WEBVTT - Weirdhouse Cinema: The Apple

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<v Speaker 1>Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob Lamb.

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<v Speaker 3>And this is BIM. Excuse me, this is Joe mccor

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<v Speaker 3>bim excuse me. My name is Joe mccorm mick. And

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<v Speaker 3>I am so excited to BIM. I mean, I am

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<v Speaker 3>so excited to talk about today's movie.

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<v Speaker 2>Yeah, I mean the bimnus is strong. The bim is

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<v Speaker 2>strong in this picture because in today's episode we are

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<v Speaker 2>going to be talking about nineteen eighties The Apple. This

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<v Speaker 2>is a film that has been requested before by listeners.

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<v Speaker 2>This is a film that I was previously familiar with

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<v Speaker 2>from being featured on Riff Tracks many years ago. But yeah,

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<v Speaker 2>this one is a tremendously weird and wonderful and flawed

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<v Speaker 2>rock and roll disco musical that is also so dystopian,

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<v Speaker 2>it's biblical, it's everything and more. It's like a Willy

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<v Speaker 2>Wonka candy.

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<v Speaker 3>This is one of the weirdest movies we have ever

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<v Speaker 3>covered on the show. Is It's up there with like

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<v Speaker 3>Super Mario Brothers and the other ones that are just

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<v Speaker 3>kind of impossible to describe the feeling of. You just

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<v Speaker 3>have to see it. And this is another one that

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<v Speaker 3>I can't believe I made it this far in my

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

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<v Speaker 3>my alley. This is the kind of movie I should

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<v Speaker 3>have seen when I was twenty years old and watched

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<v Speaker 3>fifteen times since then, but this actually was my first viewing.

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<v Speaker 3>So I'm very very grateful to you for choosing it

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<v Speaker 3>this week, Rob, And it's going to be It's a

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

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<v Speaker 2>I know. I watched it, rewatched it on a flight

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<v Speaker 2>a few weeks back, and after we selected it here,

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<v Speaker 2>I watched it two more times. So it's rare that

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<v Speaker 2>I watch a film twice in preparation for an episode

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<v Speaker 2>of Weird House. And I don't think I've ever watched

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<v Speaker 2>a film three times in preparation for a Weird House.

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<v Speaker 2>But this one's irresistible.

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<v Speaker 3>But yes, now, now, what did you say to describe

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<v Speaker 3>its rough genre alignment. It's like a biblical allegorical dystopian

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<v Speaker 3>science fiction musical.

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<v Speaker 2>Yeah, yeah, it is, yeah, because it's very much like

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

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<v Speaker 2>you know, And then at the same time, it is

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<v Speaker 2>biblical in nature. This is a movie that will take

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<v Speaker 2>you to the hell, and in the same way that

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<v Speaker 2>the Coffin Joe movie that we will watch, it takes

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<v Speaker 2>you to the hell that I think they've those two

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<v Speaker 2>visions of hell line up rather rather well alongside each other.

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<v Speaker 2>But yeah, on the other hand, it's a Perils of

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

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<v Speaker 2>It dabbles in some other musical genres as well, but

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<v Speaker 2>it is. Yeah, it's tremendous. It's I should also mention

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<v Speaker 2>it again, it is a musical. So this would be

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<v Speaker 2>I believe, only the third musical that we've covered on

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<v Speaker 2>Weird House Cinema, the others being nineteen sixties The Ship

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<v Speaker 2>of Monsters and nineteen eighty five's Billy the Kid and

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<v Speaker 2>the Green Bays Vampire.

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<v Speaker 3>For me personally, two very strong highlights from our back catalog.

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<v Speaker 3>I loved both of those movies, especially Ship of Monsters.

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<v Speaker 3>I just think of fondly so often.

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<v Speaker 2>This is a film that apparently did not do well

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<v Speaker 2>upon release. It was not received well by the general

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<v Speaker 2>movie going public. I think it was. It's a situation

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<v Speaker 2>where it was both a little past its time and

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<v Speaker 2>before its time, because certainly it's been well received in

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<v Speaker 2>more recent years. I mean, it has a cult following.

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<v Speaker 2>People love it. People there have been showings of it.

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<v Speaker 2>Sometimes they've even brought in some of the filmmakers in

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<v Speaker 2>the cast, and you have people showing up with the

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<v Speaker 2>little bimstickers on their forehead, which all sounds like a

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<v Speaker 2>great deal of fun. But at the time people boot it.

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<v Speaker 2>People walked out allegedly during some of the musical numbers,

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<v Speaker 2>And I think part of that is that this again

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<v Speaker 2>is a film that it's not all disco, but it

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<v Speaker 2>has very strong disco elements, and it comes out in

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<v Speaker 2>nineteen eighty that's just like in the year following the

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<v Speaker 2>whole Disco Demolition night thing, like sort of mainstream backlash

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<v Speaker 2>against disco where some people, I don't think they were

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<v Speaker 2>really in a position to make this claim, decided, you

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

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<v Speaker 2>Kind of a backlash I guess against Saturday Night Fever

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<v Speaker 2>and all of its success. But also, you know, I

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<v Speaker 2>think also a backlash that was very much based in

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<v Speaker 2>homophobia and racism and you know, you don't have to

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<v Speaker 2>like disco, but disco's dead. Come on, that's ridiculous. And

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

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<v Speaker 2>to survive outside of this sort of mainstream backlash in

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<v Speaker 2>North America. Anyway, it's a bit of a tangent, but

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<v Speaker 2>basically I'm saying, this is a film that has sort

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<v Speaker 2>of mid seventies energy and it was unfortunate enough to

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<v Speaker 2>come out in nineteen eighty.

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<v Speaker 3>All right, well, Rob, maybe you can set me straight

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<v Speaker 3>on this if I'm wrong. But the way I understand

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<v Speaker 3>the sort of market positioning of The Apple is it

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<v Speaker 3>was a movie that came out a couple of years

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<v Speaker 3>after like Greece, and so Greece was a big hit.

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<v Speaker 3>It was a big, you know, rock musical movie hit.

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<v Speaker 3>While exactly what makes it appealing to me is how

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<v Speaker 3>off the wall and it just absolutely bananas it is.

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<v Speaker 3>I think that probably did not appeal to a lot

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<v Speaker 3>of the crowd that went and saw Greece and loved it.

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<v Speaker 2>Yeah. Yeah, I'm glad you mentioned Greece though, because I

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<v Speaker 2>think you can certainly look at this picture and you

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<v Speaker 2>can identify the successful buckets of content musical of content

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<v Speaker 2>that it's drawing from. You know, it's like, let's get

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<v Speaker 2>a little Grease in there, Let's get a little bit

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<v Speaker 2>rocky horror in there, Let's get a little bit of

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<v Speaker 2>god Spell in there. You know, these elements are very clear.

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<v Speaker 2>It wears these influences on its sleeve.

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<v Speaker 3>In fact, there are even moments in this movie that

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<v Speaker 3>very strongly reminded me of Grease. Despite the dystopian sci

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<v Speaker 3>fi setting and all of the like vampires and devils

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<v Speaker 3>and everything. There's like one song in it that basically

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<v Speaker 3>sounds like a copy of the song Sandy from Grease,

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<v Speaker 3>except it's talking about ALPHI.

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<v Speaker 2>Okay, I know the song you're talking about, but I've

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<v Speaker 2>never actually seen Greece, so I can't. Oh, okay, I

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<v Speaker 2>can't compare it as well, And so that that comparison

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<v Speaker 2>didn't jump out at me when I was watching it.

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<v Speaker 2>But of course I love Rocky Heart, and I love

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<v Speaker 2>God's Spell, I love I love a number of these

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<v Speaker 2>big musicals from that time period.

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<v Speaker 3>You know, there is another weird rock musical movie that

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<v Speaker 3>has I would say significant overlap with The Apple, but

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<v Speaker 3>I think is widely considered a much better film and

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<v Speaker 3>that's Phantom of the Paradise, but that came out way

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<v Speaker 3>back in seventy four.

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<v Speaker 2>Oh yeah, that one's also on our list to cover

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<v Speaker 2>at some point, and I believe Yeah, I should also

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<v Speaker 2>throw in that The Apple is a production of Canon films.

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<v Speaker 3>Oh so, how can we leave that out?

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

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<v Speaker 2>But that's kind of like the seal of excellence that

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<v Speaker 2>kind of prepares you for your experience with The Apple.

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<v Speaker 2>You know that this is a canon film, and if

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<v Speaker 2>you're familiar with other canon productions, you know what that

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<v Speaker 2>might imply.

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<v Speaker 3>Well, yes and no. So on one hand, it does

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<v Speaker 3>have some very campy canon qualities. Cannon films are widely

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<v Speaker 3>known not to be unkind, but they're widely known for

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

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<v Speaker 3>we have a poster of Chuck Norris holding a machine gun.

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<v Speaker 3>There's some like jungle leaves around him. We can write

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<v Speaker 3>a script around that, have the movie out. You know.

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<v Speaker 3>It's that kind of marketing first movie making, which is

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<v Speaker 3>funny because that exact approach to music is lampooned within

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<v Speaker 3>The Apple. But I would say The Apple is by far,

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<v Speaker 3>of all the canon films I can think of that

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<v Speaker 3>I've seen, it feels the most like a movie that

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<v Speaker 3>was made with genuine passion behind it. Like it may

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<v Speaker 3>not be executed with the sharpest ear for tone, but

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<v Speaker 3>this does feel in some ways like a passion project,

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<v Speaker 3>and there were other elements of it that do have

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<v Speaker 3>some of that canon hackiness, but it feels like some

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<v Speaker 3>people working on this movie thought they were making something

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<v Speaker 3>meaningful that like had emotional resonance and mattered. It feels

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<v Speaker 3>that way to me.

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<v Speaker 2>Yeah, yeah, I think this was a passion project in

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<v Speaker 2>many ways, and not to say it was completely a

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<v Speaker 2>passion project, but there's there's some real authentic energy that

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<v Speaker 2>went into creating it here. So we're gonna have a

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<v Speaker 2>lot to say more to say about all of this,

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<v Speaker 2>but I would say my elevator pitch is basically Adam

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<v Speaker 2>Eve God the Devil, disco drugs and rock and roll.

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<v Speaker 3>The musical I was gonna say, American Idol meets the

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<v Speaker 3>Running Man.

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<v Speaker 2>Oh, that's perfect. Let's go ahead and hear that fantastic

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<v Speaker 2>trailer audio in which you'll get to hear some of

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<v Speaker 2>the music that makes this film so special.

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<v Speaker 4>In nineteen ninety four. The world is controlled by one power.

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<v Speaker 4>The apple is success.

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<v Speaker 3>There no good very show there.

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<v Speaker 4>The Apple brings you everything but about happiness show. I

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<v Speaker 4>want you to release Phoebe from a contract.

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<v Speaker 3>Cheers, Where is she?

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<v Speaker 2>I stand long, stand along, Crown.

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<v Speaker 4>The apple is the temptation. The Apple is the experience.

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<v Speaker 2>Take the apple warm?

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<v Speaker 3>Why apple?

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<v Speaker 4>The apple is the forbidden fruit.

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<v Speaker 2>Come in, take me and ship me, and mom me

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<v Speaker 2>and make me and fill me up with your fire.

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<v Speaker 3>Come do.

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<v Speaker 2>To me your little heart desire. I've never been to

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<v Speaker 2>high my life. Must see. I'm gonna talk to you.

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<v Speaker 4>The Apple takes your soul. You got have too early.

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<v Speaker 1>Everybody down in.

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<v Speaker 4>Her way, fucking power everybody hour.

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<v Speaker 3>I can bear the use that weekends.

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<v Speaker 4>Shame fucking Powerboddy hour Now a special experience in moviegoing entertainment.

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<v Speaker 2>The Apple all all right? Well, if you're convinced, you've

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<v Speaker 2>got to see the apple as well before you hear

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<v Speaker 2>us talk about it. You can find it in a

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<v Speaker 2>number of formats. There are multiple streaming options. I think

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<v Speaker 2>there are some like sort of free streaming options as well.

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

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<v Speaker 2>get your physical media, if you would or if you

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<v Speaker 2>would like to own the Apple forever, because like I say,

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<v Speaker 2>once you get into it, you're going to want to

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

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<v Speaker 2>individuals who made this film. Let's start at the top

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<v Speaker 2>with Manahim Golan. He was the director, the writer, and

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<v Speaker 2>of course one of the producers. He lived nineteen twenty

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<v Speaker 2>nine through twenty fourteen.

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<v Speaker 3>Manahim Golan is the Golan in Golan Globis, which is

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<v Speaker 3>another the Golan Globis or the heads of Cannon films

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<v Speaker 3>in the eighties.

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<v Speaker 2>Yeah, with Globus being your Globus his cousin. Yeah, but

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<v Speaker 2>Golan here Israeli film producer, screenwriter, director and co owner

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<v Speaker 2>of the Canning Group from seventy nine through eighty five,

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<v Speaker 2>which again gave us a whole bunch of stupendous Cannon films.

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<v Speaker 2>They occasionally busted out some critically praised movies as well,

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<v Speaker 2>like nineteen eighty five's Runaway Train, but other stuff it

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<v Speaker 2>was like Chuck Norris' Is the Delta Force from eighty

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<v Speaker 2>six or nineteen eighty one's Enter the Ninja starring franko'neiro

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<v Speaker 2>as a Ninja. Both of those were also directed by Goland.

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<v Speaker 3>I was trying to think, what canon films have we

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<v Speaker 3>actually done on the podcast. I think Treasure of the

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<v Speaker 3>Four Crowns was a Cannon film? Was it not?

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<v Speaker 2>I think you're right. You know, I was struggling earlier.

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<v Speaker 2>I was like, have we talked about I know we

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<v Speaker 2>haven't talked about a Golan film, but have we talked

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<v Speaker 2>about a Cannon film? And I think you're right if

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<v Speaker 2>that one either is a cannon film or it's so

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<v Speaker 2>cannony that it's an understandable mistake.

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<v Speaker 3>We haven't done it on the show yet. And I

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<v Speaker 3>wouldn't have known this off the top of my head,

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<v Speaker 3>but I just saw on a list that Life is

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<v Speaker 3>indeed also a canon film.

0:14:03.120 --> 0:14:05.960
<v Speaker 2>Oh man, we've come close to covering Life Force. It's

0:14:06.120 --> 0:14:08.839
<v Speaker 2>very much on the list anyway. As for Goland here

0:14:08.960 --> 0:14:11.520
<v Speaker 2>he produced over two hundred films during his lifetime. He

0:14:11.600 --> 0:14:15.480
<v Speaker 2>directed forty four of them. His first directorial credit was

0:14:15.480 --> 0:14:19.240
<v Speaker 2>a nineteen sixty three western called El Dorado that starred

0:14:19.240 --> 0:14:23.480
<v Speaker 2>Topol and when it comes to musicals, he produced a

0:14:23.560 --> 0:14:27.680
<v Speaker 2>good dozen of these, including nineteen eighty five's Rappin' exclamation

0:14:27.760 --> 0:14:32.960
<v Speaker 2>Point and nineteen eighty four's Break into Electric Boogaloo. But

0:14:33.040 --> 0:14:36.760
<v Speaker 2>this was the first musical he directed, but not his last,

0:14:36.880 --> 0:14:39.880
<v Speaker 2>because he also directed nineteen eighty nine's Mac the Knife,

0:14:40.200 --> 0:14:43.680
<v Speaker 2>which I haven't seen and I understand not everyone loves.

0:14:44.040 --> 0:14:47.320
<v Speaker 2>But it features a cast that includes Rale Julia in

0:14:47.400 --> 0:14:51.640
<v Speaker 2>the lead, Richard Harris, Roger Daltrey, and Bill Nye. I mean,

0:14:51.640 --> 0:14:54.120
<v Speaker 2>how can you go wrong with that cast, especially with

0:14:54.200 --> 0:14:55.600
<v Speaker 2>Raul Julia in the end of the league.

0:14:55.800 --> 0:14:58.680
<v Speaker 3>It's funny that nine years after he made The Apple

0:14:58.760 --> 0:15:01.720
<v Speaker 3>he made a movie star Roger Daltrey. Because there is

0:15:01.760 --> 0:15:05.080
<v Speaker 3>a guy in this movie who I am positive he wanted.

0:15:05.200 --> 0:15:08.040
<v Speaker 3>Roger Daltrey couldn't get him. So he's like, get me

0:15:08.120 --> 0:15:11.080
<v Speaker 3>the guy you can find who looks closest to Roger Daltrey.

0:15:11.480 --> 0:15:14.600
<v Speaker 3>And that's how we end up with the wonderful Alan

0:15:14.720 --> 0:15:16.720
<v Speaker 3>Love in the role of Dandy.

0:15:17.240 --> 0:15:20.960
<v Speaker 2>Yeah, they're like, give me the guy from Merlin. We'll

0:15:21.360 --> 0:15:26.080
<v Speaker 2>talk about that second, all right. So this is so again.

0:15:27.200 --> 0:15:29.400
<v Speaker 2>Golan was the director. He was also the writer, but

0:15:29.440 --> 0:15:33.040
<v Speaker 2>we also have story credits as well as composition and

0:15:33.200 --> 0:15:36.800
<v Speaker 2>lyric credits to a pair of individuals, the main one

0:15:36.800 --> 0:15:40.800
<v Speaker 2>of being Kobe Wrecked and this and this other individual.

0:15:41.200 --> 0:15:44.280
<v Speaker 2>I'm not sure if this is Kobe's wife or what

0:15:44.320 --> 0:15:48.520
<v Speaker 2>the relationship is, but same last name. Iris Wrecked and

0:15:49.040 --> 0:15:52.200
<v Speaker 2>Kobe reck was an Israeli rock producer who acted in

0:15:52.240 --> 0:15:54.880
<v Speaker 2>a handful of pictures, but his only other credited film

0:15:54.880 --> 0:15:57.520
<v Speaker 2>composition is nineteen eighty nine's The Mask of the Red

0:15:57.600 --> 0:16:04.160
<v Speaker 2>Death starring Frank Still and Herbert Lohm. What that sounds

0:16:04.200 --> 0:16:05.280
<v Speaker 2>great on paper.

0:16:05.120 --> 0:16:06.760
<v Speaker 3>But they thought they could one up the one with

0:16:06.840 --> 0:16:07.520
<v Speaker 3>Vincent Price.

0:16:08.880 --> 0:16:11.600
<v Speaker 2>I think I briefly looked into this one. I think

0:16:11.680 --> 0:16:15.000
<v Speaker 2>Lom was filling in for someone else that they tried

0:16:15.040 --> 0:16:17.720
<v Speaker 2>to get, not Vincent Price, but someone of that caliber.

0:16:17.800 --> 0:16:19.320
<v Speaker 2>But of course Lom I think he was in some

0:16:19.440 --> 0:16:22.520
<v Speaker 2>Hammer horror films as well, so you know, solid pedigree there.

0:16:22.880 --> 0:16:26.200
<v Speaker 2>And then Iris. This is her only credit, but she

0:16:26.320 --> 0:16:29.440
<v Speaker 2>also plays the character Dominique, who I think is the

0:16:29.520 --> 0:16:32.120
<v Speaker 2>presenter at the euro Song type of event that we're

0:16:32.160 --> 0:16:33.480
<v Speaker 2>going to talk about here in a minute.

0:16:33.560 --> 0:16:39.040
<v Speaker 3>Oh okay, Yeah, she comes out and introduces Alphie and BB.

0:16:39.720 --> 0:16:42.640
<v Speaker 2>Yeah. So these two individuals seem to be the main

0:16:42.720 --> 0:16:45.360
<v Speaker 2>creative forces behind the music, and we'll have a lot

0:16:45.400 --> 0:16:47.920
<v Speaker 2>to say about the music as we get into the plot.

0:16:48.360 --> 0:16:52.000
<v Speaker 2>All right, now the cast proper. We are really our

0:16:52.080 --> 0:16:56.160
<v Speaker 2>main character. We have a pair of characters, two lovers

0:16:56.160 --> 0:16:59.800
<v Speaker 2>that enter into this world of fame and sin as innocence,

0:16:59.880 --> 0:17:02.440
<v Speaker 2>very mentor Adam and Eve character. These are the characters

0:17:02.480 --> 0:17:07.199
<v Speaker 2>Bibe and Alfie. Bebe was played by Katherine Mary Stewart

0:17:07.280 --> 0:17:10.200
<v Speaker 2>born nineteen fifty nine, Canadian actor who was not born

0:17:10.240 --> 0:17:13.439
<v Speaker 2>in Moose Jaw. But this was her big break, so

0:17:13.520 --> 0:17:16.720
<v Speaker 2>it's kind of like, you know, reality mirroring fiction here.

0:17:17.920 --> 0:17:20.000
<v Speaker 2>In nineteen eighty four, she went on to appear in

0:17:20.040 --> 0:17:22.600
<v Speaker 2>both The Last Starfighter, so he did previously talk about

0:17:22.600 --> 0:17:24.720
<v Speaker 2>her in our episode on The Last star Fighter as

0:17:24.760 --> 0:17:27.720
<v Speaker 2>well as Knight of the Comet Ah. Yeah. And in

0:17:27.800 --> 0:17:31.199
<v Speaker 2>nineteen eighty seven she was in the wonderfully nutty adaptation

0:17:31.280 --> 0:17:34.480
<v Speaker 2>of George R. R. Martin's Night Flyers. That one is

0:17:34.560 --> 0:17:38.320
<v Speaker 2>also on the list for Weird House Cinema because it's ridiculous.

0:17:38.800 --> 0:17:40.600
<v Speaker 2>She did one hundred and fifty episodes of Days of

0:17:40.600 --> 0:17:42.880
<v Speaker 2>Our Lives from eighty two through eighty three. She did

0:17:42.920 --> 0:17:45.840
<v Speaker 2>two different episodes of the nineteen nineties Outer Limits series,

0:17:46.160 --> 0:17:48.680
<v Speaker 2>and she's still very active. She appeared on a Law

0:17:48.720 --> 0:17:50.440
<v Speaker 2>and Order episode in twenty twenty three.

0:17:51.320 --> 0:17:53.960
<v Speaker 3>In general, I think Catherine Mary Stewart is great. I

0:17:54.040 --> 0:17:57.119
<v Speaker 3>don't I would say her performance in this movie is

0:17:57.160 --> 0:18:00.959
<v Speaker 3>a kind of inconsistent. On one hand, what the story

0:18:01.000 --> 0:18:05.440
<v Speaker 3>requires of her is to be kind of like the innocent, yeah,

0:18:04.920 --> 0:18:08.879
<v Speaker 3>the sinless character who is introduced into an evil world

0:18:08.920 --> 0:18:12.159
<v Speaker 3>and corrupted by it. But there are parts where she

0:18:12.240 --> 0:18:15.320
<v Speaker 3>does seem just kind of like dazed, like she's just

0:18:15.359 --> 0:18:18.840
<v Speaker 3>like wandering through the movie as things are happening. But

0:18:18.880 --> 0:18:20.719
<v Speaker 3>then there are other scenes, like especially some of her

0:18:20.800 --> 0:18:22.679
<v Speaker 3>musical numbers, where she's fantastic.

0:18:23.119 --> 0:18:27.119
<v Speaker 2>Yeah, yeah, I think the dazed parts this is a

0:18:27.119 --> 0:18:29.520
<v Speaker 2>film where that works. Like if you look a little dazed,

0:18:29.560 --> 0:18:30.720
<v Speaker 2>you know, a little out of it. I mean that's

0:18:30.800 --> 0:18:32.960
<v Speaker 2>kind of her character for a large portion of the film.

0:18:33.080 --> 0:18:36.960
<v Speaker 2>So it doesn't doesn't, you know, knock her performance any

0:18:37.040 --> 0:18:41.080
<v Speaker 2>but but yeah's it's a great physical performance. During the

0:18:41.119 --> 0:18:44.080
<v Speaker 2>musical numbers. I'm to understand that her singing voice is

0:18:44.119 --> 0:18:46.680
<v Speaker 2>actually provided by someone by the name of Mary Hyland,

0:18:47.400 --> 0:18:50.600
<v Speaker 2>which you know is understandable. Not everybody, not everybody's a singer,

0:18:50.960 --> 0:18:54.399
<v Speaker 2>and this is you know, standard operating procedure. Certainly in

0:18:54.800 --> 0:18:58.640
<v Speaker 2>like say, Bollywood cinema, as we've discussed before. All right,

0:18:58.640 --> 0:19:02.520
<v Speaker 2>so that's Babie and then there is her boyfriend. Also.

0:19:02.760 --> 0:19:05.640
<v Speaker 2>This character is also supposed to be from Moose joh Canada.

0:19:06.720 --> 0:19:10.480
<v Speaker 2>This is Alfie, played by George Gilmore. I couldn't find

0:19:10.480 --> 0:19:14.040
<v Speaker 2>any dates on him when he was born or so forth.

0:19:14.280 --> 0:19:17.240
<v Speaker 2>I think he's still around. This is his only acting credit.

0:19:17.520 --> 0:19:19.760
<v Speaker 2>He was allegedly a member of the Scottish band the

0:19:19.800 --> 0:19:22.800
<v Speaker 2>bow Weavils in the nineteen sixties, but I couldn't find

0:19:22.880 --> 0:19:26.199
<v Speaker 2>much about that on discogs, so I'm not even entirely

0:19:26.240 --> 0:19:28.919
<v Speaker 2>sure if that's correct, or maybe I was looking at

0:19:28.960 --> 0:19:34.960
<v Speaker 2>the wrong bow Weavils. But it's a very earnest performance. It's,

0:19:35.080 --> 0:19:38.800
<v Speaker 2>you know, a green performance. But he's at least very handsome.

0:19:39.200 --> 0:19:42.479
<v Speaker 3>He is very handsome. I'm a little unsure why he

0:19:42.520 --> 0:19:44.640
<v Speaker 3>has a British accent if he's supposed to be from

0:19:44.680 --> 0:19:48.119
<v Speaker 3>Moose Jaw, Canada. But I don't know. Maybe he's a

0:19:48.160 --> 0:19:50.520
<v Speaker 3>British person who moved to Moose Jaw, Canada and then

0:19:50.920 --> 0:19:56.760
<v Speaker 3>started performing alongside bb here. Yeah, this character is a

0:19:56.840 --> 0:19:59.959
<v Speaker 3>little stiff. I think a reaction to Alfie will make

0:20:00.080 --> 0:20:03.080
<v Speaker 3>more since when we talked about the plot in more detail.

0:20:04.040 --> 0:20:06.920
<v Speaker 2>So those are two, you know, babes in the woods.

0:20:07.280 --> 0:20:09.840
<v Speaker 2>There are two innocents that are entering into this world

0:20:09.920 --> 0:20:13.159
<v Speaker 2>of sin. So let's talk about the people that are

0:20:13.200 --> 0:20:17.120
<v Speaker 2>active in the industry here. First up, we have Pandy.

0:20:17.680 --> 0:20:20.960
<v Speaker 2>Pandy is played by Grace Kennedy born nineteen fifty eight,

0:20:21.359 --> 0:20:24.880
<v Speaker 2>Jamaican born actress who was a successful singer and BBC precenter.

0:20:25.600 --> 0:20:29.600
<v Speaker 2>Now she's apparently a luxury wedding and event designer. She

0:20:29.720 --> 0:20:32.560
<v Speaker 2>had four albums out between seventy nine and eighty one,

0:20:32.680 --> 0:20:38.399
<v Speaker 2>so she's very much like the top female star in

0:20:38.840 --> 0:20:43.159
<v Speaker 2>the music industry that's presented in the film. Looks fabulous

0:20:43.200 --> 0:20:46.200
<v Speaker 2>throughout and of course has just tremendous vocal ability.

0:20:46.440 --> 0:20:49.280
<v Speaker 3>Yeah, Grace Kennedy is great. So she's part of this duo.

0:20:49.640 --> 0:20:52.640
<v Speaker 3>And I was going to say, and it is Dandy

0:20:52.760 --> 0:20:56.959
<v Speaker 3>and Pandy, and they, I think, in contrast to our

0:20:56.960 --> 0:21:02.280
<v Speaker 3>two main characters, are really fun, devilish performances. And then

0:21:02.359 --> 0:21:05.879
<v Speaker 3>Pandy has a late late narrative change of heart and

0:21:05.960 --> 0:21:08.400
<v Speaker 3>redemption arc which works pretty well too.

0:21:09.000 --> 0:21:12.400
<v Speaker 2>That's right, that's right. Not so not so much Dandy.

0:21:12.760 --> 0:21:15.280
<v Speaker 3>No, Dandy's just a he's just a cad.

0:21:17.320 --> 0:21:21.919
<v Speaker 2>Yeah, Dandy is our seductive brit rocker. This is the

0:21:21.920 --> 0:21:24.480
<v Speaker 2>one that you said was clearly they wanted Roger Daltreve

0:21:24.520 --> 0:21:27.679
<v Speaker 2>and they couldn't get him at the time. He was

0:21:27.880 --> 0:21:29.600
<v Speaker 2>out of their budget. I guess for the time being.

0:21:30.200 --> 0:21:32.080
<v Speaker 2>If only they'd made this film later, they could have

0:21:32.119 --> 0:21:35.240
<v Speaker 2>definitely hired, like wooed him away from the Highlander of

0:21:35.240 --> 0:21:39.159
<v Speaker 2>the series. But but they got they couldn't get him

0:21:39.160 --> 0:21:39.399
<v Speaker 2>for this.

0:21:40.119 --> 0:21:44.119
<v Speaker 3>But you know what, Alan Love is great. He is

0:21:44.200 --> 0:21:46.200
<v Speaker 3>just a bad rock and roll man.

0:21:47.160 --> 0:21:50.040
<v Speaker 2>Yeah. He has this wonderful like seductive, kind of sleazy

0:21:50.119 --> 0:21:53.719
<v Speaker 2>quality to him. So that Alan Love was born in

0:21:53.840 --> 0:21:58.359
<v Speaker 2>nineteen forty six, still very much around him to understand,

0:21:59.359 --> 0:22:02.480
<v Speaker 2>and he has the pedigree. He was the lead singer

0:22:02.480 --> 0:22:06.040
<v Speaker 2>of the mid seventies glam rock band Merlin. Definitely looked

0:22:06.080 --> 0:22:08.160
<v Speaker 2>them up on discog so you can see the awesome

0:22:08.200 --> 0:22:12.640
<v Speaker 2>album cover for their self titled release.

0:22:13.080 --> 0:22:15.719
<v Speaker 3>Merlin seems like a band I would know, but somehow

0:22:15.720 --> 0:22:19.159
<v Speaker 3>I don't. I'm gonna check him out after this.

0:22:20.040 --> 0:22:23.680
<v Speaker 2>He was also in the earlier British rock band I've

0:22:23.720 --> 0:22:25.920
<v Speaker 2>seen it described as just kind of like psych rock.

0:22:26.240 --> 0:22:29.280
<v Speaker 2>It was called Opal Butterfly, but he also put out

0:22:29.320 --> 0:22:32.200
<v Speaker 2>a single Can't Get Over Losing You in seventy nine,

0:22:32.320 --> 0:22:36.359
<v Speaker 2>you know, right before this film. His acting credits are few,

0:22:36.480 --> 0:22:38.879
<v Speaker 2>but he did one episode of Fox Mystery Theater in

0:22:38.920 --> 0:22:41.440
<v Speaker 2>eighty four, and he acted and composed for nineteen eighty

0:22:41.440 --> 0:22:45.800
<v Speaker 2>four's Pop Pirates, which actually does feature Roger Daltrey, as

0:22:45.840 --> 0:22:49.440
<v Speaker 2>well as the actor John Finch, who was in Hitchcock's

0:22:49.440 --> 0:22:53.560
<v Speaker 2>Frenzy and also in that excellent nineteen seventies adaptation of Midpeth.

0:22:54.600 --> 0:22:57.280
<v Speaker 2>Love went on to open a restaurant that was featured

0:22:57.280 --> 0:23:00.680
<v Speaker 2>on an episode of Kitchen Nightmares with Gordon Rams time

0:23:00.720 --> 0:23:03.680
<v Speaker 2>to understand that it is and has subsequently closed.

0:23:03.960 --> 0:23:07.199
<v Speaker 3>Oh is this the UK or the US? Kitchen Nightmares?

0:23:07.240 --> 0:23:07.800
<v Speaker 3>I assume UK.

0:23:07.960 --> 0:23:11.040
<v Speaker 2>I think it's UK. Yeah, I looked into it. I

0:23:11.080 --> 0:23:14.160
<v Speaker 2>think it's like it was like a fish restaurant or something. Yeah.

0:23:14.240 --> 0:23:17.639
<v Speaker 3>Okay, Well, by the way, if you get if you

0:23:17.640 --> 0:23:21.040
<v Speaker 3>get a chance to look up Alan Love's album Can't

0:23:21.080 --> 0:23:24.840
<v Speaker 3>Get Over Losing You. It is funny because he's doing

0:23:25.000 --> 0:23:28.879
<v Speaker 3>the pose. He's doing like the seventies album cover pose

0:23:28.920 --> 0:23:32.800
<v Speaker 3>that you've probably seen on many albums, the one that

0:23:32.840 --> 0:23:34.639
<v Speaker 3>came up when I was searching for this because I

0:23:34.720 --> 0:23:37.000
<v Speaker 3>knew i'd seen it before. Is like the Teddy Pendergrass

0:23:37.119 --> 0:23:40.120
<v Speaker 3>It's time for love, but it's like where you lay

0:23:40.200 --> 0:23:42.480
<v Speaker 3>back sort of you prop up on one arm and

0:23:42.520 --> 0:23:45.560
<v Speaker 3>then have one knee bent up in a triangle shape.

0:23:46.000 --> 0:23:47.720
<v Speaker 2>Yeah.

0:23:47.800 --> 0:23:49.720
<v Speaker 3>I don't know who decided this would be like the

0:23:49.800 --> 0:23:53.280
<v Speaker 3>look for album covers at this time, but apparently people

0:23:53.320 --> 0:23:54.320
<v Speaker 3>thought it was cool.

0:23:54.880 --> 0:23:56.320
<v Speaker 2>Yeah. I mean, I guess it's just a pose that

0:23:56.400 --> 0:23:58.960
<v Speaker 2>invites love making. You know, it's like the individual in

0:23:59.000 --> 0:24:03.240
<v Speaker 2>the pictures, like, hey, it's thinking about birds, but love

0:24:03.280 --> 0:24:06.880
<v Speaker 2>making maybe. So Yeah, it's tremendous to take a look

0:24:06.920 --> 0:24:17.520
<v Speaker 2>at it, all right. Other members of the cast, we

0:24:17.640 --> 0:24:20.240
<v Speaker 2>have the great Joss Ackland in this who has a

0:24:20.320 --> 0:24:23.760
<v Speaker 2>dual role sort of kind of. He plays mister Tops,

0:24:24.240 --> 0:24:27.160
<v Speaker 2>who does not feature into the plot at all until

0:24:27.160 --> 0:24:29.640
<v Speaker 2>the very end, and then he also plays another late

0:24:29.760 --> 0:24:32.879
<v Speaker 2>character that is referred to as the hippie leader, but

0:24:32.920 --> 0:24:34.760
<v Speaker 2>I don't think has a name other than that.

0:24:34.960 --> 0:24:37.960
<v Speaker 3>He plays the two out of nowhere characters in the movie,

0:24:38.080 --> 0:24:41.200
<v Speaker 3>and one one of them is really out of nowhere.

0:24:41.720 --> 0:24:45.600
<v Speaker 2>Yeah. Now, it's often been pointed out on the various

0:24:45.600 --> 0:24:48.000
<v Speaker 2>film sites and write ups about this that there was

0:24:48.359 --> 0:24:50.280
<v Speaker 2>they filmed, and there was supposed to be a big

0:24:50.320 --> 0:24:54.080
<v Speaker 2>opening number set in heaven or in paradise or something.

0:24:54.400 --> 0:24:59.159
<v Speaker 2>They clearly establishes, mister Tops, that establishes the presence of

0:24:59.280 --> 0:25:03.120
<v Speaker 2>God all my li in this picture. But for various reasons,

0:25:03.160 --> 0:25:06.399
<v Speaker 2>it just didn't work, and so they cut it. So

0:25:06.600 --> 0:25:11.960
<v Speaker 2>that's the reason the biblical ending of the film really

0:25:11.960 --> 0:25:15.280
<v Speaker 2>seems to come out of nowhere. But Ackland's great, if

0:25:15.680 --> 0:25:19.040
<v Speaker 2>for no other reason, He's definitely a reason you want

0:25:19.080 --> 0:25:21.520
<v Speaker 2>to stick around and watch the full film. His acting

0:25:21.560 --> 0:25:24.159
<v Speaker 2>credits go back to the mid forties for stage and

0:25:24.200 --> 0:25:27.159
<v Speaker 2>the late forties for TV and screen. His credits include

0:25:27.160 --> 0:25:30.439
<v Speaker 2>the nineteen seventy one Amicus horror anthology The House That

0:25:30.480 --> 0:25:34.120
<v Speaker 2>Tripped Blood seventy two is The Mind Snatchers with Christopher

0:25:34.119 --> 0:25:36.800
<v Speaker 2>Walken and Ronnie Cox. He's the voice of the Black

0:25:36.880 --> 0:25:40.080
<v Speaker 2>Rabbit in nineteen seventy eight s adaptation of Watership Down.

0:25:40.440 --> 0:25:43.720
<v Speaker 2>He did two episodes of Tales of the Unexpected Lethal

0:25:43.760 --> 0:25:45.920
<v Speaker 2>Weapon two in eighty nine, The Hunt for Red October

0:25:45.960 --> 0:25:49.000
<v Speaker 2>in nineteen ninety Bill and Ted's Bogus Journey in ninety one.

0:25:49.080 --> 0:25:52.080
<v Speaker 2>He did both The Mighty Ducks in ninety two and

0:25:52.240 --> 0:25:55.280
<v Speaker 2>D three in ninety six, that's what the kids call

0:25:55.359 --> 0:25:59.639
<v Speaker 2>the third Mighty Ducks movie, but not D two. I

0:25:59.640 --> 0:26:01.520
<v Speaker 2>don't think he was Indy two. I think just D three,

0:26:01.600 --> 0:26:02.120
<v Speaker 2>you know, is.

0:26:02.080 --> 0:26:04.679
<v Speaker 3>His triumphant return in the Partia.

0:26:05.200 --> 0:26:08.879
<v Speaker 2>And then he's he's really wonderful as the wizard Mustroom

0:26:10.280 --> 0:26:13.119
<v Speaker 2>Rid Kohley, I forget how it's pronounced in two thousand

0:26:13.119 --> 0:26:16.320
<v Speaker 2>and six is the hog Father, so he often played

0:26:16.359 --> 0:26:19.359
<v Speaker 2>He's really good at playing like very serious characters. But

0:26:20.080 --> 0:26:23.520
<v Speaker 2>as his apparent in this adaptation of The Hogfather the

0:26:23.560 --> 0:26:26.359
<v Speaker 2>Terry Pratchett novel, he gets to play a very silly

0:26:26.359 --> 0:26:27.960
<v Speaker 2>wizard and it's a lot of fun.

0:26:28.680 --> 0:26:33.320
<v Speaker 3>So his appearance in The Apple is categorically ludicrous. Yet

0:26:33.320 --> 0:26:37.520
<v Speaker 3>he does a pretty good job of bringing gravitas to it,

0:26:37.680 --> 0:26:39.919
<v Speaker 3>Like he's he tries to like tamp it down and

0:26:39.960 --> 0:26:43.040
<v Speaker 3>make it serious. I don't think there is any actor

0:26:43.119 --> 0:26:45.720
<v Speaker 3>alive who could really sell it and make it not

0:26:45.960 --> 0:26:49.439
<v Speaker 3>hilarious when he shows up, But Acklin does a pretty

0:26:49.440 --> 0:26:49.920
<v Speaker 3>good job.

0:26:50.320 --> 0:26:53.240
<v Speaker 2>He somehow classes up the joint just by walking onto

0:26:53.240 --> 0:26:56.639
<v Speaker 2>the screen and really just just you know, using just

0:26:56.680 --> 0:26:58.639
<v Speaker 2>a few lines here and there, like he doesn't have

0:26:58.800 --> 0:27:01.200
<v Speaker 2>a huge presence in the movie, but it's kind of

0:27:01.240 --> 0:27:02.560
<v Speaker 2>like he shows up and you're like, Okay, we have

0:27:02.600 --> 0:27:05.399
<v Speaker 2>to take things seriously now, and it actually makes you

0:27:05.520 --> 0:27:09.360
<v Speaker 2>forget how unearned any of it is. Yeah, all right,

0:27:09.400 --> 0:27:11.639
<v Speaker 2>So if we have a god figure in this picture,

0:27:11.680 --> 0:27:15.080
<v Speaker 2>we also have to have a devil. And our devil

0:27:15.359 --> 0:27:20.600
<v Speaker 2>is mister Boogolaw played by Vladix Shayball Live nineteen twenty

0:27:20.640 --> 0:27:24.880
<v Speaker 2>three through nineteen ninety two, our chief villain, the satanic

0:27:24.920 --> 0:27:28.520
<v Speaker 2>head of BIM. A tremendous Polish actor of stage, screen

0:27:28.560 --> 0:27:31.560
<v Speaker 2>and TV. His biggest credits include nineteen sixty Three's From

0:27:31.640 --> 0:27:35.160
<v Speaker 2>Russia with Love sixty seven, Casino Royale in nineteen eighty

0:27:35.160 --> 0:27:38.560
<v Speaker 2>four is read Dawn, I say tremendous. I don't remember

0:27:38.680 --> 0:27:41.159
<v Speaker 2>his presence in these other films that I've seen. I

0:27:41.240 --> 0:27:44.000
<v Speaker 2>just know he's tremendous in this movie. And any time

0:27:44.080 --> 0:27:48.000
<v Speaker 2>Booglaw is on the screen, you're just captivated by what

0:27:48.040 --> 0:27:49.800
<v Speaker 2>is he going to say next? What is he gonna do,

0:27:50.200 --> 0:27:51.879
<v Speaker 2>What's he gonna do with his face? Is he going

0:27:51.920 --> 0:27:53.480
<v Speaker 2>to look directly at us again?

0:27:54.400 --> 0:27:54.600
<v Speaker 3>Oh?

0:27:54.640 --> 0:27:55.120
<v Speaker 2>He's great.

0:27:55.400 --> 0:27:58.200
<v Speaker 3>He does love looking straight into the camera. It's boog

0:27:58.440 --> 0:28:03.480
<v Speaker 3>Low because when we Boglelow, yes, Microsoft word kept trying

0:28:03.520 --> 0:28:05.880
<v Speaker 3>to auto correct that to Bungalow.

0:28:06.359 --> 0:28:08.320
<v Speaker 2>Yeah yeah, same, yeah.

0:28:08.480 --> 0:28:12.360
<v Speaker 3>But yeah, I remember this actor from definitely from From

0:28:12.440 --> 0:28:14.879
<v Speaker 3>Russia with Love. That's one of the Sean Connery James

0:28:14.880 --> 0:28:18.520
<v Speaker 3>Bond movies where I think he plays some kind of

0:28:19.200 --> 0:28:22.320
<v Speaker 3>villain who plays chess. I think his name is Kronstein.

0:28:23.119 --> 0:28:29.440
<v Speaker 2>Yeah. Yeah, he has a very distinctive face. Yeah. So yeah,

0:28:30.080 --> 0:28:32.080
<v Speaker 2>he also did see I was looking around. He did

0:28:32.200 --> 0:28:34.720
<v Speaker 2>nineteen eighty. It was in the nineteen eighty TV adaptation

0:28:34.760 --> 0:28:37.080
<v Speaker 2>of Showgun. He was also a regular on that old

0:28:37.080 --> 0:28:40.480
<v Speaker 2>British UFO series that sometimes pops up in Our Connections.

0:28:41.040 --> 0:28:46.600
<v Speaker 2>But yeah, absolutely wonderful. In this Booglow is just a

0:28:46.640 --> 0:28:47.480
<v Speaker 2>wonderful villain.

0:28:47.920 --> 0:28:50.200
<v Speaker 3>Oh but we got some more wonderful villains to kind

0:28:50.200 --> 0:28:52.360
<v Speaker 3>of fill out the throne room of wickedness.

0:28:52.720 --> 0:28:55.600
<v Speaker 2>Yes, there's a number of lackeys and they're all great.

0:28:56.240 --> 0:28:58.600
<v Speaker 2>The first show and we'll cover is Shake. Shake is

0:28:58.720 --> 0:29:03.520
<v Speaker 2>his right hand man, played by Ray Schell born nineteen

0:29:03.600 --> 0:29:07.160
<v Speaker 2>fifty one. I love this character essentially kind of like

0:29:07.200 --> 0:29:09.600
<v Speaker 2>a right hand man, but also kind of a snake

0:29:09.680 --> 0:29:12.080
<v Speaker 2>man sometimes actually a snake.

0:29:13.440 --> 0:29:16.160
<v Speaker 3>Appearing in a snake costume with like a snake mouth

0:29:16.200 --> 0:29:16.960
<v Speaker 3>around his head.

0:29:17.320 --> 0:29:21.840
<v Speaker 2>Yep. Yeah. One of several characters that is sometimes sometimes

0:29:21.880 --> 0:29:25.440
<v Speaker 2>on screen only in some sort of like bejeweled thong

0:29:25.640 --> 0:29:30.520
<v Speaker 2>type of costume and still totally works that. Shell's other

0:29:30.560 --> 0:29:33.480
<v Speaker 2>film and TV roles include nineteen ninety eight Velvet gold Mine,

0:29:33.800 --> 0:29:36.120
<v Speaker 2>but he's mostly known for his stage work and musical

0:29:36.200 --> 0:29:40.680
<v Speaker 2>theater credits. On the UK stage, he apparently originated lead

0:29:40.760 --> 0:29:43.280
<v Speaker 2>roles in the musical Starlight Express in eighty four and

0:29:43.320 --> 0:29:47.080
<v Speaker 2>five Guys Named Moe in nineteen ninety, and he's worked

0:29:47.120 --> 0:29:51.040
<v Speaker 2>in various big name productions. He also was apparently part

0:29:51.120 --> 0:29:53.680
<v Speaker 2>of the British new wave music scene and is an

0:29:53.680 --> 0:29:55.560
<v Speaker 2>author of several books as well.

0:29:56.320 --> 0:29:59.680
<v Speaker 3>In a movie where some actors might have felt compelled

0:29:59.680 --> 0:30:02.400
<v Speaker 3>the phone it in Rachel, he brings his a game.

0:30:02.440 --> 0:30:05.760
<v Speaker 3>Here he is, he is giving his all to this

0:30:05.840 --> 0:30:07.040
<v Speaker 3>role and he does great.

0:30:07.600 --> 0:30:13.440
<v Speaker 2>Yes, yeah, absolutely fabulous. There are various other stooges and lackeys.

0:30:13.760 --> 0:30:15.400
<v Speaker 2>I'm not gonna mention them all here. We'll get into

0:30:15.440 --> 0:30:17.280
<v Speaker 2>some of them once we get into the plot. I

0:30:17.360 --> 0:30:19.480
<v Speaker 2>will point out that there is a character named Bold.

0:30:19.560 --> 0:30:24.040
<v Speaker 2>There are two like Big Grimlin type dudes. They're kind

0:30:24.040 --> 0:30:25.760
<v Speaker 2>of like, yeah, they're kind of like Orcs, are kind

0:30:25.760 --> 0:30:29.240
<v Speaker 2>of like the Gamorian guards from Jaba's Palace. Their names

0:30:29.240 --> 0:30:30.800
<v Speaker 2>are Bulldog and Fat Dog.

0:30:32.320 --> 0:30:37.960
<v Speaker 3>They're two. They're mister Boogalow's two bodyguards. They're both bald,

0:30:38.120 --> 0:30:41.800
<v Speaker 3>and they both have ogre teeth. They have like underbyte fangs,

0:30:41.840 --> 0:30:43.800
<v Speaker 3>which never explained why they have that, but they have

0:30:44.440 --> 0:30:47.520
<v Speaker 3>orc teeth. And when I was looking at them, I

0:30:47.560 --> 0:30:51.040
<v Speaker 3>was like, what I'm getting like calls to another movie,

0:30:51.080 --> 0:30:53.080
<v Speaker 3>and I realized, like, they look like they would fit

0:30:53.160 --> 0:30:55.920
<v Speaker 3>in with the cast of Alien three. They would be

0:30:56.040 --> 0:30:59.520
<v Speaker 3>like prisoners on the planet on the space colony there.

0:31:00.120 --> 0:31:03.120
<v Speaker 2>Yeah, it's almost a little shocking that the character, the

0:31:03.120 --> 0:31:07.400
<v Speaker 2>British actor playing Bulldog Derek Deadman, isn't in Alien three,

0:31:07.440 --> 0:31:10.960
<v Speaker 2>because it would have been perfect. He lived nineteen forty

0:31:10.960 --> 0:31:16.880
<v Speaker 2>through twenty fourteen and his credits include Time Bandits, Brazil, Robinhood,

0:31:16.880 --> 0:31:19.760
<v Speaker 2>Prince of Thieves, and he also one of his last

0:31:19.760 --> 0:31:22.320
<v Speaker 2>appearances was in Harry Potter and the Sorcerer Stone. I

0:31:22.320 --> 0:31:25.719
<v Speaker 2>think he's like a barkeep in that. Yeah, a character

0:31:25.760 --> 0:31:27.920
<v Speaker 2>actor who just did a lot of TV work. Oh.

0:31:27.960 --> 0:31:30.560
<v Speaker 2>In another major appearance in this film. This is not

0:31:30.600 --> 0:31:32.760
<v Speaker 2>a lackey or a henchman. This is just like a

0:31:32.840 --> 0:31:35.680
<v Speaker 2>normal person outside of the industry, but we have this

0:31:35.840 --> 0:31:40.480
<v Speaker 2>land lady. Alfie's landlady is played by Miriam Margolis born

0:31:40.600 --> 0:31:44.640
<v Speaker 2>nineteen forty one, English Australian actress with extensive stage, screen

0:31:44.680 --> 0:31:47.560
<v Speaker 2>and TV credits, but many filmgoers probably know her best

0:31:47.600 --> 0:31:52.360
<v Speaker 2>as Professor Sprout from the Harry Potter films. She also

0:31:52.400 --> 0:31:54.440
<v Speaker 2>had a major role in nineteen ninety three's The Age

0:31:54.480 --> 0:31:57.760
<v Speaker 2>of Innocence. I believe that's a Martin Scorsese film. For

0:31:57.800 --> 0:32:01.720
<v Speaker 2>that she won a BAFTA. Also on the TV series

0:32:01.760 --> 0:32:04.600
<v Speaker 2>called The Midwife, so if you've seen the various seasons

0:32:04.680 --> 0:32:07.800
<v Speaker 2>to Call the Midwife, you've probably a senior. And she

0:32:07.920 --> 0:32:10.960
<v Speaker 2>also has a small appearance in nineteen eighty six's Little

0:32:10.960 --> 0:32:14.280
<v Speaker 2>Shop of Horrors. She plays the I think she's a

0:32:14.360 --> 0:32:17.840
<v Speaker 2>dental assistant or something when we get into the dentist

0:32:17.840 --> 0:32:18.560
<v Speaker 2>office scenes.

0:32:19.200 --> 0:32:23.600
<v Speaker 3>So she plays Yeat, the landlady of Alfi in this movie,

0:32:23.600 --> 0:32:28.239
<v Speaker 3>one of the two heroes, and her main point is

0:32:28.240 --> 0:32:31.840
<v Speaker 3>that she is encouraging Alfi to stop trying to write

0:32:32.080 --> 0:32:35.840
<v Speaker 3>good music and to start trying to write bad music

0:32:35.920 --> 0:32:40.120
<v Speaker 3>that will make money because she wants the rent right right.

0:32:40.400 --> 0:32:44.040
<v Speaker 2>But then also she's like, yeah, you're the stuff that

0:32:44.080 --> 0:32:46.520
<v Speaker 2>your unsuccessful stuff also kind of reminds me of the

0:32:46.520 --> 0:32:50.320
<v Speaker 2>good old days, so she's also supporting of that to

0:32:50.440 --> 0:32:55.440
<v Speaker 2>a point. So in many respects, she's Alfie's biggest supporter,

0:32:55.880 --> 0:32:57.800
<v Speaker 2>all right. And finally, I do want to mention that

0:32:57.880 --> 0:33:01.240
<v Speaker 2>the art director on this film is huh Jurgen Kaibak,

0:33:01.560 --> 0:33:04.520
<v Speaker 2>who of nineteen thirty through nineteen ninety five German art

0:33:04.520 --> 0:33:07.200
<v Speaker 2>director and production designer with credits going back to the

0:33:07.280 --> 0:33:10.720
<v Speaker 2>nineteen fifties. Of note, he won an Academy Award for

0:33:10.760 --> 0:33:14.080
<v Speaker 2>his work on seventy three's Cabaret and was nominated for

0:33:14.120 --> 0:33:16.240
<v Speaker 2>an Emmy for his work on the nineteen seventy eight

0:33:16.280 --> 0:33:19.120
<v Speaker 2>mini series The Holocaust. But he worked on a lot

0:33:19.160 --> 0:33:22.440
<v Speaker 2>of smaller budget genre films as well, including the nineteen

0:33:22.480 --> 0:33:27.800
<v Speaker 2>seventy two Jess Franco slasher dere Totostrascher, The Death Avenger

0:33:28.160 --> 0:33:32.160
<v Speaker 2>von Soho, as well as nineteen sixty one's The Return

0:33:32.360 --> 0:33:35.640
<v Speaker 2>of Doctor Mabuse. I'm never sure if I'm saying that

0:33:35.680 --> 0:33:40.959
<v Speaker 2>correctly Mabuse Abuse, but that one starred Gert froeb who,

0:33:41.040 --> 0:33:44.680
<v Speaker 2>of course would go on to play Goldfinger. Oh okay,

0:33:45.280 --> 0:33:48.640
<v Speaker 2>but yeah, German talent, I guess. Of note, because this film,

0:33:48.720 --> 0:33:52.120
<v Speaker 2>though it is seemingly sort of set in New York

0:33:52.280 --> 0:33:54.640
<v Speaker 2>like a futurist at New York City, it was filmed

0:33:54.680 --> 0:33:57.560
<v Speaker 2>in Berlin, and so throughout the picture you see a

0:33:57.600 --> 0:34:01.720
<v Speaker 2>lot of examples of really like cool euturistic looking architecture.

0:34:01.800 --> 0:34:04.720
<v Speaker 2>You see a monorail and stuff like that. That that's

0:34:04.720 --> 0:34:09.040
<v Speaker 2>because they filmed it in Germany. Hmm. Okay, Like there

0:34:09.120 --> 0:34:11.360
<v Speaker 2>are scenes laid in the picture where they'll be like

0:34:11.400 --> 0:34:13.320
<v Speaker 2>some sort of crazy building in the background, and you

0:34:13.400 --> 0:34:15.680
<v Speaker 2>might think, is this a map painting, and you're like, no, no,

0:34:15.719 --> 0:34:18.600
<v Speaker 2>it's just Berlin. It's just that that's what's going on here.

0:34:18.880 --> 0:34:21.840
<v Speaker 3>Oh okay, So yeah, that explained some things I didn't

0:34:21.840 --> 0:34:25.200
<v Speaker 3>realize because I was very unclear about where the movie

0:34:25.239 --> 0:34:28.240
<v Speaker 3>was supposed to take place. You tell me, it's supposed

0:34:28.239 --> 0:34:31.560
<v Speaker 3>to be New York, okay, but it seems like it's

0:34:31.600 --> 0:34:38.000
<v Speaker 3>set in the world. It's set in Earth nineteen ninety four. Yeah, yeah, basically,

0:34:38.360 --> 0:34:40.319
<v Speaker 3>And almost to drive that point home, are are we

0:34:40.360 --> 0:34:41.200
<v Speaker 3>going to the plot? Now?

0:34:41.280 --> 0:34:43.600
<v Speaker 2>Let's get into it. Let's discuss the plot of The Apple.

0:34:44.000 --> 0:34:48.440
<v Speaker 3>Okay, we open on a sea of flags, the flags

0:34:48.440 --> 0:34:51.360
<v Speaker 3>of all the nations, like outside the UN building, and

0:34:51.440 --> 0:34:55.200
<v Speaker 3>there is an uptempo disco beat chugging along, and we

0:34:55.280 --> 0:34:58.640
<v Speaker 3>hear people letting out shrieks of excitement, so screaming crowd,

0:34:59.360 --> 0:35:02.640
<v Speaker 3>the drums are building. There's anticipation coming and then the

0:35:02.640 --> 0:35:07.000
<v Speaker 3>title reads The Apple. And now suddenly we're on the ground.

0:35:07.120 --> 0:35:10.520
<v Speaker 3>And to set the scene, there are throngs of people

0:35:10.640 --> 0:35:14.920
<v Speaker 3>surging through the streets toward a giant building. This building

0:35:15.239 --> 0:35:18.799
<v Speaker 3>is I would say, it's like if the OCP headquarters

0:35:18.840 --> 0:35:24.000
<v Speaker 3>were a concert Venue's this huge angular mass of concrete

0:35:24.040 --> 0:35:26.759
<v Speaker 3>that is supposed to let us know that things ain't right.

0:35:27.440 --> 0:35:30.839
<v Speaker 3>Also in the same frame giant metal towers and this

0:35:30.960 --> 0:35:34.560
<v Speaker 3>futuristic elevated tram or monorail. So I guess this is

0:35:34.560 --> 0:35:39.360
<v Speaker 3>probably some real world Berlin architecture. Maybe I don't know

0:35:39.400 --> 0:35:42.839
<v Speaker 3>for sure, but yeah, it is obviously used in the

0:35:42.840 --> 0:35:44.960
<v Speaker 3>context of the movie the same way the architecture in

0:35:45.040 --> 0:35:48.360
<v Speaker 3>RoboCop is used. It's to make you feel uneasy about

0:35:48.400 --> 0:35:52.240
<v Speaker 3>the esthetics and values of the future. It feels uninviting,

0:35:52.320 --> 0:35:56.680
<v Speaker 3>it feels oppressive. Also to let us know that this

0:35:57.000 --> 0:36:00.880
<v Speaker 3>is a bad future, we see police on boxing motorcycles

0:36:00.920 --> 0:36:04.200
<v Speaker 3>cruising around through the crowds. There's just this vague aura

0:36:04.320 --> 0:36:08.839
<v Speaker 3>of authoritarianism. And the cars. The cars are also these

0:36:09.000 --> 0:36:12.320
<v Speaker 3>like boxy seventies models, but with a bunch of extra

0:36:12.520 --> 0:36:15.399
<v Speaker 3>doodads stuck on top of them, like these big tall

0:36:15.880 --> 0:36:19.879
<v Speaker 3>spoilers coming off of them, and just these bubbles and

0:36:19.880 --> 0:36:22.160
<v Speaker 3>I don't know, things glued onto the hood and stuff.

0:36:22.200 --> 0:36:24.920
<v Speaker 3>It Actually it looks like the car that Homer Simpson designs.

0:36:25.360 --> 0:36:27.839
<v Speaker 2>You're right, it really does look like like the Simpsons car.

0:36:28.880 --> 0:36:31.600
<v Speaker 2>But oh man, yeah, I love these big, boxy future cars.

0:36:31.600 --> 0:36:34.279
<v Speaker 2>I just love future cars in general when they pop

0:36:34.360 --> 0:36:37.600
<v Speaker 2>up in films, like movies we've talked about before. Time

0:36:37.640 --> 0:36:41.480
<v Speaker 2>Cop has some great future cars. Goodness, there's another one.

0:36:41.920 --> 0:36:44.319
<v Speaker 3>I vaguely remember that what were they like in Time Cop.

0:36:44.320 --> 0:36:47.160
<v Speaker 3>Were they just like boxes with wheels and no windows?

0:36:47.400 --> 0:36:49.640
<v Speaker 2>Basically, yeah, there were no windows on it, so in

0:36:49.680 --> 0:36:50.920
<v Speaker 2>a way they were very convincing.

0:36:52.239 --> 0:36:54.280
<v Speaker 3>Oh but this movie has another one of my favorite

0:36:54.280 --> 0:36:58.920
<v Speaker 3>takes on the future, which is futuristic fashion. Everybody is

0:36:58.920 --> 0:37:02.160
<v Speaker 3>wearing clothes out of reflective materials, so just all the

0:37:02.160 --> 0:37:04.719
<v Speaker 3>clothes are shiny. It's like they all on the way

0:37:04.760 --> 0:37:07.600
<v Speaker 3>to the concert here decided to make tunics and conical

0:37:07.680 --> 0:37:12.200
<v Speaker 3>hats out of aluminum foil. Yeah, so out in front

0:37:12.200 --> 0:37:16.160
<v Speaker 3>of this arena, it says World Vision Song Festival. I

0:37:16.200 --> 0:37:18.799
<v Speaker 3>think this is supposed to be an evolution of the

0:37:18.800 --> 0:37:22.680
<v Speaker 3>Eurovision Song Contest, which I've never actually seen, so I

0:37:22.719 --> 0:37:24.960
<v Speaker 3>hope I'm not describing it wrong. But this is like

0:37:25.480 --> 0:37:28.560
<v Speaker 3>a competition where musical acts from around the world compete

0:37:28.600 --> 0:37:32.520
<v Speaker 3>for popularity and stardom. They all, like I guess, have

0:37:32.560 --> 0:37:35.839
<v Speaker 3>an original song or prepare performance, and then they it's

0:37:35.880 --> 0:37:38.040
<v Speaker 3>like American Idol, like they perform on stage and the

0:37:38.080 --> 0:37:40.480
<v Speaker 3>audience vote. It's deep. Do you know if that's roughly right.

0:37:41.040 --> 0:37:43.000
<v Speaker 2>I believe that's the case. I've only ever I only

0:37:43.000 --> 0:37:46.040
<v Speaker 2>ever seen clips from Eurovision, and of course the clips

0:37:46.040 --> 0:37:50.759
<v Speaker 2>are going to be the most outlandish examples as well

0:37:50.800 --> 0:37:56.480
<v Speaker 2>as examples of things that maybe do not cross cultural

0:37:56.560 --> 0:37:59.239
<v Speaker 2>lines as easily. So there's a lot of like, what

0:37:59.440 --> 0:38:01.600
<v Speaker 2>is this weird that's going on with the clips you

0:38:01.640 --> 0:38:03.480
<v Speaker 2>tend to see from Eurovision, But I've never sat down

0:38:03.680 --> 0:38:05.920
<v Speaker 2>and watched it, so I don't know, like the full

0:38:06.120 --> 0:38:07.839
<v Speaker 2>diversity of acts going on there.

0:38:08.120 --> 0:38:10.920
<v Speaker 3>I've never seen it itself, but years ago I watched

0:38:10.920 --> 0:38:16.279
<v Speaker 3>a Will Ferrell movie about it. Have you seen that too?

0:38:16.320 --> 0:38:18.239
<v Speaker 3>He played. I think he and somebody else are like

0:38:18.280 --> 0:38:20.120
<v Speaker 3>an Icelandic act that's competing.

0:38:20.560 --> 0:38:22.399
<v Speaker 2>I remember seeing the trailers for it, but I don't

0:38:22.400 --> 0:38:24.000
<v Speaker 2>think I watched it anyway.

0:38:24.080 --> 0:38:26.600
<v Speaker 3>So, within the context of the plot of The Apple,

0:38:27.040 --> 0:38:31.279
<v Speaker 3>the World Vision Song Festival is like the biggest pop

0:38:31.320 --> 0:38:34.080
<v Speaker 3>culture and media event in the world. We are told

0:38:34.120 --> 0:38:38.480
<v Speaker 3>that it has over two billion simultaneous viewers, and later

0:38:38.520 --> 0:38:40.600
<v Speaker 3>we will find out that it's not only the hottest

0:38:40.640 --> 0:38:44.440
<v Speaker 3>show on TV. Basically the entire culture and even the

0:38:44.480 --> 0:38:46.120
<v Speaker 3>government is based around it.

0:38:46.760 --> 0:38:50.040
<v Speaker 2>Yep, yep, Like everything is writing on this contest.

0:38:50.360 --> 0:38:52.439
<v Speaker 3>So it's like, you win this, you not only become

0:38:52.440 --> 0:38:54.360
<v Speaker 3>a big star and get a cash prize or whatever,

0:38:54.400 --> 0:38:58.240
<v Speaker 3>you essentially like become the governing party in the government.

0:38:58.480 --> 0:38:59.839
<v Speaker 2>Yeah, your music becomes long.

0:39:00.239 --> 0:39:03.839
<v Speaker 3>So we go inside and see see the venue, and

0:39:03.880 --> 0:39:06.200
<v Speaker 3>we see the first musical act and it is a

0:39:06.239 --> 0:39:08.840
<v Speaker 3>song performed by the characters we will come to know

0:39:09.000 --> 0:39:12.759
<v Speaker 3>as Pandy and Dandy. Pandy and Dandy are dressed like

0:39:12.840 --> 0:39:17.240
<v Speaker 3>sexual power rangers and They are surrounded by a kaleidoscope

0:39:17.239 --> 0:39:20.680
<v Speaker 3>of lights and disco dancers, and they're performing this song,

0:39:20.840 --> 0:39:25.920
<v Speaker 3>the theme of which is BIM. Don't ask questions about BIM.

0:39:26.280 --> 0:39:29.840
<v Speaker 3>It is a call and response song. Somehow the audience

0:39:30.000 --> 0:39:33.960
<v Speaker 3>knows the song already, so Dandy calls out. He screams

0:39:34.000 --> 0:39:36.640
<v Speaker 3>the letter B and the crowd knows to scream back,

0:39:36.920 --> 0:39:39.880
<v Speaker 3>I am, which I thought was kind of interesting because

0:39:39.960 --> 0:39:42.840
<v Speaker 3>I understood this as a contest where you played the

0:39:42.880 --> 0:39:44.760
<v Speaker 3>song in public for the first time.

0:39:45.400 --> 0:39:47.960
<v Speaker 2>Yeah. Yeah, that would seem to be the case. I

0:39:47.960 --> 0:39:50.640
<v Speaker 2>don't know if they leaked notes early and they're like, hey,

0:39:51.600 --> 0:39:53.839
<v Speaker 2>Dandy is gonna say be and you need to say

0:39:53.880 --> 0:39:54.200
<v Speaker 2>I am.

0:39:54.520 --> 0:39:56.880
<v Speaker 3>Now, it's possible. We're coming in, like in the middle

0:39:56.920 --> 0:39:59.520
<v Speaker 3>of a twenty minute long song and he's been doing

0:39:59.560 --> 0:40:02.280
<v Speaker 3>the bim b im thing long enough that the audience

0:40:02.320 --> 0:40:05.520
<v Speaker 3>has figured it out. But so, you know, they repeat

0:40:05.520 --> 0:40:08.000
<v Speaker 3>the colin response a bit and then the beat stops

0:40:08.400 --> 0:40:11.840
<v Speaker 3>and a guitar player who looks like Rod Stewart in

0:40:11.920 --> 0:40:15.719
<v Speaker 3>Hunter s Thompson Sunglasses, leans into a microphone and goes

0:40:16.120 --> 0:40:19.160
<v Speaker 3>do the boom.

0:40:20.040 --> 0:40:22.840
<v Speaker 2>Bim is a tremendous start of the film. I have

0:40:22.920 --> 0:40:25.160
<v Speaker 2>to say, both musically and visually, this is one of

0:40:25.160 --> 0:40:28.360
<v Speaker 2>the top tracks. Just we get off to a great

0:40:28.440 --> 0:40:29.400
<v Speaker 2>start with the apple.

0:40:29.880 --> 0:40:34.759
<v Speaker 3>Yes, it's amazing. It's and the constant references to the

0:40:35.600 --> 0:40:38.719
<v Speaker 3>concept of BIM and the power of BIM without any

0:40:38.800 --> 0:40:42.040
<v Speaker 3>explanation of what BIM is. That was what drew me

0:40:42.080 --> 0:40:45.000
<v Speaker 3>into this movie and just like Attached, it was like

0:40:45.040 --> 0:40:48.239
<v Speaker 3>a magnet for my mind. It kind of reminded me

0:40:48.320 --> 0:40:52.319
<v Speaker 3>of So I think we talked about this a little

0:40:52.320 --> 0:40:55.359
<v Speaker 3>bit off Mike, But back in the day, I saw

0:40:55.680 --> 0:40:58.880
<v Speaker 3>Highlander two The Quickening before I had ever seen the

0:40:58.920 --> 0:41:02.640
<v Speaker 3>original Highlander, so I didn't have context from the first movie.

0:41:03.000 --> 0:41:05.760
<v Speaker 3>And in Highland or two The Quickening, they talk about

0:41:05.800 --> 0:41:09.120
<v Speaker 3>the quickening, but it's never adequately explained what it is.

0:41:09.600 --> 0:41:11.799
<v Speaker 3>So I thought it was hilarious that it's this movie

0:41:11.840 --> 0:41:15.080
<v Speaker 3>where the subtitle is the Quickening and there are parts

0:41:15.080 --> 0:41:18.040
<v Speaker 3>were just like Christoph Limbert looks into the camera and

0:41:18.080 --> 0:41:21.200
<v Speaker 3>goes the quickening, but what is it? And that's what

0:41:21.320 --> 0:41:22.600
<v Speaker 3>BIM feels like here.

0:41:24.520 --> 0:41:27.200
<v Speaker 2>Yeah, yeah, it's not really established what it might be,

0:41:27.239 --> 0:41:30.279
<v Speaker 2>but it's clearly important. It's a way of life, it's

0:41:30.280 --> 0:41:35.640
<v Speaker 2>a personal philosophy. It brings people together. It's what everybody

0:41:35.680 --> 0:41:40.239
<v Speaker 2>wants exactly. So yeah, the guitar player says, do the boom,

0:41:40.440 --> 0:41:43.359
<v Speaker 2>and then they do the bim. The band comes back

0:41:43.360 --> 0:41:46.320
<v Speaker 2>in and the song really gets cooking. And I cannot

0:41:46.400 --> 0:41:51.919
<v Speaker 2>stress enough this musical number rocks. It absolutely rocks. Yeah. Yeah,

0:41:51.960 --> 0:41:54.120
<v Speaker 2>this is not a musical number that people were walking

0:41:54.160 --> 0:41:57.960
<v Speaker 2>out during. It's impossible. You can't walk out during during

0:41:57.960 --> 0:41:59.960
<v Speaker 2>the bim. It just totally captivating.

0:42:00.239 --> 0:42:04.759
<v Speaker 3>Now that's my subjective reaction. There's also how the like

0:42:04.840 --> 0:42:07.520
<v Speaker 3>the implied the narrative of the movie wants you to

0:42:07.680 --> 0:42:11.560
<v Speaker 3>take this song clearly, what it's supposed to impress upon

0:42:11.680 --> 0:42:17.080
<v Speaker 3>you is a feeling of overwhelming hyper stimulation. This song

0:42:17.239 --> 0:42:21.640
<v Speaker 3>is just blasting your brain. And there are fast, constant

0:42:21.800 --> 0:42:28.120
<v Speaker 3>cuts showing weird images, bright lights, flashing colors, bodies, reflections

0:42:28.160 --> 0:42:32.719
<v Speaker 3>bouncing everywhere, musicians, dancers. The band has at least three

0:42:32.760 --> 0:42:35.680
<v Speaker 3>different keyboard players that you can see. One of them

0:42:35.760 --> 0:42:38.920
<v Speaker 3>is playing like a gold pulpit made out of keyboards.

0:42:39.200 --> 0:42:43.000
<v Speaker 3>Another is playing a humongous, double sided, looseight key tar

0:42:43.600 --> 0:42:46.680
<v Speaker 3>with one end terminating in this big sharp angle, so

0:42:46.719 --> 0:42:49.360
<v Speaker 3>it's it's almost like a key tar is like fixed

0:42:49.360 --> 0:42:52.760
<v Speaker 3>with a bayonet. The band also has a horn section,

0:42:52.880 --> 0:42:55.920
<v Speaker 3>but the horns are maybe they're real instruments, but I

0:42:55.960 --> 0:42:58.759
<v Speaker 3>didn't recognize them. So if they are real instruments, they're

0:42:58.800 --> 0:43:01.680
<v Speaker 3>not ones I'm familiar with. One person is playing what

0:43:01.760 --> 0:43:05.759
<v Speaker 3>looks like a giant elongated pyramid box. Somebody else is

0:43:05.760 --> 0:43:09.600
<v Speaker 3>playing a capital L shaped saxophone. So I think these

0:43:09.600 --> 0:43:11.680
<v Speaker 3>are supposed to be like science fiction horns.

0:43:12.160 --> 0:43:14.920
<v Speaker 2>And clearly they have perfected disco rock and roll, and

0:43:15.480 --> 0:43:18.319
<v Speaker 2>it requires technology that we don't have today. Only in

0:43:18.320 --> 0:43:20.360
<v Speaker 2>the future of nineteen ninety four is it possible.

0:43:20.840 --> 0:43:23.520
<v Speaker 3>So Dandy and Pandy start singing, and here are some

0:43:23.560 --> 0:43:26.080
<v Speaker 3>of the lyrics to the Bim song. He goes, there

0:43:26.080 --> 0:43:29.640
<v Speaker 3>ain't no good, there ain't no bad, There ain't no happiness,

0:43:30.120 --> 0:43:33.680
<v Speaker 3>there ain't no sad, No it's there ain't no tears,

0:43:34.239 --> 0:43:37.600
<v Speaker 3>there ain't no love, there ain't no hate. There's only power.

0:43:38.160 --> 0:43:42.279
<v Speaker 3>Bim is the power. And then here's the chorus. And

0:43:42.360 --> 0:43:44.600
<v Speaker 3>I truly could not tell which of the following they

0:43:44.600 --> 0:43:48.200
<v Speaker 3>were saying. The chorus is either hey hey, hey, Bim's

0:43:48.320 --> 0:43:51.480
<v Speaker 3>on the way, or hey hey hey, Bim's the only way.

0:43:52.120 --> 0:43:55.480
<v Speaker 2>Bim's the only way makes more sense, But I've always

0:43:55.480 --> 0:43:57.720
<v Speaker 2>heard it in my brain as Bim's on the way,

0:43:58.000 --> 0:44:01.000
<v Speaker 2>which is confusing because BIM is not on the way.

0:44:01.040 --> 0:44:04.600
<v Speaker 2>BIM is already here and established, right, mister Topps is

0:44:04.640 --> 0:44:06.440
<v Speaker 2>on the way, but we don't find out about that

0:44:06.520 --> 0:44:09.080
<v Speaker 2>until later on, much later on in the picture.

0:44:09.040 --> 0:44:10.920
<v Speaker 3>And they don't want you to know that mister Tops

0:44:11.040 --> 0:44:13.799
<v Speaker 3>is on the way. I mean, right, I guess either way,

0:44:13.880 --> 0:44:16.000
<v Speaker 3>BIM is on the way because like, yes, BIM is

0:44:16.000 --> 0:44:18.200
<v Speaker 3>already here, but more BIM is on the way. So

0:44:18.239 --> 0:44:19.840
<v Speaker 3>it's like you're not going to run out of BIM.

0:44:19.960 --> 0:44:22.560
<v Speaker 3>There's BIM. There's continuous BIM on the way.

0:44:22.760 --> 0:44:25.280
<v Speaker 2>BIM continues to expand, much like the universe.

0:44:25.440 --> 0:44:28.920
<v Speaker 3>Yes, exactly, but I guess in addition to so, BIM

0:44:29.120 --> 0:44:31.120
<v Speaker 3>is on the way no matter what. But BIM, in

0:44:31.160 --> 0:44:33.279
<v Speaker 3>addition to being on the way, might also be the

0:44:33.320 --> 0:44:33.839
<v Speaker 3>only way.

0:44:34.440 --> 0:44:37.359
<v Speaker 2>Yes, well, what else can BIM teach us?

0:44:37.560 --> 0:44:39.560
<v Speaker 3>I don't. Oh, well, so there are more lyrics. There's

0:44:39.680 --> 0:44:42.279
<v Speaker 3>there ain't no pride, there ain't no shame, there ain't

0:44:42.280 --> 0:44:45.440
<v Speaker 3>no sympathy, there ain't no blame, there ain't no pleasure,

0:44:45.680 --> 0:44:49.560
<v Speaker 3>there ain't no pain. There's only power. BIM is the power,

0:44:50.680 --> 0:44:51.680
<v Speaker 3>uh and uh.

0:44:51.960 --> 0:44:52.160
<v Speaker 2>Rob.

0:44:52.200 --> 0:44:53.680
<v Speaker 3>I don't know if you have any comments on the

0:44:53.760 --> 0:44:56.600
<v Speaker 3>visuals that are accompanying this. It's it's kind of hard

0:44:56.600 --> 0:45:01.360
<v Speaker 3>to describe. It's just absolutely visually overwhelming answers the light show,

0:45:02.440 --> 0:45:04.560
<v Speaker 3>it's too much to take in.

0:45:04.920 --> 0:45:08.719
<v Speaker 2>Yeah, it's like limbs flare like crazy, so many colors.

0:45:08.800 --> 0:45:14.840
<v Speaker 2>It's just a complete brain melting rock disco performance.

0:45:15.200 --> 0:45:18.960
<v Speaker 3>And I think the idea is that that overwhelming audio

0:45:19.040 --> 0:45:23.480
<v Speaker 3>visual stimulation is supposed to help implant the meaning of

0:45:23.520 --> 0:45:26.240
<v Speaker 3>the song. And the meaning of the song is discard

0:45:26.320 --> 0:45:29.560
<v Speaker 3>or surrender everything that formerly gave meaning to your life.

0:45:29.640 --> 0:45:33.040
<v Speaker 3>There's no love, no truth, no beauty, no friendship. There's

0:45:33.040 --> 0:45:34.759
<v Speaker 3>only Bim. Bim is your God.

0:45:34.880 --> 0:45:37.920
<v Speaker 2>Now do what thou. Bim shall be the whole of

0:45:37.960 --> 0:45:38.319
<v Speaker 2>the law.

0:45:39.160 --> 0:45:42.640
<v Speaker 3>Then the crowd loves it. They are screaming for the Bim.

0:45:42.760 --> 0:45:46.080
<v Speaker 3>They want nothing more than for Bim to annihilate them

0:45:46.120 --> 0:45:50.200
<v Speaker 3>and absorb their memories. And so the song kind of

0:45:50.280 --> 0:45:53.000
<v Speaker 3>like it fades into the background and we go backstage

0:45:53.080 --> 0:45:56.920
<v Speaker 3>to a futuristic control room that is tracking the audience's

0:45:56.960 --> 0:45:59.839
<v Speaker 3>reaction to the song, and here we meet several other

0:46:00.120 --> 0:46:05.320
<v Speaker 3>major characters. We meet mister Bougalow, who is a physically

0:46:05.360 --> 0:46:09.360
<v Speaker 3>small but clearly powerful man wearing a purple velvet suit

0:46:09.400 --> 0:46:11.560
<v Speaker 3>and a bow tie, and he has kind of the

0:46:11.680 --> 0:46:14.680
<v Speaker 3>energy of a character in like a medieval movie who's

0:46:14.760 --> 0:46:18.600
<v Speaker 3>like a like a corrupt cardinal of the church or something.

0:46:19.239 --> 0:46:21.800
<v Speaker 2>Strong being the merciless vibes as well.

0:46:22.120 --> 0:46:26.000
<v Speaker 3>Yes, yes, and everyone's eager to please him. He is

0:46:26.080 --> 0:46:30.920
<v Speaker 3>the head of the Bugalow Music Company with which Pandy

0:46:30.960 --> 0:46:34.360
<v Speaker 3>and Dandy are signed, so they're like his star act

0:46:34.480 --> 0:46:37.360
<v Speaker 3>and he's eager to track their success and see that

0:46:37.400 --> 0:46:40.920
<v Speaker 3>they win this World Vision Song contest. He promises to

0:46:40.960 --> 0:46:44.799
<v Speaker 3>make them the biggest star of our decade. Also, we

0:46:44.840 --> 0:46:48.960
<v Speaker 3>meet Shake, who we described earlier. Shake is mister Bougolow's

0:46:49.040 --> 0:46:53.080
<v Speaker 3>top lieutenant and he is wearing a reflective metallic robe

0:46:53.120 --> 0:46:56.680
<v Speaker 3>and has this awesome ensemble of jewelry and makeup that

0:46:56.800 --> 0:46:59.520
<v Speaker 3>make him like sort of like a human precious gem.

0:47:00.360 --> 0:47:03.320
<v Speaker 3>Shake is some kind of marketing expert. He's been tracking

0:47:03.400 --> 0:47:06.640
<v Speaker 3>biometric feedback from the audience on the computer.

0:47:07.640 --> 0:47:09.920
<v Speaker 2>Yeah again, Shake is just fabulous.

0:47:10.280 --> 0:47:15.200
<v Speaker 3>And in the background, Boogalow has this general ensemble of

0:47:15.280 --> 0:47:18.360
<v Speaker 3>cronies and yes men, as well as the two bald

0:47:18.360 --> 0:47:21.000
<v Speaker 3>bodyguards who you know, could have been from Fury one

0:47:21.120 --> 0:47:23.880
<v Speaker 3>fifty one, or who could have been like a wrestling

0:47:23.960 --> 0:47:27.160
<v Speaker 3>tag team along the lines of like Nasty Boys or whatever.

0:47:27.600 --> 0:47:31.160
<v Speaker 2>Oh yeah, I mean you can imagine Bulldog and Fat

0:47:31.200 --> 0:47:33.919
<v Speaker 2>Dog going for the tag team titles for sure. Fat Dog,

0:47:33.960 --> 0:47:37.000
<v Speaker 2>by the way, played by German actor Gunther Nothoff, who

0:47:37.080 --> 0:47:39.840
<v Speaker 2>I think also did some special effects work in German cinema.

0:47:40.520 --> 0:47:42.720
<v Speaker 3>You know, I had one other comment about the fashion

0:47:42.800 --> 0:47:45.279
<v Speaker 3>that we start to notice in the scene, which is

0:47:45.320 --> 0:47:48.480
<v Speaker 3>that in the future it's popular to wear jackets, not

0:47:48.680 --> 0:47:51.480
<v Speaker 3>only with big shoulder pads. So, like, you know, jackets

0:47:51.480 --> 0:47:54.719
<v Speaker 3>with substantial shoulder padding were I think common in the

0:47:54.760 --> 0:47:58.800
<v Speaker 3>eighties and especially in eighties movies that envisioned the future,

0:47:59.239 --> 0:48:03.160
<v Speaker 3>But here they're beyond pads. The pads like curl up

0:48:03.200 --> 0:48:07.040
<v Speaker 3>at the ends, so your shoulders, the shoulders basically have horns.

0:48:08.560 --> 0:48:10.680
<v Speaker 2>It's one of the many details in this picture and

0:48:10.719 --> 0:48:13.680
<v Speaker 2>a lot of you know, futuristic films of this sort,

0:48:13.760 --> 0:48:16.560
<v Speaker 2>that it really drives home that basically the way science

0:48:16.560 --> 0:48:20.399
<v Speaker 2>fiction works is like, what if all of the things

0:48:20.400 --> 0:48:24.000
<v Speaker 2>I'm uneasy about now are just more in the future. Yeah,

0:48:24.040 --> 0:48:27.520
<v Speaker 2>And that includes everything from you know, you know, dystopian

0:48:27.600 --> 0:48:30.640
<v Speaker 2>elements of society to just like shoulder pads, Like I

0:48:30.640 --> 0:48:32.239
<v Speaker 2>don't really get shoulder pads, but I guess in the

0:48:32.239 --> 0:48:34.520
<v Speaker 2>future they will just be even bigger. That's the only

0:48:34.560 --> 0:48:37.759
<v Speaker 2>way it can possibly go. There's no coming back from

0:48:37.840 --> 0:48:41.280
<v Speaker 2>whatever shoulder pad level we are currently at. It's only

0:48:41.719 --> 0:48:42.960
<v Speaker 2>only going to get wider.

0:48:42.920 --> 0:48:47.960
<v Speaker 3>It's all if these trends continue. A so we cut

0:48:48.000 --> 0:48:50.360
<v Speaker 3>back to the Bim song. It's still going on Dandy

0:48:50.400 --> 0:48:52.400
<v Speaker 3>and Pandy. At this point, they're done with the lyrics

0:48:52.400 --> 0:48:57.040
<v Speaker 3>and they're just singing ha ha ha. They're like laughing

0:48:57.080 --> 0:49:00.920
<v Speaker 3>at you for being brainwashed. And at some point the

0:49:00.960 --> 0:49:04.200
<v Speaker 3>song begins to incorporate a martial arts component as well.

0:49:04.239 --> 0:49:08.640
<v Speaker 3>Do you remember this, like the kind shouts and yeah.

0:49:07.920 --> 0:49:10.319
<v Speaker 2>Yeah, It's just it's like at this point they're just

0:49:10.360 --> 0:49:13.799
<v Speaker 2>in full encore mode, Like the song really should have

0:49:13.880 --> 0:49:16.399
<v Speaker 2>ended like ten minutes ago, but you can't stop once

0:49:16.440 --> 0:49:17.760
<v Speaker 2>the crowd is this end of the app.

0:49:17.880 --> 0:49:20.960
<v Speaker 3>It ends with them singing hey, hey, hey, BIMs on

0:49:21.000 --> 0:49:23.960
<v Speaker 3>the way, like fifty times in a row. The crowd

0:49:24.000 --> 0:49:27.160
<v Speaker 3>loves it. They absolutely lose their minds. They rush the stage.

0:49:27.160 --> 0:49:30.439
<v Speaker 3>I think we can see riot police with batons having

0:49:30.480 --> 0:49:32.400
<v Speaker 3>to hold people back from the dancers.

0:49:34.680 --> 0:49:34.879
<v Speaker 2>Yeah.

0:49:34.920 --> 0:49:37.040
<v Speaker 3>And then we're back in the control room and Shake

0:49:37.080 --> 0:49:40.120
<v Speaker 3>announces that they have achieved a new biometric record, which

0:49:40.160 --> 0:49:43.400
<v Speaker 3>is one hundred and fifty heartbeats. Maybe that's beats per minute.

0:49:43.719 --> 0:49:47.719
<v Speaker 3>I'm not sure, but I think again, the way we're

0:49:47.760 --> 0:49:52.400
<v Speaker 3>supposed to understand this is that this, like biometric information,

0:49:52.840 --> 0:49:57.120
<v Speaker 3>is reflective of a cold, calculating way to measure the

0:49:57.160 --> 0:50:00.840
<v Speaker 3>success of a popular song, as opposed to I don't know,

0:50:00.920 --> 0:50:05.720
<v Speaker 3>by listening for applause or something. Yeah, mister Boglow says, gentlemen,

0:50:05.800 --> 0:50:07.960
<v Speaker 3>I predict our bim song is going to take this

0:50:08.040 --> 0:50:11.120
<v Speaker 3>competition by storm. And then he howls like a wolf,

0:50:12.040 --> 0:50:15.320
<v Speaker 3>and he says he's got another henchman named Ashley. I

0:50:15.320 --> 0:50:18.440
<v Speaker 3>don't think we've mentioned already, but he's like, Ashley prepares

0:50:18.440 --> 0:50:23.440
<v Speaker 3>some bim merchandise and Ashley says, ooh, how about bim

0:50:23.960 --> 0:50:29.840
<v Speaker 3>T shirts. Ashley Boogleow is not impressed by this. He's like,

0:50:30.000 --> 0:50:33.839
<v Speaker 3>use your imagination, Ashley, this is nineteen ninety four, and

0:50:33.920 --> 0:50:37.520
<v Speaker 3>I gotta agree with the devil here, like bim T shirts.

0:50:37.560 --> 0:50:39.960
<v Speaker 2>Come on, Yeah, you can do better than that Ashley

0:50:40.040 --> 0:50:44.439
<v Speaker 2>and Ashley's tremendous. He's played by British actor Leslie Meadows. Yeah,

0:50:44.560 --> 0:50:46.759
<v Speaker 2>just Key has this kind of like great, spaced out

0:50:47.200 --> 0:50:49.919
<v Speaker 2>vibe to him. It's really hard for me to nail

0:50:49.920 --> 0:50:52.840
<v Speaker 2>down exactly why I love this performance so much. But

0:50:52.960 --> 0:50:56.760
<v Speaker 2>it's just anytime Leslie is on the screen, you know,

0:50:57.080 --> 0:51:00.920
<v Speaker 2>busting out some merch ideas or whatever, it's just hilarious.

0:51:01.440 --> 0:51:05.279
<v Speaker 3>When he reveals the bim Ball machine later, I out

0:51:05.320 --> 0:51:18.560
<v Speaker 3>lost it. Yeah, okay, So here we go to see

0:51:18.600 --> 0:51:21.640
<v Speaker 3>the next act in the World Vision Song Competition and

0:51:21.960 --> 0:51:26.240
<v Speaker 3>it is Alfie and Bebe performing a song called Love

0:51:26.440 --> 0:51:30.400
<v Speaker 3>the Universal Melody. They're gonna be our heroes for the film.

0:51:30.560 --> 0:51:34.680
<v Speaker 3>This is a couple of humble singers from Moose Jaw, Canada,

0:51:34.760 --> 0:51:38.440
<v Speaker 3>and they come out and compared to the bim act,

0:51:38.600 --> 0:51:42.360
<v Speaker 3>they are incredibly stripped down. They don't have backup dancers,

0:51:42.719 --> 0:51:45.359
<v Speaker 3>they don't have references to bim It's just a man

0:51:45.400 --> 0:51:48.799
<v Speaker 3>and a woman in like white clothing singing along with

0:51:48.880 --> 0:51:51.759
<v Speaker 3>one acoustic guitar. And actually we can hear there's a

0:51:51.800 --> 0:51:54.840
<v Speaker 3>full backing track including drums and bass, but there's no

0:51:54.960 --> 0:51:57.920
<v Speaker 3>band visible on the stage. It's just Alfie Strumman is

0:51:57.960 --> 0:52:00.759
<v Speaker 3>acoustic and the two of them singing into one microphone,

0:52:01.360 --> 0:52:04.680
<v Speaker 3>and the lyrics begin like this, You're the light within

0:52:04.760 --> 0:52:08.000
<v Speaker 3>my darkness. You're my shelter from the storm. When my

0:52:08.080 --> 0:52:11.520
<v Speaker 3>hope grows dim and fear shuts me in, you become

0:52:11.640 --> 0:52:16.319
<v Speaker 3>my open door. And the crowd hates it. We see it.

0:52:16.600 --> 0:52:19.399
<v Speaker 3>There's a sneering boy there. He says, what the hell

0:52:19.520 --> 0:52:22.600
<v Speaker 3>is this? And the girl next to him says, it's

0:52:22.640 --> 0:52:26.000
<v Speaker 3>a love song, but I mean, what's a love song

0:52:26.120 --> 0:52:29.640
<v Speaker 3>that The boy is clearly disgusted. Another guy jumps up

0:52:29.640 --> 0:52:34.640
<v Speaker 3>and screams, do the bim.

0:52:33.600 --> 0:52:36.560
<v Speaker 2>And you know what, they're absolutely right. This is such

0:52:36.600 --> 0:52:41.160
<v Speaker 2>a stark contrast between how rockin that first number was,

0:52:41.200 --> 0:52:43.480
<v Speaker 2>and yes it's it's a tonal shift, but this number

0:52:43.640 --> 0:52:47.279
<v Speaker 2>just does not hit. It just it just it just

0:52:47.440 --> 0:52:50.839
<v Speaker 2>falls flat on the stage. And to a certain extent, Yeah,

0:52:50.840 --> 0:52:53.520
<v Speaker 2>with these characters where it seems like this is the

0:52:53.520 --> 0:52:56.080
<v Speaker 2>way we're supposed to feel, but it also seems this

0:52:56.239 --> 0:52:58.719
<v Speaker 2>movie wants us to feel like this track the universal

0:52:58.760 --> 0:53:02.759
<v Speaker 2>love song. Despite it, it's just tremendously sappy lyrics and

0:53:03.640 --> 0:53:06.080
<v Speaker 2>so forth that it is touching us in a place

0:53:06.120 --> 0:53:08.960
<v Speaker 2>that we didn't know still existed. It is supposed to

0:53:09.080 --> 0:53:13.680
<v Speaker 2>on some level just resonate deeply with us. And I

0:53:13.680 --> 0:53:16.440
<v Speaker 2>mean this is all subjective, but absolutely it does not.

0:53:16.520 --> 0:53:18.240
<v Speaker 2>For me, this song sucks.

0:53:18.760 --> 0:53:21.560
<v Speaker 3>I completely agree. Yeah, So the way I was thinking

0:53:21.600 --> 0:53:24.040
<v Speaker 3>of it, there's two different ways to process the song,

0:53:24.120 --> 0:53:26.080
<v Speaker 3>and the one is the way we are meant to

0:53:26.160 --> 0:53:29.040
<v Speaker 3>by the filmmakers, which is that it is the wholesome

0:53:29.120 --> 0:53:31.759
<v Speaker 3>contrast to the previous song we heard. You know, the

0:53:31.800 --> 0:53:37.000
<v Speaker 3>Bim Song is a gaudy, soulless technological product, a satellite

0:53:37.000 --> 0:53:41.560
<v Speaker 3>televised golden calf designed to extract money and obedience from

0:53:41.560 --> 0:53:45.160
<v Speaker 3>an unthinking audience. And in contrast to that, Alphie and

0:53:45.200 --> 0:53:47.640
<v Speaker 3>Bbi are supposed to be a breath of fresh air.

0:53:47.680 --> 0:53:50.279
<v Speaker 3>Look at them. They're so nice, they're so earnest. They

0:53:50.280 --> 0:53:52.720
<v Speaker 3>come in with a song that is simple and true

0:53:52.800 --> 0:53:55.040
<v Speaker 3>and has a genuine heart in the middle of this

0:53:55.200 --> 0:53:58.160
<v Speaker 3>baffling and heartless world. But the problem is it just

0:53:58.200 --> 0:54:01.440
<v Speaker 3>doesn't match with your experience of these songs back to

0:54:01.480 --> 0:54:04.080
<v Speaker 3>back in the movie, which in that experience is that

0:54:04.200 --> 0:54:05.920
<v Speaker 3>from my point of view, and I think probably most

0:54:05.960 --> 0:54:09.160
<v Speaker 3>of viewers would agree, the Bim Song is awesome and love.

0:54:09.239 --> 0:54:13.880
<v Speaker 3>The Universal Melody sucks. It is so bad, and so

0:54:13.960 --> 0:54:17.120
<v Speaker 3>when the audience like get up and start booing and

0:54:17.200 --> 0:54:20.040
<v Speaker 3>heckling them, is just like, yeah, yeah, get it off

0:54:20.080 --> 0:54:20.480
<v Speaker 3>my TV.

0:54:21.000 --> 0:54:25.319
<v Speaker 2>Yeah yeah. The reality here is that the Universal Love

0:54:25.400 --> 0:54:28.720
<v Speaker 2>Song feels like it was built by committee. It feels

0:54:28.760 --> 0:54:32.880
<v Speaker 2>like it is the hollow product of corporate scheming, while

0:54:33.080 --> 0:54:36.040
<v Speaker 2>the Bim song just like rocks its heart pumping, it

0:54:36.040 --> 0:54:37.400
<v Speaker 2>feels very much a part of you.

0:54:37.640 --> 0:54:40.600
<v Speaker 3>Yes, yeah, totally. You could say this is a problem

0:54:40.640 --> 0:54:42.560
<v Speaker 3>with the Apple. Actually I would say it adds to

0:54:42.600 --> 0:54:44.560
<v Speaker 3>my enjoyment of the Apple. But it's a problem with

0:54:44.600 --> 0:54:47.000
<v Speaker 3>the Apple the way it is supposed to be processed,

0:54:47.440 --> 0:54:50.239
<v Speaker 3>which is that everything in the movie that's supposed to

0:54:50.280 --> 0:54:53.400
<v Speaker 3>be evil and soulless and a reflection of a world

0:54:53.440 --> 0:54:56.880
<v Speaker 3>gone wrong is so good and so much fun, And

0:54:56.960 --> 0:55:00.000
<v Speaker 3>everything that is supposed to be good and pure and

0:55:00.040 --> 0:55:05.160
<v Speaker 3>sympathetic is boring at best and disgustingly treaqily and fake

0:55:05.320 --> 0:55:05.880
<v Speaker 3>at worst.

0:55:06.680 --> 0:55:10.799
<v Speaker 2>Yeah. Absolutely, Yeah. The film is will periodically preach at

0:55:10.840 --> 0:55:14.399
<v Speaker 2>you that, you know, rock, disco, drugs, sex, it's all

0:55:14.440 --> 0:55:17.040
<v Speaker 2>evil and dangerous, man. But at the same time, yeah,

0:55:17.040 --> 0:55:21.480
<v Speaker 2>they're delivering these songs about drugs and sex that are

0:55:21.640 --> 0:55:24.839
<v Speaker 2>and sometimes you know, with outright depictions of hell, there's

0:55:24.880 --> 0:55:27.840
<v Speaker 2>so much more fun than anything else that's presented on

0:55:27.880 --> 0:55:29.280
<v Speaker 2>the opposite side of the argument.

0:55:29.960 --> 0:55:32.879
<v Speaker 3>So while Alfie and bb are singing, we go back

0:55:32.880 --> 0:55:35.680
<v Speaker 3>to the control room with Shake and mister Bougalow and

0:55:35.800 --> 0:55:39.480
<v Speaker 3>they start getting a little concerned because what do you know, actually,

0:55:39.480 --> 0:55:42.799
<v Speaker 3>despite the fact that the audience initially hates love the

0:55:42.880 --> 0:55:46.640
<v Speaker 3>universal melody, they start kind of quieting down. The heckling

0:55:47.040 --> 0:55:50.879
<v Speaker 3>dies down, and then they start responding well like it's

0:55:50.920 --> 0:55:56.160
<v Speaker 3>actually breaking through. The heartbeats are climbing on the computer screen,

0:55:56.600 --> 0:55:59.040
<v Speaker 3>and we can see like we see shots of the

0:55:59.040 --> 0:56:01.359
<v Speaker 3>audience and some of them or crying or they're like

0:56:01.440 --> 0:56:05.680
<v Speaker 3>hugging their their boyfriend or girlfriend. And Shake insists that

0:56:05.760 --> 0:56:09.080
<v Speaker 3>the song cannot actually be popular because they're singing a

0:56:09.280 --> 0:56:10.120
<v Speaker 3>love song.

0:56:10.640 --> 0:56:10.920
<v Speaker 2>Yuck.

0:56:11.160 --> 0:56:15.760
<v Speaker 3>Love songs are out. So ultimately, uh Boogalow and Shake

0:56:16.239 --> 0:56:21.640
<v Speaker 3>decide they decide to resort to sabotage. They insert what

0:56:21.800 --> 0:56:26.000
<v Speaker 3>is called the red tape into the PA system and

0:56:26.040 --> 0:56:29.560
<v Speaker 3>it starts playing excruciating high pitch noises over the sound

0:56:29.560 --> 0:56:31.960
<v Speaker 3>system and ruins Alfie and BB's performance.

0:56:32.320 --> 0:56:34.759
<v Speaker 2>Yeah, and I uh, I like to think that this

0:56:34.880 --> 0:56:37.120
<v Speaker 2>is the same tape the UK government uses in the

0:56:37.120 --> 0:56:41.439
<v Speaker 2>Black Mirror episode the national anthem. You know, it's like like, quick,

0:56:41.480 --> 0:56:43.000
<v Speaker 2>get the red tape. We've got to We've got to

0:56:43.080 --> 0:56:45.719
<v Speaker 2>keep people from watching Slash enjoying.

0:56:45.400 --> 0:56:48.839
<v Speaker 3>This, right, So I guess bim Song wins after all,

0:56:48.920 --> 0:56:51.399
<v Speaker 3>even though Alfie and BB it seems like they were

0:56:51.440 --> 0:56:54.600
<v Speaker 3>on course to win over the audience and win the contest,

0:56:54.680 --> 0:56:56.440
<v Speaker 3>but then they got cheated out of it.

0:56:56.960 --> 0:57:01.120
<v Speaker 2>M And we cut to this great scene where Booglow is.

0:57:01.400 --> 0:57:04.239
<v Speaker 2>He's walking and talking and he's answering questions from the

0:57:04.280 --> 0:57:09.080
<v Speaker 2>international media in various languages. Is seemingly fluent in any

0:57:09.120 --> 0:57:11.759
<v Speaker 2>tongue you could possibly throw at him, because you know,

0:57:11.840 --> 0:57:15.000
<v Speaker 2>at this point, you know, this is this character is

0:57:15.000 --> 0:57:18.840
<v Speaker 2>supposed to be Satan. He is Satan. He's the pitch

0:57:18.880 --> 0:57:22.000
<v Speaker 2>of this picture, you know, he is. He's a demonic figure.

0:57:22.160 --> 0:57:24.120
<v Speaker 2>So of course he knows all human languages.

0:57:24.640 --> 0:57:27.520
<v Speaker 3>That's that's right. And the reporters you're asking these questions. Oh,

0:57:27.560 --> 0:57:31.000
<v Speaker 3>one reporter's like, I understand the government has adopted your

0:57:31.040 --> 0:57:33.920
<v Speaker 3>bim Song as part of the national Fitness program. Is

0:57:33.920 --> 0:57:36.200
<v Speaker 3>that true, and I was like, Wow, that happened fast.

0:57:37.160 --> 0:57:39.280
<v Speaker 2>It's just that good a song. People are like, Okay,

0:57:39.360 --> 0:57:41.520
<v Speaker 2>let's license it. Let's just do it. Let's make it laugh.

0:57:41.680 --> 0:57:43.960
<v Speaker 3>Now, Rob, I think this was your note. But one

0:57:43.960 --> 0:57:46.960
<v Speaker 3>of the one of the reporters says something to him.

0:57:47.040 --> 0:57:50.600
<v Speaker 3>They're like, mister Booglow, what about something for the billion

0:57:50.800 --> 0:57:52.400
<v Speaker 3>of Americans who are watching?

0:57:54.000 --> 0:57:56.000
<v Speaker 2>I love that this. This is another one one of

0:57:56.000 --> 0:57:58.120
<v Speaker 2>the moments in the film that just makes me laugh

0:57:58.200 --> 0:58:02.240
<v Speaker 2>for no reason that I can really identify. I don't know.

0:58:02.320 --> 0:58:03.800
<v Speaker 2>Maybe it's just kind of like the awkward way that

0:58:03.840 --> 0:58:08.400
<v Speaker 2>he asks that. And of course where this interaction is

0:58:08.440 --> 0:58:11.160
<v Speaker 2>going with this particular reporter is also kind of hilarious.

0:58:11.520 --> 0:58:14.880
<v Speaker 3>Oh yeah, yeah, because there's also a question where it's like,

0:58:15.560 --> 0:58:17.680
<v Speaker 3>we heard there was another song that came close to

0:58:17.720 --> 0:58:20.680
<v Speaker 3>beating the bim song. Is it true this competition is rigged?

0:58:21.080 --> 0:58:24.320
<v Speaker 3>And mister Bugalow threatens him. He like pulls the reporter aside.

0:58:24.360 --> 0:58:26.000
<v Speaker 3>He's like, what's your name? Who do you write for?

0:58:26.360 --> 0:58:28.760
<v Speaker 3>You print that and you'll find yourself on the unemployment

0:58:28.840 --> 0:58:33.480
<v Speaker 3>line by tomorrow. So next we go to mister Boogalow's

0:58:33.560 --> 0:58:37.200
<v Speaker 3>victory party and his apartment is just full of sci

0:58:37.280 --> 0:58:40.200
<v Speaker 3>fi showbiz partygoers. I wanted to point out a couple

0:58:40.240 --> 0:58:43.720
<v Speaker 3>of great props. There is his trophy for winning the

0:58:44.040 --> 0:58:47.960
<v Speaker 3>World Vision Song Contest, which is a giant gold pyramid

0:58:48.040 --> 0:58:51.960
<v Speaker 3>with an extremely pointy top, and everybody's drinking out of

0:58:52.360 --> 0:58:58.840
<v Speaker 3>transparent drinking glasses which are gigantic, clear triangular prisms. Ashley

0:58:58.880 --> 0:59:01.080
<v Speaker 3>explains that these are bim glasses.

0:59:01.800 --> 0:59:05.680
<v Speaker 2>See now, this is the Ashley magic that we were expecting.

0:59:05.440 --> 0:59:10.680
<v Speaker 3>Right, and so booglow. He raises his bim glass and says,

0:59:10.760 --> 0:59:14.240
<v Speaker 3>ladies and gentlemen, a toast to Bim and everyone shouts bim.

0:59:15.360 --> 0:59:17.800
<v Speaker 3>And this is where we get some more of Ashley's merchandising.

0:59:17.840 --> 0:59:21.040
<v Speaker 3>Of course, there is the bimball machine, but then we

0:59:21.120 --> 0:59:24.320
<v Speaker 3>get to the really important piece of merch that will

0:59:24.360 --> 0:59:28.120
<v Speaker 3>pervade the rest of the movie, the bim mark. What

0:59:28.240 --> 0:59:31.400
<v Speaker 3>is the bim mark. Ashley demonstrates how it works. It

0:59:31.520 --> 0:59:35.240
<v Speaker 3>is a shiny triangular sticker. That's it. That's the bim mark.

0:59:36.160 --> 0:59:38.520
<v Speaker 2>Yep, yep. You can wear it wherever you want to.

0:59:38.680 --> 0:59:41.520
<v Speaker 2>That's established so you have a certain amount of freedom.

0:59:41.840 --> 0:59:44.320
<v Speaker 2>But eventually it will become law that you do have

0:59:44.360 --> 0:59:47.840
<v Speaker 2>to wear one, make sure that a law enforcement can

0:59:48.000 --> 0:59:51.120
<v Speaker 2>see it on your person, you know. And obviously this

0:59:51.200 --> 0:59:54.120
<v Speaker 2>has you know, sci fi dystopian shades of like the

0:59:54.160 --> 0:59:57.640
<v Speaker 2>Mark of Cain and so forth, the East Mark of

0:59:57.720 --> 1:00:01.840
<v Speaker 2>the Beast and and all. So it's it's a lot

1:00:01.840 --> 1:00:04.280
<v Speaker 2>of fun. And also, yeah, clearly Ashley nailed this one.

1:00:04.320 --> 1:00:07.160
<v Speaker 2>This one's going to really catch on to the point

1:00:07.200 --> 1:00:09.120
<v Speaker 2>where it becomes a mandate.

1:00:09.680 --> 1:00:12.160
<v Speaker 3>Right when Ashley debuts it, he says, you can stick

1:00:12.200 --> 1:00:17.080
<v Speaker 3>it anywhere. Mister Buglow is pleased. He commands Ashley to

1:00:17.160 --> 1:00:20.680
<v Speaker 3>make sure that everyone is wearing one immediately. And then

1:00:20.760 --> 1:00:23.720
<v Speaker 3>somebody goes up to Dandy and Pandy goes up to

1:00:23.760 --> 1:00:26.920
<v Speaker 3>Pandy and says, Pandy, may I bim unize you, and

1:00:26.960 --> 1:00:27.680
<v Speaker 3>then puts.

1:00:27.400 --> 1:00:30.000
<v Speaker 2>The bim mark on her yep, right on the forehead.

1:00:30.840 --> 1:00:35.240
<v Speaker 3>So mister Bugalow invites bb and Alfie to the party

1:00:35.360 --> 1:00:38.160
<v Speaker 3>at his apartment. This would seem to be, you know,

1:00:38.240 --> 1:00:42.240
<v Speaker 3>the move of a gracious winner inviting his competition to

1:00:42.280 --> 1:00:45.240
<v Speaker 3>celebrate with him, but we see them argue about it

1:00:45.240 --> 1:00:49.040
<v Speaker 3>before going. Alfie doesn't trust mister Buglow. There's just something

1:00:49.080 --> 1:00:51.480
<v Speaker 3>about the way that he is Satan incarnate that you

1:00:51.560 --> 1:00:56.280
<v Speaker 3>can't quite trust, and BB counters that, Hey, you know,

1:00:56.400 --> 1:00:58.880
<v Speaker 3>we need an agent. He could make us a big star.

1:00:59.240 --> 1:01:01.720
<v Speaker 3>He made Pandy and Dandy, he made the BIM, so

1:01:01.800 --> 1:01:02.720
<v Speaker 3>maybe he'll make us.

1:01:03.560 --> 1:01:05.840
<v Speaker 2>Yeah, I mean it. This is you say what you will,

1:01:06.560 --> 1:01:09.640
<v Speaker 2>mister Buglow. But he can get things done. He is

1:01:09.680 --> 1:01:11.920
<v Speaker 2>a star maker, There's no questioning that.

1:01:12.760 --> 1:01:15.000
<v Speaker 3>So they go to the party and for some reason,

1:01:15.000 --> 1:01:17.520
<v Speaker 3>when they arrive at the party, Alfie is dressed like

1:01:17.600 --> 1:01:20.640
<v Speaker 3>Indiana Jones without a hat, and BB is dressed like

1:01:20.680 --> 1:01:21.520
<v Speaker 3>a flight attendant.

1:01:23.040 --> 1:01:26.120
<v Speaker 2>Yeah, they're so square. They have yet to be transformed

1:01:26.160 --> 1:01:28.560
<v Speaker 2>by the BIM. I mean, look at their shoulders.

1:01:28.960 --> 1:01:31.160
<v Speaker 3>Yeah, I know, Oh where are the pads? Where are

1:01:31.200 --> 1:01:35.600
<v Speaker 3>the shoulder pads? Where are the horns? But the here

1:01:35.640 --> 1:01:39.400
<v Speaker 3>we get, like the seduction into the shallow life of showbiz. Luxury.

1:01:39.720 --> 1:01:44.360
<v Speaker 3>Boogalow and the BIM organization offer them hospitality and compliments

1:01:44.360 --> 1:01:47.520
<v Speaker 3>on their music and bowls of champagne. Yes, I said

1:01:47.520 --> 1:01:50.040
<v Speaker 3>that right. It's like a soup bowl that they offer

1:01:50.080 --> 1:01:51.280
<v Speaker 3>them with champagne in it.

1:01:51.600 --> 1:01:54.760
<v Speaker 2>I've been thinking a lot recently about champagne glasses and

1:01:54.840 --> 1:01:57.920
<v Speaker 2>about how the style seems to change because I was

1:01:58.240 --> 1:02:01.360
<v Speaker 2>I really enjoyed watching the period series of the Gilded Age,

1:02:01.760 --> 1:02:04.720
<v Speaker 2>and they're constantly drinking champagne out of more like a

1:02:04.760 --> 1:02:08.440
<v Speaker 2>coup glass as opposed to like a fluted glass like

1:02:08.480 --> 1:02:12.800
<v Speaker 2>you would tend to accept champagne in today. So if

1:02:13.080 --> 1:02:16.360
<v Speaker 2>champagne in the future of nineteen ninety four is served

1:02:16.520 --> 1:02:19.800
<v Speaker 2>in a wide glass in this case, even wider than

1:02:19.840 --> 1:02:22.760
<v Speaker 2>a coup glass, in a way, it's like a return

1:02:22.840 --> 1:02:27.200
<v Speaker 2>to a previous fad and then an exaggeration of that

1:02:27.360 --> 1:02:30.240
<v Speaker 2>fad as opposed to a continuation of the current trend.

1:02:30.320 --> 1:02:33.720
<v Speaker 3>Right, I would agree with that, except that it's huge.

1:02:33.960 --> 1:02:38.280
<v Speaker 3>It's like everybody gets their own individual punch bowl of champagne.

1:02:38.640 --> 1:02:41.040
<v Speaker 2>Yeah. Yeah, it's kind of like the whole like punch

1:02:41.080 --> 1:02:44.640
<v Speaker 2>bowl margarita thing or where like a fish bowl margarita

1:02:44.760 --> 1:02:47.080
<v Speaker 2>right where they actually have like a gummy fish in there.

1:02:48.080 --> 1:02:50.680
<v Speaker 3>Oh, and mister Boogalow makes fun of Alfie because he

1:02:50.720 --> 1:02:55.360
<v Speaker 3>doesn't drink alcohol, and there's clearly a divide, like Alfie

1:02:55.360 --> 1:02:58.160
<v Speaker 3>wants to resist their charms, but bbe she just wants

1:02:58.200 --> 1:03:03.640
<v Speaker 3>to dive. Right in Dandy of Pande and Dandy, right

1:03:03.720 --> 1:03:06.160
<v Speaker 3>from the very first moments, just starts hitting on her.

1:03:06.200 --> 1:03:07.840
<v Speaker 3>He's like, oh, would you like to go up to

1:03:07.880 --> 1:03:11.000
<v Speaker 3>the roof garden. I have unspecified pills. Would you like some?

1:03:11.200 --> 1:03:13.520
<v Speaker 3>And she's like, yeah, sounds good.

1:03:13.600 --> 1:03:15.520
<v Speaker 2>I don't think he even tells her what the pills

1:03:15.600 --> 1:03:18.600
<v Speaker 2>do in even broad strokes. He's just kind of like,

1:03:18.840 --> 1:03:21.760
<v Speaker 2>they're no big deal. Would you like some? Yes?

1:03:22.560 --> 1:03:25.480
<v Speaker 3>And she accepts and he's like, wow, you really are

1:03:25.520 --> 1:03:28.520
<v Speaker 3>You're a hillbilly, you know, you're from the Sticks. And

1:03:28.560 --> 1:03:31.880
<v Speaker 3>she's like, I don't understand what that means. And then yeah,

1:03:31.880 --> 1:03:35.520
<v Speaker 3>they're just having pills and hanging out and smooching. And

1:03:35.560 --> 1:03:39.120
<v Speaker 3>then interestingly, at about seventeen minutes into the movie, we

1:03:39.200 --> 1:03:42.720
<v Speaker 3>get our first song and dance number that occurs outside

1:03:42.960 --> 1:03:46.040
<v Speaker 3>of a within narrative musical performance. Did you notice this?

1:03:46.120 --> 1:03:49.400
<v Speaker 3>So it's like a little jarring because the two songs

1:03:49.440 --> 1:03:53.480
<v Speaker 3>that we've already heard were at a concert within the film.

1:03:53.840 --> 1:03:56.320
<v Speaker 3>This is the first song that's just people dancing and

1:03:56.320 --> 1:03:57.360
<v Speaker 3>singing into the camera.

1:03:58.400 --> 1:04:00.640
<v Speaker 2>That's right, you know. I hadn't really thought about it before,

1:04:00.720 --> 1:04:03.960
<v Speaker 2>But perhaps because I having seen it before in the

1:04:03.960 --> 1:04:06.160
<v Speaker 2>past as a riff tracks movie and having not thought

1:04:06.160 --> 1:04:08.280
<v Speaker 2>about it too much of them, I didn't think too

1:04:08.360 --> 1:04:10.960
<v Speaker 2>much about how yet, Yeah, suddenly we're in full blown

1:04:11.040 --> 1:04:13.520
<v Speaker 2>musical mode and not just musical concert picture.

1:04:14.400 --> 1:04:16.840
<v Speaker 3>But the song is called made for Me. It is

1:04:16.920 --> 1:04:20.680
<v Speaker 3>sung by Dandy to Bebe saying You're made for me,

1:04:21.000 --> 1:04:23.800
<v Speaker 3>created for me. I'll be your man, You'll be my woman.

1:04:24.720 --> 1:04:26.840
<v Speaker 3>This song getting all that great, but it does have

1:04:26.920 --> 1:04:30.120
<v Speaker 3>a great dance number associated with it, Like in the

1:04:30.160 --> 1:04:33.240
<v Speaker 3>Inside the Penthouse, we just see all of the wacky

1:04:33.320 --> 1:04:38.320
<v Speaker 3>dancers and the amazing costumes and it's Yeah, it's not

1:04:38.360 --> 1:04:40.320
<v Speaker 3>the best tune in the movie, but it is I

1:04:40.360 --> 1:04:41.880
<v Speaker 3>think one of the best dance numbers.

1:04:42.520 --> 1:04:45.760
<v Speaker 2>Yeah, the tune kind of has a sort of nineteen

1:04:45.880 --> 1:04:50.000
<v Speaker 2>fifties kind of feel to it, you know, but it's

1:04:50.040 --> 1:04:53.200
<v Speaker 2>still better than anything Alfi's bringing to the table thus far.

1:04:53.840 --> 1:04:56.480
<v Speaker 2>And I like this scenes with the various party goers.

1:04:56.520 --> 1:04:58.800
<v Speaker 2>It has kind of a kind of a rocky horror

1:04:58.840 --> 1:05:01.680
<v Speaker 2>feel to it in terms of like the visuals, you know,

1:05:01.720 --> 1:05:04.400
<v Speaker 2>with all these partygoers and strange costumes, kind of like

1:05:04.440 --> 1:05:08.200
<v Speaker 2>you see in the time warp section of Rocky Hart.

1:05:08.280 --> 1:05:09.800
<v Speaker 2>But of course it's a totally different.

1:05:09.480 --> 1:05:12.240
<v Speaker 3>Song absolutely, But yeah, I see what you're saying about

1:05:12.240 --> 1:05:15.160
<v Speaker 3>the visual comparison. It is similar and I love the

1:05:15.160 --> 1:05:18.320
<v Speaker 3>way it's got like at the party, like the hip

1:05:18.360 --> 1:05:21.160
<v Speaker 3>people in the squares are all singing and dancing alike.

1:05:21.240 --> 1:05:23.760
<v Speaker 3>So like the lawyers and the bodyguards are singing in

1:05:23.800 --> 1:05:27.000
<v Speaker 3>perfect harmony with all of the cool showbiz people.

1:05:27.600 --> 1:05:30.680
<v Speaker 2>Yeah, it looks so fun. This it had to have

1:05:30.720 --> 1:05:31.440
<v Speaker 2>been a fun shoot.

1:05:31.720 --> 1:05:33.680
<v Speaker 3>So the end of the song, Alfie comes up to

1:05:33.720 --> 1:05:37.760
<v Speaker 3>the roof garden and he catches Bebe kissing Dandy. Then

1:05:37.840 --> 1:05:40.720
<v Speaker 3>Alfie grabs her arm and they run out of the apartment.

1:05:41.120 --> 1:05:43.320
<v Speaker 3>And at this point I was wondering, like, wait a minute,

1:05:43.360 --> 1:05:46.280
<v Speaker 3>are they together or not? On it? I couldn't tell.

1:05:46.800 --> 1:05:49.720
<v Speaker 2>Yeah, now that you mention it, I'm not entirely sure it.

1:05:49.880 --> 1:05:52.080
<v Speaker 2>Certainly this picture is from a time period in which

1:05:52.280 --> 1:05:54.919
<v Speaker 2>it's impossible that to a man and a woman are

1:05:54.920 --> 1:05:59.200
<v Speaker 2>not romantically linked if they are seen together, But the

1:05:59.240 --> 1:06:01.240
<v Speaker 2>movie doesn't really put in a lot of legwork to

1:06:02.320 --> 1:06:05.640
<v Speaker 2>really extrapolate on this this relationship.

1:06:05.880 --> 1:06:10.440
<v Speaker 3>Yeah, so anyway, the next day we see Bogleow arriving

1:06:10.640 --> 1:06:14.920
<v Speaker 3>at his office building. He's he's dressed like a magician

1:06:14.960 --> 1:06:17.680
<v Speaker 3>whose act would be based on sawing women in half.

1:06:18.320 --> 1:06:21.680
<v Speaker 3>And also his bald bodyguards have changed costumes. They've gone

1:06:21.720 --> 1:06:24.360
<v Speaker 3>from like their white suits to these all black outfits.

1:06:25.240 --> 1:06:28.280
<v Speaker 3>And we move inside the building because BB and Alfie

1:06:28.360 --> 1:06:32.480
<v Speaker 3>show up to sign a contract with Boogleow. Alfie clearly

1:06:32.520 --> 1:06:35.000
<v Speaker 3>thinks this is a bad idea, but BB cannot be

1:06:35.120 --> 1:06:36.800
<v Speaker 3>talked out of it, so they're going to go have

1:06:36.880 --> 1:06:39.840
<v Speaker 3>their meeting with with Booglow and they've got to wait

1:06:39.960 --> 1:06:42.680
<v Speaker 3>here in the lobby of the building to meet with him.

1:06:42.920 --> 1:06:45.920
<v Speaker 2>Yeah, we get in great atrium scene. It might be

1:06:46.000 --> 1:06:49.520
<v Speaker 2>like an airport or something, but certainly I get vibes

1:06:49.560 --> 1:06:53.080
<v Speaker 2>of a of a massive hotel atrium. I love it

1:06:53.120 --> 1:06:55.560
<v Speaker 2>when there's an obvious atrium in a sci fi movie

1:06:55.840 --> 1:06:59.720
<v Speaker 2>or TV show that it's it's It's often very effective

1:07:00.120 --> 1:07:03.520
<v Speaker 2>not knocking it is a is a location because it

1:07:04.280 --> 1:07:09.160
<v Speaker 2>often works. It's just something about this huge interior space,

1:07:09.280 --> 1:07:11.800
<v Speaker 2>this cathedral of modern life.

1:07:12.200 --> 1:07:14.520
<v Speaker 3>Oh yeah, yeah, I agree. I think we're supposed to

1:07:14.600 --> 1:07:17.360
<v Speaker 3>understand the scene as being they're kind of like being

1:07:17.440 --> 1:07:21.040
<v Speaker 3>ground down and humiliated by being forced to wait to

1:07:21.080 --> 1:07:23.680
<v Speaker 3>see Boogalow after they've been invited, and so they're waiting

1:07:23.720 --> 1:07:27.000
<v Speaker 3>alongside all these other acts that are aspiring to sign

1:07:27.040 --> 1:07:30.200
<v Speaker 3>with him, and the other acts that we see there

1:07:30.240 --> 1:07:33.360
<v Speaker 3>in the waiting area include like a baroque vampire funk

1:07:33.440 --> 1:07:36.400
<v Speaker 3>band who brought their instruments, including a full drum kit,

1:07:37.200 --> 1:07:40.920
<v Speaker 3>a sci fi chorus dancer troupe wearing diamond bathing suits

1:07:41.000 --> 1:07:44.640
<v Speaker 3>that are they're called Ballet two thousand. We see like

1:07:44.680 --> 1:07:48.480
<v Speaker 3>these feather boa opera singers. There's a wizard in a

1:07:48.520 --> 1:07:50.480
<v Speaker 3>pointy hat and several clowns.

1:07:52.440 --> 1:07:53.840
<v Speaker 2>This is the riff raft for sure.

1:07:54.280 --> 1:07:57.480
<v Speaker 3>Is mister Bouglow signing clowns? Does he represent clowns?

1:07:59.080 --> 1:08:01.520
<v Speaker 2>You know? I guess it's possible that he might find

1:08:01.560 --> 1:08:04.640
<v Speaker 2>the right clown that he could transform into something that

1:08:04.680 --> 1:08:07.800
<v Speaker 2>would be successful. And I think maybe that's part of

1:08:07.840 --> 1:08:10.720
<v Speaker 2>his message to them. It's like, right now, you were nothing.

1:08:10.760 --> 1:08:14.120
<v Speaker 2>You were unformed. You were at best raw material that

1:08:14.200 --> 1:08:18.800
<v Speaker 2>the bim can transform through his alchemy into something successful.

1:08:19.120 --> 1:08:23.400
<v Speaker 2>Right now, you're no better than a birthday party wizard

1:08:23.760 --> 1:08:25.720
<v Speaker 2>or miscellaneous clowns. Yeah.

1:08:25.840 --> 1:08:29.080
<v Speaker 3>Yeah, So here we get a song sung by mister

1:08:29.120 --> 1:08:33.960
<v Speaker 3>Boogalow called show Business, where he sings about how he

1:08:34.040 --> 1:08:36.800
<v Speaker 3>plans to exploit all these people and lie to them

1:08:36.840 --> 1:08:41.000
<v Speaker 3>and trick them, and about how the world is cruel

1:08:41.280 --> 1:08:44.120
<v Speaker 3>and hollow. The chorus of the song goes, life is

1:08:44.160 --> 1:08:47.400
<v Speaker 3>nothing but show business in nineteen ninety four, we fight

1:08:47.479 --> 1:08:50.960
<v Speaker 3>for the spotlight, We kill for encore. Life is nothing

1:08:51.000 --> 1:08:53.920
<v Speaker 3>but show business. The world's a cabaret. We live for

1:08:54.000 --> 1:08:56.680
<v Speaker 3>the fortune, we die for the fame. This song is

1:08:56.680 --> 1:08:59.960
<v Speaker 3>also pretty great, especially for the dance number, which is

1:09:00.000 --> 1:09:01.400
<v Speaker 3>it's fantastic.

1:09:01.280 --> 1:09:05.120
<v Speaker 2>Great dance number. It's our first song to feature mister

1:09:05.160 --> 1:09:09.000
<v Speaker 2>Buglow as the as the main vocalist, and his his

1:09:09.080 --> 1:09:13.360
<v Speaker 2>singing style, it's more like a flat spoken word style,

1:09:13.400 --> 1:09:16.080
<v Speaker 2>but it's tremendous. He's like, you know, he's talking about

1:09:16.400 --> 1:09:19.040
<v Speaker 2>like a puppet on a string, like a monkey on

1:09:19.120 --> 1:09:22.559
<v Speaker 2>a swing. Like that's very much the delivery style, and

1:09:22.640 --> 1:09:26.559
<v Speaker 2>often while he's again looking directly at us, directly into

1:09:26.600 --> 1:09:27.519
<v Speaker 2>the camera. It's great.

1:09:27.840 --> 1:09:30.599
<v Speaker 3>So eventually Alfie and bb they go up to his office.

1:09:31.000 --> 1:09:32.600
<v Speaker 3>But wait a minute, wasn't he just down in the

1:09:32.600 --> 1:09:35.920
<v Speaker 3>lobby with them singing the song. This is one of

1:09:35.920 --> 1:09:38.479
<v Speaker 3>the many questions raised in musicals about like what is

1:09:38.520 --> 1:09:41.200
<v Speaker 3>the level of reality in the narrative when people are

1:09:41.200 --> 1:09:43.880
<v Speaker 3>in a place singing a song. Anyway, they go up

1:09:43.880 --> 1:09:46.519
<v Speaker 3>to his office, they you know, they come in the door.

1:09:46.680 --> 1:09:50.679
<v Speaker 3>They go past all the bodyguards and the lawyers. They

1:09:50.720 --> 1:09:55.439
<v Speaker 3>meet with mister Boglow's lawyers, who are introduced as James

1:09:55.439 --> 1:09:59.559
<v Speaker 3>Clark and Clark James. Okay, and this is the signing

1:09:59.720 --> 1:10:02.800
<v Speaker 3>the on tracked scene. I think you probably understand what's

1:10:02.840 --> 1:10:06.920
<v Speaker 3>going on here. So Boogleow is trying to sign them

1:10:06.920 --> 1:10:10.639
<v Speaker 3>on to his record company or maybe as their agent.

1:10:11.120 --> 1:10:14.160
<v Speaker 3>It's not exactly clear, but uh, there's no there are

1:10:14.160 --> 1:10:16.880
<v Speaker 3>no surprises here. The contract is a deal with the devil.

1:10:17.160 --> 1:10:20.040
<v Speaker 3>They would be signing away everything, their rights to their music,

1:10:20.120 --> 1:10:24.639
<v Speaker 3>their control over their careers, their souls basically. And once again,

1:10:24.680 --> 1:10:27.480
<v Speaker 3>Alfie is aware of the danger, but bb is portrayed

1:10:27.520 --> 1:10:30.600
<v Speaker 3>as two entranced by the promise of stardom. She just

1:10:30.640 --> 1:10:33.040
<v Speaker 3>wants to sign on the Dodger line and get it done.

1:10:33.439 --> 1:10:36.400
<v Speaker 2>I mean, Alfie also just comes off as maybe a

1:10:36.439 --> 1:10:41.960
<v Speaker 2>bit too protective of his talent here, because to be clear, again,

1:10:42.000 --> 1:10:45.200
<v Speaker 2>Boogleow is a man that can make stars and does

1:10:45.280 --> 1:10:48.679
<v Speaker 2>make stars, and yeah, he's going to take an enormous

1:10:48.720 --> 1:10:51.920
<v Speaker 2>cut and he's gonna kind of sort of own your soul.

1:10:52.080 --> 1:10:54.840
<v Speaker 2>But this is a man that can and will transform

1:10:54.920 --> 1:10:56.960
<v Speaker 2>you into what you need. To be, so you're not

1:10:57.000 --> 1:10:58.639
<v Speaker 2>selling your soul for pennies here.

1:10:58.880 --> 1:11:02.120
<v Speaker 3>But he does put the pressure on because Alfie wants

1:11:02.160 --> 1:11:04.800
<v Speaker 3>time to review the contract, and Google is like, you've

1:11:04.800 --> 1:11:07.679
<v Speaker 3>got another minute. You've got another meeting in twenty minutes

1:11:07.720 --> 1:11:10.360
<v Speaker 3>with the fashion designer, so you better sign it quick,

1:11:10.439 --> 1:11:13.280
<v Speaker 3>you know, and by tomorrow it's too late, so sign

1:11:13.360 --> 1:11:16.559
<v Speaker 3>it now or don't sign it, and then uh oh.

1:11:16.600 --> 1:11:18.639
<v Speaker 3>And then he's also like, we've already sold your first

1:11:18.680 --> 1:11:21.200
<v Speaker 3>album and Dube is confused. She's like, we haven't made

1:11:21.240 --> 1:11:24.120
<v Speaker 3>it yet, and then Shake explains, first you sell it,

1:11:24.520 --> 1:11:26.679
<v Speaker 3>then you make it. That's marketing.

1:11:27.120 --> 1:11:30.280
<v Speaker 2>Yep, Canon films, Baby.

1:11:30.400 --> 1:11:33.720
<v Speaker 3>So while bb is signing her contract, Alfie has some

1:11:33.800 --> 1:11:36.960
<v Speaker 3>kind of apocalyptic vision. The first one is of an

1:11:37.000 --> 1:11:40.200
<v Speaker 3>earthquake and great winds, but then it comes back to

1:11:40.240 --> 1:11:42.280
<v Speaker 3>the room and it's like it's all in his head.

1:11:42.680 --> 1:11:46.200
<v Speaker 2>Or is it? Yeah? So this this again gets into

1:11:46.200 --> 1:11:50.160
<v Speaker 2>the unreality versus reality question in the film, because I

1:11:50.200 --> 1:11:52.519
<v Speaker 2>think you can kind of go down two different streets

1:11:52.520 --> 1:11:57.680
<v Speaker 2>of interpretation. Either Booglow is the literal devil or the

1:11:57.760 --> 1:12:01.600
<v Speaker 2>moose jaw hit here is beginning to break hardcore from reality,

1:12:02.080 --> 1:12:05.360
<v Speaker 2>and so instead of seeing a world of mundane excess

1:12:05.400 --> 1:12:09.760
<v Speaker 2>and greed. He is seeing a clear supernatural threat to

1:12:09.960 --> 1:12:11.479
<v Speaker 2>life and spiritual liberty.

1:12:12.200 --> 1:12:12.880
<v Speaker 3>Yeah.

1:12:12.920 --> 1:12:15.839
<v Speaker 2>And if it's the former, yeah, you have full license

1:12:15.880 --> 1:12:18.200
<v Speaker 2>to be alarmed and to yell and shout and try

1:12:18.240 --> 1:12:21.160
<v Speaker 2>and drag your friend or girlfriend out of there. But

1:12:21.560 --> 1:12:24.880
<v Speaker 2>if if it's if it's the latter, then I don't know, Alfie.

1:12:25.000 --> 1:12:27.960
<v Speaker 2>I think maybe you're more of a danger than anything. Yeah.

1:12:28.400 --> 1:12:32.599
<v Speaker 3>Possibly, So, Alfie, he has this vision, then he comes

1:12:32.600 --> 1:12:35.120
<v Speaker 3>back from it, so he sort of is calm down,

1:12:35.120 --> 1:12:37.599
<v Speaker 3>and he reluctantly goes to sign his contract. But then

1:12:37.640 --> 1:12:41.439
<v Speaker 3>a second possible hallucination or vision begins, which is a

1:12:41.560 --> 1:12:45.720
<v Speaker 3>darkening at noon lightning strikes. No one again sees the

1:12:45.800 --> 1:12:49.080
<v Speaker 3>darkening but him and the next prophetic vision is a

1:12:49.200 --> 1:12:51.519
<v Speaker 3>musical number, And here is where we finally get to

1:12:51.640 --> 1:12:55.560
<v Speaker 3>the title track The Apple stupendous.

1:12:56.200 --> 1:13:00.000
<v Speaker 2>This is one of, if not the greatest dance numbers

1:13:00.080 --> 1:13:03.400
<v Speaker 2>and performances in the entire picture. This alone is worth

1:13:03.479 --> 1:13:05.800
<v Speaker 2>worth setting around for. If you have any intention of

1:13:05.880 --> 1:13:09.280
<v Speaker 2>walking out on a number in the Apple, this is

1:13:09.320 --> 1:13:10.760
<v Speaker 2>not it. This one is tremendous.

1:13:10.960 --> 1:13:14.320
<v Speaker 3>So this number is set in hell and like the

1:13:14.400 --> 1:13:17.639
<v Speaker 3>caverns of Hell, but it also has Garden of Eden themes,

1:13:18.080 --> 1:13:21.160
<v Speaker 3>so they're all in this misty cave. Alphie and BBI

1:13:21.240 --> 1:13:23.920
<v Speaker 3>are suddenly dressed up like Adam and Eve. They're naked

1:13:24.000 --> 1:13:28.360
<v Speaker 3>except for strategic leaf coverings. Mister Boogalow is dressed like

1:13:28.400 --> 1:13:30.720
<v Speaker 3>a Halloween store Dracula costume.

1:13:31.200 --> 1:13:34.760
<v Speaker 2>Yeah yeah, with one horn on to show that yeah,

1:13:34.760 --> 1:13:35.400
<v Speaker 2>he was the devil.

1:13:35.640 --> 1:13:38.960
<v Speaker 3>We got some google eyed skeletons in the background. The

1:13:39.000 --> 1:13:43.519
<v Speaker 3>two bald bodyguards here are shirtless in black leather pants

1:13:43.560 --> 1:13:46.880
<v Speaker 3>and studded belts, wearing these dingy dog head masks. They

1:13:47.200 --> 1:13:50.160
<v Speaker 3>remind me of that horribly creepy dog mask guy.

1:13:50.200 --> 1:13:54.240
<v Speaker 2>And the shining Yeah yeah, definite, definite vibes of all that.

1:13:54.640 --> 1:13:57.400
<v Speaker 2>Also great gels for the lighting here. We got like

1:13:57.520 --> 1:13:59.800
<v Speaker 2>red and green. It's wonderful.

1:14:00.840 --> 1:14:05.320
<v Speaker 3>Shake is dressed like a giant serpent. Of course, Alfie

1:14:05.400 --> 1:14:08.320
<v Speaker 3>looks around. He turns to BB's like, hey, you know,

1:14:08.840 --> 1:14:11.479
<v Speaker 3>this is hell. That's bad. We should go, and BB

1:14:11.720 --> 1:14:13.160
<v Speaker 3>is like, no, I love it.

1:14:13.600 --> 1:14:16.920
<v Speaker 2>And she should love it because it looks awesome. Once more,

1:14:17.320 --> 1:14:19.720
<v Speaker 2>the film is that it's most fun and enthralling when

1:14:19.720 --> 1:14:22.320
<v Speaker 2>it's showing us the dark side, And yeah, this is

1:14:22.360 --> 1:14:25.080
<v Speaker 2>nothing new. I mean, I feel like this is basically

1:14:25.080 --> 1:14:29.400
<v Speaker 2>the situation you have with Dante's Divine Comedy. Inferno is

1:14:30.320 --> 1:14:34.160
<v Speaker 2>fun and wicked and funny and insightful and full of creativity.

1:14:34.520 --> 1:14:36.360
<v Speaker 2>But and you know that the rest of the Divine

1:14:36.360 --> 1:14:40.000
<v Speaker 2>Comedy is also great in the classic. Yes, but Paradise

1:14:40.240 --> 1:14:44.800
<v Speaker 2>is significantly less fun compared to Inferno.

1:14:44.680 --> 1:14:46.800
<v Speaker 3>Certainly less memorable to readers.

1:14:47.439 --> 1:14:49.760
<v Speaker 2>Yeah, and this is a version of Hell you can

1:14:49.760 --> 1:14:52.080
<v Speaker 2>get behind. You expect Coffin Joe to show up at

1:14:52.080 --> 1:14:54.640
<v Speaker 2>any moment. Coffin Joe would love this place.

1:14:54.640 --> 1:14:57.759
<v Speaker 3>Oh would he ever? I mean, he's very much along

1:14:57.840 --> 1:15:03.599
<v Speaker 3>the Count Boogula lines. So Count Boogila transforms Beebe's leaf

1:15:03.680 --> 1:15:06.559
<v Speaker 3>suit into a sparkling fancy dress and shows her around,

1:15:06.960 --> 1:15:11.120
<v Speaker 3>and he introduces her to Dandy, who, now in Hell

1:15:11.200 --> 1:15:14.599
<v Speaker 3>here is wearing sparkling gold briefs and nothing else. So

1:15:14.640 --> 1:15:17.439
<v Speaker 3>in this mode to call back to Rocky Horror once again,

1:15:17.479 --> 1:15:20.559
<v Speaker 3>he's very reminiscent of the appearance of Rocky, except again

1:15:20.600 --> 1:15:23.760
<v Speaker 3>he has the big mass of Roger Daltrey hair.

1:15:24.400 --> 1:15:27.559
<v Speaker 2>Yeah. Yeah, he's maybe not as cut as Rocky, but

1:15:27.760 --> 1:15:29.840
<v Speaker 2>he has all the charisma and charming, like, this is

1:15:29.840 --> 1:15:33.559
<v Speaker 2>a man at ease in a golden pair of underwear.

1:15:34.000 --> 1:15:36.880
<v Speaker 3>So they bring out the Ordu. They're making all these

1:15:36.920 --> 1:15:40.479
<v Speaker 3>references to the Orduv, and it's this big plastic apple

1:15:40.960 --> 1:15:44.080
<v Speaker 3>and they hand it to Bibe and everybody starts screaming

1:15:44.120 --> 1:15:46.080
<v Speaker 3>for her to taste it. They're all yelling, taste it,

1:15:46.200 --> 1:15:49.479
<v Speaker 3>taste it. And meanwhile, while while Dandy is seducing Bebee

1:15:49.479 --> 1:15:52.120
<v Speaker 3>and trying to get her to taste the apple, Pandy

1:15:52.280 --> 1:15:57.320
<v Speaker 3>starts seducing Alfie. And we see a very interesting cast

1:15:57.360 --> 1:16:00.640
<v Speaker 3>of characters all throughout Hell here, all encourage Bebe to

1:16:00.640 --> 1:16:04.360
<v Speaker 3>taste the apple. So some are like ladies in seventeenth

1:16:04.400 --> 1:16:08.760
<v Speaker 3>century European clothes and bride of Frankenstein makeup like Elsa Lanchester.

1:16:09.920 --> 1:16:12.640
<v Speaker 3>Several guys with no faces, just blank skin on the

1:16:12.640 --> 1:16:16.200
<v Speaker 3>front of their heads, one guy with two faces. Randomly,

1:16:16.240 --> 1:16:19.320
<v Speaker 3>we see Napoleon. I'm almost positive that's supposed to be Napoleon,

1:16:19.360 --> 1:16:21.200
<v Speaker 3>Like he's got his hand in his shirt and everything.

1:16:21.360 --> 1:16:21.599
<v Speaker 2>Sure.

1:16:22.240 --> 1:16:28.320
<v Speaker 3>Yeah, And then we also see just like vampires running around.

1:16:28.520 --> 1:16:31.599
<v Speaker 2>Oh not just a vampire, Joe, it's an actual, actual,

1:16:31.760 --> 1:16:33.080
<v Speaker 2>actual vampire.

1:16:33.920 --> 1:16:36.879
<v Speaker 3>That is the chorus of the song it's a natural, natural,

1:16:37.040 --> 1:16:42.560
<v Speaker 3>natural desire meet an actual, actual, actual vampire who.

1:16:43.160 --> 1:16:44.760
<v Speaker 2>I don't know, but I love it. They and the

1:16:45.040 --> 1:16:48.519
<v Speaker 2>way the vampire lady like jumps up like a cat

1:16:48.760 --> 1:16:52.560
<v Speaker 2>at that moment, turns it cocks her head sideways tremendous.

1:16:52.800 --> 1:16:55.920
<v Speaker 2>I'm gonna say tremendous about three dozen more times in

1:16:55.960 --> 1:16:59.519
<v Speaker 2>this episode, but it's one accurate Dandy.

1:16:59.680 --> 1:17:02.559
<v Speaker 3>I gotta give credit to Dandy on him selling this

1:17:02.760 --> 1:17:05.360
<v Speaker 3>ridiculous song, by the way, like the parts where he's

1:17:05.960 --> 1:17:09.000
<v Speaker 3>singing at the crowd of damned souls in the Pit

1:17:09.040 --> 1:17:15.559
<v Speaker 3>of Hell and he's like, oh, yeah, oh, it's so good.

1:17:16.280 --> 1:17:18.559
<v Speaker 2>It's kind of theologically, it's kind of interesting, right because

1:17:18.560 --> 1:17:21.160
<v Speaker 2>he's like, look at this apple. This is temptation and sin.

1:17:21.280 --> 1:17:23.360
<v Speaker 2>This is what got you here. And they're like, yeah,

1:17:23.360 --> 1:17:26.280
<v Speaker 2>I did, but man, that's a good apple. Yep yep.

1:17:26.720 --> 1:17:30.360
<v Speaker 3>So I think the apple represents fame, or maybe it's

1:17:30.360 --> 1:17:34.639
<v Speaker 3>just supposed to represent all temptations, but the core one

1:17:34.640 --> 1:17:36.800
<v Speaker 3>would seem to be fame. Like Bbe wants to be

1:17:36.840 --> 1:17:39.639
<v Speaker 3>a star and she is willing to put her soul

1:17:39.720 --> 1:17:43.120
<v Speaker 3>in danger and abandon I don't know, the good life

1:17:43.240 --> 1:17:45.400
<v Speaker 3>in order to have stardom.

1:17:45.760 --> 1:17:47.920
<v Speaker 2>I'm just now noticing in the stills you included that

1:17:47.960 --> 1:17:50.640
<v Speaker 2>the apple is half green and half red, much like

1:17:50.680 --> 1:17:53.040
<v Speaker 2>the gel lighting and the scene. So it's like half

1:17:53.040 --> 1:17:56.799
<v Speaker 2>Foucie apple, half Granny Smith apple. So half great apple

1:17:56.840 --> 1:17:58.280
<v Speaker 2>and half just for cooking out.

1:17:59.240 --> 1:18:01.080
<v Speaker 3>I hadn't noticed that until you pointed it out, but

1:18:01.120 --> 1:18:05.679
<v Speaker 3>you're right. Yeah. Anyway, at the end of this excellent song,

1:18:06.040 --> 1:18:09.160
<v Speaker 3>Alfie throws the contract on Boogalow's desk and he leaves

1:18:09.200 --> 1:18:11.639
<v Speaker 3>without signing, yells you'll never get me never.

1:18:13.720 --> 1:18:17.080
<v Speaker 2>So this but this hell vision was just in Alfie's head, right,

1:18:17.120 --> 1:18:20.960
<v Speaker 2>So in reality he's coming off like a completely unhinged person.

1:18:21.280 --> 1:18:24.040
<v Speaker 3>Yes, yeah, he goes up to sign the contract, everybody's

1:18:24.040 --> 1:18:27.840
<v Speaker 3>standing around waiting, and then presumably he just suddenly like

1:18:28.320 --> 1:18:30.880
<v Speaker 3>I don't know, he like closes his eyes for a

1:18:30.920 --> 1:18:33.320
<v Speaker 3>minute and then opens them and he's like, ah, you're

1:18:33.360 --> 1:18:39.000
<v Speaker 3>all demons. So Alfie leaves. Biebe tries to run after him,

1:18:39.000 --> 1:18:41.519
<v Speaker 3>but Dandy and Pandy stop her. They're like, you don't

1:18:41.520 --> 1:18:44.719
<v Speaker 3>know him anything, let him go. You're with us now.

1:18:45.000 --> 1:18:47.320
<v Speaker 3>Pandy grabs her and says, whether you like it or not,

1:18:47.479 --> 1:18:51.760
<v Speaker 3>you're a member of the Bim family, and this is

1:18:51.800 --> 1:18:54.559
<v Speaker 3>sort of a transition point from here, I'm gonna kinda

1:18:56.160 --> 1:18:58.640
<v Speaker 3>get a little more summary about the plot shift to

1:18:58.680 --> 1:19:01.080
<v Speaker 3>a more zoomed out summary. I think we could focus

1:19:01.080 --> 1:19:04.000
<v Speaker 3>on individual things that stood out to us, but we

1:19:04.080 --> 1:19:07.719
<v Speaker 3>see across a couple of songs, we see Bbe falling

1:19:07.760 --> 1:19:12.559
<v Speaker 3>prey to the lifestyle. Her earnest and innocent personality is

1:19:12.640 --> 1:19:17.400
<v Speaker 3>replaced by an addiction to shallow materialism, drugs, and fame.

1:19:18.240 --> 1:19:21.160
<v Speaker 3>And so the several songs in the sequence are first

1:19:21.160 --> 1:19:24.639
<v Speaker 3>of all, a song called how to Be a Master,

1:19:25.280 --> 1:19:28.280
<v Speaker 3>which I thought is it's the worst of the like

1:19:28.400 --> 1:19:31.679
<v Speaker 3>bad people songs in the movie. I think it's really awkward,

1:19:32.800 --> 1:19:35.400
<v Speaker 3>mister Bougelow singing about how he is the boss and

1:19:35.439 --> 1:19:37.680
<v Speaker 3>how he exploits everyone under him.

1:19:38.240 --> 1:19:40.599
<v Speaker 2>I'm not sure where I would rank it in terms

1:19:40.600 --> 1:19:43.080
<v Speaker 2>of the villain songs. It's definitely better than any of

1:19:43.120 --> 1:19:45.800
<v Speaker 2>the good Guys songs in my opinion. I liked it.

1:19:45.800 --> 1:19:48.759
<v Speaker 2>It had kind of a reggae beat, and again mister

1:19:48.760 --> 1:19:53.080
<v Speaker 2>Boglow is the main vocalist on it, as which I love.

1:19:53.200 --> 1:19:54.599
<v Speaker 2>So I liked it.

1:19:55.360 --> 1:19:58.479
<v Speaker 3>But then the next song I think is Rippen. It

1:19:58.560 --> 1:20:01.840
<v Speaker 3>is a hit. That song is Speed, and it is

1:20:01.880 --> 1:20:04.200
<v Speaker 3>a song in which Bbe sings about how she.

1:20:04.320 --> 1:20:07.920
<v Speaker 2>Needs speed, not just speed, but speed.

1:20:10.040 --> 1:20:13.920
<v Speaker 3>Yeah, yeah, exactly. And this song is dumb as hell,

1:20:14.160 --> 1:20:16.519
<v Speaker 3>but it is so good it actually, I would say

1:20:16.520 --> 1:20:19.360
<v Speaker 3>it feels a lot like a Jim Steinman song. Can't

1:20:19.360 --> 1:20:21.439
<v Speaker 3>you just hear the song in meat Loaf's voice?

1:20:22.040 --> 1:20:24.320
<v Speaker 2>Yep? Yeah, I think this would very much fit his

1:20:24.840 --> 1:20:25.479
<v Speaker 2>general vibe.

1:20:25.560 --> 1:20:29.799
<v Speaker 3>Yeah, the dance number is biker themed. The opening lines

1:20:29.840 --> 1:20:34.000
<v Speaker 3>of the song they are America, the land of the

1:20:34.040 --> 1:20:37.040
<v Speaker 3>Free is shooting up with pure energy.

1:20:38.439 --> 1:20:41.599
<v Speaker 2>Yeah, this song is incredible. I suppose on some level

1:20:41.600 --> 1:20:43.320
<v Speaker 2>it is trying to say something about the pace of

1:20:43.360 --> 1:20:46.880
<v Speaker 2>American life and the expectations of success and work great

1:20:47.000 --> 1:20:50.320
<v Speaker 2>and so forth. But it's also a completely unsubtle track

1:20:50.360 --> 1:20:54.160
<v Speaker 2>about just how freaking awesome amphetamines apparently are, at least

1:20:54.200 --> 1:20:59.799
<v Speaker 2>according to Bbe. She just really gives it all to perform.

1:20:59.800 --> 1:21:02.519
<v Speaker 2>This number. Just high energy, as it should be for

1:21:02.560 --> 1:21:04.519
<v Speaker 2>a song called Speed.

1:21:05.000 --> 1:21:08.080
<v Speaker 3>It. I mean, it's almost not double on Tandra. It's

1:21:08.160 --> 1:21:10.960
<v Speaker 3>just it seems like the more literal reading is that

1:21:11.040 --> 1:21:14.000
<v Speaker 3>it is about drugs, and that the it's like the

1:21:14.120 --> 1:21:16.840
<v Speaker 3>secondary meaning is interpreting it having to do with the

1:21:16.920 --> 1:21:17.759
<v Speaker 3>rate of things.

1:21:18.040 --> 1:21:22.200
<v Speaker 2>Yeah, yeah, it's ridiculous, but also another success for Bbe

1:21:22.200 --> 1:21:25.040
<v Speaker 2>because now her star is just continuing to skyrocket.

1:21:25.160 --> 1:21:27.679
<v Speaker 3>Yeah yeah. So we see her like talking to the press.

1:21:27.680 --> 1:21:29.400
<v Speaker 3>A reporter comes up to her and says, how does

1:21:29.400 --> 1:21:31.519
<v Speaker 3>it feel to be the world's number one BIM star?

1:21:32.040 --> 1:21:34.640
<v Speaker 3>And BB says, it's frightening, but I put all my

1:21:34.760 --> 1:21:38.840
<v Speaker 3>faith in mister Bugalow. And then they're talking to mister

1:21:38.880 --> 1:21:41.200
<v Speaker 3>Bugalow and they're like, oh, does Bbe have any plans

1:21:41.240 --> 1:21:45.080
<v Speaker 3>for marriage? And mister b says, she is already married

1:21:45.479 --> 1:21:49.600
<v Speaker 3>to the bim Oh and if we didn't mention this,

1:21:49.680 --> 1:21:52.040
<v Speaker 3>already Bbe is wearing the BIM mark. Now she's got

1:21:52.040 --> 1:21:56.080
<v Speaker 3>the triangle on her forehead. Yeah, whoops, took the mark

1:21:56.120 --> 1:22:09.320
<v Speaker 3>of the beast. Okay. So meanwhile Alfie is on the out,

1:22:09.400 --> 1:22:12.280
<v Speaker 3>so we see him suffering without Bebe. He wants their back,

1:22:12.360 --> 1:22:15.720
<v Speaker 3>he's feeling with a directionless she's sort of moved on.

1:22:16.160 --> 1:22:16.320
<v Speaker 2>Uh.

1:22:16.520 --> 1:22:19.200
<v Speaker 3>There's a scene out in the street with Alfie's landlady

1:22:19.200 --> 1:22:22.479
<v Speaker 3>where police are writing citations for anybody not wearing the

1:22:22.520 --> 1:22:27.280
<v Speaker 3>BIM mark. It is now required by law, but Alfie refuses.

1:22:27.320 --> 1:22:29.920
<v Speaker 3>He's like, I will not wear the Bim mark. And

1:22:30.439 --> 1:22:32.800
<v Speaker 3>also this is the scene where it is made clear

1:22:32.840 --> 1:22:35.240
<v Speaker 3>that he would be rich and successful if he would

1:22:35.320 --> 1:22:38.040
<v Speaker 3>just cave in and write if you just give in

1:22:38.080 --> 1:22:41.439
<v Speaker 3>and write bad, heartless music, that the audience is crave

1:22:41.640 --> 1:22:44.519
<v Speaker 3>the Bim music. But he refuses, He's going to keep

1:22:44.520 --> 1:22:47.120
<v Speaker 3>writing good, pure music about love.

1:22:47.680 --> 1:22:50.600
<v Speaker 2>Yeah, with the imploy again the implication being that he

1:22:50.720 --> 1:22:53.000
<v Speaker 2>could write successful music if he wanted to have he

1:22:53.080 --> 1:22:55.360
<v Speaker 2>just sold out a little bit. But really, the picture

1:22:55.400 --> 1:22:58.240
<v Speaker 2>gives us nothing to go on here because his heartfelt,

1:22:58.320 --> 1:23:03.519
<v Speaker 2>authentic songs are too terrible, even though the movie would

1:23:03.520 --> 1:23:05.880
<v Speaker 2>have us believe that they really resonate with people and

1:23:05.960 --> 1:23:08.439
<v Speaker 2>are great and and and are just a vision of

1:23:08.479 --> 1:23:11.839
<v Speaker 2>purity and innocence. But no, what we we we witness

1:23:11.880 --> 1:23:13.800
<v Speaker 2>and hear in the in the in the movie does

1:23:13.840 --> 1:23:15.320
<v Speaker 2>not deliver those vibes.

1:23:15.439 --> 1:23:18.240
<v Speaker 3>Once again, that is correct. So his next new his

1:23:18.280 --> 1:23:20.799
<v Speaker 3>new song which we hear, is called where Has Love Gone?

1:23:20.840 --> 1:23:23.839
<v Speaker 3>It's a sad love song as opposed to the hopeful

1:23:23.840 --> 1:23:26.720
<v Speaker 3>love song from the beginning, and it's about as good

1:23:26.760 --> 1:23:29.519
<v Speaker 3>as love the universal melody which is not very good.

1:23:30.360 --> 1:23:33.360
<v Speaker 2>Yeah, and it's I guess it's it's ultimately a flaw

1:23:33.360 --> 1:23:35.920
<v Speaker 2>in the film because clearly the composers were able to

1:23:35.960 --> 1:23:38.840
<v Speaker 2>bring it with the other numbers, the other genres, but

1:23:38.920 --> 1:23:42.600
<v Speaker 2>the love songs, the songs that define our heroes or

1:23:42.760 --> 1:23:45.639
<v Speaker 2>our hero here, it clearly wasn't their strong suit, and

1:23:45.680 --> 1:23:49.040
<v Speaker 2>so it deflates the power of our intended protagonists. You know.

1:23:49.120 --> 1:23:51.800
<v Speaker 2>It's it's like if you were setting up Hercules in

1:23:51.840 --> 1:23:55.200
<v Speaker 2>your action movie, but instead of Hercules like actually appearing

1:23:55.240 --> 1:23:58.560
<v Speaker 2>strong and being able to beat people up, he instead

1:23:59.120 --> 1:24:01.439
<v Speaker 2>comes off weak. People are like, oh, look how strong

1:24:01.479 --> 1:24:04.800
<v Speaker 2>he is, but he's clearly not. It also reminds me

1:24:04.840 --> 1:24:07.759
<v Speaker 2>of I've seen some dramas before that are about fictional

1:24:07.800 --> 1:24:11.880
<v Speaker 2>stand up comedians, and the material they have the main

1:24:12.000 --> 1:24:16.800
<v Speaker 2>character deliver is not convincingly funny. The show tries to

1:24:16.800 --> 1:24:18.960
<v Speaker 2>make you feel like like, oh, people are laughing, this

1:24:19.040 --> 1:24:20.840
<v Speaker 2>is a talented comedian, but it's like no, no, no,

1:24:21.040 --> 1:24:23.879
<v Speaker 2>I can tell I'm watching the show. It's not funny,

1:24:24.120 --> 1:24:27.080
<v Speaker 2>and therefore it deflates the power of the character because

1:24:27.120 --> 1:24:30.760
<v Speaker 2>they are not. It's hard to buy into the illusion

1:24:31.160 --> 1:24:33.400
<v Speaker 2>if you can't give me something to go on there.

1:24:33.640 --> 1:24:36.000
<v Speaker 3>Yeah, yeah, totally like, they should just leave that off

1:24:36.040 --> 1:24:38.599
<v Speaker 3>screen if they can't be confident that they can write

1:24:38.600 --> 1:24:39.840
<v Speaker 3>really good material for them.

1:24:40.080 --> 1:24:42.040
<v Speaker 2>Wouldn't that have been hilarious though in this movie? And

1:24:42.080 --> 1:24:45.240
<v Speaker 2>they're like, and then Alfie delivers an amazing song. We're

1:24:45.240 --> 1:24:47.120
<v Speaker 2>not going to show it to you, but it's better

1:24:47.160 --> 1:24:49.120
<v Speaker 2>than anything you've heard in this picture.

1:24:49.280 --> 1:24:53.679
<v Speaker 3>That would be an interesting choice, actually. But while Alfie

1:24:53.720 --> 1:24:55.880
<v Speaker 3>is singing this clunker, I wanted to point out a

1:24:55.920 --> 1:24:58.840
<v Speaker 3>good bit of environmental future texture I noticed, which is

1:24:59.120 --> 1:25:01.040
<v Speaker 3>there's people in the back. They're out for a walk.

1:25:01.080 --> 1:25:04.439
<v Speaker 3>They're dressed in their finest reflective tape, and they're pushing

1:25:04.479 --> 1:25:08.400
<v Speaker 3>what I think are supposed to be you strollers, prams,

1:25:08.439 --> 1:25:11.719
<v Speaker 3>baby carriages, whatever you call them. And in this world,

1:25:11.920 --> 1:25:15.960
<v Speaker 3>these strollers are designed so that babies are encased within

1:25:16.000 --> 1:25:19.160
<v Speaker 3>a plastic bubble. Do you see this?

1:25:20.400 --> 1:25:23.360
<v Speaker 2>Yep, yep. It's the only way to keep them safe.

1:25:23.400 --> 1:25:25.240
<v Speaker 2>I guess it's from all the you know, the dangers

1:25:25.240 --> 1:25:25.759
<v Speaker 2>of the future.

1:25:26.040 --> 1:25:29.040
<v Speaker 3>Oh, and everywhere there are faceless police in all black

1:25:29.160 --> 1:25:32.439
<v Speaker 3>carrying triangular riot shields in the shape of the BIM mark.

1:25:32.920 --> 1:25:36.360
<v Speaker 2>Yeah, there's BIM propaganda everywhere, And of course lots of

1:25:36.360 --> 1:25:39.280
<v Speaker 2>places to get the bim burger. I wish I knew

1:25:39.320 --> 1:25:42.559
<v Speaker 2>more about bimburger offerings. What's that bimburger like? Does it

1:25:42.600 --> 1:25:46.960
<v Speaker 2>have a nice triangular slice of cheese, triangular pickle? I

1:25:47.000 --> 1:25:50.880
<v Speaker 2>don't know. Maybe the paddy, maybe the whole thing is triangular.

1:25:51.800 --> 1:25:54.559
<v Speaker 3>Yeah, you never see one, but that's a good guess.

1:25:54.640 --> 1:25:57.040
<v Speaker 3>So Alfi goes to the music studio. He plays this

1:25:57.160 --> 1:26:01.360
<v Speaker 3>sad love song for these greedy music executives, not Boogalo

1:26:01.520 --> 1:26:04.800
<v Speaker 3>some other I guess rivals. And these guys are like, hmm,

1:26:04.920 --> 1:26:07.240
<v Speaker 3>it's not what the kids are into. Write something that

1:26:07.320 --> 1:26:10.120
<v Speaker 3>will be a hit, and something with some bim to it,

1:26:10.200 --> 1:26:12.000
<v Speaker 3>and then come back when you've got that for us.

1:26:12.800 --> 1:26:15.280
<v Speaker 3>And Alfie is very upset. He goes to sit on

1:26:15.320 --> 1:26:17.160
<v Speaker 3>a sit in a park and stare at the ground,

1:26:17.240 --> 1:26:19.240
<v Speaker 3>looking sad, and then a cop comes up to him

1:26:19.280 --> 1:26:21.639
<v Speaker 3>and writes him a ticket for not wearing the bim mark.

1:26:21.720 --> 1:26:23.240
<v Speaker 3>So it's just not Alfie's day.

1:26:23.880 --> 1:26:26.240
<v Speaker 2>Is this where the cop says, don't you know it's obligatory?

1:26:26.720 --> 1:26:32.360
<v Speaker 3>Yeah? Oh, And then we get the announcement, like these

1:26:32.760 --> 1:26:37.000
<v Speaker 3>loudspeakers on every street corner start broadcasting a message saying

1:26:37.080 --> 1:26:40.719
<v Speaker 3>stop ordinary activities and prepare for the National Bim Hour.

1:26:41.400 --> 1:26:44.479
<v Speaker 3>So it's like the Two Minutes Hate in nineteen eighty four,

1:26:44.600 --> 1:26:47.840
<v Speaker 3>except instead of yelling at Goldstein, everybody has to dance

1:26:47.920 --> 1:26:50.679
<v Speaker 3>and celebrate the power of BIM. So we get a

1:26:50.840 --> 1:26:54.240
<v Speaker 3>reprise of the original BIM song, Hey Hey, Hey, Bim's

1:26:54.280 --> 1:26:56.639
<v Speaker 3>on the way or Bim's the Only Way, and we

1:26:56.680 --> 1:26:59.559
<v Speaker 3>get to see firefighters who stop putting out a fire

1:26:59.640 --> 1:27:03.120
<v Speaker 3>and go and dance to it, construction workers dancing to it,

1:27:03.240 --> 1:27:06.200
<v Speaker 3>Surgeons in the middle of a surgery abandon the operation

1:27:06.400 --> 1:27:11.360
<v Speaker 3>and start dancing. Nuns are dancing, police are dancing and leading.

1:27:11.439 --> 1:27:14.280
<v Speaker 3>The whole thing is Bebe and Dandy and Pandy.

1:27:15.120 --> 1:27:18.040
<v Speaker 2>It's great. It's tremendously silly, but it's wonderful.

1:27:18.240 --> 1:27:21.400
<v Speaker 3>Yeah, it goes on so so long, by the way,

1:27:21.439 --> 1:27:25.759
<v Speaker 3>but the sequence is awesome. So there is a scene

1:27:25.800 --> 1:27:27.799
<v Speaker 3>somewhere in here where we get to see like Bbie's

1:27:27.880 --> 1:27:30.439
<v Speaker 3>enjoying her popularity. She's the biggest star in the world.

1:27:30.520 --> 1:27:32.880
<v Speaker 3>The crowds are shouting her name, and then at one

1:27:32.880 --> 1:27:35.599
<v Speaker 3>point Alfie comes to her through the crowd and tries

1:27:35.640 --> 1:27:37.960
<v Speaker 3>to get her attention, and she sort of tries to

1:27:37.960 --> 1:27:41.040
<v Speaker 3>call back to him, but the bim entourage keeps them apart.

1:27:41.040 --> 1:27:43.160
<v Speaker 3>They put her in a car, and then the two

1:27:43.840 --> 1:27:46.200
<v Speaker 3>orc gentlemen beat Alfie.

1:27:45.960 --> 1:27:49.120
<v Speaker 2>Up Bulldog and fat Boy No way, Bulldog and fat Dogs.

1:27:49.280 --> 1:27:53.160
<v Speaker 3>Yes yes, And then we get another sad song from

1:27:53.160 --> 1:27:55.400
<v Speaker 3>Bib and Alfie called Cry for Me. This is the

1:27:55.400 --> 1:28:00.120
<v Speaker 3>one that sounds like Sandy from Greece. It starts Alphy,

1:28:00.840 --> 1:28:04.800
<v Speaker 3>where are you now? Uh? And this is not one

1:28:04.840 --> 1:28:07.920
<v Speaker 3>of the better songs in the movie. It's standard basic

1:28:08.160 --> 1:28:10.360
<v Speaker 3>pining for each other song, just.

1:28:10.400 --> 1:28:13.519
<v Speaker 2>More evidence that Boogolow is right and that that Alfie

1:28:13.800 --> 1:28:16.040
<v Speaker 2>may have some talent, but it desperately needs to be

1:28:16.080 --> 1:28:17.759
<v Speaker 2>transformed into something else.

1:28:18.840 --> 1:28:21.800
<v Speaker 3>So next song, at his lowest point, Alfie goes to

1:28:21.880 --> 1:28:24.439
<v Speaker 3>a party at some kind of BIM pad I don't

1:28:24.479 --> 1:28:27.479
<v Speaker 3>know if this is Bougolo's apartment or whatever. H And

1:28:27.600 --> 1:28:31.360
<v Speaker 3>at this party, Alfie is drugged and taken advantage of

1:28:31.520 --> 1:28:35.400
<v Speaker 3>by Pandy, and this leads into a song called Coming,

1:28:35.680 --> 1:28:39.479
<v Speaker 3>where Pandy is taking advantage of Alfie while he he's

1:28:39.520 --> 1:28:42.960
<v Speaker 3>on this like bad trip and he's like seeing hallucinations

1:28:43.040 --> 1:28:45.800
<v Speaker 3>and bad dreams and all this stuff. And then it

1:28:45.920 --> 1:28:49.559
<v Speaker 3>just generally turns into a song about the concept of sex.

1:28:50.080 --> 1:28:53.360
<v Speaker 2>Yeah, it has it's about as subtle as as Speed

1:28:53.560 --> 1:28:57.759
<v Speaker 2>was earlier, real dumb lyrics, but it's kind of catchy,

1:28:57.800 --> 1:28:59.759
<v Speaker 2>I guess, and it had. I did like the drugged

1:28:59.760 --> 1:29:02.880
<v Speaker 2>out optical effects and sort of the dark disco stylings

1:29:02.920 --> 1:29:04.559
<v Speaker 2>of this whole part of the picture.

1:29:04.880 --> 1:29:07.280
<v Speaker 3>Yeah, like many of these other dance numbers, it does

1:29:07.320 --> 1:29:10.360
<v Speaker 3>have some great visuals and and and like weird drug

1:29:10.400 --> 1:29:14.240
<v Speaker 3>trip effects. But afterwards, Alfie wakes up on a park

1:29:14.280 --> 1:29:16.639
<v Speaker 3>bench where here here the movie takes a real turn.

1:29:17.400 --> 1:29:19.679
<v Speaker 3>He's on a park bench and he is greeted by

1:29:20.400 --> 1:29:24.000
<v Speaker 3>Joss Ackland in a gandalf Beard wearing a robe with

1:29:24.040 --> 1:29:25.240
<v Speaker 3>a knife on his belt.

1:29:26.040 --> 1:29:30.559
<v Speaker 2>Yep, yeap, bear chested bear belly. It's you know, it's

1:29:30.640 --> 1:29:34.960
<v Speaker 2>it's not necessarily what you'd expect, but again, he brings

1:29:34.960 --> 1:29:38.880
<v Speaker 2>a grandeur, he brings a dignity to any performance. Very

1:29:38.960 --> 1:29:40.000
<v Speaker 2>much in effect here.

1:29:40.080 --> 1:29:43.280
<v Speaker 3>Right, So he's like, Alfie, come with me, and he

1:29:44.560 --> 1:29:47.680
<v Speaker 3>leads him through the woods and introduces him to a

1:29:47.760 --> 1:29:52.599
<v Speaker 3>commune of hippies. These are hippies who live in a

1:29:52.640 --> 1:29:57.040
<v Speaker 3>cave under a nearby bridge, and they are not plugged

1:29:57.120 --> 1:30:00.839
<v Speaker 3>into the bim. It is specified that they don't want TV,

1:30:01.479 --> 1:30:04.559
<v Speaker 3>and this is like, huh, what there can be a

1:30:04.600 --> 1:30:08.679
<v Speaker 3>society that doesn't watch TV. And some of the hippies

1:30:08.880 --> 1:30:11.800
<v Speaker 3>look at Alfie and they say peace, and Alfie says,

1:30:11.840 --> 1:30:15.479
<v Speaker 3>haven't heard that word in a long time, A long time.

1:30:16.400 --> 1:30:19.080
<v Speaker 2>I love how the old man here introduces the hippies

1:30:19.600 --> 1:30:22.680
<v Speaker 2>as if this bunch stands in strong opposition to the

1:30:22.720 --> 1:30:26.600
<v Speaker 2>forces of drugs and sexual liberation and rock music that

1:30:26.640 --> 1:30:29.160
<v Speaker 2>we've been witnessing thus far. That has been established as

1:30:29.160 --> 1:30:32.280
<v Speaker 2>like the enemy, you know, yeah, because these cave dwelling

1:30:32.320 --> 1:30:34.600
<v Speaker 2>hippies did all of those things, they invented some of

1:30:34.600 --> 1:30:35.200
<v Speaker 2>those things.

1:30:35.479 --> 1:30:38.559
<v Speaker 3>But I think, are they are not part of the

1:30:39.200 --> 1:30:43.200
<v Speaker 3>global technological mass media infrastructure?

1:30:43.800 --> 1:30:44.120
<v Speaker 2>True?

1:30:44.200 --> 1:30:46.960
<v Speaker 3>True, and that that seems to be a part of

1:30:47.000 --> 1:30:48.519
<v Speaker 3>what the evil is in the movie.

1:30:49.200 --> 1:30:49.679
<v Speaker 2>That's right.

1:30:50.240 --> 1:30:52.519
<v Speaker 3>So meanwhile, we check in with Bibi and the Bim

1:30:52.600 --> 1:30:56.439
<v Speaker 3>crowd and we find out that Pandy is actually quite

1:30:56.439 --> 1:30:59.799
<v Speaker 3>penitent for how she and the others have manipulated Alfie,

1:30:59.840 --> 1:31:03.200
<v Speaker 3>and she confesses to beb what they did, and then

1:31:03.240 --> 1:31:05.599
<v Speaker 3>she tells Bibe to go to Alfie. She says, he

1:31:05.800 --> 1:31:09.720
<v Speaker 3>loves you. And this is this is Pande's redemption. We

1:31:10.080 --> 1:31:13.640
<v Speaker 3>see how she in turn is abused and mistreated by

1:31:13.680 --> 1:31:16.479
<v Speaker 3>the bim world, and she sings a song about her

1:31:16.520 --> 1:31:20.040
<v Speaker 3>turn of heart called I Found Me. I'm gonna say

1:31:20.080 --> 1:31:23.559
<v Speaker 3>this is the best of the earnest songs in the movie,

1:31:23.600 --> 1:31:25.760
<v Speaker 3>but it's hard for any of the earnest songs to

1:31:25.840 --> 1:31:29.640
<v Speaker 3>compete with the awesome satanic majesty of Bim.

1:31:29.920 --> 1:31:32.320
<v Speaker 2>Yeah, I would agree, I'm both counts here. Yeah, this

1:31:32.320 --> 1:31:35.920
<v Speaker 2>this is a decent song, but it doesn't have a

1:31:35.960 --> 1:31:40.360
<v Speaker 2>lot of competition against the songs Alfie has been whipping

1:31:40.400 --> 1:31:41.759
<v Speaker 2>out and the rest of the picture.

1:31:42.360 --> 1:31:45.280
<v Speaker 3>I think I would say the song as a composition

1:31:45.560 --> 1:31:50.400
<v Speaker 3>is nothing special. But Grace Kennedy does much better with

1:31:50.520 --> 1:31:52.280
<v Speaker 3>this song than it actually deserved.

1:31:52.880 --> 1:31:54.320
<v Speaker 2>Yes, because she does.

1:31:54.439 --> 1:31:56.600
<v Speaker 3>She puts a shocking amount of passion into it. We

1:31:56.640 --> 1:31:58.879
<v Speaker 3>get like the real like close up on the tears

1:31:58.960 --> 1:32:02.800
<v Speaker 3>and everything. She is selling that moral change of heart.

1:32:03.520 --> 1:32:06.759
<v Speaker 3>So here we get to the end BB she repents.

1:32:06.760 --> 1:32:09.600
<v Speaker 3>Also she leaves the bim world and she goes to

1:32:09.640 --> 1:32:13.320
<v Speaker 3>seek out Alfie. She goes looking around the bridge that

1:32:13.600 --> 1:32:17.320
<v Speaker 3>tries to find the cave and runs into Joss Ackland,

1:32:17.320 --> 1:32:19.479
<v Speaker 3>the hippie leader, and when the hippie leader meets her,

1:32:19.800 --> 1:32:22.120
<v Speaker 3>he says multiple lines, I don't know if you caught

1:32:22.120 --> 1:32:25.240
<v Speaker 3>this rob that sound exactly like lines that Alec Guinness

1:32:25.320 --> 1:32:28.080
<v Speaker 3>says as Obi Wan Kenobi when he's calling out to

1:32:28.200 --> 1:32:31.640
<v Speaker 3>R two D two in the original Star Wars. I

1:32:31.640 --> 1:32:35.240
<v Speaker 3>think he literally literally says, well, hello there, don't be afraid,

1:32:37.800 --> 1:32:40.200
<v Speaker 3>and even kind of sounds like Alec guinnis so yeah,

1:32:40.360 --> 1:32:44.600
<v Speaker 3>it's interesting. But so he leads her down into the

1:32:44.680 --> 1:32:47.680
<v Speaker 3>hippie cave. He tells her that Alfie is down in

1:32:47.760 --> 1:32:50.680
<v Speaker 3>the bachelor quarters. One of what things are like there.

1:32:50.840 --> 1:32:52.760
<v Speaker 2>We probably probably smells a bit rough.

1:32:53.439 --> 1:32:56.000
<v Speaker 3>Yeah, And they sing a song called Child of Love.

1:32:56.560 --> 1:32:57.360
<v Speaker 3>That's okay.

1:32:58.000 --> 1:33:01.360
<v Speaker 2>I like it. It's kind of booming wizard, I guess.

1:33:01.200 --> 1:33:06.719
<v Speaker 3>Yeah, yeah, it's okay. And so here like some time passes,

1:33:06.760 --> 1:33:09.160
<v Speaker 3>like Bbe comes into the world. They take they take

1:33:09.200 --> 1:33:12.960
<v Speaker 3>the BIM mark off of her forehead and she seems

1:33:13.080 --> 1:33:16.320
<v Speaker 3>cleansed of the evil of Bim And then we cut

1:33:16.360 --> 1:33:19.639
<v Speaker 3>to like a year in the future where she's been

1:33:19.680 --> 1:33:22.360
<v Speaker 3>living there in the cave with the hippies with Alfie,

1:33:22.520 --> 1:33:26.080
<v Speaker 3>and now Alfie and BB have a child together. And

1:33:26.200 --> 1:33:30.040
<v Speaker 3>in the grand finale, the Bogleow leadership comes to mount

1:33:30.080 --> 1:33:33.320
<v Speaker 3>an assault on the hippie community and to collect BB

1:33:33.520 --> 1:33:35.720
<v Speaker 3>because they say, you know, we've got she's got a

1:33:35.760 --> 1:33:38.439
<v Speaker 3>contract with us. And because of this contract she signed,

1:33:38.479 --> 1:33:43.560
<v Speaker 3>she owes Boogalow Music ten million dollars for leaving the business.

1:33:44.000 --> 1:33:46.040
<v Speaker 3>And also, by the way, all of you hippies are

1:33:46.120 --> 1:33:51.040
<v Speaker 3>under arrest. But just when things look darkest, we get

1:33:51.080 --> 1:33:56.599
<v Speaker 3>a literal diosx machina. So Alfie is he's he's looking

1:33:56.640 --> 1:33:58.960
<v Speaker 3>around and Alfie who has a beard. Now, by the way,

1:33:59.000 --> 1:34:02.240
<v Speaker 3>I didn't recognize him first with the beard. He says,

1:34:02.280 --> 1:34:04.439
<v Speaker 3>it's going to be all right. I know he's going

1:34:04.520 --> 1:34:08.320
<v Speaker 3>to come. BB says, who's going to come? Alfie says

1:34:08.439 --> 1:34:09.240
<v Speaker 3>mister Topps.

1:34:10.960 --> 1:34:14.760
<v Speaker 2>No idea that nobody has mentioned mister Topps up until

1:34:14.800 --> 1:34:19.040
<v Speaker 2>this point. Again, the only thing or person that we

1:34:19.120 --> 1:34:22.080
<v Speaker 2>know is coming is Bim Bim is on the way right,

1:34:22.680 --> 1:34:24.320
<v Speaker 2>there is no mention of mister Topps.

1:34:24.400 --> 1:34:28.280
<v Speaker 3>Who, So yeah, don't ask questions about mister Topps. Mister

1:34:28.320 --> 1:34:30.559
<v Speaker 3>Topps does appear. He comes down from heaven in a

1:34:30.600 --> 1:34:34.760
<v Speaker 3>spectral rolls Royce. He's wearing like a white suit and

1:34:34.920 --> 1:34:37.760
<v Speaker 3>he he comes out of the car he leads the

1:34:37.840 --> 1:34:41.320
<v Speaker 3>hippies away to become spiritual flesh and live in a

1:34:41.360 --> 1:34:45.960
<v Speaker 3>place behind the sun. Oh and also Pandy abandons Bim

1:34:46.000 --> 1:34:49.479
<v Speaker 3>and she goes along as well. And then we like,

1:34:50.400 --> 1:34:53.400
<v Speaker 3>mister Topps here, who did we already say he's played

1:34:53.400 --> 1:34:56.960
<v Speaker 3>by Joss Ackland. This is also Joss Ackland. Mister Topps

1:34:57.560 --> 1:35:01.639
<v Speaker 3>has a little conversation with mister Boogalow, like as all

1:35:01.720 --> 1:35:04.120
<v Speaker 3>of the hippies are departing into the heavens.

1:35:04.920 --> 1:35:08.559
<v Speaker 2>Yeah, and again Shapal and Auckland. They do manage to

1:35:08.680 --> 1:35:12.919
<v Speaker 2>make this exchange feel important, like they're both very talented actors,

1:35:12.960 --> 1:35:17.880
<v Speaker 2>and they bring a certain gravity to the conversation that

1:35:18.000 --> 1:35:21.040
<v Speaker 2>is maybe not completely earned, uh, to the point where

1:35:21.200 --> 1:35:23.639
<v Speaker 2>you know they're having the conversation and you know, and

1:35:23.920 --> 1:35:26.160
<v Speaker 2>mister Tops is like, well, we're gonna I'm gonna take

1:35:26.160 --> 1:35:27.479
<v Speaker 2>them all, We're gonna go away, We're gonna go to

1:35:27.479 --> 1:35:30.840
<v Speaker 2>another planet and do something else. Only you're not gonna come.

1:35:30.840 --> 1:35:33.080
<v Speaker 2>We're gonna try it without you this time. And and

1:35:33.240 --> 1:35:37.759
<v Speaker 2>of course mister Boglow is like, you can't have creation

1:35:37.960 --> 1:35:41.040
<v Speaker 2>without me, you can't have good without evil. And mister

1:35:41.120 --> 1:35:44.120
<v Speaker 2>Topps says, let's give it a try, and uh and

1:35:44.360 --> 1:35:45.960
<v Speaker 2>it and it works like it doesn't come off as

1:35:45.960 --> 1:35:49.120
<v Speaker 2>a corny will line. It like fools me into thinking like, yeah, yeah,

1:35:49.200 --> 1:35:51.880
<v Speaker 2>let's give it a try. Mister Tops is right, and

1:35:51.920 --> 1:35:53.880
<v Speaker 2>then he like raptures everybody.

1:35:54.200 --> 1:35:57.559
<v Speaker 3>Yes, one of the most out of nowhere endings I

1:35:57.600 --> 1:36:00.439
<v Speaker 3>can think of in any film I've ever seen. Again,

1:36:00.560 --> 1:36:04.759
<v Speaker 3>we do know. It was partially a disappointment to discover

1:36:04.920 --> 1:36:07.760
<v Speaker 3>that there had originally been shot these earlier scenes where

1:36:07.800 --> 1:36:10.040
<v Speaker 3>mister Topps creates the world, so you did know who

1:36:10.080 --> 1:36:13.400
<v Speaker 3>this character was before. I prefer not to think about

1:36:13.439 --> 1:36:16.000
<v Speaker 3>that and to think of the final cut of the

1:36:16.000 --> 1:36:19.200
<v Speaker 3>movie as the intended version of the story where you

1:36:19.280 --> 1:36:22.480
<v Speaker 3>have no prior knowledge of mister Topps and he just appears.

1:36:23.120 --> 1:36:25.960
<v Speaker 2>Yeah. Yeah, I think I prefer that way as well.

1:36:26.479 --> 1:36:29.559
<v Speaker 2>With all the disco freaks being turned into hippies and

1:36:29.560 --> 1:36:32.719
<v Speaker 2>the hippies travel to the Gray Havens, Earth is left

1:36:32.720 --> 1:36:36.880
<v Speaker 2>to Boogalow and his demons, and then the movie ends.

1:36:37.560 --> 1:36:40.280
<v Speaker 2>You know. I've also seen it pointed out by people

1:36:40.320 --> 1:36:43.360
<v Speaker 2>commenting on the Apple that we don't really have a

1:36:43.479 --> 1:36:48.000
<v Speaker 2>rousing grand finale musical number, which is is kind of interesting,

1:36:48.080 --> 1:36:50.400
<v Speaker 2>Like usually you have something like that, there would be

1:36:50.680 --> 1:36:54.240
<v Speaker 2>a big musical number as all of these characters are

1:36:54.320 --> 1:36:58.120
<v Speaker 2>raptured away to this new creation. But no, we don't

1:36:58.120 --> 1:37:01.639
<v Speaker 2>get that. Not that I'm missing it, because I'm still

1:37:01.680 --> 1:37:04.759
<v Speaker 2>just blown away by this divine ending to this picture.

1:37:05.680 --> 1:37:09.920
<v Speaker 2>But yeah, it's it's weird that our final musical number

1:37:10.080 --> 1:37:13.800
<v Speaker 2>is I guess the wizard folk song from earlier Child

1:37:13.880 --> 1:37:14.240
<v Speaker 2>of Love.

1:37:14.600 --> 1:37:18.479
<v Speaker 3>Well, the we get a reprise of the apple that

1:37:18.560 --> 1:37:21.439
<v Speaker 3>plays over the end, over the creds. Yeah, but that's

1:37:21.479 --> 1:37:24.320
<v Speaker 3>funny because that almost makes it sound like a triumph

1:37:24.400 --> 1:37:26.840
<v Speaker 3>of evil. Like at the end of the story, we

1:37:26.920 --> 1:37:29.200
<v Speaker 3>just go back to the song about how wonderful the

1:37:29.240 --> 1:37:30.000
<v Speaker 3>temptation is.

1:37:30.680 --> 1:37:32.800
<v Speaker 2>Yeah, I mean, Boogolow is going to make a party

1:37:32.840 --> 1:37:35.719
<v Speaker 2>out of it. He's gonna make lemonade out of these lemons,

1:37:36.200 --> 1:37:38.280
<v Speaker 2>So you know it's gonna be rocking. It's just gonna

1:37:38.280 --> 1:37:42.000
<v Speaker 2>be The attendance is going to be far lower since

1:37:42.240 --> 1:37:45.280
<v Speaker 2>all the people got raptured away, but he's still got

1:37:45.320 --> 1:37:47.240
<v Speaker 2>a He's still got Bulldog and fat Dog there, so

1:37:47.520 --> 1:37:49.280
<v Speaker 2>we get to discover what their talents are.

1:37:49.479 --> 1:37:53.400
<v Speaker 3>It wouldn't be heaven without them, right, Okay, I think

1:37:53.400 --> 1:37:56.720
<v Speaker 3>that's all I can say about the Apple I am exhausted,

1:37:56.840 --> 1:38:02.560
<v Speaker 3>but this was one of my favorites. Have watched absolutely nuts.

1:38:02.840 --> 1:38:06.160
<v Speaker 2>Yeah, this movie's a workout. It's I highly recommend it.

1:38:06.160 --> 1:38:09.560
<v Speaker 2>It's People talk a lot about you know, movies that

1:38:09.600 --> 1:38:12.360
<v Speaker 2>are so bad they're good, and about you know, weird

1:38:12.400 --> 1:38:14.960
<v Speaker 2>movies like this is all of those things. Like it's

1:38:15.040 --> 1:38:17.240
<v Speaker 2>rough around the edges. There are things that clearly don't

1:38:17.240 --> 1:38:19.880
<v Speaker 2>work or didn't work as intended, but then there's so

1:38:19.960 --> 1:38:22.760
<v Speaker 2>much that does work and succeed and resonates, like it

1:38:22.800 --> 1:38:25.439
<v Speaker 2>has some great songs in it, you know. I think

1:38:25.479 --> 1:38:27.639
<v Speaker 2>a lot of a lot of its failure comes down

1:38:27.720 --> 1:38:31.800
<v Speaker 2>to just when it came out. If this had come

1:38:31.800 --> 1:38:34.720
<v Speaker 2>out like five years earlier, what would the reception have

1:38:34.800 --> 1:38:37.519
<v Speaker 2>been like. And if nothing else, I think it's great

1:38:37.520 --> 1:38:39.640
<v Speaker 2>that it did find its audience over time and it

1:38:39.680 --> 1:38:41.479
<v Speaker 2>does have this cult status now.

1:38:42.040 --> 1:38:43.720
<v Speaker 3>Oh yeah, this is when I know I'm going to

1:38:43.760 --> 1:38:46.519
<v Speaker 3>be coming back to it many, many times. I wonder

1:38:46.560 --> 1:38:48.439
<v Speaker 3>what things I will notice in the future that I

1:38:48.439 --> 1:38:49.479
<v Speaker 3>didn't notice this time.

1:38:49.880 --> 1:38:53.000
<v Speaker 2>It's full it's you've noticed something different every time you

1:38:53.040 --> 1:38:55.360
<v Speaker 2>watch it. All three times I've watched it in the

1:38:55.439 --> 1:38:59.240
<v Speaker 2>last month, I've noticed something new. All right, We're gonna

1:38:59.240 --> 1:39:00.640
<v Speaker 2>go ahead and close it out here. We'd love to

1:39:00.640 --> 1:39:02.360
<v Speaker 2>hear from you though, if you have thoughts on the Apple.

1:39:02.439 --> 1:39:05.240
<v Speaker 2>We actually already heard from one listener who went to

1:39:05.240 --> 1:39:08.360
<v Speaker 2>a viewing of The Apple, so right in if you

1:39:08.400 --> 1:39:11.800
<v Speaker 2>two have a story about seeing the Apple. Also, if

1:39:11.800 --> 1:39:13.840
<v Speaker 2>you have thoughts on other musicals we should do in

1:39:13.840 --> 1:39:17.559
<v Speaker 2>the future. I know we've had multiple people suggest nineteen

1:39:17.560 --> 1:39:21.080
<v Speaker 2>eighty one Shock Treatment, the follow up to the Rocky

1:39:21.080 --> 1:39:24.519
<v Speaker 2>Horror Picture Show, so you know that's potentially on the table,

1:39:24.560 --> 1:39:26.240
<v Speaker 2>but there are other weird musicals. Let us know what

1:39:26.280 --> 1:39:28.839
<v Speaker 2>you would like to hear us talk about in the future.

1:39:29.439 --> 1:39:31.280
<v Speaker 2>In the meantime, we'll remind you that Stuff to Blow

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<v Speaker 2>Your Mind is primarily a science podcast with core episodes

1:39:33.920 --> 1:39:36.240
<v Speaker 2>on Tuesdays and Thursdays, but on Fridays we set aside

1:39:36.240 --> 1:39:38.880
<v Speaker 2>most serious concerns to just talk about a weird film

1:39:38.960 --> 1:39:41.479
<v Speaker 2>on Weird House Cinema. If you want a complete list

1:39:41.479 --> 1:39:43.800
<v Speaker 2>of all the movies we've covered over the years, go

1:39:43.840 --> 1:39:45.840
<v Speaker 2>to letterbox dot com. It's l E T T e

1:39:46.000 --> 1:39:48.880
<v Speaker 2>r box d dot com. We have a profile there

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<v Speaker 2>it's weird House and you can find a list of

1:39:50.720 --> 1:39:52.920
<v Speaker 2>all the movies we've covered, and sometimes there's a hint

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<v Speaker 2>ahead at what's coming up next.

1:39:55.560 --> 1:39:59.360
<v Speaker 3>Huge thanks as always to our excellent audio producer, JJ Posway.

1:39:59.479 --> 1:40:01.080
<v Speaker 3>If you would like to get in touch with us

1:40:01.160 --> 1:40:03.679
<v Speaker 3>with feedback on this episode or any other, to suggest

1:40:03.680 --> 1:40:05.800
<v Speaker 3>a topic for the future, or just to say hello,

1:40:06.160 --> 1:40:08.760
<v Speaker 3>you can email us at contact at stuff to Blow

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<v Speaker 3>your Mind dot com.

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<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:40:20.600 --> 1:40:23.360
<v Speaker 1>more podcasts from my heart Radio, visit the iHeartRadio app,

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<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.