23:38,920 --> 01:23:42,600
Speaker 2: the love songs, the songs that define our heroes or

1502
01:23:42,760 --> 01:23:45,639
Speaker 2: our hero here, it clearly wasn't their strong suit, and

1503
01:23:45,680 --> 01:23:49,040
Speaker 2: so it deflates the power of our intended protagonists. You know.

1504
01:23:49,120 --> 01:23:51,800
Speaker 2: It's it's like if you were setting up Hercules in

1505
01:23:51,840 --> 01:23:55,200
Speaker 2: your action movie, but instead of Hercules like actually appearing

1506
01:23:55,240 --> 01:23:58,560
Speaker 2: strong and being able to beat people up, he instead

1507
01:23:59,120 --> 01:24:01,439
Speaker 2: comes off weak. People are like, oh, look how strong

1508
01:24:01,479 --> 01:24:04,800
Speaker 2: he is, but he's clearly not. It also reminds me

1509
01:24:04,840 --> 01:24:07,759
Speaker 2: of I've seen some dramas before that are about fictional

1510
01:24:07,800 --> 01:24:11,880
Speaker 2: stand up comedians, and the material they have the main

1511
01:24:12,000 --> 01:24:16,800
Speaker 2: character deliver is not convincingly funny. The show tries to

1512
01:24:16,800 --> 01:24:18,960
Speaker 2: make you feel like like, oh, people are laughing, this

1513
01:24:19,040 --> 01:24:20,840
Speaker 2: is a talented comedian, but it's like no, no, no,

1514
01:24:21,040 --> 01:24:23,879
Speaker 2: I can tell I'm watching the show. It's not funny,

1515
01:24:24,120 --> 01:24:27,080
Speaker 2: and therefore it deflates the power of the character because

1516
01:24:27,120 --> 01:24:30,760
Speaker 2: they are not. It's hard to buy into the illusion

1517
01:24:31,160 --> 01:24:33,400
Speaker 2: if you can't give me something to go on there.

1518
01:24:33,640 --> 01:24:36,000
Speaker 3: Yeah, yeah, totally like, they should just leave that off

1519
01:24:36,040 --> 01:24:38,599
Speaker 3: screen if they can't be confident that they can write

1520
01:24:38,600 --> 01:24:39,840
Speaker 3: really good material for them.

1521
01:24:40,080 --> 01:24:42,040
Speaker 2: Wouldn't that have been hilarious though in this movie? And

1522
01:24:42,080 --> 01:24:45,240
Speaker 2: they're like, and then Alfie delivers an amazing song. We're

1523
01:24:45,240 --> 01:24:47,120
Speaker 2: not going to show it to you, but it's better

1524
01:24:47,160 --> 01:24:49,120
Speaker 2: than anything you've heard in this picture.

1525
01:24:49,280 --> 01:24:53,679
Speaker 3: That would be an interesting choice, actually. But while Alfie

1526
01:24:53,720 --> 01:24:55,880
Speaker 3: is singing this clunker, I wanted to point out a

1527
01:24:55,920 --> 01:24:58,840
Speaker 3: good bit of environmental future texture I noticed, which is

1528
01:24:59,120 --> 01:25:01,040
Speaker 3: there's people in the back. They're out for a walk.

1529
01:25:01,080 --> 01:25:04,439
Speaker 3: They're dressed in their finest reflective tape, and they're pushing

1530
01:25:04,479 --> 01:25:08,400
Speaker 3: what I think are supposed to be you strollers, prams,

1531
01:25:08,439 --> 01:25:11,719
Speaker 3: baby carriages, whatever you call them. And in this world,

1532
01:25:11,920 --> 01:25:15,960
Speaker 3: these strollers are designed so that babies are encased within

1533
01:25:16,000 --> 01:25:19,160
Speaker 3: a plastic bubble. Do you see this?

1534
01:25:20,400 --> 01:25:23,360
Speaker 2: Yep, yep. It's the only way to keep them safe.

1535
01:25:23,400 --> 01:25:25,240
Speaker 2: I guess it's from all the you know, the dangers

1536
01:25:25,240 --> 01:25:25,759
Speaker 2: of the future.

1537
01:25:26,040 --> 01:25:29,040
Speaker 3: Oh, and everywhere there are faceless police in all black

1538
01:25:29,160 --> 01:25:32,439
Speaker 3: carrying triangular riot shields in the shape of the BIM mark.

1539
01:25:32,920 --> 01:25:36,360
Speaker 2: Yeah, there's BIM propaganda everywhere, And of course lots of

1540
01:25:36,360 --> 01:25:39,280
Speaker 2: places to get the bim burger. I wish I knew

1541
01:25:39,320 --> 01:25:42,559
Speaker 2: more about bimburger offerings. What's that bimburger like? Does it

1542
01:25:42,600 --> 01:25:46,960
Speaker 2: have a nice triangular slice of cheese, triangular pickle? I

1543
01:25:47,000 --> 01:25:50,880
Speaker 2: don't know. Maybe the paddy, maybe the whole thing is triangular.

1544
01:25:51,800 --> 01:25:54,559
Speaker 3: Yeah, you never see one, but that's a good guess.

1545
01:25:54,640 --> 01:25:57,040
Speaker 3: So Alfi goes to the music studio. He plays this

1546
01:25:57,160 --> 01:26:01,360
Speaker 3: sad love song for these greedy music executives, not Boogalo

1547
01:26:01,520 --> 01:26:04,800
Speaker 3: some other I guess rivals. And these guys are like, hmm,

1548
01:26:04,920 --> 01:26:07,240
Speaker 3: it's not what the kids are into. Write something that

1549
01:26:07,320 --> 01:26:10,120
Speaker 3: will be a hit, and something with some bim to it,

1550
01:26:10,200 --> 01:26:12,000
Speaker 3: and then come back when you've got that for us.

1551
01:26:12,800 --> 01:26:15,280
Speaker 3: And Alfie is very upset. He goes to sit on

1552
01:26:15,320 --> 01:26:17,160
Speaker 3: a sit in a park and stare at the ground,

1553
01:26:17,240 --> 01:26:19,240
Speaker 3: looking sad, and then a cop comes up to him

1554
01:26:19,280 --> 01:26:21,639
Speaker 3: and writes him a ticket for not wearing the bim mark.

1555
01:26:21,720 --> 01:26:23,240
Speaker 3: So it's just not Alfie's day.

1556
01:26:23,880 --> 01:26:26,240
Speaker 2: Is this where the cop says, don't you know it's obligatory?

1557
01:26:26,720 --> 01:26:32,360
Speaker 3: Yeah? Oh, And then we get the announcement, like these

1558
01:26:32,760 --> 01:26:37,000
Speaker 3: loudspeakers on every street corner start broadcasting a message saying

1559
01:26:37,080 --> 01:26:40,719
Speaker 3: stop ordinary activities and prepare for the National Bim Hour.

1560
01:26:41,400 --> 01:26:44,479
Speaker 3: So it's like the Two Minutes Hate in nineteen eighty four,

1561
01:26:44,600 --> 01:26:47,840
Speaker 3: except instead of yelling at Goldstein, everybody has to dance

1562
01:26:47,920 --> 01:26:50,679
Speaker 3: and celebrate the power of BIM. So we get a

1563
01:26:50,840 --> 01:26:54,240
Speaker 3: reprise of the original BIM song, Hey Hey, Hey, Bim's

1564
01:26:54,280 --> 01:26:56,639
Speaker 3: on the way or Bim's the Only Way, and we

1565
01:26:56,680 --> 01:26:59,559
Speaker 3: get to see firefighters who stop putting out a fire

1566
01:26:59,640 --> 01:27:03,120
Speaker 3: and go and dance to it, construction workers dancing to it,

1567
01:27:03,240 --> 01:27:06,200
Speaker 3: Surgeons in the middle of a surgery abandon the operation

1568
01:27:06,400 --> 01:27:11,360
Speaker 3: and start dancing. Nuns are dancing, police are dancing and leading.

1569
01:27:11,439 --> 01:27:14,280
Speaker 3: The whole thing is Bebe and Dandy and Pandy.

1570
01:27:15,120 --> 01:27:18,040
Speaker 2: It's great. It's tremendously silly, but it's wonderful.

1571
01:27:18,240 --> 01:27:21,400
Speaker 3: Yeah, it goes on so so long, by the way,

1572
01:27:21,439 --> 01:27:25,759
Speaker 3: but the sequence is awesome. So there is a scene

1573
01:27:25,800 --> 01:27:27,799
Speaker 3: somewhere in here where we get to see like Bbie's

1574
01:27:27,880 --> 01:27:30,439
Speaker 3: enjoying her popularity. She's the biggest star in the world.

1575
01:27:30,520 --> 01:27:32,880
Speaker 3: The crowds are shouting her name, and then at one

1576
01:27:32,880 --> 01:27:35,599
Speaker 3: point Alfie comes to her through the crowd and tries

1577
01:27:35,640 --> 01:27:37,960
Speaker 3: to get her attention, and she sort of tries to

1578
01:27:37,960 --> 01:27:41,040
Speaker 3: call back to him, but the bim entourage keeps them apart.

1579
01:27:41,040 --> 01:27:43,160
Speaker 3: They put her in a car, and then the two

1580
01:27:43,840 --> 01:27:46,200
Speaker 3: orc gentlemen beat Alfie.

1581
01:27:45,960 --> 01:27:49,120
Speaker 2: Up Bulldog and fat Boy No way, Bulldog and fat Dogs.

1582
01:27:49,280 --> 01:27:53,160
Speaker 3: Yes yes, And then we get another sad song from

1583
01:27:53,160 --> 01:27:55,400
Speaker 3: Bib and Alfie called Cry for Me. This is the

1584
01:27:55,400 --> 01:28:00,120
Speaker 3: one that sounds like Sandy from Greece. It starts Alphy,

1585
01:28:00,840 --> 01:28:04,800
Speaker 3: where are you now? Uh? And this is not one

1586
01:28:04,840 --> 01:28:07,920
Speaker 3: of the better songs in the movie. It's standard basic

1587
01:28:08,160 --> 01:28:10,360
Speaker 3: pining for each other song, just.

1588
01:28:10,400 --> 01:28:13,519
Speaker 2: More evidence that Boogolow is right and that that Alfie

1589
01:28:13,800 --> 01:28:16,040
Speaker 2: may have some talent, but it desperately needs to be

1590
01:28:16,080 --> 01:28:17,759
Speaker 2: transformed into something else.

1591
01:28:18,840 --> 01:28:21,800
Speaker 3: So next song, at his lowest point, Alfie goes to

1592
01:28:21,880 --> 01:28:24,439
Speaker 3: a party at some kind of BIM pad I don't

1593
01:28:24,479 --> 01:28:27,479
Speaker 3: know if this is Bougolo's apartment or whatever. H And

1594
01:28:27,600 --> 01:28:31,360
Speaker 3: at this party, Alfie is drugged and taken advantage of

1595
01:28:31,520 --> 01:28:35,400
Speaker 3: by Pandy, and this leads into a song called Coming,

1596
01:28:35,680 --> 01:28:39,479
Speaker 3: where Pandy is taking advantage of Alfie while he he's

1597
01:28:39,520 --> 01:28:42,960
Speaker 3: on this like bad trip and he's like seeing hallucinations

1598
01:28:43,040 --> 01:28:45,800
Speaker 3: and bad dreams and all this stuff. And then it

1599
01:28:45,920 --> 01:28:49,559
Speaker 3: just generally turns into a song about the concept of sex.

1600
01:28:50,080 --> 01:28:53,360
Speaker 2: Yeah, it has it's about as subtle as as Speed

1601
01:28:53,560 --> 01:28:57,759
Speaker 2: was earlier, real dumb lyrics, but it's kind of catchy,

1602
01:28:57,800 --> 01:28:59,759
Speaker 2: I guess, and it had. I did like the drugged

1603
01:28:59,760 --> 01:29:02,880
Speaker 2: out optical effects and sort of the dark disco stylings

1604
01:29:02,920 --> 01:29:04,559
Speaker 2: of this whole part of the picture.

1605
01:29:04,880 --> 01:29:07,280
Speaker 3: Yeah, like many of these other dance numbers, it does

1606
01:29:07,320 --> 01:29:10,360
Speaker 3: have some great visuals and and and like weird drug

1607
01:29:10,400 --> 01:29:14,240
Speaker 3: trip effects. But afterwards, Alfie wakes up on a park

1608
01:29:14,280 --> 01:29:16,639
Speaker 3: bench where here here the movie takes a real turn.

1609
01:29:17,400 --> 01:29:19,679
Speaker 3: He's on a park bench and he is greeted by

1610
01:29:20,400 --> 01:29:24,000
Speaker 3: Joss Ackland in a gandalf Beard wearing a robe with

1611
01:29:24,040 --> 01:29:25,240
Speaker 3: a knife on his belt.

1612
01:29:26,040 --> 01:29:30,559
Speaker 2: Yep, yeap, bear chested bear belly. It's you know, it's

1613
01:29:30,640 --> 01:29:34,960
Speaker 2: it's not necessarily what you'd expect, but again, he brings

1614
01:29:34,960 --> 01:29:38,880
Speaker 2: a grandeur, he brings a dignity to any performance. Very

1615
01:29:38,960 --> 01:29:40,000
Speaker 2: much in effect here.

1616
01:29:40,080 --> 01:29:43,280
Speaker 3: Right, So he's like, Alfie, come with me, and he

1617
01:29:44,560 --> 01:29:47,680
Speaker 3: leads him through the woods and introduces him to a

1618
01:29:47,760 --> 01:29:52,599
Speaker 3: commune of hippies. These are hippies who live in a

1619
01:29:52,640 --> 01:29:57,040
Speaker 3: cave under a nearby bridge, and they are not plugged

1620
01:29:57,120 --> 01:30:00,839
Speaker 3: into the bim. It is specified that they don't want TV,

1621
01:30:01,479 --> 01:30:04,559
Speaker 3: and this is like, huh, what there can be a

1622
01:30:04,600 --> 01:30:08,679
Speaker 3: society that doesn't watch TV. And some of the hippies

1623
01:30:08,880 --> 01:30:11,800
Speaker 3: look at Alfie and they say peace, and Alfie says,

1624
01:30:11,840 --> 01:30:15,479
Speaker 3: haven't heard that word in a long time, A long time.

1625
01:30:16,400 --> 01:30:19,080
Speaker 2: I love how the old man here introduces the hippies

1626
01:30:19,600 --> 01:30:22,680
Speaker 2: as if this bunch stands in strong opposition to the

1627
01:30:22,720 --> 01:30:26,600
Speaker 2: forces of drugs and sexual liberation and rock music that

1628
01:30:26,640 --> 01:30:29,160
Speaker 2: we've been witnessing thus far. That has been established as

1629
01:30:29,160 --> 01:30:32,280
Speaker 2: like the enemy, you know, yeah, because these cave dwelling

1630
01:30:32,320 --> 01:30:34,600
Speaker 2: hippies did all of those things, they invented some of

1631
01:30:34,600 --> 01:30:35,200
Speaker 2: those things.

1632
01:30:35,479 --> 01:30:38,559
Speaker 3: But I think, are they are not part of the

1633
01:30:39,200 --> 01:30:43,200
Speaker 3: global technological mass media infrastructure?

1634
01:30:43,800 --> 01:30:44,120
Speaker 2: True?

1635
01:30:44,200 --> 01:30:46,960
Speaker 3: True, and that that seems to be a part of

1636
01:30:47,000 --> 01:30:48,519
Speaker 3: what the evil is in the movie.

1637
01:30:49,200 --> 01:30:49,679
Speaker 2: That's right.

1638
01:30:50,240 --> 01:30:52,519
Speaker 3: So meanwhile, we check in with Bibi and the Bim

1639
01:30:52,600 --> 01:30:56,439
Speaker 3: crowd and we find out that Pandy is actually quite

1640
01:30:56,439 --> 01:30:59,799
Speaker 3: penitent for how she and the others have manipulated Alfie,

1641
01:30:59,840 --> 01:31:03,200
Speaker 3: and she confesses to beb what they did, and then

1642
01:31:03,240 --> 01:31:05,599
Speaker 3: she tells Bibe to go to Alfie. She says, he

1643
01:31:05,800 --> 01:31:09,720
Speaker 3: loves you. And this is this is Pande's redemption. We

1644
01:31:10,080 --> 01:31:13,640
Speaker 3: see how she in turn is abused and mistreated by

1645
01:31:13,680 --> 01:31:16,479
Speaker 3: the bim world, and she sings a song about her

1646
01:31:16,520 --> 01:31:20,040
Speaker 3: turn of heart called I Found Me. I'm gonna say

1647
01:31:20,080 --> 01:31:23,559
Speaker 3: this is the best of the earnest songs in the movie,

1648
01:31:23,600 --> 01:31:25,760
Speaker 3: but it's hard for any of the earnest songs to

1649
01:31:25,840 --> 01:31:29,640
Speaker 3: compete with the awesome satanic majesty of Bim.

1650
01:31:29,920 --> 01:31:32,320
Speaker 2: Yeah, I would agree, I'm both counts here. Yeah, this

1651
01:31:32,320 --> 01:31:35,920
Speaker 2: this is a decent song, but it doesn't have a

1652
01:31:35,960 --> 01:31:40,360
Speaker 2: lot of competition against the songs Alfie has been whipping

1653
01:31:40,400 --> 01:31:41,759
Speaker 2: out and the rest of the picture.

1654
01:31:42,360 --> 01:31:45,280
Speaker 3: I think I would say the song as a composition

1655
01:31:45,560 --> 01:31:50,400
Speaker 3: is nothing special. But Grace Kennedy does much better with

1656
01:31:50,520 --> 01:31:52,280
Speaker 3: this song than it actually deserved.

1657
01:31:52,880 --> 01:31:54,320
Speaker 2: Yes, because she does.

1658
01:31:54,439 --> 01:31:56,600
Speaker 3: She puts a shocking amount of passion into it. We

1659
01:31:56,640 --> 01:31:58,879
Speaker 3: get like the real like close up on the tears

1660
01:31:58,960 --> 01:32:02,800
Speaker 3: and everything. She is selling that moral change of heart.

1661
01:32:03,520 --> 01:32:06,759
Speaker 3: So here we get to the end BB she repents.

1662
01:32:06,760 --> 01:32:09,600
Speaker 3: Also she leaves the bim world and she goes to

1663
01:32:09,640 --> 01:32:13,320
Speaker 3: seek out Alfie. She goes looking around the bridge that

1664
01:32:13,600 --> 01:32:17,320
Speaker 3: tries to find the cave and runs into Joss Ackland,

1665
01:32:17,320 --> 01:32:19,479
Speaker 3: the hippie leader, and when the hippie leader meets her,

1666
01:32:19,800 --> 01:32:22,120
Speaker 3: he says multiple lines, I don't know if you caught

1667
01:32:22,120 --> 01:32:25,240
Speaker 3: this rob that sound exactly like lines that Alec Guinness

1668
01:32:25,320 --> 01:32:28,080
Speaker 3: says as Obi Wan Kenobi when he's calling out to

1669
01:32:28,200 --> 01:32:31,640
Speaker 3: R two D two in the original Star Wars. I

1670
01:32:31,640 --> 01:32:35,240
Speaker 3: think he literally literally says, well, hello there, don't be afraid,

1671
01:32:37,800 --> 01:32:40,200
Speaker 3: and even kind of sounds like Alec guinnis so yeah,

1672
01:32:40,360 --> 01:32:44,600
Speaker 3: it's interesting. But so he leads her down into the

1673
01:32:44,680 --> 01:32:47,680
Speaker 3: hippie cave. He tells her that Alfie is down in

1674
01:32:47,760 --> 01:32:50,680
Speaker 3: the bachelor quarters. One of what things are like there.

1675
01:32:50,840 --> 01:32:52,760
Speaker 2: We probably probably smells a bit rough.

1676
01:32:53,439 --> 01:32:56,000
Speaker 3: Yeah, And they sing a song called Child of Love.

1677
01:32:56,560 --> 01:32:57,360
Speaker 3: That's okay.

1678
01:32:58,000 --> 01:33:01,360
Speaker 2: I like it. It's kind of booming wizard, I guess.

1679
01:33:01,200 --> 01:33:06,719
Speaker 3: Yeah, yeah, it's okay. And so here like some time passes,

1680
01:33:06,760 --> 01:33:09,160
Speaker 3: like Bbe comes into the world. They take they take

1681
01:33:09,200 --> 01:33:12,960
Speaker 3: the BIM mark off of her forehead and she seems

1682
01:33:13,080 --> 01:33:16,320
Speaker 3: cleansed of the evil of Bim And then we cut

1683
01:33:16,360 --> 01:33:19,639
Speaker 3: to like a year in the future where she's been

1684
01:33:19,680 --> 01:33:22,360
Speaker 3: living there in the cave with the hippies with Alfie,

1685
01:33:22,520 --> 01:33:26,080
Speaker 3: and now Alfie and BB have a child together. And

1686
01:33:26,200 --> 01:33:30,040
Speaker 3: in the grand finale, the Bogleow leadership comes to mount

1687
01:33:30,080 --> 01:33:33,320
Speaker 3: an assault on the hippie community and to collect BB

1688
01:33:33,520 --> 01:33:35,720
Speaker 3: because they say, you know, we've got she's got a

1689
01:33:35,760 --> 01:33:38,439
Speaker 3: contract with us. And because of this contract she signed,

1690
01:33:38,479 --> 01:33:43,560
Speaker 3: she owes Boogalow Music ten million dollars for leaving the business.

1691
01:33:44,000 --> 01:33:46,040
Speaker 3: And also, by the way, all of you hippies are

1692
01:33:46,120 --> 01:33:51,040
Speaker 3: under arrest. But just when things look darkest, we get

1693
01:33:51,080 --> 01:33:56,599
Speaker 3: a literal diosx machina. So Alfie is he's he's looking

1694
01:33:56,640 --> 01:33:58,960
Speaker 3: around and Alfie who has a beard. Now, by the way,

1695
01:33:59,000 --> 01:34:02,240
Speaker 3: I didn't recognize him first with the beard. He says,

1696
01:34:02,280 --> 01:34:04,439
Speaker 3: it's going to be all right. I know he's going

1697
01:34:04,520 --> 01:34:08,320
Speaker 3: to come. BB says, who's going to come? Alfie says

1698
01:34:08,439 --> 01:34:09,240
Speaker 3: mister Topps.

1699
01:34:10,960 --> 01:34:14,760
Speaker 2: No idea that nobody has mentioned mister Topps up until

1700
01:34:14,800 --> 01:34:19,040
Speaker 2: this point. Again, the only thing or person that we

1701
01:34:19,120 --> 01:34:22,080
Speaker 2: know is coming is Bim Bim is on the way right,

1702
01:34:22,680 --> 01:34:24,320
Speaker 2: there is no mention of mister Topps.

1703
01:34:24,400 --> 01:34:28,280
Speaker 3: Who, So yeah, don't ask questions about mister Topps. Mister

1704
01:34:28,320 --> 01:34:30,559
Speaker 3: Topps does appear. He comes down from heaven in a

1705
01:34:30,600 --> 01:34:34,760
Speaker 3: spectral rolls Royce. He's wearing like a white suit and

1706
01:34:34,920 --> 01:34:37,760
Speaker 3: he he comes out of the car he leads the

1707
01:34:37,840 --> 01:34:41,320
Speaker 3: hippies away to become spiritual flesh and live in a

1708
01:34:41,360 --> 01:34:45,960
Speaker 3: place behind the sun. Oh and also Pandy abandons Bim

1709
01:34:46,000 --> 01:34:49,479
Speaker 3: and she goes along as well. And then we like,

1710
01:34:50,400 --> 01:34:53,400
Speaker 3: mister Topps here, who did we already say he's played

1711
01:34:53,400 --> 01:34:56,960
Speaker 3: by Joss Ackland. This is also Joss Ackland. Mister Topps

1712
01:34:57,560 --> 01:35:01,639
Speaker 3: has a little conversation with mister Boogalow, like as all

1713
01:35:01,720 --> 01:35:04,120
Speaker 3: of the hippies are departing into the heavens.

1714
01:35:04,920 --> 01:35:08,559
Speaker 2: Yeah, and again Shapal and Auckland. They do manage to

1715
01:35:08,680 --> 01:35:12,919
Speaker 2: make this exchange feel important, like they're both very talented actors,

1716
01:35:12,960 --> 01:35:17,880
Speaker 2: and they bring a certain gravity to the conversation that

1717
01:35:18,000 --> 01:35:21,040
Speaker 2: is maybe not completely earned, uh, to the point where

1718
01:35:21,200 --> 01:35:23,639
Speaker 2: you know they're having the conversation and you know, and

1719
01:35:23,920 --> 01:35:26,160
Speaker 2: mister Tops is like, well, we're gonna I'm gonna take

1720
01:35:26,160 --> 01:35:27,479
Speaker 2: them all, We're gonna go away, We're gonna go to

1721
01:35:27,479 --> 01:35:30,840
Speaker 2: another planet and do something else. Only you're not gonna come.

1722
01:35:30,840 --> 01:35:33,080
Speaker 2: We're gonna try it without you this time. And and

1723
01:35:33,240 --> 01:35:37,759
Speaker 2: of course mister Boglow is like, you can't have creation

1724
01:35:37,960 --> 01:35:41,040
Speaker 2: without me, you can't have good without evil. And mister

1725
01:35:41,120 --> 01:35:44,120
Speaker 2: Topps says, let's give it a try, and uh and

1726
01:35:44,360 --> 01:35:45,960
Speaker 2: it and it works like it doesn't come off as

1727
01:35:45,960 --> 01:35:49,120
Speaker 2: a corny will line. It like fools me into thinking like, yeah, yeah,

1728
01:35:49,200 --> 01:35:51,880
Speaker 2: let's give it a try. Mister Tops is right, and

1729
01:35:51,920 --> 01:35:53,880
Speaker 2: then he like raptures everybody.

1730
01:35:54,200 --> 01:35:57,559
Speaker 3: Yes, one of the most out of nowhere endings I

1731
01:35:57,600 --> 01:36:00,439
Speaker 3: can think of in any film I've ever seen. Again,

1732
01:36:00,560 --> 01:36:04,759
Speaker 3: we do know. It was partially a disappointment to discover

1733
01:36:04,920 --> 01:36:07,760
Speaker 3: that there had originally been shot these earlier scenes where

1734
01:36:07,800 --> 01:36:10,040
Speaker 3: mister Topps creates the world, so you did know who

1735
01:36:10,080 --> 01:36:13,400
Speaker 3: this character was before. I prefer not to think about

1736
01:36:13,439 --> 01:36:16,000
Speaker 3: that and to think of the final cut of the

1737
01:36:16,000 --> 01:36:19,200
Speaker 3: movie as the intended version of the story where you

1738
01:36:19,280 --> 01:36:22,480
Speaker 3: have no prior knowledge of mister Topps and he just appears.

1739
01:36:23,120 --> 01:36:25,960
Speaker 2: Yeah. Yeah, I think I prefer that way as well.

1740
01:36:26,479 --> 01:36:29,559
Speaker 2: With all the disco freaks being turned into hippies and

1741
01:36:29,560 --> 01:36:32,719
Speaker 2: the hippies travel to the Gray Havens, Earth is left

1742
01:36:32,720 --> 01:36:36,880
Speaker 2: to Boogalow and his demons, and then the movie ends.

1743
01:36:37,560 --> 01:36:40,280
Speaker 2: You know. I've also seen it pointed out by people

1744
01:36:40,320 --> 01:36:43,360
Speaker 2: commenting on the Apple that we don't really have a

1745
01:36:43,479 --> 01:36:48,000
Speaker 2: rousing grand finale musical number, which is is kind of interesting,

1746
01:36:48,080 --> 01:36:50,400
Speaker 2: Like usually you have something like that, there would be

1747
01:36:50,680 --> 01:36:54,240
Speaker 2: a big musical number as all of these characters are

1748
01:36:54,320 --> 01:36:58,120
Speaker 2: raptured away to this new creation. But no, we don't

1749
01:36:58,120 --> 01:37:01,639
Speaker 2: get that. Not that I'm missing it, because I'm still

1750
01:37:01,680 --> 01:37:04,759
Speaker 2: just blown away by this divine ending to this picture.

1751
01:37:05,680 --> 01:37:09,920
Speaker 2: But yeah, it's it's weird that our final musical number

1752
01:37:10,080 --> 01:37:13,800
Speaker 2: is I guess the wizard folk song from earlier Child

1753
01:37:13,880 --> 01:37:14,240
Speaker 2: of Love.

1754
01:37:14,600 --> 01:37:18,479
Speaker 3: Well, the we get a reprise of the apple that

1755
01:37:18,560 --> 01:37:21,439
Speaker 3: plays over the end, over the creds. Yeah, but that's

1756
01:37:21,479 --> 01:37:24,320
Speaker 3: funny because that almost makes it sound like a triumph

1757
01:37:24,400 --> 01:37:26,840
Speaker 3: of evil. Like at the end of the story, we

1758
01:37:26,920 --> 01:37:29,200
Speaker 3: just go back to the song about how wonderful the

1759
01:37:29,240 --> 01:37:30,000
Speaker 3: temptation is.

1760
01:37:30,680 --> 01:37:32,800
Speaker 2: Yeah, I mean, Boogolow is going to make a party

1761
01:37:32,840 --> 01:37:35,719
Speaker 2: out of it. He's gonna make lemonade out of these lemons,

1762
01:37:36,200 --> 01:37:38,280
Speaker 2: So you know it's gonna be rocking. It's just gonna

1763
01:37:38,280 --> 01:37:42,000
Speaker 2: be The attendance is going to be far lower since

1764
01:37:42,240 --> 01:37:45,280
Speaker 2: all the people got raptured away, but he's still got

1765
01:37:45,320 --> 01:37:47,240
Speaker 2: a He's still got Bulldog and fat Dog there, so

1766
01:37:47,520 --> 01:37:49,280
Speaker 2: we get to discover what their talents are.

1767
01:37:49,479 --> 01:37:53,400
Speaker 3: It wouldn't be heaven without them, right, Okay, I think

1768
01:37:53,400 --> 01:37:56,720
Speaker 3: that's all I can say about the Apple I am exhausted,

1769
01:37:56,840 --> 01:38:02,560
Speaker 3: but this was one of my favorites. Have watched absolutely nuts.

1770
01:38:02,840 --> 01:38:06,160
Speaker 2: Yeah, this movie's a workout. It's I highly recommend it.

1771
01:38:06,160 --> 01:38:09,560
Speaker 2: It's People talk a lot about you know, movies that

1772
01:38:09,600 --> 01:38:12,360
Speaker 2: are so bad they're good, and about you know, weird

1773
01:38:12,400 --> 01:38:14,960
Speaker 2: movies like this is all of those things. Like it's

1774
01:38:15,040 --> 01:38:17,240
Speaker 2: rough around the edges. There are things that clearly don't

1775
01:38:17,240 --> 01:38:19,880
Speaker 2: work or didn't work as intended, but then there's so

1776
01:38:19,960 --> 01:38:22,760
Speaker 2: much that does work and succeed and resonates, like it

1777
01:38:22,800 --> 01:38:25,439
Speaker 2: has some great songs in it, you know. I think

1778
01:38:25,479 --> 01:38:27,639
Speaker 2: a lot of a lot of its failure comes down

1779
01:38:27,720 --> 01:38:31,800
Speaker 2: to just when it came out. If this had come

1780
01:38:31,800 --> 01:38:34,720
Speaker 2: out like five years earlier, what would the reception have

1781
01:38:34,800 --> 01:38:37,519
Speaker 2: been like. And if nothing else, I think it's great

1782
01:38:37,520 --> 01:38:39,640
Speaker 2: that it did find its audience over time and it

1783
01:38:39,680 --> 01:38:41,479
Speaker 2: does have this cult status now.

1784
01:38:42,040 --> 01:38:43,720
Speaker 3: Oh yeah, this is when I know I'm going to

1785
01:38:43,760 --> 01:38:46,519
Speaker 3: be coming back to it many, many times. I wonder

1786
01:38:46,560 --> 01:38:48,439
Speaker 3: what things I will notice in the future that I

1787
01:38:48,439 --> 01:38:49,479
Speaker 3: didn't notice this time.

1788
01:38:49,880 --> 01:38:53,000
Speaker 2: It's full it's you've noticed something different every time you

1789
01:38:53,040 --> 01:38:55,360
Speaker 2: watch it. All three times I've watched it in the

1790
01:38:55,439 --> 01:38:59,240
Speaker 2: last month, I've noticed something new. All right, We're gonna

1791
01:38:59,240 --> 01:39:00,640
Speaker 2: go ahead and close it out here. We'd love to

1792
01:39:00,640 --> 01:39:02,360
Speaker 2: hear from you though, if you have thoughts on the Apple.

1793
01:39:02,439 --> 01:39:05,240
Speaker 2: We actually already heard from one listener who went to

1794
01:39:05,240 --> 01:39:08,360
Speaker 2: a viewing of The Apple, so right in if you

1795
01:39:08,400 --> 01:39:11,800
Speaker 2: two have a story about seeing the Apple. Also, if

1796
01:39:11,800 --> 01:39:13,840
Speaker 2: you have thoughts on other musicals we should do in

1797
01:39:13,840 --> 01:39:17,559
Speaker 2: the future. I know we've had multiple people suggest nineteen

1798
01:39:17,560 --> 01:39:21,080
Speaker 2: eighty one Shock Treatment, the follow up to the Rocky

1799
01:39:21,080 --> 01:39:24,519
Speaker 2: Horror Picture Show, so you know that's potentially on the table,

1800
01:39:24,560 --> 01:39:26,240
Speaker 2: but there are other weird musicals. Let us know what

1801
01:39:26,280 --> 01:39:28,839
Speaker 2: you would like to hear us talk about in the future.

1802
01:39:29,439 --> 01:39:31,280
Speaker 2: In the meantime, we'll remind you that Stuff to Blow

1803
01:39:31,280 --> 01:39:33,879
Speaker 2: Your Mind is primarily a science podcast with core episodes

1804
01:39:33,920 --> 01:39:36,240
Speaker 2: on Tuesdays and Thursdays, but on Fridays we set aside

1805
01:39:36,240 --> 01:39:38,880
Speaker 2: most serious concerns to just talk about a weird film

1806
01:39:38,960 --> 01:39:41,479
Speaker 2: on Weird House Cinema. If you want a complete list

1807
01:39:41,479 --> 01:39:43,800
Speaker 2: of all the movies we've covered over the years, go

1808
01:39:43,840 --> 01:39:45,840
Speaker 2: to letterbox dot com. It's l E T T e

1809
01:39:46,000 --> 01:39:48,880
Speaker 2: r box d dot com. We have a profile there

1810
01:39:48,920 --> 01:39:50,680
Speaker 2: it's weird House and you can find a list of

1811
01:39:50,720 --> 01:39:52,920
Speaker 2: all the movies we've covered, and sometimes there's a hint

1812
01:39:52,920 --> 01:39:55,240
Speaker 2: ahead at what's coming up next.

1813
01:39:55,560 --> 01:39:59,360
Speaker 3: Huge thanks as always to our excellent audio producer, JJ Posway.

1814
01:39:59,479 --> 01:40:01,080
Speaker 3: If you would like to get in touch with us

1815
01:40:01,160 --> 01:40:03,679
Speaker 3: with feedback on this episode or any other, to suggest

1816
01:40:03,680 --> 01:40:05,800
Speaker 3: a topic for the future, or just to say hello,

1817
01:40:06,160 --> 01:40:08,760
Speaker 3: you can email us at contact at stuff to Blow

1818
01:40:08,800 --> 01:40:17,440
Speaker 3: your Mind dot com.

1819
01:40:17,560 --> 01:40:20,479
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1820
01:40:20,600 --> 01:40:23,360
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1821
01:40:23,520 --> 01:40:26,760
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.