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

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

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Speaker 3: And I am Joe McCormick, and today we're going to

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Speaker 3: be discussing the nineteen fifty eight British sci fi horror

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Speaker 3: film The Trollenberg Terror, which was released in the United

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Speaker 3: States and probably better known overall as The Crawling Eye,

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Speaker 3: a title that is in really bad taste because I

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Speaker 3: think it flagrantly destroys the tension and mystery leading up

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Speaker 3: to the revelation of the monster's true form in the

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Speaker 3: final act. Rob, you and I were talking about this

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Speaker 3: the other day. I love how careless titling and other

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Speaker 3: movie meta used to be with just ruining all the

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Speaker 3: surprises of the story. Here. I believe we have the

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Speaker 3: Distributors Corporation of America to thank for this title. And

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Speaker 3: I have to think like if Citizen Kane had been

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Speaker 3: a foreign film and they had released it in America,

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Speaker 3: they would have called it like Sled Problems or something.

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Speaker 2: Yeah. I think we still do see trailers in our

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Speaker 2: modern day that give away way too much and reveal

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Speaker 2: like most of the plot. I've seen trailers where afterwards

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Speaker 2: I'm like, okay, that's that's most of the movie. I

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Speaker 2: could maybe just watch the last five minutes of the

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Speaker 2: film to see how it wraps up, and I'd be

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Speaker 2: good at this point instead of watching the whole two

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Speaker 2: hour plus. But yeah, these films of this nature where

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Speaker 2: it was it was something being released to the US

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Speaker 2: market and then packaged in a different way, so as

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Speaker 2: I guess, just try to maximize the eyeballs on it,

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Speaker 2: and maybe too, there is the idea it's like, look,

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Speaker 2: the American teenager just wants to know what they're going

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Speaker 2: to be making out to. We're just going to go

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Speaker 2: ahead and make sure the monster is mentioned in the.

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Speaker 3: Title transparency and advertising.

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Speaker 2: And also maybe leaning more on like the I don't know,

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Speaker 2: like the drive and spectacle of the thing. You know,

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Speaker 2: it's like crawling eye. Don't you want to see that

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Speaker 2: as large as life? I don't know, that's my best bet.

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Speaker 2: I think it's mostly though, just take this thing from

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Speaker 2: the UK and just try and get the most attention

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Speaker 2: gathered around it, and so yeah, go ahead and spoil everything.

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Speaker 3: To be fair, Trollenberg is not a word that most

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Speaker 3: people would recognize, and for good reason, because this is

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Speaker 3: not a real place in the movie, like the movie

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Speaker 3: makes up this mountain in Switzerland called Trollenberg.

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Speaker 2: The Trolenberg Terror is a better title in many ways though,

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Speaker 2: because I think the Trolenberg Terror gives you more of

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Speaker 2: a taste of the slow build and a slow burn

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Speaker 2: aspect of the picture. That the picture is more mysterious,

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Speaker 2: and it is not really a giant monster movie except

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Speaker 2: for you know, just like the last what fifteen minutes

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Speaker 2: or so of the picture, but.

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Speaker 3: Then it really goes whole hog on Giant Master movie.

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Speaker 2: Yeah, it's rather ambitious and its special effects towards the

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Speaker 2: end with mixed result but also some great results.

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Speaker 3: Yes. Yes, On the subject of sloppy marketing material, I

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Speaker 3: would like to submit into evidence the poster for the

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Speaker 3: US release of The Crawling Eye. Sometimes we talk about

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Speaker 3: movie posters, I think, especially with movies from the fifties,

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Speaker 3: this was just a golden age of posters and we've

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Speaker 3: really got some meat to chew on here. So on

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Speaker 3: the Crawling Eye poster, we have emerging from a black void,

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Speaker 3: a giant, distinctly human eye, complete with tear ducts and

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Speaker 3: lids and lashes highlighted by makeup. You can see mascara

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Speaker 3: and eyeliner, so it does look a little freaky, but

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Speaker 3: it does not suggest eyeball monsters from another planet. I

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Speaker 3: think it implies instead a supernatural, disembodied human observer reaching

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Speaker 3: out through some kind of dark space. Maybe you could

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Speaker 3: say that the eye on the poster here connects more

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Speaker 3: to the psychic and esp themes of the movie than

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Speaker 3: to the giant physical eyeballs that we will be hurling

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Speaker 3: firebombs at later in the film. But I think that

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Speaker 3: that's kind of a stretch to say that's really what

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Speaker 3: it's going for, especially since the psychic character is not

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Speaker 3: threatening at all in the movie and this eyeball is

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Speaker 3: clearly coming to get you. Yeah.

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Speaker 2: Yeah, I think that's a good read on it.

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Speaker 3: Also, this human eye on the poster has translucent yellow

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Speaker 3: and pink octopus arms, but only four of them, so

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Speaker 3: I guess this would be a tetrapus arms, and the

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Speaker 3: arms are wrapping around the body of a shrieking, recumbent

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Speaker 3: woman in a yellow party dress and high heels, who

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Speaker 3: I'm pretty confident does not appear in the movie unless

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Speaker 3: this is supposed to be Janet Monroe, but it does

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Speaker 3: not look like her. To me, and I don't think

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Speaker 3: she ever wears an outfit like this.

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Speaker 2: No, no, you know, liked we've talked about before on

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Speaker 2: the show. If you could at all get the monster

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Speaker 2: carrying a screaming woman on the poster, you absolutely did it.

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Speaker 2: The monsters in this film, maybe it's a little more

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Speaker 2: of a stretch to imagine them carrying a woman, and

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Speaker 2: therefore this is just a rough approximation of what that

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Speaker 2: might consist of.

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Speaker 3: The only person we see them carrying in the movie

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Speaker 3: is the newspaper guy. We see he gets grabbed up,

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Speaker 3: but he has not even held horizontally like the woman

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Speaker 3: shown in the poster. They're holding him firmly vertically. Yeah,

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Speaker 3: and it implies that they usually pick people up vertically

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Speaker 3: because they got to pop the head off, so they're

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Speaker 3: going to be going around, you know, kinda like around

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Speaker 3: the neck near the top. Anyway, nothing about this poster, also,

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Speaker 3: I would point out, suggests that the movie has to

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Speaker 3: do with mountains or mountain climbing, which it does. Next,

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Speaker 3: there is the copy on the poster. It says, the

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Speaker 3: nightmare Terror of the Slithering Eye that unleashed agonizing horror

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Speaker 3: on a screaming world. Now On one hand, I'm hesitant

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Speaker 3: to nitpick because I myself completely the ability to write

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Speaker 3: with any style when what's needed is some kind of

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Speaker 3: marketing or promotional copy like that. I just kind of

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Speaker 3: freeze up mentally there. But this is too wordy. Not

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Speaker 3: every now needs a modifier, but more to the substance

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Speaker 3: of what they're trying to say with taglines like this

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Speaker 3: that unleashes agonizing horror on a screaming world. This got

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Speaker 3: me thinking about how titles and taglines and plot descriptions

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Speaker 3: of horror and sci fi movies from the nineteen fifties

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Speaker 3: display an incredibly strong trend of plot scope misrepresentation. By that,

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Speaker 3: I mean like the actual plot and the events of

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Speaker 3: the film are incredibly local and small ball, but the

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Speaker 3: title and the description imply a feeling like the end

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Speaker 3: of the movie Independence Day, where it's the alien Horde

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Speaker 3: against a coordinated attack by the entire planet Earth. And

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Speaker 3: usually in these movies, only a few characters are involved

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Speaker 3: or presumably even aware of the events of the story.

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Speaker 3: Probably the whole thing takes place within a five mile radius.

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Speaker 3: That's usually the case with these Roger Korman movies and stuff,

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Speaker 3: And yet the movie will be called the monster that

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Speaker 3: conquered the planet Earth.

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Speaker 2: Yeah, like it conquered the world. As a classic example

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Speaker 2: of this, as we discussed in the show, it basically

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Speaker 2: conquers the Tri County area.

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Speaker 3: Yeah, but it's like bigger than just those few examples.

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Speaker 3: It happens over and over again. The actual story is local,

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Speaker 3: but the title suggests a world, world spanning events. And

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Speaker 3: I'm kind of curious about this, Like, why did advertisers

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Speaker 3: always want to make it seem like the plot had

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Speaker 3: big implications involving millions of people. There's nothing wrong with

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Speaker 3: small stories. Small stories that affect only a handful of

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Speaker 3: characters can be just as thrilling. In fact, I would

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Speaker 3: argue it's easier to make a small scale story thrilling.

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Speaker 3: Was there actually any evidence to suggest that drive in

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Speaker 3: audiences would always prefer the plot of an alien monster

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Speaker 3: movie to involve the entire world?

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Speaker 2: This is an interesting question. I imagine some folks have dug

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Speaker 2: into this. There might be some sort of a Cold

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Speaker 2: War read on the ramifications here. But yeah, but I

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Speaker 2: do certainly agree with you that, like the lower stakes,

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Speaker 2: the localized stakes can certainly be just as thrilling, And

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Speaker 2: I think many of these movies are not merely like

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Speaker 2: incidentally having like a low stakes, like small hometown invasion angle,

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Speaker 2: Like that's the kind of thing that people can relate to,

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Speaker 2: like the aliens are coming here, the zombies are coming here.

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Speaker 3: It is actually what makes the story work in the

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Speaker 3: cases where it does work. I mean not to say

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Speaker 3: there are some movies from this period that there are

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Speaker 3: more kind of world stage in terms of their actual mechanics.

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Speaker 3: I think, you know, The Day the Earth Stood Still

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Speaker 3: is more kind of a world stage movie involving those

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Speaker 3: big stakes, but a lot of yeah, they're actually quite local,

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Speaker 3: and when they work, they work because they're local. They

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Speaker 3: set the scope of the plot correctly to the ambitions

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Speaker 3: of the story they're going to tell. But then the

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Speaker 3: other thing I was going to ask is I think

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Speaker 3: the answer to this question is more clear. But I

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Speaker 3: was thinking specifically with these lower budget movies, if they

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Speaker 3: thought audiences wanted a huge story with global implications, why

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Speaker 3: did they not actually write a story like that? Why

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Speaker 3: did they make these local stories? I think the answer

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Speaker 3: there is just got to be budget, right, Like the

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Speaker 3: bigger story requires more actors, probably more sets, And so

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Speaker 3: I think you sometimes see these movies trying to bridge

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Speaker 3: the gap by having the direct plot be very local

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Speaker 3: with a small number of characters, but like the well,

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Speaker 3: they'll have a character like placing a phone call to

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Speaker 3: a general in Washington, you know, to like relay the

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Speaker 3: events or something, as if that that kind of gets

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Speaker 3: you halfway to the feeling of world spanning events.

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Speaker 2: Yeah, throwing a few phone call, throw in a little

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Speaker 2: stock footage and you're good to go. News footage as well.

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Speaker 3: Oh that's a good one, yes, yeah.

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Speaker 2: Yeah, Like, you know, a great example of this is

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Speaker 2: Santa Claus Conguers the Martians, you know. Yeah, they actually

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Speaker 2: pull a number of levers in that picture to really

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Speaker 2: drive home the international scope of the of the threat.

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Speaker 3: That's a really good point. Yeah. So anyway, I was

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Speaker 3: thinking about this, and I did have another thought back

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Speaker 3: on the other side, which is that with a lot

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Speaker 3: of these movies, you could make the argument that, well,

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Speaker 3: the direct plot doesn't really involve the whole world, there

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Speaker 3: are a lot of downstream implications for the whole world.

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Speaker 3: Like I was thinking about how many of these fifties

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Speaker 3: alien monster movies essentially have the same basic plot situation,

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Speaker 3: and it's that a small group of humans encounter a

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Speaker 3: some sort of advance team or small contingent of alien invaders,

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Speaker 3: usually just a single alien individual, with the idea that

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Speaker 3: if this one a monster, is not defeated, it will

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Speaker 3: pave the way for a full scale invasion and takeover

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Speaker 3: of Earth. So even though the actual plot you're seeing

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Speaker 3: in the movie is small and local, it presages a

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Speaker 3: global conflict. And yet in this case, I've been promised

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Speaker 3: by the poster that the world will be screaming, not

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Speaker 3: just that a guy named Hans will be sam A

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Speaker 3: couple of other great things about this poster. I love

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Speaker 3: posters that try to make you feel like your life

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Speaker 3: might be in physical danger by seeing the film. This

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Speaker 3: one says warning, if you've ever been hypnotized, do not

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Speaker 3: come alone.

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Speaker 2: I like that, and that's that's some William Castle will

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Speaker 2: be proud.

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Speaker 3: Uh huh. Also we get the like a second tagline,

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Speaker 3: as if the first one wasn't good enough. We see

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Speaker 3: a man dissolves ellipsis, and out of the oozing mist

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Speaker 3: comes the hungry eye, slave to the demon brain. How

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Speaker 3: well does that describe the movie? That's interesting because it

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Speaker 3: those are all words that would to describe things in

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Speaker 3: the movie, but in this sentence they refer to the

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Speaker 3: wrong things.

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Speaker 2: This is back when they would employ poets to compose

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Speaker 2: a short poem that could go on the poster that

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Speaker 2: that speaks to, you know, some theme or a particular

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Speaker 2: scene from the picture.

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Speaker 3: That's right. And then final thing on the poster. We

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Speaker 3: get a DCA release again, this Distributors Corporation of America,

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Speaker 3: and it's it promises that this is the company that

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Speaker 3: brought you rodin. I mean, come on, yeah, yeah.

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Speaker 2: And then then also star Forrest Tucker's name is in

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Speaker 2: red letters. Uh really, you know, going after that F

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Speaker 2: Troop audience, make sure they make it end for the picture.

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Speaker 3: I don't even know what that refers to. What is

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Speaker 3: F Troop?

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Speaker 2: F Troop was a TV show that Forrest Tucker was on.

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Speaker 3: Oh okay, I have questions about what you're supposed to

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Speaker 3: get out of Forrest Tucker in this movie. He's not

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Speaker 3: bad in it, but he is. He's such a roast beef,

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Speaker 3: you know.

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Speaker 2: Yeah, yeah, we'll definitely talk about his performance. But I

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Speaker 2: think in general, it's the nineteen fifties, there's an interstellar threat.

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Speaker 2: You need a tall, strong man to potentially lean your

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Speaker 2: head on and that's where Forrest Ducker comes in.

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Speaker 3: Yes, now, all of this said, I actually think The

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Speaker 3: Crawling Eye is not bad. It is, in my opinion.

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Speaker 3: I wonder if you agree, Rob, this is one of

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Speaker 3: the better drive in sci fi monster movies of the era.

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Speaker 3: I found it quite engrossing, not boring, with a lot

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Speaker 3: of the same kind of goofy character tropes you often

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Speaker 3: see in these films, but with some pretty good dialogue

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Speaker 3: and some intrigue, some actually quite scary moments, especially with

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Speaker 3: like the zombie assassins later on and the scenes in

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Speaker 3: the cabin up on the mountain and stuff. There's some

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Speaker 3: stuff that actually works his horror.

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Speaker 2: Yeah, absolutely, I think The Crawling Eye is a pretty

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Speaker 2: solid picture. It works better as the trollingburg Terror though,

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Speaker 2: again because yes, it's ultimately that sort of film. There's

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Speaker 2: a lot of a lot of mystery. It gives you,

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Speaker 2: gives you some things to think about leading up to

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Speaker 2: the monster battles, which again is it's only going to

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Speaker 2: be the last ten to fifteen minutes of the picture,

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Speaker 2: and at that point they do attempt to pull out

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Speaker 2: all the stops.

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Speaker 3: Yes, and regarding pulling out the stops in terms of

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Speaker 3: the visual effects, I want to say, also, this has

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Speaker 3: got to be one of the glorioust films I have

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Speaker 3: ever seen from the nineteen fifties, so actually rather shocking gristle.

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Speaker 3: The scene I was thinking of is when they pull

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Speaker 3: the geology professor Dewhurst out from under the bed and

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Speaker 3: you just see a bloody stump on his neck. You

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Speaker 3: don't see other fifties movies like this.

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Speaker 2: Yeah, yeah, I thought that the gore was shocking, you know,

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Speaker 2: certainly for the nineteen fifties.

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Speaker 3: As for the monster design, this is one that has

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Speaker 3: gone down through the ages as a as a widely

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Speaker 3: mocked monster design, and I do the design is indeed hilarious,

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Speaker 3: Like the effectively scary moments sort of dry up after

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Speaker 3: the monster's true form is revealed. But also I really

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Speaker 3: admire this monster. It's not hilarious in the attack of

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Speaker 3: the the eye creatures way like that. It's hilarious in

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Speaker 3: its shoddiness. This is hilarious in its exquisite detail. I

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Speaker 3: really admire when movies of this era would commit to

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Speaker 3: a fully realized, absolutely insane monster anatomy like we get here,

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Speaker 3: rather than trying to like tone it down, make it

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Speaker 3: maybe look more tasteful or plausible. Take less risks. No, no,

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Speaker 3: you fools get weirder, risk more, and they absolutely did here.

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Speaker 3: This is a swinging for the fence's monster design, and

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Speaker 3: it looks weird, and yes, it looks funny, but it is.

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Speaker 3: It makes the movie.

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Speaker 2: Yeah, absolutely, I really like the monster design here, and

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Speaker 2: I agree that. I don't know. On one hand, I

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Speaker 2: certainly agree that people have left at it over the years,

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Speaker 2: and we'll get into some of the reasons why. And

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Speaker 2: you know, I made sure to point it out to

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Speaker 2: people in my household so that they could laugh at

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Speaker 2: it as well. But I don't know. I don't that

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Speaker 2: I didn't think it was that funny. I thought it

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Speaker 2: was pretty effect like it looks real, like I feel

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Speaker 2: like it's a real monster. And if I'm laughing at it,

294
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Speaker 2: I'm not laughing at it because it's an effect, but

295
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Speaker 2: I'm like mocking an alien life form.

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Speaker 3: It's just funny that aliens look this way.

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Speaker 2: Yeah, I mean it's some of it, to be clear,

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Speaker 2: Some of the shots are shot here looking than others,

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Speaker 2: But like that main shot of the crawling eye coming

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Speaker 2: directly at you, I think that's pretty amazing looking.

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Speaker 3: The smoke coming up around it.

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Speaker 2: Yeah, Yeah, I think that's a that's a solid sequence,

303
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Speaker 2: and that's one of the reasons they use it several

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Speaker 2: times like that.

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Speaker 3: I also like how many different themes are thrown against

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Speaker 3: the wall in this movie. I think it it keeps

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00:16:50,800 --> 00:16:54,360
Speaker 3: the plot feeling kind of fresh, the fact that it's

308
00:16:54,400 --> 00:17:00,000
Speaker 3: not just an alien invasion movie. We get themes of mountaineering, mystify,

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Speaker 3: curious fog, psychic powers, and esp international intrigue kind of espionage,

310
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Speaker 3: like themes witchcraft and Resurrection of the Dead. There's there's

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Speaker 3: a lot of stuff going into the stew Yeah.

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Speaker 2: A lot of times in nineteen fifties films, there's this

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Speaker 2: feeling of a very straight laced world and then there

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Speaker 2: is the strange element that is the threat. And here

315
00:17:23,080 --> 00:17:26,199
Speaker 2: there are enough of strange elements that kind of create

316
00:17:26,680 --> 00:17:29,120
Speaker 2: a world itself that feels a little off kilter from

317
00:17:29,160 --> 00:17:32,280
Speaker 2: the buttoned up world we might expect to encounter. The

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Speaker 2: psychic aspects of the plot particularly interests me because while

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Speaker 2: the sisters that we'll get into here, while they are entertainers,

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Speaker 2: one of them does have psychic abilities, and the reality

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Speaker 2: of psychic phenomena in the film feels widely accepted. I

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Speaker 2: don't know to what extent this is just kind of

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Speaker 2: an accident of the writing, or if this was a

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Speaker 2: part of their vision for it, but this would seem

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Speaker 2: to be a world where psychic phenomena is legitimate, but

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Speaker 2: also perhaps not widely understood or certainly capitalized upon.

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Speaker 3: I think in the nineteen fifties there were probably a

328
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Speaker 3: lot of people who generally thought that among those in

329
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Speaker 3: the know, parapsychology phenomena were widely accepted, that it was

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Speaker 3: to some people thought of as a kind of a

331
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Speaker 3: kind of thing that the elites were just aware of,

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Speaker 3: that parapsychology really is onto something. There really is something

333
00:18:29,920 --> 00:18:33,200
Speaker 3: strange going on. There are powers we don't quite understand,

334
00:18:33,800 --> 00:18:36,920
Speaker 3: and that the people at the highest levels of society,

335
00:18:36,960 --> 00:18:40,160
Speaker 3: the real operators out there, all know about and accept this.

336
00:18:40,840 --> 00:18:41,000
Speaker 4: Yeah.

337
00:18:41,080 --> 00:18:43,440
Speaker 2: Yeah, I think a pretty good read on it. And

338
00:18:43,680 --> 00:18:45,879
Speaker 2: certainly we do have historical evidence for some of the

339
00:18:45,920 --> 00:18:50,280
Speaker 2: things that were being researched, either in the military or

340
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Speaker 2: by groups adjacent to the military at the time, just

341
00:18:53,080 --> 00:18:55,479
Speaker 2: to at the very least see if there was anything

342
00:18:55,560 --> 00:18:58,800
Speaker 2: to them. But yeah, but it's one of the things

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Speaker 2: I did like about the picture this idea that like

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Speaker 2: nobody was like, Oh, those silly psychics, what can they

345
00:19:03,080 --> 00:19:07,080
Speaker 2: teach us about this this real world threat. They were like,

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00:19:07,280 --> 00:19:09,040
Speaker 2: I don't know, get the psychics in here, let's see

347
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Speaker 2: what they can figure out.

348
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Speaker 3: Well, yeah, and I would say also within the structure

349
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Speaker 3: of the movie, there's no real way that the psychics,

350
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Speaker 3: that the main one psychic character could be trying to

351
00:19:21,119 --> 00:19:23,680
Speaker 3: like scam anybody. There's like nothing she's going to get

352
00:19:23,760 --> 00:19:26,800
Speaker 3: out of trying to trick anybody into thinking she's psychic.

353
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Speaker 3: She's just like clearly experiencing some kind of information download

354
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Speaker 3: from extraterrestrial sources, and this is having an effect primarily

355
00:19:35,359 --> 00:19:39,159
Speaker 3: on her more than on anybody else. And so the

356
00:19:39,200 --> 00:19:42,919
Speaker 3: other characters are trying to be helpful, and yeah, you

357
00:19:42,920 --> 00:19:45,880
Speaker 3: don't see any like undue hostility toward her or anything.

358
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Speaker 3: But I also like the scene where they talk about

359
00:19:48,240 --> 00:19:52,840
Speaker 3: how the sisters used to be tricksters, that they started

360
00:19:52,880 --> 00:19:56,080
Speaker 3: off doing their psychic mind reading act by using a

361
00:19:56,119 --> 00:19:58,520
Speaker 3: code where they would just be you know, sleight of

362
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Speaker 3: hand type stuffy. They discovered through their career that oh,

363
00:20:03,119 --> 00:20:05,920
Speaker 3: just so happens one of us actually is fully psychic

364
00:20:05,960 --> 00:20:09,879
Speaker 3: and we don't need to use tricks anymore, which I

365
00:20:09,880 --> 00:20:13,000
Speaker 3: thought that was interesting because that almost suggests it's not

366
00:20:13,280 --> 00:20:17,639
Speaker 3: a that in the world of this movie, psychic powers

367
00:20:17,640 --> 00:20:20,040
Speaker 3: are not something you're born with, but maybe something you

368
00:20:20,160 --> 00:20:24,119
Speaker 3: develop through training that somehow by playing the part of

369
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Speaker 3: a psychic that is how she actually developed the psychic powers.

370
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Speaker 2: Yeah.

371
00:20:28,840 --> 00:20:31,879
Speaker 3: Yeah, Anyway, I thought maybe we should hear, just do

372
00:20:31,960 --> 00:20:35,320
Speaker 3: a basic plot summary and then we can refer we

373
00:20:35,359 --> 00:20:37,119
Speaker 3: can know what we're talking about when we refer back

374
00:20:37,160 --> 00:20:40,879
Speaker 3: to things throughout the connections section and stuff. So the

375
00:20:40,920 --> 00:20:44,720
Speaker 3: basic plot is that you've got the Trollenberg Mountain in Switzerland.

376
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Speaker 3: This has long been a popular destination for sightseers and

377
00:20:48,520 --> 00:20:51,919
Speaker 3: mountain climbers. It's got a mountain side observatory that you

378
00:20:51,920 --> 00:20:55,440
Speaker 3: can reach by suspended cable car, a selection of well

379
00:20:55,560 --> 00:20:58,800
Speaker 3: established routes to the summit, and a cozy village in

380
00:20:58,840 --> 00:21:02,720
Speaker 3: the foothills offering accommodations for travelers. They don't really play

381
00:21:02,800 --> 00:21:04,959
Speaker 3: up anything in this movie like, ooh, you know there

382
00:21:04,960 --> 00:21:08,399
Speaker 3: are legends about this mountain going back centuries that you

383
00:21:08,440 --> 00:21:11,359
Speaker 3: know there's something evil afoot. It really is more like

384
00:21:11,400 --> 00:21:14,960
Speaker 3: this is a beautiful, well known mountain and lately something

385
00:21:15,000 --> 00:21:16,720
Speaker 3: weird has started happening here.

386
00:21:16,840 --> 00:21:21,040
Speaker 2: Yeah, it's not something old that is threatening, folks, it's

387
00:21:21,040 --> 00:21:22,400
Speaker 2: something entirely.

388
00:21:22,119 --> 00:21:24,560
Speaker 3: New, right, And what is that new thing? It is

389
00:21:24,600 --> 00:21:29,000
Speaker 3: a series of grizzly accidents in which climbers have disappeared

390
00:21:29,040 --> 00:21:32,000
Speaker 3: without a trace, or in a few cases, have been

391
00:21:32,040 --> 00:21:37,639
Speaker 3: found with their heads torn off. So in the action

392
00:21:37,800 --> 00:21:41,640
Speaker 3: sort of begins with an American agent of the United Nations.

393
00:21:41,840 --> 00:21:45,359
Speaker 3: That's an interesting main character here, a guy who's like

394
00:21:45,400 --> 00:21:50,360
Speaker 3: a U N fixer, basically named Alan Brooks, who has

395
00:21:50,440 --> 00:21:54,080
Speaker 3: been sent to meet with the observatory's lead scientists to

396
00:21:54,240 --> 00:21:58,399
Speaker 3: investigate this phenomenon. Also visiting Trollenberg are a pair of

397
00:21:58,440 --> 00:22:02,600
Speaker 3: sisters named Anne and a pilgrim who perform a traveling

398
00:22:02,720 --> 00:22:05,919
Speaker 3: mind reading act. They were originally on their way to

399
00:22:06,080 --> 00:22:10,000
Speaker 3: Geneva by train, but when passing under Trollenberg, the truly

400
00:22:10,080 --> 00:22:13,280
Speaker 3: psychic sister of the two and is overcome with a

401
00:22:13,320 --> 00:22:15,800
Speaker 3: compulsion to get off the train at this stop. She

402
00:22:15,840 --> 00:22:19,840
Speaker 3: has this esp feeling that there's something here she must do.

403
00:22:21,000 --> 00:22:24,879
Speaker 3: So we meet an ensemble of characters, including a geologist,

404
00:22:25,040 --> 00:22:30,560
Speaker 3: a covert newspaper reporter, a mountain guide, and an eccentric meteorologist.

405
00:22:30,840 --> 00:22:33,679
Speaker 3: They all come together with other characters to experience a

406
00:22:33,720 --> 00:22:38,399
Speaker 3: weird series of events involving radioactive fog, beheadings on a mountain,

407
00:22:38,760 --> 00:22:44,400
Speaker 3: astral projection, psychic enslavement, zombie assassins, and an alien invasion,

408
00:22:44,480 --> 00:22:48,000
Speaker 3: all culminating in this big showdown where our human characters

409
00:22:48,000 --> 00:22:54,320
Speaker 3: gather inside a scientific facility besieged by giant cyclopean brains

410
00:22:54,359 --> 00:22:57,360
Speaker 3: with tentacles. And that's the other half of the equation

411
00:22:57,560 --> 00:23:00,600
Speaker 3: is they call this the crawling eye, but could well

412
00:23:00,680 --> 00:23:03,119
Speaker 3: have been called the crawling brain as well, because the

413
00:23:03,600 --> 00:23:06,560
Speaker 3: main mass of the alien is basically a big like

414
00:23:06,800 --> 00:23:11,040
Speaker 3: house sized brain with tentacles coming off of a big

415
00:23:11,080 --> 00:23:13,920
Speaker 3: octopus arms reaching all over the place, and then one

416
00:23:14,440 --> 00:23:16,520
Speaker 3: huge honkin eye right in the middle.

417
00:23:16,840 --> 00:23:20,120
Speaker 2: Yeah, it could have been the crawling brain as well

418
00:23:20,160 --> 00:23:22,440
Speaker 2: as the crawling eye. It could have been the climbing

419
00:23:22,560 --> 00:23:25,520
Speaker 2: eye or the climbing brain, because that's really what we

420
00:23:25,600 --> 00:23:26,480
Speaker 2: see more of here.

421
00:23:26,920 --> 00:23:30,320
Speaker 3: Were you previously familiar with the Misfits song the Crawling Eye.

422
00:23:31,119 --> 00:23:33,400
Speaker 2: This is not an era of the Misfits that I've

423
00:23:33,440 --> 00:23:35,679
Speaker 2: heard as much from. So this is off the nineteen

424
00:23:35,760 --> 00:23:38,720
Speaker 2: ninety nine album Famous Monsters, which I Believe is the

425
00:23:38,760 --> 00:23:42,720
Speaker 2: second album from the post Danzig era. I was never

426
00:23:42,800 --> 00:23:46,359
Speaker 2: a Misfits listener growing up because the Misfits were like

427
00:23:46,359 --> 00:23:49,679
Speaker 2: a little too obscure for me at the time and

428
00:23:49,760 --> 00:23:51,320
Speaker 2: maybe a little too dangerous. I was like, Ooh, I

429
00:23:51,359 --> 00:23:52,679
Speaker 2: don't know if I should be listening to you. These

430
00:23:52,720 --> 00:23:55,600
Speaker 2: are a bunch of bad boys. Yeah, later on I

431
00:23:55,640 --> 00:23:58,520
Speaker 2: got in, But at the same time I got into Danzig,

432
00:23:58,560 --> 00:24:01,399
Speaker 2: like Danzig seemed appropriate. I don't know, Danzig was more

433
00:24:01,440 --> 00:24:04,200
Speaker 2: available because there were music videos and it was on MTV.

434
00:24:04,480 --> 00:24:05,720
Speaker 3: Somehow that feels backwards.

435
00:24:06,960 --> 00:24:09,320
Speaker 2: I mean, some of those Misfit songs are pretty rough.

436
00:24:09,920 --> 00:24:12,680
Speaker 2: Oh yeah, A lot later and I enjoy a number

437
00:24:12,680 --> 00:24:16,080
Speaker 2: of them, and I enjoy stuff from the different eras,

438
00:24:16,200 --> 00:24:18,399
Speaker 2: so I wasn't as familiar with this one, but I

439
00:24:18,440 --> 00:24:19,960
Speaker 2: am familiar with a few of the tracks off of

440
00:24:20,000 --> 00:24:20,840
Speaker 2: Famous Monsters.

441
00:24:20,960 --> 00:24:23,560
Speaker 3: I also didn't previously know this. I just found it

442
00:24:23,600 --> 00:24:28,320
Speaker 3: while I was reading up before doing this episode, despite

443
00:24:28,359 --> 00:24:30,679
Speaker 3: it not being in the Danzig era. I kind of

444
00:24:30,720 --> 00:24:33,119
Speaker 3: like this song. I mean, the production feels a little clean.

445
00:24:33,320 --> 00:24:35,680
Speaker 3: For the Misfits. I think I like their murkier sound

446
00:24:35,720 --> 00:24:39,880
Speaker 3: on the earlier albums, but yeah, it's I mean, the

447
00:24:40,000 --> 00:24:44,919
Speaker 3: lyrics are just a straight plot description of the movie.

448
00:24:45,320 --> 00:24:48,800
Speaker 3: But my favorite verse is one that has a great

449
00:24:48,920 --> 00:24:52,000
Speaker 3: neologism in it. It's the verse that says, all these

450
00:24:52,040 --> 00:24:56,800
Speaker 3: men are dying crawling I decapitizing Fiends without a face,

451
00:24:56,880 --> 00:25:00,240
Speaker 3: attack mankind. Two things are great there. One is the

452
00:25:00,280 --> 00:25:03,800
Speaker 3: reference to a completely different crawling brain movie fiend without

453
00:25:03,800 --> 00:25:08,159
Speaker 3: a Face, but then also decapitizing. That's just it that

454
00:25:08,320 --> 00:25:11,920
Speaker 3: sings to my heart. Nice. It reminds me of other,

455
00:25:12,240 --> 00:25:15,320
Speaker 3: of course, misfits neologism's like myrtilation.

456
00:25:16,960 --> 00:25:20,240
Speaker 2: Now this one came off of your scouting list for

457
00:25:20,280 --> 00:25:23,000
Speaker 2: weird House Cinema. How did you become aware of the

458
00:25:23,000 --> 00:25:24,880
Speaker 2: Crawling Eye? Was it this song?

459
00:25:25,680 --> 00:25:27,840
Speaker 3: Oh? No, no, no, Like I said, I heard this

460
00:25:27,920 --> 00:25:30,640
Speaker 3: song for the first time ever today. I'm probably sure. No.

461
00:25:31,800 --> 00:25:36,320
Speaker 3: It may be the fact that it was featured on

462
00:25:36,560 --> 00:25:41,280
Speaker 3: the first syndicated episode of Mystery Science Theater three thousand,

463
00:25:41,320 --> 00:25:43,639
Speaker 3: though I don't think I've ever seen that episode. I

464
00:25:43,640 --> 00:25:45,720
Speaker 3: think it's just come up because I've looked at episodes

465
00:25:45,800 --> 00:25:49,520
Speaker 3: lists that that could be it, or it could be

466
00:25:50,080 --> 00:25:52,240
Speaker 3: I don't know, I might I really don't remember how

467
00:25:52,280 --> 00:25:53,960
Speaker 3: I find some of these movies that I put on

468
00:25:53,960 --> 00:25:56,720
Speaker 3: our list. I just somehow I come across them. They

469
00:25:56,720 --> 00:25:58,840
Speaker 3: look interesting to me, and I throw them up there

470
00:25:58,880 --> 00:25:59,800
Speaker 3: to check out again later.

471
00:26:00,880 --> 00:26:02,840
Speaker 2: All right, well, elevator pitch for this one, I'd say

472
00:26:02,840 --> 00:26:06,520
Speaker 2: the Misfits lyrics pretty much captured it for us. So

473
00:26:06,960 --> 00:26:08,399
Speaker 2: let's move on to hearing just a little bit of

474
00:26:08,400 --> 00:26:09,080
Speaker 2: the trailer idea.

475
00:26:21,240 --> 00:26:24,359
Speaker 4: This alarm fills the knife with terror far high on

476
00:26:24,440 --> 00:26:28,320
Speaker 4: the mountainside a, mysteriote fear such as no human being

477
00:26:28,359 --> 00:26:34,560
Speaker 4: has ever seen before. Where there are mountains, there are

478
00:26:34,640 --> 00:26:37,960
Speaker 4: always clouds. But this one remains static on the side

479
00:26:37,960 --> 00:26:38,760
Speaker 4: of the trolling berg.

480
00:26:38,800 --> 00:26:41,359
Speaker 3: It never moves. Freak of nature?

481
00:26:43,240 --> 00:26:43,679
Speaker 4: Have they do?

482
00:26:43,800 --> 00:26:44,920
Speaker 2: Active? Freak of nature?

483
00:26:45,720 --> 00:26:50,160
Speaker 4: It strikes without warning, wreaking death and destruction, too horrible

484
00:26:50,240 --> 00:26:53,840
Speaker 4: to behold, A force of evil that torches its victims

485
00:26:53,840 --> 00:27:00,640
Speaker 4: and hurls them mercilessly to the brink of murder and madness.

486
00:27:03,560 --> 00:27:06,720
Speaker 4: What is it and what does it crave? This creeping

487
00:27:06,840 --> 00:27:10,480
Speaker 4: horror that hungers and thrives on human flesh while it

488
00:27:10,560 --> 00:27:14,879
Speaker 4: inhabits its own silent world that no man can penetrate.

489
00:27:15,840 --> 00:27:19,119
Speaker 4: No one is safe from expeller of destruction. A cold,

490
00:27:19,200 --> 00:27:23,440
Speaker 4: hypnotic stare striking fear into the hearts of all, creating

491
00:27:23,480 --> 00:27:26,280
Speaker 4: a frenzied nightmare for those who behold it.

492
00:27:32,480 --> 00:27:35,000
Speaker 2: All Right, so at this point you might be wondering

493
00:27:35,000 --> 00:27:38,600
Speaker 2: where you can watch the Crawling Eye or the Trolenberg Terror. Well,

494
00:27:39,040 --> 00:27:42,000
Speaker 2: this one has benefited from various physical releases over the years,

495
00:27:42,080 --> 00:27:45,040
Speaker 2: and was again the first season one episode of Mystery

496
00:27:45,200 --> 00:27:49,160
Speaker 2: Science Theater three thousand on the Comedy Channel, which would

497
00:27:49,520 --> 00:27:52,159
Speaker 2: this would have been nineteen eighty nine, and then the

498
00:27:52,200 --> 00:27:56,119
Speaker 2: Comedy Channel became Comedy Central in ninety one, so this

499
00:27:56,280 --> 00:28:00,360
Speaker 2: was the first true season of MST following those KTMA episodisodes,

500
00:28:00,560 --> 00:28:04,320
Speaker 2: and many of you will remember the titular monster from

501
00:28:04,320 --> 00:28:07,199
Speaker 2: the Crawling Eye in the opening credits of MST three

502
00:28:07,320 --> 00:28:12,080
Speaker 2: K during that early season. Though, like you, I don't

503
00:28:12,119 --> 00:28:14,959
Speaker 2: think I ever watched this episode for one for some

504
00:28:15,000 --> 00:28:19,080
Speaker 2: reason or another, I never watched this film MST three K,

505
00:28:20,000 --> 00:28:23,200
Speaker 2: so I'm not sure how good the riffs are or aren't.

506
00:28:23,720 --> 00:28:25,840
Speaker 3: I was reading about it. Actually, I've seen a number

507
00:28:25,880 --> 00:28:27,600
Speaker 3: of fans say it's not one of the best. I

508
00:28:27,600 --> 00:28:30,920
Speaker 3: think generally the very first season is not one of

509
00:28:30,960 --> 00:28:34,679
Speaker 3: the most prized. It's not like the earliest stuff was

510
00:28:34,680 --> 00:28:36,639
Speaker 3: the best. Most fans tend to think they got a

511
00:28:36,640 --> 00:28:38,080
Speaker 3: little bit better over time.

512
00:28:38,400 --> 00:28:40,040
Speaker 2: Yeah, I think there are only a couple of episodes

513
00:28:40,080 --> 00:28:42,400
Speaker 2: from season one that I've really watched, maybe two or

514
00:28:42,400 --> 00:28:46,960
Speaker 2: three maybe. However, all of this comes to the point too,

515
00:28:47,240 --> 00:28:49,800
Speaker 2: when you're looking around for streams of The Crawling Eye,

516
00:28:49,880 --> 00:28:51,440
Speaker 2: A lot of the streams that are going to pop

517
00:28:51,520 --> 00:28:54,080
Speaker 2: up for you on official channels are going to be

518
00:28:54,520 --> 00:28:57,680
Speaker 2: that nineteen eighty nine MST three K episode. And you know,

519
00:28:57,760 --> 00:29:01,200
Speaker 2: I love ms TH three K. I part of my

520
00:29:01,240 --> 00:29:05,880
Speaker 2: appreciation for weird and sometimes arguably bad films comes from

521
00:29:05,920 --> 00:29:09,600
Speaker 2: being a misty back in the day and through today

522
00:29:09,680 --> 00:29:13,240
Speaker 2: as well. However, I hate it when that's the only

523
00:29:13,320 --> 00:29:15,440
Speaker 2: version of a film that's officially available. I feel like, yes,

524
00:29:15,600 --> 00:29:17,360
Speaker 2: if we can get the MST three K version, we

525
00:29:17,360 --> 00:29:20,560
Speaker 2: should also have access to the unriffed.

526
00:29:20,040 --> 00:29:20,640
Speaker 3: Version of it.

527
00:29:20,680 --> 00:29:24,120
Speaker 2: And it seems a little harder to find official streams

528
00:29:24,480 --> 00:29:27,520
Speaker 2: or even official physical media of The Crawling Eye right now.

529
00:29:27,880 --> 00:29:32,240
Speaker 3: I fully agree there. I used to think that I

530
00:29:32,280 --> 00:29:34,719
Speaker 3: had seen a movie because I had seen the Mystery

531
00:29:34,760 --> 00:29:38,200
Speaker 3: Science Theater episode on it, and now I don't feel

532
00:29:38,200 --> 00:29:40,840
Speaker 3: that way. That's just a different thing. I love Mystery

533
00:29:40,880 --> 00:29:43,960
Speaker 3: Science Theater. It's probably my favorite TV show of all time.

534
00:29:44,120 --> 00:29:46,920
Speaker 3: But I think when they do an episode on a movie,

535
00:29:46,960 --> 00:29:50,280
Speaker 3: that episode is really a quite different thing than the

536
00:29:50,360 --> 00:29:53,800
Speaker 3: experience of watching the movie. Even if your experience of

537
00:29:53,800 --> 00:29:56,840
Speaker 3: watching the movie on its own is primarily an ironic

538
00:29:56,960 --> 00:29:59,200
Speaker 3: or a comedy driven one, it's still going to be

539
00:29:59,240 --> 00:30:00,920
Speaker 3: different watching it by itself.

540
00:30:01,240 --> 00:30:04,760
Speaker 2: Yeah, yeah, I like both experiences, but yeah, I need

541
00:30:05,200 --> 00:30:07,520
Speaker 2: the uncut version of it. That being said, the version

542
00:30:07,680 --> 00:30:10,880
Speaker 2: I ended up watching was an unofficial YouTube stream of

543
00:30:10,920 --> 00:30:13,320
Speaker 2: it that had been colorized. I don't know when it

544
00:30:13,360 --> 00:30:16,640
Speaker 2: was colorized, but I was like, well, I'm tired of

545
00:30:16,680 --> 00:30:19,640
Speaker 2: looking for the version I'm going to stream. I think

546
00:30:19,680 --> 00:30:22,440
Speaker 2: this is it, and I don't know. I like the

547
00:30:22,440 --> 00:30:24,400
Speaker 2: colorization in it. It seemed fine to me.

548
00:30:24,720 --> 00:30:27,320
Speaker 3: Okay, the version I saw was streaming on AMC Plus,

549
00:30:27,440 --> 00:30:28,600
Speaker 3: so okay watch.

550
00:30:28,640 --> 00:30:30,560
Speaker 2: Oh so you did find an official stream of it?

551
00:30:30,600 --> 00:30:34,200
Speaker 2: That was oh yeah, okay, that one eluded me. There's

552
00:30:34,200 --> 00:30:45,880
Speaker 2: so many places to look for these things. All right,

553
00:30:45,960 --> 00:30:48,520
Speaker 2: let's get into the people behind this picture. Starting with

554
00:30:48,560 --> 00:30:51,440
Speaker 2: the director. It's Quentin Lawrence, who of nineteen twenty through

555
00:30:51,480 --> 00:30:54,720
Speaker 2: nineteen seventy nine English TV and film director, best known

556
00:30:54,880 --> 00:30:57,880
Speaker 2: probably for this film, as well as nineteen sixty one's

557
00:30:57,880 --> 00:30:59,960
Speaker 2: Cash on Demand, sixty three is The Man Who Find

558
00:31:00,360 --> 00:31:03,400
Speaker 2: Died and sixty four is the Secret of Blood Island.

559
00:31:03,720 --> 00:31:06,200
Speaker 2: He also directed an episode of the Old Avengers TV

560
00:31:06,320 --> 00:31:09,000
Speaker 2: show and was originally a physicist.

561
00:31:09,200 --> 00:31:11,719
Speaker 3: Oh that's interesting. I wonder how often people make that

562
00:31:11,920 --> 00:31:12,640
Speaker 3: career switch.

563
00:31:13,040 --> 00:31:18,920
Speaker 2: Yeah, the IDB science is to B movie director. The

564
00:31:18,960 --> 00:31:22,560
Speaker 2: IMDb trivia regarding this guy says that he even worked

565
00:31:22,560 --> 00:31:26,720
Speaker 2: on the Manhattan Project, but I don't know. I didn't

566
00:31:26,720 --> 00:31:28,640
Speaker 2: find additional information to back that up. I don't know

567
00:31:28,640 --> 00:31:32,239
Speaker 2: if that's true. Sometimes some some myth making finds its

568
00:31:32,280 --> 00:31:34,480
Speaker 2: way into the IMDb trivia.

569
00:31:34,560 --> 00:31:36,600
Speaker 3: This movie was directed by Nils Borr.

570
00:31:37,040 --> 00:31:41,840
Speaker 2: Yeah, all right, I don't think I mentioned this earlier,

571
00:31:41,840 --> 00:31:43,920
Speaker 2: But one of the interesting things about this picture is

572
00:31:43,920 --> 00:31:46,840
Speaker 2: that it is actually a remake of an earlier British

573
00:31:46,880 --> 00:31:50,680
Speaker 2: TV serial titled The Trollnberg Terror, and a couple of

574
00:31:50,760 --> 00:31:54,480
Speaker 2: cast members return to play the same part in this

575
00:31:54,760 --> 00:31:58,840
Speaker 2: adaptation of that earlier work. Well, yeah, I'll mention those

576
00:31:58,880 --> 00:32:01,960
Speaker 2: as we get to them. But as for the writers,

577
00:32:02,480 --> 00:32:06,320
Speaker 2: there are some additional uncredited writers according to the different databases,

578
00:32:06,320 --> 00:32:08,600
Speaker 2: but I'm just going to mention the screenplay credit and

579
00:32:08,640 --> 00:32:12,440
Speaker 2: the story credit. Screenplay credit goes to Jimmy Sunster, who

580
00:32:12,440 --> 00:32:15,600
Speaker 2: lived nineteen twenty seven through twenty eleven, writer and producer,

581
00:32:15,680 --> 00:32:18,920
Speaker 2: best known for his influential work at Hammer Studios, including

582
00:32:19,000 --> 00:32:22,760
Speaker 2: writing on the screenplay for fifty sevens The Curse of Frankenstein,

583
00:32:22,800 --> 00:32:26,240
Speaker 2: fifty eight s Dracula, fifty nine's The Mummy, sixties The

584
00:32:26,320 --> 00:32:28,440
Speaker 2: Brides of Dracula, in many many more.

585
00:32:28,760 --> 00:32:31,440
Speaker 3: Oh, he wrote the Mummy movie that I have the

586
00:32:31,480 --> 00:32:34,280
Speaker 3: poster for right next to me, the one with Peter

587
00:32:34,360 --> 00:32:35,640
Speaker 3: Cushing or Christopher Lee.

588
00:32:35,880 --> 00:32:38,160
Speaker 2: Yeah, that's right. Like, this guy was a big deal

589
00:32:38,200 --> 00:32:40,880
Speaker 2: in Hammer Studio. So for any of you Hammer Studios

590
00:32:40,920 --> 00:32:43,160
Speaker 2: nerds out there, this is somebody you definitely know about.

591
00:32:44,120 --> 00:32:46,160
Speaker 2: On top of that, there's an individual by the name

592
00:32:46,160 --> 00:32:49,200
Speaker 2: of Peter Key that also has a story credit as

593
00:32:49,240 --> 00:32:52,440
Speaker 2: best I could tell, British TV writer. But dates are

594
00:32:52,520 --> 00:32:55,880
Speaker 2: unknown for this individual. All right, now getting into the cast,

595
00:32:56,200 --> 00:32:59,640
Speaker 2: let's come back to Forrest Tucker playing Alan Brooks, that

596
00:33:00,360 --> 00:33:06,920
Speaker 2: American un investigator here looking into mysterious mountaintop disappearances, strange

597
00:33:06,920 --> 00:33:08,000
Speaker 2: clouds and beheadings.

598
00:33:08,600 --> 00:33:10,920
Speaker 3: The James Bond of the United Nations.

599
00:33:11,200 --> 00:33:15,640
Speaker 2: Yes. He lived nineteen nineteen through nineteen eighty six. American actor,

600
00:33:15,680 --> 00:33:19,600
Speaker 2: best known for his time as Sergeant Morgan O'Rourke on

601
00:33:19,640 --> 00:33:22,920
Speaker 2: the long running f Troop TV series. His film work

602
00:33:22,960 --> 00:33:25,640
Speaker 2: consists of a kind of a mix of genres, notably

603
00:33:25,640 --> 00:33:28,120
Speaker 2: a bunch of war in westerns, but with some monster

604
00:33:28,160 --> 00:33:31,560
Speaker 2: films thrown in. So His films include nineteen forty two's

605
00:33:31,640 --> 00:33:35,160
Speaker 2: Keeper of the Flame, forty threes Sans of Yuojima, forty

606
00:33:35,200 --> 00:33:38,520
Speaker 2: six is the Yearling, fifty sevens The Abominable Snowman of

607
00:33:38,520 --> 00:33:43,600
Speaker 2: the Himalayas, nineteen seventies Chisholm, and nineteen eighty seven's Time Stalkers.

608
00:33:43,840 --> 00:33:46,440
Speaker 3: Oh, Time Stalkers, Oh wait, I said that, But I

609
00:33:46,480 --> 00:33:48,360
Speaker 3: was thinking of the wrong movie. I was thinking of

610
00:33:48,440 --> 00:33:52,840
Speaker 3: Time Chasers, also famously featured on Mystery Science Theater. Times

611
00:33:52,840 --> 00:33:56,720
Speaker 3: Stalkers is the one with John Ratzenberger and Klaus Kinski. Yeah.

612
00:33:56,840 --> 00:33:59,320
Speaker 2: Yeah, I haven't seen Time Stalkers either, But maybe that's

613
00:33:59,320 --> 00:34:01,360
Speaker 2: when we should come back to write in listeners if

614
00:34:01,400 --> 00:34:04,280
Speaker 2: you have an opinion on this now, Joe, I want

615
00:34:04,280 --> 00:34:08,520
Speaker 2: to drive home here that mister Forrest Tucker was thirty

616
00:34:08,600 --> 00:34:12,279
Speaker 2: nine years old at the oldest when this film was made.

617
00:34:12,760 --> 00:34:15,560
Speaker 2: There's a common in here where somebody describes him as

618
00:34:15,680 --> 00:34:18,200
Speaker 2: his character as being he looks about forty, and I

619
00:34:18,239 --> 00:34:20,520
Speaker 2: was thinking, this man does not look forty. This man

620
00:34:20,600 --> 00:34:25,560
Speaker 2: looks at least fifty, and sure enough, he was younger

621
00:34:25,600 --> 00:34:28,439
Speaker 2: than forty. As far as I can tell, people.

622
00:34:28,120 --> 00:34:32,439
Speaker 3: Were living different back then. This man is this man

623
00:34:32,600 --> 00:34:34,480
Speaker 3: is he has had a life.

624
00:34:34,880 --> 00:34:38,719
Speaker 2: Yeah. Yeah, it's a very rugged thirty nine that this

625
00:34:38,800 --> 00:34:43,360
Speaker 2: guy has, and we do see him hard drinking and

626
00:34:43,360 --> 00:34:45,719
Speaker 2: smoking throughout the picture. Maybe that's part of it. Maybe

627
00:34:45,760 --> 00:34:48,239
Speaker 2: it's the suits that everyone wore. I'm not sure. Maybe

628
00:34:48,280 --> 00:34:49,960
Speaker 2: i'd look that old if I was wearing a suit

629
00:34:50,000 --> 00:34:55,600
Speaker 2: and certainly throwing back that many spirits. But we were

630
00:34:55,600 --> 00:34:58,120
Speaker 2: talking about how we should feel about this character in

631
00:34:58,160 --> 00:35:01,279
Speaker 2: this performance. I'm going to say that ultimately I thought

632
00:35:01,280 --> 00:35:02,040
Speaker 2: he was really good.

633
00:35:02,320 --> 00:35:02,800
Speaker 3: Yeah.

634
00:35:02,840 --> 00:35:06,279
Speaker 2: Granted, it is a square jawed American male protagonist from

635
00:35:06,320 --> 00:35:09,799
Speaker 2: a nineteen fifties film, so you know what to expect here,

636
00:35:09,880 --> 00:35:12,760
Speaker 2: But I don't know. I felt like the character felt

637
00:35:12,840 --> 00:35:16,160
Speaker 2: lived in. He didn't feel like a cardboard cutout.

638
00:35:16,520 --> 00:35:20,080
Speaker 3: So he is a rectangular sheet tray of roast beef,

639
00:35:20,280 --> 00:35:24,040
Speaker 3: but he is also he's a good version of that.

640
00:35:24,360 --> 00:35:28,600
Speaker 3: He's a likable enough character for a character of this sort,

641
00:35:29,040 --> 00:35:31,600
Speaker 3: and he brings what is being asked of him, which

642
00:35:31,680 --> 00:35:34,320
Speaker 3: is a sense of authority and command.

643
00:35:34,440 --> 00:35:34,600
Speaker 4: You know.

644
00:35:34,640 --> 00:35:37,160
Speaker 3: He's the person who kind of rallies everybody together when

645
00:35:37,200 --> 00:35:41,200
Speaker 3: they need to take action to defend against the eye

646
00:35:41,200 --> 00:35:44,880
Speaker 3: monster is attacking the observatory. He really feels like he

647
00:35:44,960 --> 00:35:48,000
Speaker 3: knows what he's doing. Took all thirty nine years of

648
00:35:48,040 --> 00:35:49,799
Speaker 3: his life to get that experience.

649
00:35:50,040 --> 00:35:55,680
Speaker 2: Yeah, all right, Up next, we have our secret journalist character,

650
00:35:56,200 --> 00:35:59,880
Speaker 2: Philip Truscott, played by Lawrence Payne, who lived nineteen nineteen

651
00:36:00,040 --> 00:36:03,080
Speaker 2: through two thousand and nine. British actor. He also appeared

652
00:36:03,080 --> 00:36:05,880
Speaker 2: in episodes of Doctor Who in the nineteen sixties and

653
00:36:05,920 --> 00:36:09,320
Speaker 2: the nineteen eighties different characters, and his other credits include

654
00:36:09,360 --> 00:36:13,080
Speaker 2: nineteen seventy two's Vampire Circus and nineteen eighty one Cy Warriors,

655
00:36:13,640 --> 00:36:16,600
Speaker 2: one of only two actors reprising their roles here from

656
00:36:16,640 --> 00:36:18,680
Speaker 2: the original Trollenberg TV serial.

657
00:36:19,000 --> 00:36:23,120
Speaker 3: Wait, so this guy is in reality the same age

658
00:36:23,160 --> 00:36:28,040
Speaker 3: as Forrest Tucker, but he comes off as significantly younger.

659
00:36:28,160 --> 00:36:32,160
Speaker 2: Yes, yeah, this guy feels more authentically thirty nine forty

660
00:36:33,239 --> 00:36:35,839
Speaker 2: and it is interesting you could kind of look at this.

661
00:36:35,920 --> 00:36:38,239
Speaker 2: I guess this was a film that was made with

662
00:36:38,320 --> 00:36:41,680
Speaker 2: the intention of being marketed to both the US and

663
00:36:41,719 --> 00:36:45,000
Speaker 2: of course to UK and Europe, and so his character

664
00:36:45,160 --> 00:36:47,280
Speaker 2: is kind of more in line with what you'd expect

665
00:36:47,800 --> 00:36:50,960
Speaker 2: from a British male lead in a picture from this

666
00:36:51,000 --> 00:36:51,520
Speaker 2: time period.

667
00:36:51,520 --> 00:36:56,000
Speaker 3: I would imagine, yeah, exactly. I mean, he's handsome, mysterious,

668
00:36:56,400 --> 00:36:58,680
Speaker 3: you don't know exactly what his deal is for about

669
00:36:58,680 --> 00:37:00,719
Speaker 3: half the movie, but then he revealed himself to be

670
00:37:00,760 --> 00:37:03,480
Speaker 3: a good guy. Yeah, he's kind of sneaking around a

671
00:37:03,480 --> 00:37:04,240
Speaker 3: lot at the beginning.

672
00:37:05,040 --> 00:37:07,720
Speaker 2: All right, Now, let's look at the Pilgrim Sisters. Beginning

673
00:37:07,760 --> 00:37:11,759
Speaker 2: with the non psychic Sarah Pilgrim. She's played by Jennifer Jane,

674
00:37:11,800 --> 00:37:14,000
Speaker 2: who lived nineteen thirty one through two thousand and six,

675
00:37:14,480 --> 00:37:17,040
Speaker 2: a British actress, perhaps best remembered for this film, but

676
00:37:17,080 --> 00:37:20,359
Speaker 2: her credit stretch from nineteen forty nine to nineteen eighty five,

677
00:37:20,760 --> 00:37:24,000
Speaker 2: and they include sixty seven's They Came from Beyond Space,

678
00:37:24,120 --> 00:37:26,759
Speaker 2: eighty three's The Jigsaw Man in nineteen eighty five's The

679
00:37:26,840 --> 00:37:27,840
Speaker 2: Doctor and the Devils.

680
00:37:28,680 --> 00:37:32,120
Speaker 3: So not only the non psychic of the two Pilgrim sisters,

681
00:37:32,160 --> 00:37:35,120
Speaker 3: but also portrayed as the I think supposed to be

682
00:37:35,160 --> 00:37:39,120
Speaker 3: the older sister and the more kind of responsible managerial one.

683
00:37:39,520 --> 00:37:42,640
Speaker 2: Yeah, yeah, the logical one, the one that's making the

684
00:37:42,640 --> 00:37:46,880
Speaker 2: real world choices here, and then playing the psychic Pilgrim

685
00:37:46,920 --> 00:37:50,680
Speaker 2: sister and Pilgrim. We have the incredible Janet Munroe who

686
00:37:50,680 --> 00:37:52,919
Speaker 2: lived nineteen thirty four through nineteen seventy two.

687
00:37:53,760 --> 00:37:56,520
Speaker 3: She's really good in this, I think my favorite performance

688
00:37:56,560 --> 00:37:59,000
Speaker 3: in the movie. It's a tough job to do. She's

689
00:37:59,000 --> 00:38:03,480
Speaker 3: got two you know, like in multiple scenes sort of

690
00:38:03,520 --> 00:38:06,520
Speaker 3: go into a weird trance where like some kind of

691
00:38:06,560 --> 00:38:09,920
Speaker 3: cloud from a mountain nearby possesses her brain and starts

692
00:38:10,040 --> 00:38:13,319
Speaker 3: radioing messages to come out of her mouth. But she

693
00:38:13,480 --> 00:38:16,719
Speaker 3: delivers that with the with the real kind of urgency

694
00:38:16,840 --> 00:38:20,240
Speaker 3: and terror. And I thought all of her psychic trance

695
00:38:20,239 --> 00:38:22,719
Speaker 3: scenes were really good. There's a there's a kind of

696
00:38:22,760 --> 00:38:25,840
Speaker 3: danger that comes with her because when the mountain is

697
00:38:25,880 --> 00:38:28,040
Speaker 3: controlling her, you really feel like you don't know what

698
00:38:28,080 --> 00:38:32,680
Speaker 3: she's going to do. And at the same time, she's

699
00:38:32,719 --> 00:38:36,719
Speaker 3: a quite sympathetic character. I really really liked Monroe in this.

700
00:38:37,120 --> 00:38:40,759
Speaker 2: Yeah, I feel like Anne Pilgrim really could be the

701
00:38:40,760 --> 00:38:43,920
Speaker 2: film central protagonist. And I think definitely would have been

702
00:38:43,960 --> 00:38:47,040
Speaker 2: in a later era. Oh yeah, her character feels the

703
00:38:47,080 --> 00:38:50,560
Speaker 2: most electric, the most mysterious, and I think in many

704
00:38:50,560 --> 00:38:53,920
Speaker 2: ways the most relatable, certainly to maybe to modern audience

705
00:38:54,000 --> 00:38:57,080
Speaker 2: is more than contemporary audiences. But I don't know. In

706
00:38:57,120 --> 00:39:01,960
Speaker 2: case could be made either way, and I would say

707
00:39:01,960 --> 00:39:05,480
Speaker 2: my only misgiving is that she ends up not playing

708
00:39:05,640 --> 00:39:10,359
Speaker 2: particularly strongly into the resolution. It would have been an

709
00:39:10,400 --> 00:39:15,000
Speaker 2: interesting choice had her psychic powers, which are deemed dangerous

710
00:39:15,520 --> 00:39:18,120
Speaker 2: by the aliens, would have actually been used to defeat.

711
00:39:17,880 --> 00:39:21,359
Speaker 3: Them, Right, if the story had let her be as

712
00:39:21,440 --> 00:39:25,560
Speaker 3: dangerous as the alien thought she might be. Yeah, I

713
00:39:25,560 --> 00:39:27,160
Speaker 3: think that would have been great. I mean, I still

714
00:39:27,200 --> 00:39:28,000
Speaker 3: love her in this role.

715
00:39:28,160 --> 00:39:30,880
Speaker 2: Yeah, absolutely still love the performance here, and it's still

716
00:39:31,440 --> 00:39:33,520
Speaker 2: the most entertaining character in the picture.

717
00:39:33,640 --> 00:39:36,759
Speaker 3: But yeah, it's got those fifties drive in dynamics. She

718
00:39:36,880 --> 00:39:38,440
Speaker 3: mainly just needs rescuing.

719
00:39:38,840 --> 00:39:43,279
Speaker 2: And so I grew up watching Janet Monroe in the

720
00:39:43,360 --> 00:39:46,920
Speaker 2: nineteen sixty Walt Disney live action fantasy romance film Darby

721
00:39:46,960 --> 00:39:50,520
Speaker 2: O'Gill and the Little People, in which she plays Katie O'Gill,

722
00:39:50,640 --> 00:39:53,080
Speaker 2: whose father is dead set on capturing the King of

723
00:39:53,120 --> 00:39:57,600
Speaker 2: e leprechauns and whose suitors include an Irish Sean Connery

724
00:39:58,080 --> 00:40:02,480
Speaker 2: and Estelle Wynwood's horrible son, Pony, played by Kieran Moore.

725
00:40:03,040 --> 00:40:05,319
Speaker 3: I've never seen this, but you've mentioned it several times

726
00:40:05,400 --> 00:40:06,880
Speaker 3: on the show, so I looked it up and I

727
00:40:07,080 --> 00:40:10,560
Speaker 3: was I had the wrong idea of what this movie was.

728
00:40:10,719 --> 00:40:14,440
Speaker 3: I had been thinking of it as some kind of

729
00:40:14,640 --> 00:40:17,360
Speaker 3: weird throwaway made for TV thing, But it seems this

730
00:40:17,440 --> 00:40:20,399
Speaker 3: movie is widely is like, very well regarded. People think

731
00:40:20,400 --> 00:40:20,840
Speaker 3: it's great.

732
00:40:21,320 --> 00:40:23,919
Speaker 2: It was a Lavish production, you know. I'm not sure

733
00:40:23,920 --> 00:40:28,560
Speaker 2: to what extent true Irish people in place that or not.

734
00:40:28,960 --> 00:40:31,400
Speaker 2: I don't know. Irish listeners write in and let us know.

735
00:40:32,239 --> 00:40:36,799
Speaker 2: But it's a film I grew up watching and I

736
00:40:36,840 --> 00:40:39,759
Speaker 2: always really enjoyed it. I rewatched it again just a

737
00:40:39,760 --> 00:40:41,479
Speaker 2: few years back, and it was still a lot of fun.

738
00:40:41,640 --> 00:40:43,880
Speaker 2: And she's a big part of its charm. Just a

739
00:40:44,000 --> 00:40:47,160
Speaker 2: very charismatic actress. She was a British actress who won

740
00:40:47,200 --> 00:40:50,319
Speaker 2: a Golden Globe Most Promising Newcomer Female for her role

741
00:40:50,320 --> 00:40:52,560
Speaker 2: in Darby Ogill and the Little People, and then she

742
00:40:52,600 --> 00:40:56,200
Speaker 2: went on to win a BAFTA Best British Actress nod

743
00:40:56,200 --> 00:40:58,760
Speaker 2: for her role in the nineteen sixty two drama Walk

744
00:40:58,760 --> 00:41:02,080
Speaker 2: in the Shadows. Her follow up Disney films included Third

745
00:41:02,120 --> 00:41:04,520
Speaker 2: Man on the Mountain from fifty nine, which I'm not

746
00:41:04,600 --> 00:41:07,760
Speaker 2: familiar with, and The Mountain Movie, Yeah, and then Swiss

747
00:41:07,800 --> 00:41:10,759
Speaker 2: Family Robinson from nineteen sixty which I definitely watched on

748
00:41:10,840 --> 00:41:11,680
Speaker 2: VHS back.

749
00:41:11,560 --> 00:41:13,200
Speaker 3: In the day. Oh yeah, we had a tape of

750
00:41:13,239 --> 00:41:14,719
Speaker 3: that when I was growing up. I watched that a

751
00:41:14,719 --> 00:41:16,680
Speaker 3: bunch of times. I loved all the traps they made.

752
00:41:16,760 --> 00:41:18,160
Speaker 3: I was obsessed with the traps.

753
00:41:18,920 --> 00:41:21,200
Speaker 2: She also appeared in the Day the Earth Caught Fire

754
00:41:21,400 --> 00:41:24,120
Speaker 2: nineteen sixty one, which is definitely one of those titles

755
00:41:24,200 --> 00:41:28,400
Speaker 2: that matches up with the themes we were talking about exactly. Yeah.

756
00:41:28,440 --> 00:41:32,400
Speaker 2: This was only her second feature film appearance, following nineteen

757
00:41:32,400 --> 00:41:36,400
Speaker 2: fifty to seven Small Hotel, and she was only active

758
00:41:36,400 --> 00:41:40,239
Speaker 2: from fifty seven through nineteen seventy two, so ultimately, you know,

759
00:41:40,440 --> 00:41:43,760
Speaker 2: not that long of a career, and her life was

760
00:41:43,840 --> 00:41:47,920
Speaker 2: cut significantly short. But very memorable screen presence here, just

761
00:41:48,440 --> 00:41:51,240
Speaker 2: tremendous acting presence. Tremendous screen presence.

762
00:41:51,320 --> 00:41:54,200
Speaker 3: Agreed. As I said, this movie does stand out from

763
00:41:54,239 --> 00:41:57,120
Speaker 3: its genre, and Air appears in a number of ways,

764
00:41:57,160 --> 00:41:59,800
Speaker 3: and I think her performance is one of the main ones.

765
00:42:00,280 --> 00:42:02,919
Speaker 2: All right, let's roll through some of the supporting performers. Here.

766
00:42:03,080 --> 00:42:06,440
Speaker 2: We have the character I believe it's Krevit, but they

767
00:42:06,440 --> 00:42:10,480
Speaker 2: mostly just call him the Professor, So I if they

768
00:42:10,520 --> 00:42:12,080
Speaker 2: ever said his name, I missed it.

769
00:42:12,520 --> 00:42:14,319
Speaker 3: I don't remember what they called him. Yeah.

770
00:42:14,400 --> 00:42:17,719
Speaker 2: Yeah. The Professor is played by Warren Mitchell, who lived

771
00:42:17,760 --> 00:42:20,800
Speaker 2: nineteen twenty six through twenty fifteen. British character actor of stage,

772
00:42:20,800 --> 00:42:23,799
Speaker 2: screen and TV, whose credits include sixty one's The Curse

773
00:42:23,840 --> 00:42:26,320
Speaker 2: of the Werewolf. That's the Hammer Studios picture with Oliver

774
00:42:26,400 --> 00:42:30,279
Speaker 2: Reed Is the Werewolf, nineteen sixty five's Help, That's the

775
00:42:30,280 --> 00:42:33,360
Speaker 2: Beatles movie, and nineteen seventy seven's Jabberwockie that was a

776
00:42:33,480 --> 00:42:36,560
Speaker 2: Terry Gilliam picture. I, however, know him best as the

777
00:42:36,640 --> 00:42:40,319
Speaker 2: villain from the Amazing Hammer Studios mod Space Western Moon

778
00:42:40,440 --> 00:42:43,840
Speaker 2: zero two from nineteen sixty nine, a film that was

779
00:42:43,880 --> 00:42:46,120
Speaker 2: also featured on a hisstory Science Theater three thousand, but

780
00:42:46,280 --> 00:42:49,160
Speaker 2: is also just a goofy good time in and of itself.

781
00:42:49,600 --> 00:42:54,719
Speaker 3: Strange choice with this actor that, if this makes any sense,

782
00:42:54,800 --> 00:42:59,200
Speaker 3: Rob he is played as if he is supposed to

783
00:42:59,200 --> 00:43:03,440
Speaker 3: be an excess trick professor in terms of his the voice,

784
00:43:03,480 --> 00:43:05,480
Speaker 3: like the voice this actor does for him and stuff.

785
00:43:05,520 --> 00:43:09,200
Speaker 3: Kind of a one of those Einstein modeled eccentric, absent

786
00:43:09,239 --> 00:43:12,040
Speaker 3: minded professors. Except that's not really the way the character

787
00:43:12,120 --> 00:43:15,319
Speaker 3: is written. It's like it's there in the voice and

788
00:43:15,360 --> 00:43:19,240
Speaker 3: the way he looks. But the character is very straightforward

789
00:43:19,320 --> 00:43:20,920
Speaker 3: in terms of his role in the story.

790
00:43:21,160 --> 00:43:23,839
Speaker 2: Yeah, it feels like this character should be arguing for

791
00:43:24,120 --> 00:43:28,879
Speaker 2: the return of Santa Claus from the planet Mars, but yeah,

792
00:43:28,920 --> 00:43:32,000
Speaker 2: he's a pretty straight life scientist. The accent I kept

793
00:43:32,000 --> 00:43:34,799
Speaker 2: puzzling over. The accent felt very Guido Sarducci, you know,

794
00:43:35,480 --> 00:43:37,720
Speaker 2: and I wasn't sure exactly where this guy was supposed

795
00:43:37,719 --> 00:43:40,280
Speaker 2: to be from. All Right, a couple of additional supporting

796
00:43:40,320 --> 00:43:42,560
Speaker 2: characters I want to mention really quickly here because they're

797
00:43:42,560 --> 00:43:45,040
Speaker 2: both pretty neat in their own right. We have Andrew

798
00:43:45,080 --> 00:43:48,759
Speaker 2: Folds playing Brett. This is a mountaineer, a doomed mountaineer

799
00:43:48,800 --> 00:43:51,640
Speaker 2: from early in the picture who then pops up later.

800
00:43:52,200 --> 00:43:54,719
Speaker 2: He lived nineteen twenty three through the year two thousand.

801
00:43:55,120 --> 00:43:57,400
Speaker 2: He was a British actor of stage and screen, whose

802
00:43:57,480 --> 00:44:00,319
Speaker 2: best known roles aside from this were sixty three's in

803
00:44:00,320 --> 00:44:03,800
Speaker 2: the Argonauts and Cleopatra, as well as nineteen seventy five's

804
00:44:03,840 --> 00:44:08,000
Speaker 2: Liths Somnia. He was also a British Labor Party politician

805
00:44:08,000 --> 00:44:10,400
Speaker 2: and served as a member of Parliament from nineteen sixty

806
00:44:10,440 --> 00:44:11,800
Speaker 2: six through nineteen ninety seven.

807
00:44:11,960 --> 00:44:15,400
Speaker 3: Oh interesting, okay, so directed by a physicist and the

808
00:44:15,480 --> 00:44:18,200
Speaker 3: cast made their way into politics. I'm liking all the

809
00:44:18,200 --> 00:44:22,360
Speaker 3: connections here. I like Andrew Folds in this role because

810
00:44:22,400 --> 00:44:26,480
Speaker 3: he he's actually rather scary in some parts of the movie.

811
00:44:27,840 --> 00:44:29,840
Speaker 3: I mean, we'll talk more about the plot in just

812
00:44:29,880 --> 00:44:32,040
Speaker 3: a minute here, but he's a he's a kind of

813
00:44:32,400 --> 00:44:35,520
Speaker 3: man of few words, but as a kindly presence earlier

814
00:44:35,560 --> 00:44:39,840
Speaker 3: in the film, and then appears greatly changed later on,

815
00:44:40,200 --> 00:44:43,120
Speaker 3: and it works. It's a good shift, all right.

816
00:44:43,160 --> 00:44:46,160
Speaker 2: And then accompanying him there on a doomed adventure up

817
00:44:46,200 --> 00:44:48,520
Speaker 2: into the mountains, we have the character Dehurst, played by

818
00:44:48,520 --> 00:44:51,919
Speaker 2: Stuart Saunders, who have nineteen oh nine through nineteen eighty eight,

819
00:44:52,600 --> 00:44:56,080
Speaker 2: another fun performance. This guy had a minor role in

820
00:44:56,160 --> 00:44:59,000
Speaker 2: nineteen eighty three. He's Octopusy the James Bond film. He

821
00:44:59,080 --> 00:45:01,799
Speaker 2: played Major Claw. This is a character who loses a

822
00:45:01,840 --> 00:45:05,520
Speaker 2: game of backgammon to the villain and then he's like,

823
00:45:05,640 --> 00:45:07,239
Speaker 2: you know, he gets up, and then who takes his

824
00:45:07,360 --> 00:45:11,080
Speaker 2: spot playing backgammon with the villain is, of course Roger Morris.

825
00:45:11,160 --> 00:45:14,719
Speaker 3: James Bond OCTOPUSY is one of the Bond movies I

826
00:45:14,760 --> 00:45:16,960
Speaker 3: have the fewest memories of. I think I've only seen

827
00:45:17,000 --> 00:45:17,520
Speaker 3: it once or.

828
00:45:17,520 --> 00:45:20,560
Speaker 2: So memorable in that it has an octopus in it

829
00:45:20,880 --> 00:45:24,279
Speaker 2: and Louis Jodan plays the villain. He was always a

830
00:45:24,280 --> 00:45:27,360
Speaker 2: lot of fun. But yes, anyway, Stuart Saunders, one of

831
00:45:27,560 --> 00:45:30,080
Speaker 2: is the second of the two actors reprising their roles

832
00:45:30,120 --> 00:45:41,520
Speaker 2: from the original Trolenberg TV series. All Right, a couple

833
00:45:41,600 --> 00:45:44,239
Speaker 2: of notes about the special effects here, because two of

834
00:45:44,239 --> 00:45:47,600
Speaker 2: the individuals here involved in the special effects are pretty

835
00:45:47,840 --> 00:45:51,480
Speaker 2: impressive names. Les Bowie, who lived nineteen thirteen through nineteen

836
00:45:51,520 --> 00:45:54,799
Speaker 2: seventy nine, has special effects credit credits here. Canadian born

837
00:45:54,840 --> 00:45:58,319
Speaker 2: special effects artists who worked mainly in the UK. A

838
00:45:58,400 --> 00:46:00,920
Speaker 2: legend in the field of Matt Paine, which we definitely

839
00:46:00,960 --> 00:46:04,360
Speaker 2: see a few of in this picture. This was not

840
00:46:04,440 --> 00:46:09,040
Speaker 2: filmed in the Alps or anything. It was filmed at

841
00:46:09,080 --> 00:46:11,840
Speaker 2: a UK studio. He's best known for his work on

842
00:46:11,960 --> 00:46:15,480
Speaker 2: various Hammer pictures, including nineteen fifty eight s Dracula, as

843
00:46:15,520 --> 00:46:18,400
Speaker 2: well as a handful of Ray Harryhausen films, including seventy

844
00:46:18,440 --> 00:46:20,680
Speaker 2: seven Sindbad and The Eye of the Tiger. No, we

845
00:46:20,719 --> 00:46:23,040
Speaker 2: were just talking about that, yeah, And he was also

846
00:46:23,400 --> 00:46:25,920
Speaker 2: on the Oscar winning team behind the effects of nineteen

847
00:46:25,960 --> 00:46:26,960
Speaker 2: seventy eight Superman.

848
00:46:27,400 --> 00:46:28,320
Speaker 3: That's a good resume.

849
00:46:28,560 --> 00:46:32,480
Speaker 2: Yeah. And then assisting him on this was Brian Johnson

850
00:46:32,560 --> 00:46:35,080
Speaker 2: born nineteen thirty nine. Johnson would go on to work

851
00:46:35,120 --> 00:46:38,440
Speaker 2: on the special effects teams for such films as nineteen

852
00:46:38,480 --> 00:46:41,200
Speaker 2: sixty eight, two thousand and one, A Space Odyssey, nineteen

853
00:46:41,200 --> 00:46:44,520
Speaker 2: seventy Nine's Alien, and nineteen eighties The Empire Strikes Back,

854
00:46:44,840 --> 00:46:47,480
Speaker 2: all three of which won Oscars for their special effects.

855
00:46:47,640 --> 00:46:48,000
Speaker 3: Wow.

856
00:46:48,400 --> 00:46:50,720
Speaker 2: He also served in the special effects teams for nineteen

857
00:46:50,760 --> 00:46:53,399
Speaker 2: eighty one's Dragonslayer and nineteen eighty four's The.

858
00:46:53,360 --> 00:46:55,160
Speaker 3: Never Rittening Story Wow Again.

859
00:46:56,040 --> 00:46:58,480
Speaker 2: And then finally, the composer here is Stanley Black, who

860
00:46:58,520 --> 00:47:00,919
Speaker 2: lived nineteen thirteen through two thousand and two. British film

861
00:47:00,920 --> 00:47:03,960
Speaker 2: composer and bandleader, whose other credits include fifty eights, The

862
00:47:03,960 --> 00:47:07,520
Speaker 2: Blood of the Vampire, nineteen sixties, The Flesh Fiends, sixty

863
00:47:07,560 --> 00:47:10,120
Speaker 2: one's The Day the Earth Caught Fire, in nineteen sixty

864
00:47:10,160 --> 00:47:11,040
Speaker 2: three's Maniac.

865
00:47:11,719 --> 00:47:13,600
Speaker 3: I don't know if the music in this movie really

866
00:47:13,600 --> 00:47:14,600
Speaker 3: made an impression on me.

867
00:47:15,000 --> 00:47:16,600
Speaker 2: There are a few scenes where I thought it was

868
00:47:16,719 --> 00:47:20,840
Speaker 2: fittingly creepy, but also, you know, it is definitely a

869
00:47:20,960 --> 00:47:25,359
Speaker 2: nineteen fifty genre score sought. I thought it was quite good.

870
00:47:25,520 --> 00:47:27,640
Speaker 2: You know, nothing that I'm going to listen to in isolation,

871
00:47:27,880 --> 00:47:29,680
Speaker 2: but I thought it was pretty good.

872
00:47:30,000 --> 00:47:32,239
Speaker 3: Okay, I'll keep an ear out next time. I mean,

873
00:47:32,239 --> 00:47:34,239
Speaker 3: it certainly didn't strike me as bad. I just don't

874
00:47:34,280 --> 00:47:35,399
Speaker 3: remember anything about it.

875
00:47:36,120 --> 00:47:39,319
Speaker 2: Yeah, there's some creepy sequences where I feel like everybody's

876
00:47:40,360 --> 00:47:43,200
Speaker 2: bringing there all to delivering that vibe, you know, from

877
00:47:43,280 --> 00:47:46,840
Speaker 2: the camera work, the performances, the lighting and so forth.

878
00:47:47,200 --> 00:47:48,680
Speaker 3: All right, you ready to talk about the plot.

879
00:47:48,760 --> 00:47:50,160
Speaker 2: Yeah, let's head out to the Alps.

880
00:47:50,520 --> 00:47:53,680
Speaker 3: So the film opens with a landscape showing a narrow

881
00:47:53,800 --> 00:47:57,920
Speaker 3: valley in the Swiss Alps with massive mountains crowding on

882
00:47:58,000 --> 00:48:00,560
Speaker 3: both sides. And this is one of the things were

883
00:48:00,600 --> 00:48:04,400
Speaker 3: even in grainy black and white, it is a beautiful location.

884
00:48:05,239 --> 00:48:07,239
Speaker 3: At the bottom of the valley, there's a little river

885
00:48:07,440 --> 00:48:10,839
Speaker 3: and some farmland and a village, but the mountains are

886
00:48:11,000 --> 00:48:14,080
Speaker 3: so steep and so close. It's one of those places

887
00:48:14,080 --> 00:48:15,960
Speaker 3: where it would seem like the valley's got to be

888
00:48:15,960 --> 00:48:18,880
Speaker 3: in shadow for like a lot of the day. And

889
00:48:18,920 --> 00:48:21,919
Speaker 3: then the camera pulls back and then we pan up

890
00:48:22,000 --> 00:48:25,480
Speaker 3: the side of the mountains, and there's this feeling of like, oh,

891
00:48:25,520 --> 00:48:28,520
Speaker 3: it just keeps going up. Like first there's this big

892
00:48:28,560 --> 00:48:31,680
Speaker 3: alpine meadow and a dark spruce forest where it's kind

893
00:48:31,680 --> 00:48:35,960
Speaker 3: of flat halfway up the mountain, and you think this,

894
00:48:36,239 --> 00:48:38,120
Speaker 3: You think you might be looking at the top of

895
00:48:38,160 --> 00:48:40,320
Speaker 3: one of the mountains. But then you just keep panning

896
00:48:40,400 --> 00:48:43,239
Speaker 3: up and you realize that what the mountain you were

897
00:48:43,280 --> 00:48:45,480
Speaker 3: just looking at is like one of the lower slopes

898
00:48:45,520 --> 00:48:48,120
Speaker 3: of the real mountain, which is thousands of feet further up,

899
00:48:48,480 --> 00:48:51,720
Speaker 3: and that's sharp, bare rock covered in snow with mist

900
00:48:51,840 --> 00:48:54,880
Speaker 3: hanging all around the peak. And this is the Trolenberg again,

901
00:48:55,000 --> 00:48:56,759
Speaker 3: not a real mountain in Switzerland.

902
00:48:57,600 --> 00:48:59,319
Speaker 2: And I think already the film is doing a good

903
00:48:59,400 --> 00:49:03,200
Speaker 2: job we realize it or not at this point, because

904
00:49:03,200 --> 00:49:06,480
Speaker 2: it is establishing the mountains as being these, you know,

905
00:49:06,520 --> 00:49:09,280
Speaker 2: almost like mythic mountains that are reaching up not merely

906
00:49:09,320 --> 00:49:11,680
Speaker 2: into the sky, but into the place where our world

907
00:49:11,719 --> 00:49:12,920
Speaker 2: borders on the unknown.

908
00:49:13,120 --> 00:49:16,920
Speaker 3: Hmmm. Yeah, that's a good point. So up near the

909
00:49:16,920 --> 00:49:19,439
Speaker 3: summit we meet a couple of characters. There are two

910
00:49:19,560 --> 00:49:23,000
Speaker 3: young British men squatting on a narrow rock shelf, surrounded

911
00:49:23,040 --> 00:49:26,680
Speaker 3: by ropes, packs and climbing gear, and they're both looking

912
00:49:26,760 --> 00:49:30,200
Speaker 3: up above. There's a rope dangling down beside them, suspended

913
00:49:30,239 --> 00:49:34,000
Speaker 3: from an unseen upper figure. And one of the guys

914
00:49:34,000 --> 00:49:36,000
Speaker 3: says to the other guy, what's he doing up there?

915
00:49:36,040 --> 00:49:39,759
Speaker 3: And they call out, hey, Jimmy, and Jimmy calls back down,

916
00:49:39,920 --> 00:49:42,000
Speaker 3: telling them to wait a minute. He says he can't

917
00:49:42,040 --> 00:49:46,000
Speaker 3: see everything up where he is has gone foggy and cold.

918
00:49:46,560 --> 00:49:49,759
Speaker 3: He describes there's a cloud of something falling over him,

919
00:49:50,200 --> 00:49:53,000
Speaker 3: and then suddenly he says, hold on a second, there's

920
00:49:53,000 --> 00:49:57,319
Speaker 3: someone coming. His friends below are incredulous. They're like, what,

921
00:49:57,440 --> 00:49:59,839
Speaker 3: somebody's coming at the top of this mountain. One says,

922
00:50:00,000 --> 00:50:03,520
Speaker 3: who is it? Jim the abominable snow Man. And then

923
00:50:03,560 --> 00:50:06,800
Speaker 3: we hear some very odd noises from the fog above.

924
00:50:06,960 --> 00:50:10,680
Speaker 3: There is a high pitched hum that is swelling in volume,

925
00:50:10,920 --> 00:50:15,000
Speaker 3: kind of like an emergency broadcast tone. Also a repeating

926
00:50:15,200 --> 00:50:18,640
Speaker 3: chirp with delay, like some kind of radar system signaling

927
00:50:18,719 --> 00:50:21,720
Speaker 3: a ping, and the ping gets louder, as if something

928
00:50:21,760 --> 00:50:26,399
Speaker 3: is closing in, and suddenly Jim screams, and then from

929
00:50:26,400 --> 00:50:29,239
Speaker 3: the ledge above we see a body fall tied with

930
00:50:29,320 --> 00:50:32,319
Speaker 3: the rope. The body falls below the shelf with the

931
00:50:32,360 --> 00:50:35,239
Speaker 3: other two climbers, and the rope goes taut and they

932
00:50:35,239 --> 00:50:38,040
Speaker 3: struggle to pull their friend back up over the edge,

933
00:50:38,080 --> 00:50:41,480
Speaker 3: thinking Jim may still be alive. As they're hauling, they

934
00:50:41,480 --> 00:50:44,600
Speaker 3: actually say heave ho. And then as the body comes

935
00:50:44,640 --> 00:50:46,680
Speaker 3: into view, one of the climbers sees it, but the

936
00:50:46,719 --> 00:50:49,360
Speaker 3: other doesn't, and the one who sees it screams and

937
00:50:49,440 --> 00:50:51,800
Speaker 3: lets go of the rope, and this allows the body

938
00:50:51,840 --> 00:50:54,120
Speaker 3: to plunge down the side of the mountain, and the

939
00:50:54,160 --> 00:50:56,759
Speaker 3: other climber says to him, you idiot, we almost had him,

940
00:50:57,239 --> 00:51:00,239
Speaker 3: And the first says, did you see his head? It

941
00:51:00,440 --> 00:51:04,960
Speaker 3: was torn off, And the scream of torn off bleeds

942
00:51:04,960 --> 00:51:08,319
Speaker 3: into the sound of a locomotive horn, and suddenly we're

943
00:51:08,320 --> 00:51:11,719
Speaker 3: on a train somewhere else, rushing across the country, going

944
00:51:11,760 --> 00:51:15,360
Speaker 3: through these ravines and then black tunnels, and here we

945
00:51:15,400 --> 00:51:18,080
Speaker 3: get a title screen for The Crawling Eye. At least

946
00:51:18,080 --> 00:51:20,040
Speaker 3: in the US release, I don't know what the credits

947
00:51:20,040 --> 00:51:23,640
Speaker 3: look like in the British release. But a little observation

948
00:51:23,760 --> 00:51:27,800
Speaker 3: on my second viewing, the credit sequence here uses these

949
00:51:28,120 --> 00:51:32,560
Speaker 3: high contrast arrow designs. These like bold arrows going across

950
00:51:32,600 --> 00:51:36,000
Speaker 3: the black background and pointing to things, kind of similar

951
00:51:36,320 --> 00:51:39,120
Speaker 3: to the clean arrow motif you see in the Soul

952
00:51:39,239 --> 00:51:42,919
Speaker 3: Bass credit sequence for Alfred Hitchcock's north By Northwest, which

953
00:51:42,960 --> 00:51:45,839
Speaker 3: came out a year after this. Now, I am not

954
00:51:45,960 --> 00:51:49,800
Speaker 3: saying that Saul Bass and Hitchcock borrowed from the Crawling Eye,

955
00:51:49,800 --> 00:51:53,720
Speaker 3: but I'm saying I like these arrows. They're very classy, modern.

956
00:51:53,760 --> 00:51:56,239
Speaker 3: They feel kind of like the credit design equivalent of

957
00:51:56,280 --> 00:51:57,120
Speaker 3: an Emes chair.

958
00:51:57,600 --> 00:52:01,160
Speaker 2: According to artofthetitle dot com, this the credit sequence is

959
00:52:01,760 --> 00:52:04,239
Speaker 2: is uncredited. We don't know who the title was. Who

960
00:52:04,280 --> 00:52:07,600
Speaker 2: did the title design here? So okay it wasn't Soul Baths.

961
00:52:07,719 --> 00:52:11,040
Speaker 3: But no, it's not as elegant, I want to be clear.

962
00:52:11,080 --> 00:52:14,040
Speaker 3: It's not as elegant and elaborate as the Cell Bass designs,

963
00:52:14,040 --> 00:52:17,680
Speaker 3: but it's still I like the little arrow theme. It's cool.

964
00:52:19,080 --> 00:52:22,080
Speaker 3: So after the credits, we join our three main characters

965
00:52:22,120 --> 00:52:24,560
Speaker 3: in a train card. They don't know each other yet though,

966
00:52:24,920 --> 00:52:27,560
Speaker 3: so we're in a passenger compartment and we have Forrest

967
00:52:27,640 --> 00:52:31,560
Speaker 3: Tucker as Alan Brooks, looking all of thirty nine. He's

968
00:52:31,600 --> 00:52:37,000
Speaker 3: a handsome, early middle aged man reading a newspaper, minding

969
00:52:37,040 --> 00:52:39,360
Speaker 3: his own business. And then on the other side of

970
00:52:39,440 --> 00:52:42,120
Speaker 3: the car, we have Jennifer Jane and Janet Monroe as

971
00:52:42,160 --> 00:52:46,120
Speaker 3: Sarah and and Pilgrim, who are sisters traveling together. When

972
00:52:46,200 --> 00:52:51,080
Speaker 3: we first see them, Anne is sleeping curled up against Sarah,

973
00:52:51,120 --> 00:52:54,280
Speaker 3: and though the two sisters seem to be fairly close

974
00:52:54,320 --> 00:52:56,400
Speaker 3: in age, there is kind of a feeling of Anne

975
00:52:56,520 --> 00:52:59,880
Speaker 3: being being like a child like snuggled up against a parent.

976
00:53:00,360 --> 00:53:03,239
Speaker 3: When she's leaning on Sarah here and she's having a

977
00:53:03,280 --> 00:53:06,880
Speaker 3: bad dream and she kind of groans and startles herself awake.

978
00:53:07,880 --> 00:53:11,040
Speaker 3: Sarah asks if she was dreaming, and Anne denies it,

979
00:53:11,640 --> 00:53:14,799
Speaker 3: and then as Anne slowly becomes more awake, they joke

980
00:53:14,840 --> 00:53:17,360
Speaker 3: about whether she was talking about men in her sleep.

981
00:53:17,440 --> 00:53:19,279
Speaker 3: I think we're supposed to get the idea here that

982
00:53:19,360 --> 00:53:21,880
Speaker 3: both of these ladies are single and ready to mingle.

983
00:53:22,640 --> 00:53:26,279
Speaker 3: I think all of the characters are single. Probably, yeah, yeah,

984
00:53:26,320 --> 00:53:29,319
Speaker 3: I think so. There's not that nobody's discussing their home

985
00:53:29,320 --> 00:53:31,600
Speaker 3: life all that much. You wouldn't have a movie otherwise.

986
00:53:31,640 --> 00:53:34,720
Speaker 3: All these adults are ready to mingle anyway. Sarah points

987
00:53:34,760 --> 00:53:37,439
Speaker 3: out that they can now see the mountains out out

988
00:53:37,440 --> 00:53:39,680
Speaker 3: of the train window, and Ann gets up to look,

989
00:53:40,360 --> 00:53:44,200
Speaker 3: and at first she seems enraptured by the natural beauty.

990
00:53:44,320 --> 00:53:47,280
Speaker 3: We see this kind of angelic light fall over her face.

991
00:53:47,800 --> 00:53:51,239
Speaker 3: But then as she gazes up the slope of the

992
00:53:51,280 --> 00:53:56,360
Speaker 3: Trollenberg and her eyes kind of meet the snowy peak,

993
00:53:56,840 --> 00:54:01,680
Speaker 3: eerie music starts to play, and her smile fades, and

994
00:54:01,760 --> 00:54:05,200
Speaker 3: you think maybe she's going to start frowning or looking unhappy,

995
00:54:05,239 --> 00:54:08,440
Speaker 3: but it doesn't turn into a frown. Instead, it turns

996
00:54:08,480 --> 00:54:13,120
Speaker 3: into a blank, slackened expression, like she has lost control

997
00:54:13,200 --> 00:54:16,839
Speaker 3: of her mind. Anne's eyes roll back and she sort

998
00:54:16,840 --> 00:54:19,200
Speaker 3: of takes a step toward the door and then just

999
00:54:19,280 --> 00:54:22,920
Speaker 3: suddenly collapses, falling across the lap of the man across

1000
00:54:22,920 --> 00:54:25,879
Speaker 3: from them. After a moment, she comes around and all

1001
00:54:26,040 --> 00:54:28,719
Speaker 3: is well again, and they all introduce themselves to each other.

1002
00:54:28,800 --> 00:54:32,960
Speaker 3: They become acquainted. Brooks offers and a flask to help

1003
00:54:33,000 --> 00:54:35,920
Speaker 3: her recover from her fainting episode. I love how in

1004
00:54:35,960 --> 00:54:39,200
Speaker 3: these old movies people seem to believe that hard liquor

1005
00:54:39,360 --> 00:54:43,000
Speaker 3: just has general medicinal qualities and it treats everything from

1006
00:54:43,040 --> 00:54:46,200
Speaker 3: the common cold to alien mind control. So he gives

1007
00:54:46,239 --> 00:54:48,480
Speaker 3: her the flask and she's like, oh great, thanks. It

1008
00:54:48,480 --> 00:54:50,520
Speaker 3: takes a big gulp and then her eyes bug out

1009
00:54:50,520 --> 00:54:51,200
Speaker 3: of her head a bit.

1010
00:54:51,600 --> 00:54:53,920
Speaker 2: Yeah, they hit the spirits really hard in this movie.

1011
00:54:54,320 --> 00:54:56,600
Speaker 2: Seemingly the drop of a hat, they'll just suddenly have

1012
00:54:56,680 --> 00:54:58,720
Speaker 2: drinks and it's like, maybe like ten in the morning.

1013
00:54:59,120 --> 00:55:02,400
Speaker 3: Nobody really questions that it's good to just have a

1014
00:55:02,440 --> 00:55:06,640
Speaker 3: good bel to liquor before you go mountain climbing. So

1015
00:55:06,840 --> 00:55:10,000
Speaker 3: Sarah explains to Brooks that they're on the way to Geneva.

1016
00:55:10,520 --> 00:55:13,760
Speaker 3: Brooks is getting off at the next stop, this sleepy

1017
00:55:13,760 --> 00:55:18,160
Speaker 3: mountain village of Trollenberg. But suddenly something comes over Anne

1018
00:55:18,200 --> 00:55:20,600
Speaker 3: and she tells her sister that they have to get

1019
00:55:20,600 --> 00:55:23,840
Speaker 3: off at Trollenburg as well. And Sarah's like, no, no, no,

1020
00:55:23,840 --> 00:55:25,640
Speaker 3: what do you mean, We're going to Geneva. But Anne

1021
00:55:25,680 --> 00:55:29,160
Speaker 3: will not agree. She says she cannot travel any further today.

1022
00:55:29,640 --> 00:55:31,440
Speaker 3: They've got to get off at the next stop and

1023
00:55:31,480 --> 00:55:35,279
Speaker 3: stay at the Hotel Europa. And again Sarah is confused.

1024
00:55:35,320 --> 00:55:37,840
Speaker 3: They've never been to this place. How does Anne know

1025
00:55:37,920 --> 00:55:41,440
Speaker 3: what hotel to go to? And Anne says she doesn't

1026
00:55:41,480 --> 00:55:43,719
Speaker 3: know how she knows, She just knows, and she is

1027
00:55:43,840 --> 00:55:47,080
Speaker 3: insistent they've got to get off at Trollenberg. No debating this,

1028
00:55:48,000 --> 00:55:51,560
Speaker 3: so fortunately enough, the Hotel Europa is also where Brooks

1029
00:55:51,640 --> 00:55:53,680
Speaker 3: is going, so they're kind of all just traveling together.

1030
00:55:54,600 --> 00:55:57,719
Speaker 3: So at the train station, our three characters meet up

1031
00:55:57,760 --> 00:56:01,120
Speaker 3: with Hair Klein, the proprietor of the Hotel Europa and

1032
00:56:01,120 --> 00:56:04,840
Speaker 3: also the mayor of Trollenberg. He is kind enough to

1033
00:56:04,920 --> 00:56:06,560
Speaker 3: put them up at the hotel even though they don't

1034
00:56:06,600 --> 00:56:10,000
Speaker 3: have reservations. Apparently there are very few tourists at the moment.

1035
00:56:10,800 --> 00:56:13,520
Speaker 3: And on the car ride to the hotel, Anne is

1036
00:56:13,560 --> 00:56:17,840
Speaker 3: staring intently out the window at the mountain. Brooks is

1037
00:56:17,840 --> 00:56:19,520
Speaker 3: in the middle of like trying to get everybody to

1038
00:56:19,520 --> 00:56:23,359
Speaker 3: smoke cigarettes, and Ann starts babbling about mountain climbers. She's

1039
00:56:23,360 --> 00:56:25,120
Speaker 3: saying they shouldn't have tried to go all the way

1040
00:56:25,200 --> 00:56:28,120
Speaker 3: up the mountain. The three English students, one of them

1041
00:56:28,200 --> 00:56:31,040
Speaker 3: was killed. She says, peasants are leaving the mountain. They

1042
00:56:31,040 --> 00:56:35,279
Speaker 3: say it's bad luck, and Klein seems to confirm that

1043
00:56:35,320 --> 00:56:38,320
Speaker 3: what Anne is saying is true, though he doesn't share

1044
00:56:38,440 --> 00:56:41,880
Speaker 3: the evaluation like He says that the superstitious worries of

1045
00:56:41,880 --> 00:56:45,200
Speaker 3: the mountain people should be ignored. But how does Anne

1046
00:56:45,239 --> 00:56:49,040
Speaker 3: know all this stuff? Curious now. Upon arriving at the

1047
00:56:49,040 --> 00:56:52,360
Speaker 3: hotel bar, we meet several more characters. We meet Hans

1048
00:56:52,440 --> 00:56:57,160
Speaker 3: played by Colin Douglas, the German speaking bartender. Hans at

1049
00:56:57,160 --> 00:56:59,960
Speaker 3: several points kind of clams up when people start asking

1050
00:57:00,160 --> 00:57:04,839
Speaker 3: questions about the accidents. He's kind of untrusting. We meet

1051
00:57:05,080 --> 00:57:08,520
Speaker 3: Philip Truscatt played by Lawrence Payne. This is the guy

1052
00:57:08,520 --> 00:57:11,400
Speaker 3: we mentioned earlier who was in the TV adaptation playing

1053
00:57:11,440 --> 00:57:15,000
Speaker 3: the same character. This is our darkly handsome and mysterious man.

1054
00:57:15,520 --> 00:57:17,240
Speaker 3: He's having a drink and a smoke at the bar

1055
00:57:17,320 --> 00:57:20,400
Speaker 3: when our heroes arrive. He will later be revealed as

1056
00:57:20,480 --> 00:57:24,160
Speaker 3: a newspaper reporter here on deep cover investigating the mountain

1057
00:57:24,160 --> 00:57:28,600
Speaker 3: missed tragedies. And then to go ahead and round out

1058
00:57:28,680 --> 00:57:31,400
Speaker 3: the rest of the main cast list, we will also

1059
00:57:31,600 --> 00:57:35,880
Speaker 3: later meet Dewhurst. This is the rotund geology professor here

1060
00:57:35,920 --> 00:57:40,080
Speaker 3: to study the mountain. Brett, who is a wiry, laconic

1061
00:57:40,160 --> 00:57:43,160
Speaker 3: mountain guide who will be climbing the mountain with Dewhurst

1062
00:57:43,640 --> 00:57:47,160
Speaker 3: and also the professor. Again, we think his name is Krevit,

1063
00:57:47,160 --> 00:57:48,919
Speaker 3: at least that's what the wiki says. I don't remember

1064
00:57:48,960 --> 00:57:52,800
Speaker 3: what they call him. The Professor a scientist who is

1065
00:57:53,760 --> 00:57:57,720
Speaker 3: again superficially resembling a kind of standard caricature of Einstein,

1066
00:57:57,800 --> 00:58:00,440
Speaker 3: but he's running the lab at the observatory on the

1067
00:58:00,440 --> 00:58:12,520
Speaker 3: mountain side. So here I think I'm gonna maybe speak

1068
00:58:12,560 --> 00:58:15,120
Speaker 3: about the rest of the movie in a more summary way,

1069
00:58:15,200 --> 00:58:17,080
Speaker 3: and then we'll see if there's anything we want to

1070
00:58:17,080 --> 00:58:21,800
Speaker 3: come back and focus on in more detail. So from here,

1071
00:58:22,520 --> 00:58:24,560
Speaker 3: some of the main plot threads are that we see

1072
00:58:24,600 --> 00:58:27,240
Speaker 3: Alan Brooks. He goes up to the observatory by way

1073
00:58:27,240 --> 00:58:29,080
Speaker 3: of cable car up the side of the mountain to

1074
00:58:29,160 --> 00:58:32,720
Speaker 3: visit his old colleague, the Professor, and they discuss the

1075
00:58:32,840 --> 00:58:37,479
Speaker 3: disturbing incidents on the mountain, like climbers keep disappearing without

1076
00:58:37,520 --> 00:58:40,760
Speaker 3: a trace. Plus there's the recent beheading of the English

1077
00:58:40,760 --> 00:58:45,040
Speaker 3: student on the mountain. Also, Krevit explains to Brooks that

1078
00:58:45,120 --> 00:58:48,680
Speaker 3: there is a strange cloud which hovers on one side

1079
00:58:48,720 --> 00:58:52,800
Speaker 3: of the mountaintop, occasionally moving around, and the cloud they

1080
00:58:52,800 --> 00:58:57,160
Speaker 3: have figured out is radioactive. This is another hallmark of

1081
00:58:57,240 --> 00:58:59,960
Speaker 3: the nineteen fifties movie You Gotta Work our radio app

1082
00:59:00,000 --> 00:59:05,000
Speaker 3: active something in there. So there's some backstory between these two.

1083
00:59:05,040 --> 00:59:08,440
Speaker 3: We learned that Brooks was also involved in investigating a

1084
00:59:08,480 --> 00:59:12,600
Speaker 3: similar incident in the Andes of South America several years before,

1085
00:59:13,120 --> 00:59:16,760
Speaker 3: which had some of the same features. There was a

1086
00:59:16,800 --> 00:59:22,040
Speaker 3: weird radioactive bank of fog around a mountaintop, and there

1087
00:59:22,040 --> 00:59:26,200
Speaker 3: were disappearances of climbers, but that case also had other

1088
00:59:26,280 --> 00:59:32,040
Speaker 3: features not yet seen here in Switzerland. Brooks mentions mental compulsion.

1089
00:59:32,800 --> 00:59:35,720
Speaker 3: Also in this meeting, the professor proudly shows off the

1090
00:59:35,760 --> 00:59:40,400
Speaker 3: observatory's defensive measures, including a lot of like Chekhov's blast

1091
00:59:40,440 --> 00:59:43,920
Speaker 3: doors in the scene. So they've got like metal plates

1092
00:59:44,000 --> 00:59:46,560
Speaker 3: that you can roll down over the windows to shield

1093
00:59:46,600 --> 00:59:51,120
Speaker 3: themselves allegedly against an avalanche. Also, they have somehow got

1094
00:59:51,280 --> 00:59:54,960
Speaker 3: closed circuit TV cameras that can show you anywhere on

1095
00:59:55,000 --> 00:59:59,160
Speaker 3: the mountain at infinitely high resolution. I'm a little skeptical

1096
00:59:59,240 --> 01:00:04,880
Speaker 3: of some of these features, but the point is this, Yes, yeah,

1097
01:00:05,000 --> 01:00:09,800
Speaker 3: this observatory is basically a fortress. They also argue there's

1098
01:00:09,840 --> 01:00:12,520
Speaker 3: some funny stuff here where they're talking about his funding.

1099
01:00:13,040 --> 01:00:15,320
Speaker 3: The professors like, oh, yeah, the government, they just give

1100
01:00:15,360 --> 01:00:17,680
Speaker 3: me money to do whatever I want as long as

1101
01:00:17,720 --> 01:00:20,600
Speaker 3: I what are they arguing about. He's saying like, they

1102
01:00:20,640 --> 01:00:23,280
Speaker 3: won't give me money if I report that there's something

1103
01:00:23,320 --> 01:00:26,200
Speaker 3: weird happening here, but they will give me money for

1104
01:00:26,280 --> 01:00:32,320
Speaker 3: anything else. We also have these characters do Hurst and Brett. Again,

1105
01:00:32,400 --> 01:00:35,280
Speaker 3: Dohurst is the geologist and Brett is his mountain guide.

1106
01:00:35,680 --> 01:00:38,640
Speaker 3: They're they're gonna ascend the mountains so that Dohurst I

1107
01:00:38,640 --> 01:00:41,800
Speaker 3: believe he wants to collect samples for research. He's a

1108
01:00:41,840 --> 01:00:44,800
Speaker 3: geologist and he thinks maybe you can find something weird

1109
01:00:44,880 --> 01:00:47,760
Speaker 3: in the minerals up on the mountain that could explain something.

1110
01:00:48,720 --> 01:00:50,200
Speaker 3: So they're going to go up the mountain. Their plan

1111
01:00:50,320 --> 01:00:52,400
Speaker 3: is to camp the first night of the ascent in

1112
01:00:52,440 --> 01:00:55,600
Speaker 3: a hut halfway up the mountain. They're doing a lot

1113
01:00:55,640 --> 01:00:58,920
Speaker 3: of drinking, like they drink before they leave in the morning.

1114
01:00:59,000 --> 01:01:02,120
Speaker 3: The characters all gather around for just some Scotch or

1115
01:01:02,160 --> 01:01:05,240
Speaker 3: whatever before they go up the mountain. They're also drinking

1116
01:01:05,280 --> 01:01:07,440
Speaker 3: a lot along the way and in the hut.

1117
01:01:07,760 --> 01:01:09,840
Speaker 2: But they do explain at least in passing, that this

1118
01:01:09,920 --> 01:01:12,520
Speaker 2: will keep them warm.

1119
01:01:13,360 --> 01:01:16,520
Speaker 3: Folks that ain't how it works. Also, there's a decent

1120
01:01:16,520 --> 01:01:19,720
Speaker 3: amount made of how Dohurst he's very exuberant at the beginning,

1121
01:01:19,760 --> 01:01:22,720
Speaker 3: but like he's not cut out for mountain climbing, so

1122
01:01:22,760 --> 01:01:24,520
Speaker 3: when they make it up to the hut, he's really

1123
01:01:24,560 --> 01:01:31,080
Speaker 3: like not happy. Meanwhile, Anne continues to receive strange visions

1124
01:01:31,160 --> 01:01:35,280
Speaker 3: and inexplicable downloads of knowledge and information from the mountain,

1125
01:01:35,360 --> 01:01:37,880
Speaker 3: like she knows about all these things she should not.

1126
01:01:38,000 --> 01:01:40,200
Speaker 3: She knows about the climber's hut, she knows about the

1127
01:01:40,240 --> 01:01:44,480
Speaker 3: incidents of the previous weeks. At one point in the

1128
01:01:44,480 --> 01:01:47,360
Speaker 3: middle of the movie, after Dohurst and Brett have gone

1129
01:01:47,440 --> 01:01:50,160
Speaker 3: up to the hut to spend the night there, Sarah

1130
01:01:50,240 --> 01:01:54,240
Speaker 3: and Anne put on a demonstration of their mind reading

1131
01:01:54,280 --> 01:01:57,760
Speaker 3: act for the other guests at the hotel. Basically, Anne

1132
01:01:58,120 --> 01:02:03,000
Speaker 3: is the mind reader and Sarah her assistant, and successfully

1133
01:02:03,040 --> 01:02:05,920
Speaker 3: guesses a bunch of hidden objects. They do their standard

1134
01:02:05,920 --> 01:02:09,640
Speaker 3: tricks as we talked about earlier. Sarah explains to Brooks

1135
01:02:09,680 --> 01:02:12,520
Speaker 3: that they that they do not use any tricks or

1136
01:02:12,560 --> 01:02:16,200
Speaker 3: secret codes. They used to, but then they discovered that

1137
01:02:16,240 --> 01:02:19,160
Speaker 3: Anne actually is a mind reader, so they don't need

1138
01:02:19,200 --> 01:02:22,440
Speaker 3: to use any sleight of hand anyway. In the middle

1139
01:02:22,520 --> 01:02:25,520
Speaker 3: of this mind reading demonstration, Anne has another one of

1140
01:02:25,560 --> 01:02:28,800
Speaker 3: these mountain mind control episodes where she begins to see

1141
01:02:28,840 --> 01:02:33,320
Speaker 3: what is happening somehow to do Hurst and Brett in

1142
01:02:33,360 --> 01:02:37,400
Speaker 3: the climber's hut up on the mountain. And weirdly, she's

1143
01:02:37,440 --> 01:02:42,600
Speaker 3: almost talking as if from the perspective of a sort

1144
01:02:42,640 --> 01:02:46,720
Speaker 3: of a threatened third being up on the mountain that

1145
01:02:46,800 --> 01:02:50,240
Speaker 3: does not like their presence. So I think we're getting

1146
01:02:50,240 --> 01:02:54,880
Speaker 3: some channeling of the crawling eye's mindset, eye mindset coming

1147
01:02:54,920 --> 01:02:56,720
Speaker 3: through the ann mind reader.

1148
01:02:56,960 --> 01:02:59,640
Speaker 2: Yeah, and this scene and many like it in the

1149
01:02:59,640 --> 01:03:05,240
Speaker 2: picture a legitimately unsettling. I think these really held up.

1150
01:03:05,480 --> 01:03:10,280
Speaker 3: Yeah. So in this scene, Brett, the climber, for some

1151
01:03:10,680 --> 01:03:14,200
Speaker 3: inexplicable reason, decides to open up the cabin door and

1152
01:03:14,320 --> 01:03:18,000
Speaker 3: walk outside, and he disappears into the night, and then

1153
01:03:18,040 --> 01:03:21,160
Speaker 3: the cloud of radioactive myst comes down to surround the

1154
01:03:21,240 --> 01:03:24,240
Speaker 3: hut with Dewhurst still in it. The minute at the hotel,

1155
01:03:24,320 --> 01:03:27,960
Speaker 3: after hearing AND's channeling of what's going on up there,

1156
01:03:28,000 --> 01:03:30,200
Speaker 3: they telephone the hut. There is a telephone up there,

1157
01:03:30,240 --> 01:03:34,120
Speaker 3: it's connected by phone line, and Dohurst answers, not knowing

1158
01:03:34,120 --> 01:03:38,520
Speaker 3: where Brett disappeared to, Dohurst becomes frightened and then he

1159
01:03:38,640 --> 01:03:41,560
Speaker 3: screams at as something seems to be entering the cabin

1160
01:03:41,640 --> 01:03:44,600
Speaker 3: door and then they lose the call. So it's time

1161
01:03:44,600 --> 01:03:46,560
Speaker 3: for a search party. Got to have a search party

1162
01:03:46,560 --> 01:03:50,200
Speaker 3: in a good mountain movie. The remaining characters organize into

1163
01:03:50,400 --> 01:03:53,320
Speaker 3: a couple of parties to scour the mountain and find

1164
01:03:53,320 --> 01:03:56,960
Speaker 3: out what happened to Dohurst and Brett. Dohurst is found

1165
01:03:57,080 --> 01:03:59,840
Speaker 3: in the cabin without a head, and this is one

1166
01:03:59,840 --> 01:04:01,800
Speaker 3: of the scenes of shocking Gore.

1167
01:04:02,240 --> 01:04:06,680
Speaker 2: I thought, yeah, absolutely, yeah, the gross, gross sing it's wet.

1168
01:04:07,240 --> 01:04:08,200
Speaker 3: Yeah.

1169
01:04:07,920 --> 01:04:08,040
Speaker 4: Uh.

1170
01:04:08,320 --> 01:04:12,000
Speaker 3: Brett is spotted somewhere elsewhere on the mountain with the

1171
01:04:12,040 --> 01:04:14,520
Speaker 3: aid of an airplane. But when a couple of the

1172
01:04:14,680 --> 01:04:18,280
Speaker 3: mountaineers make it to his location, first of all, they

1173
01:04:18,440 --> 01:04:21,880
Speaker 3: discover that his backpack has a human head in it.

1174
01:04:22,040 --> 01:04:24,120
Speaker 2: And then and you know that backpack is going to

1175
01:04:24,160 --> 01:04:26,800
Speaker 2: have a human head, like the West. They're just sitting

1176
01:04:26,840 --> 01:04:30,959
Speaker 2: there ominously and they're they're stalking up to it, and yeah,

1177
01:04:31,360 --> 01:04:33,800
Speaker 2: it was. It was. This was also a highly effective

1178
01:04:33,840 --> 01:04:34,400
Speaker 2: I thought.

1179
01:04:34,320 --> 01:04:36,240
Speaker 3: Well, the way it shot, it's like the camera's on

1180
01:04:36,280 --> 01:04:39,560
Speaker 3: the backpack and he's reaching up to peel away the flap.

1181
01:04:39,560 --> 01:04:41,280
Speaker 3: It's like, what were we going to see in there?

1182
01:04:43,000 --> 01:04:43,160
Speaker 2: Yeah?

1183
01:04:43,920 --> 01:04:48,320
Speaker 3: But then after this, uh, Brett appears and attacks the

1184
01:04:48,360 --> 01:04:51,880
Speaker 3: rescuers with a climbing axe. So something has happened to Brett.

1185
01:04:51,880 --> 01:04:55,360
Speaker 3: Brett was not like this before. In the middle of

1186
01:04:55,400 --> 01:04:58,959
Speaker 3: the movie, there's also this thing where Anne is she's

1187
01:04:59,000 --> 01:05:02,040
Speaker 3: sort of losing con of herself and she is being

1188
01:05:02,080 --> 01:05:06,080
Speaker 3: compelled by this outside force to try to ascend the

1189
01:05:06,080 --> 01:05:09,320
Speaker 3: mountain alone as she goes into a kind of trance

1190
01:05:09,480 --> 01:05:12,040
Speaker 3: like state, and she takes the cable car up to

1191
01:05:12,080 --> 01:05:15,600
Speaker 3: the observatory, and she tries to go up further, presumably

1192
01:05:15,680 --> 01:05:18,760
Speaker 3: up to the cloud, but she is intercepted by other

1193
01:05:18,880 --> 01:05:22,400
Speaker 3: characters and guided back to the hotel. Then at the

1194
01:05:22,400 --> 01:05:26,080
Speaker 3: hotel we get the return of Brett. So we're at

1195
01:05:26,080 --> 01:05:30,200
Speaker 3: the bar and unexpectedly, Brett, the lost mountaineer, staggers in

1196
01:05:30,200 --> 01:05:35,040
Speaker 3: from the cold. He seems dazed and uncoordinated, just saying

1197
01:05:35,040 --> 01:05:37,560
Speaker 3: that he got lost and he just now was able

1198
01:05:37,600 --> 01:05:40,400
Speaker 3: to make it back. And as everyone watches, Brett tries

1199
01:05:40,440 --> 01:05:42,680
Speaker 3: to pour himself a drink and light a cigarette, but

1200
01:05:42,720 --> 01:05:45,640
Speaker 3: he can't do it without assistance to steady his hands.

1201
01:05:46,240 --> 01:05:49,640
Speaker 3: In the middle of this interaction, Anne Pilgrim comes down

1202
01:05:49,720 --> 01:05:51,960
Speaker 3: to the lobby to join the group. And as soon

1203
01:05:51,960 --> 01:05:55,120
Speaker 3: as Brett sees her, he turns violent and he tries

1204
01:05:55,160 --> 01:05:57,800
Speaker 3: to lunge at her with a knife. Fortunately, he is

1205
01:05:57,880 --> 01:06:01,640
Speaker 3: subdued and knocked unconscious by Brooks and trust it and

1206
01:06:01,680 --> 01:06:03,760
Speaker 3: they lock him up in some kind of dungeon in

1207
01:06:03,800 --> 01:06:05,920
Speaker 3: the basement of the hotel. Maybe it's supposed to be

1208
01:06:05,920 --> 01:06:06,720
Speaker 3: a wine cellar.

1209
01:06:07,000 --> 01:06:10,160
Speaker 2: Yeah, yeah, maybe, so the your standard issue dungeon.

1210
01:06:10,720 --> 01:06:14,880
Speaker 3: Strangely, despite the fact that Brett is cut in the scuffle,

1211
01:06:14,960 --> 01:06:16,560
Speaker 3: or I don't know if he was already cut. I

1212
01:06:16,600 --> 01:06:18,720
Speaker 3: think he's supposed to be cut in the scuffle, he

1213
01:06:18,800 --> 01:06:22,880
Speaker 3: does not bleed at all. And Brooks ends up relating

1214
01:06:22,920 --> 01:06:26,600
Speaker 3: this to what happened during the previous incidents in the Andes.

1215
01:06:26,720 --> 01:06:29,120
Speaker 3: They say there was a man when there was this

1216
01:06:29,200 --> 01:06:31,520
Speaker 3: cloud in the Andes, there was a man who was

1217
01:06:31,560 --> 01:06:36,640
Speaker 3: presumed dead and then reappeared to murder a local witch

1218
01:06:36,880 --> 01:06:40,960
Speaker 3: in the mountains there who had psychic powers. And then

1219
01:06:41,160 --> 01:06:43,360
Speaker 3: it turns out that they do an autopsy of the

1220
01:06:43,440 --> 01:06:46,480
Speaker 3: man and they find out he had already been dead

1221
01:06:46,600 --> 01:06:49,440
Speaker 3: for days before he appeared to do the murder. So

1222
01:06:49,520 --> 01:06:51,840
Speaker 3: this is some plan nine from outer space stuff. It

1223
01:06:51,920 --> 01:06:56,120
Speaker 3: is reanimation of the dead, as zombie assassins, and they

1224
01:06:56,160 --> 01:06:58,880
Speaker 3: are going after Earth's precious psychics.

1225
01:06:59,240 --> 01:07:01,760
Speaker 2: Yeah, and it's this is such an interesting threat in

1226
01:07:01,800 --> 01:07:05,760
Speaker 2: this picture that is not fully explored, like why are

1227
01:07:05,800 --> 01:07:08,800
Speaker 2: the psychics considered such a threat? In fact, they seem

1228
01:07:08,800 --> 01:07:10,720
Speaker 2: to be the only for the most part, they're the

1229
01:07:10,720 --> 01:07:14,920
Speaker 2: only thing deemed a threat by the aliens. They're otherwise otherwise,

1230
01:07:14,920 --> 01:07:17,720
Speaker 2: they seem happy to live about in high altitude clouds

1231
01:07:18,160 --> 01:07:20,920
Speaker 2: and just kill the occasional mountaineer and so forth, at

1232
01:07:21,000 --> 01:07:23,440
Speaker 2: least for now. Who knows what their long term plans are.

1233
01:07:23,640 --> 01:07:23,760
Speaker 4: Well.

1234
01:07:23,800 --> 01:07:27,720
Speaker 3: The explanation the characters eventually land on is that the psychics,

1235
01:07:28,080 --> 01:07:32,280
Speaker 3: because they can connect mentally to the aliens and the clouds,

1236
01:07:32,640 --> 01:07:36,640
Speaker 3: are able to provide information to the humans that would

1237
01:07:36,640 --> 01:07:41,000
Speaker 3: potentially stop the Aliens from succeeding in their invasion, because

1238
01:07:41,000 --> 01:07:45,720
Speaker 3: otherwise the Earthlings are going to be caught by surprise,

1239
01:07:45,800 --> 01:07:48,160
Speaker 3: but the psychics can give them advance.

1240
01:07:47,800 --> 01:07:50,800
Speaker 2: Warning, so ultimately, as a privacy issue.

1241
01:07:50,600 --> 01:07:53,680
Speaker 3: Yes, yeah, But anyway, in the middle of the night,

1242
01:07:53,960 --> 01:07:57,240
Speaker 3: Brett wakes up and he escapes the Wine Dungeon. There's

1243
01:07:57,240 --> 01:07:59,360
Speaker 3: a creepy thing where he reaches out through a hole

1244
01:07:59,360 --> 01:08:03,400
Speaker 3: in the door strangles the guy and then he tries

1245
01:08:03,440 --> 01:08:05,440
Speaker 3: to kill Ann in the middle of the night, but

1246
01:08:05,880 --> 01:08:08,600
Speaker 3: she's rescued when Brooks shoots him before he can hurt her.

1247
01:08:09,400 --> 01:08:11,880
Speaker 3: And then there's a cool effect where there's like a

1248
01:08:12,000 --> 01:08:15,480
Speaker 3: rapid decomp effect on Brett's arm I think caused by

1249
01:08:16,280 --> 01:08:19,479
Speaker 3: like after the mind control thing is broken on his

1250
01:08:19,560 --> 01:08:22,240
Speaker 3: zombie corpse, he like rapidly breaks down in the heat

1251
01:08:22,280 --> 01:08:25,559
Speaker 3: of the hotel. Anyway, we move on to the final

1252
01:08:25,640 --> 01:08:28,360
Speaker 3: act where in the final act they discovered that the

1253
01:08:28,360 --> 01:08:32,040
Speaker 3: cloud is now descending the mountain. It has been up

1254
01:08:32,080 --> 01:08:35,240
Speaker 3: there and now it is coming down here, and so

1255
01:08:35,560 --> 01:08:39,240
Speaker 3: our characters who are in the no develop a theory. Basically,

1256
01:08:39,280 --> 01:08:41,840
Speaker 3: they think it's got to be aliens. At one point

1257
01:08:41,840 --> 01:08:45,280
Speaker 3: they say, what else could it be? Yeah, yeah, okay,

1258
01:08:45,280 --> 01:08:49,200
Speaker 3: so it's aliens, and they figure out maybe the aliens

1259
01:08:49,439 --> 01:08:54,960
Speaker 3: have to adapt themselves to our atmosphere on mountaintops where

1260
01:08:54,960 --> 01:08:58,880
Speaker 3: the air is thinner, and then as they gradually acclimate

1261
01:08:59,080 --> 01:09:02,120
Speaker 3: to our atmosphe, they can move on down and attack

1262
01:09:02,240 --> 01:09:04,519
Speaker 3: us where we live. I thought that was kind of

1263
01:09:04,520 --> 01:09:07,120
Speaker 3: cool because that's an inversion of like the you know,

1264
01:09:07,160 --> 01:09:09,880
Speaker 3: the mountaintop acclamation that like if you're going up to

1265
01:09:10,160 --> 01:09:13,160
Speaker 3: a very high altitude. You need to spend some time

1266
01:09:13,240 --> 01:09:15,840
Speaker 3: at a kind of middle altitude to get used to

1267
01:09:15,880 --> 01:09:19,160
Speaker 3: it and allow your body to adjust. And so they're

1268
01:09:19,160 --> 01:09:21,880
Speaker 3: imagining the aliens are doing the exact opposite thing.

1269
01:09:22,439 --> 01:09:24,559
Speaker 2: Yeah, yeah, I like this idea.

1270
01:09:25,400 --> 01:09:27,920
Speaker 3: So, knowing that the aliens are coming down to the hotel,

1271
01:09:28,000 --> 01:09:31,479
Speaker 3: the characters organize a retreat to the only defensible position,

1272
01:09:31,720 --> 01:09:36,960
Speaker 3: the fortress observatory with the blast doors. Yeah. So there's

1273
01:09:37,000 --> 01:09:41,719
Speaker 3: an evacuation scene at the hotel where Brooks is organizing

1274
01:09:41,720 --> 01:09:43,559
Speaker 3: everybody to get in the cable cars and go up

1275
01:09:43,600 --> 01:09:46,240
Speaker 3: to the fortress. I think one group of people goes

1276
01:09:46,320 --> 01:09:50,360
Speaker 3: up first, and then Brooks is staying behind and realizes

1277
01:09:50,439 --> 01:09:53,200
Speaker 3: that there's like a mother with a little girl there

1278
01:09:53,600 --> 01:09:55,560
Speaker 3: and they were supposed to be part of the evacuation,

1279
01:09:55,680 --> 01:09:58,599
Speaker 3: but the mother can't find her child, and they deduced

1280
01:09:58,640 --> 01:10:01,160
Speaker 3: that the child has gone back to the hotel because

1281
01:10:01,160 --> 01:10:05,000
Speaker 3: she left her ball in the lobby. Oh, child in peril.

1282
01:10:05,520 --> 01:10:08,040
Speaker 3: So Brooks runs to the rescue, and here we get

1283
01:10:08,120 --> 01:10:12,000
Speaker 3: the reveal of a great eyeball monster mounted on a

1284
01:10:12,120 --> 01:10:16,439
Speaker 3: brain chassis coming in with tentacles waving all over the

1285
01:10:16,479 --> 01:10:19,599
Speaker 3: place and smoke billowing out around it, and it attacks

1286
01:10:19,600 --> 01:10:22,280
Speaker 3: basically the front door of the hotel. That goes right

1287
01:10:22,320 --> 01:10:24,559
Speaker 3: to the front door and blows it open, and the

1288
01:10:24,640 --> 01:10:27,080
Speaker 3: kids there trying to get the ball and the alien

1289
01:10:27,200 --> 01:10:29,519
Speaker 3: I guess it's going to eat her or whatever. But

1290
01:10:29,560 --> 01:10:31,720
Speaker 3: then Brooks arrives just in the nick of time and

1291
01:10:31,840 --> 01:10:34,759
Speaker 3: hacks off one of the tentacles and rescues the child.

1292
01:10:35,640 --> 01:10:39,280
Speaker 2: Yeah, the eyeball especially is very convincing. It just feel

1293
01:10:39,320 --> 01:10:42,400
Speaker 2: it does feel to me anyway, very organic, very real,

1294
01:10:42,439 --> 01:10:45,919
Speaker 2: like I'm looking at some sort of a bizarre living creature.

1295
01:10:47,520 --> 01:10:50,000
Speaker 2: The tentacles are maybe a little less convincing and verius,

1296
01:10:51,120 --> 01:10:53,680
Speaker 2: but still still as far as tentacle effects go for

1297
01:10:53,960 --> 01:10:56,160
Speaker 2: the nineteen fifties, is still pretty soft.

1298
01:10:56,320 --> 01:10:59,120
Speaker 3: There was a scene where I thought the suspense kind

1299
01:10:59,160 --> 01:11:01,120
Speaker 3: of works pretty good good where they're in the cable

1300
01:11:01,160 --> 01:11:03,439
Speaker 3: car trying to make it up to the observatory and

1301
01:11:03,520 --> 01:11:07,519
Speaker 3: the fog bank makes it up to the bottom station

1302
01:11:07,720 --> 01:11:11,080
Speaker 3: where the car comes in. And they've established earlier that

1303
01:11:11,160 --> 01:11:15,880
Speaker 3: these creatures can freeze like telephone wires and cause them

1304
01:11:15,880 --> 01:11:18,920
Speaker 3: to crystallize and shatter, and you can tell they're trying

1305
01:11:18,920 --> 01:11:21,880
Speaker 3: to freeze out the cable that's guiding the car to

1306
01:11:22,160 --> 01:11:25,240
Speaker 3: cause it to break and really looks like it's going

1307
01:11:25,320 --> 01:11:27,040
Speaker 3: to happen, but they do manage to make it up

1308
01:11:27,080 --> 01:11:32,160
Speaker 3: to the observatory and up there they basically agree that Okay,

1309
01:11:32,200 --> 01:11:35,120
Speaker 3: heat is their weakness. We know that they don't like heat,

1310
01:11:35,600 --> 01:11:37,760
Speaker 3: so let's get them with fire. You got to make

1311
01:11:37,760 --> 01:11:39,639
Speaker 3: them alltt cocktails.

1312
01:11:39,720 --> 01:11:42,240
Speaker 2: That's right. This is where they learned that, yes, we

1313
01:11:42,320 --> 01:11:47,000
Speaker 2: can defeat the alien menace by just lobbing flames at them.

1314
01:11:48,400 --> 01:11:51,000
Speaker 2: And this is pretty much how it goes from there

1315
01:11:51,040 --> 01:11:54,960
Speaker 2: on out, throwing Molotov cocktails at the enemy and then

1316
01:11:55,240 --> 01:11:58,040
Speaker 2: realizing what we should probably bring the military in on

1317
01:11:58,080 --> 01:12:02,040
Speaker 2: this as well. Let's have them fire bomb the observatory

1318
01:12:02,120 --> 01:12:06,080
Speaker 2: that we are in in order to destroy the alien threat.

1319
01:12:06,320 --> 01:12:08,200
Speaker 3: The walls are thick enough that we'll be safe.

1320
01:12:08,479 --> 01:12:10,640
Speaker 2: Yes, they do establish that, but it's still it's a

1321
01:12:10,640 --> 01:12:15,280
Speaker 2: little calling the air strike what location right here? Also

1322
01:12:15,320 --> 01:12:18,160
Speaker 2: the cloud, there's some arguing back and forth with the pilot.

1323
01:12:18,200 --> 01:12:19,600
Speaker 2: He's like, you want me to bomb a cloud and

1324
01:12:19,600 --> 01:12:20,920
Speaker 2: they're like, yes, bomb the cloud.

1325
01:12:21,240 --> 01:12:23,920
Speaker 3: He's giving orders on the radio to the pilot bomb

1326
01:12:24,000 --> 01:12:29,920
Speaker 3: the cloud. Yeah, And it's kind of like Tarantula There

1327
01:12:29,920 --> 01:12:31,719
Speaker 3: were a bunch of movies like this in the fifties

1328
01:12:31,760 --> 01:12:34,760
Speaker 3: where there's this monster they're debating like, how can we

1329
01:12:34,800 --> 01:12:37,280
Speaker 3: possibly beat in the discover In the end, the answer

1330
01:12:37,400 --> 01:12:38,120
Speaker 3: is bombs.

1331
01:12:38,600 --> 01:12:42,040
Speaker 2: Yeah, yeah, calling the military air strike just takes care

1332
01:12:42,040 --> 01:12:44,120
Speaker 2: of it, cleans it all up. At the end, you

1333
01:12:44,200 --> 01:12:47,800
Speaker 2: are safe, You are protected. But I do think it

1334
01:12:47,840 --> 01:12:51,400
Speaker 2: would have been interesting, and I think in another era

1335
01:12:51,520 --> 01:12:54,800
Speaker 2: you would have seen this, let's see and defeat the

1336
01:12:54,840 --> 01:12:58,560
Speaker 2: aliens with those psychic powers, which I guess they've established

1337
01:12:58,600 --> 01:13:00,880
Speaker 2: that psychic powers are only a threat to them, like

1338
01:13:00,880 --> 01:13:03,960
Speaker 2: you said, because they reveal the alien secrets. It's a

1339
01:13:04,000 --> 01:13:06,160
Speaker 2: privacy issue. But what if there was more to that?

1340
01:13:06,200 --> 01:13:09,000
Speaker 2: What if what if there was a possibility there that

1341
01:13:09,400 --> 01:13:12,400
Speaker 2: human psychics didn't even realize that they could just like,

1342
01:13:12,520 --> 01:13:16,679
Speaker 2: with a particularly potent thought, you know, explode the large

1343
01:13:16,720 --> 01:13:21,679
Speaker 2: brains of these creatures, you know, the psychander yah scanners

1344
01:13:21,720 --> 01:13:22,200
Speaker 2: them to death.

1345
01:13:22,280 --> 01:13:25,400
Speaker 3: Yeah yeah yeah. Or what if the mind control went

1346
01:13:25,439 --> 01:13:28,360
Speaker 3: two ways? What if Ann Pilgrim could make the aliens

1347
01:13:28,479 --> 01:13:30,880
Speaker 3: like launch themselves off the mountain side or something.

1348
01:13:31,080 --> 01:13:34,479
Speaker 2: Yeah, yeah, that would have been interesting. But instead we

1349
01:13:34,520 --> 01:13:37,800
Speaker 2: get the airstrike, which is you know, fitting of the air.

1350
01:13:37,960 --> 01:13:40,400
Speaker 3: I guess there's one more cool thing in the in

1351
01:13:40,479 --> 01:13:44,360
Speaker 3: the final scene, which is remember the character Hans the bartender.

1352
01:13:44,439 --> 01:13:46,960
Speaker 3: They say he takes one of the cars and he's

1353
01:13:47,000 --> 01:13:49,040
Speaker 3: trying to At first he's like, no, I'm not going

1354
01:13:49,120 --> 01:13:51,439
Speaker 3: up to the observatory. He's trying to high tail it

1355
01:13:51,479 --> 01:13:53,800
Speaker 3: out of the valley and they see him drive into

1356
01:13:53,880 --> 01:13:57,479
Speaker 3: the fog bank and like whoops, okay, no more Hans.

1357
01:13:57,720 --> 01:14:00,200
Speaker 3: But then he reappears later he said the observatory, where

1358
01:14:00,240 --> 01:14:03,840
Speaker 3: he's like, I'm fine, Actually, can I Where's Anne? I'm

1359
01:14:03,880 --> 01:14:04,599
Speaker 3: looking for her.

1360
01:14:05,200 --> 01:14:08,360
Speaker 2: Yeah, So we give one more psychic assassin attempt by

1361
01:14:08,360 --> 01:14:11,120
Speaker 2: the aliens, and this one is also pretty tense and effective.

1362
01:14:11,320 --> 01:14:13,799
Speaker 3: Yeah, he almost gets her, but then she is rescued

1363
01:14:13,840 --> 01:14:17,479
Speaker 3: once again by by Brooks and Truscot, and then so

1364
01:14:17,640 --> 01:14:21,040
Speaker 3: after they defeat the the Eye creatures in the end.

1365
01:14:21,400 --> 01:14:23,600
Speaker 3: I don't know, is it kind of implied that that

1366
01:14:23,760 --> 01:14:26,680
Speaker 3: maybe Anne Pilgrim and Philip Truscott are going to be

1367
01:14:26,680 --> 01:14:30,519
Speaker 3: an item and maybe be maybe Sarah Pilgrim and Alan

1368
01:14:30,560 --> 01:14:33,360
Speaker 3: Brooks are gonna be an item too. I think so

1369
01:14:33,520 --> 01:14:35,200
Speaker 3: I implied romance.

1370
01:14:35,280 --> 01:14:39,280
Speaker 2: Yeah, we're left to do the assumed matchmaking on our

1371
01:14:39,320 --> 01:14:42,160
Speaker 2: own but it's like, oh, these these kids are all young,

1372
01:14:44,320 --> 01:14:46,880
Speaker 2: let's uh, they should they should get together, settled down.

1373
01:14:46,920 --> 01:14:50,080
Speaker 2: The alien threat is defeated. Now it's time to start

1374
01:14:50,080 --> 01:14:50,559
Speaker 2: a family.

1375
01:14:51,200 --> 01:14:55,439
Speaker 3: They'll they'll become part of the U N Investigative Psychic

1376
01:14:55,840 --> 01:14:56,759
Speaker 3: Mind Reading Team.

1377
01:14:57,400 --> 01:14:59,679
Speaker 2: Yeah, because I think, you know, based on what they've established,

1378
01:14:59,680 --> 01:15:02,320
Speaker 2: like the the threat's not over. There are other mountainous

1379
01:15:02,360 --> 01:15:05,799
Speaker 2: regions of the world where these creatures may be taking

1380
01:15:05,880 --> 01:15:09,599
Speaker 2: up residents and they need to be defeated. We need

1381
01:15:09,640 --> 01:15:12,120
Speaker 2: somebody out there with psychic abilities to figure out where

1382
01:15:12,120 --> 01:15:13,640
Speaker 2: they are, and then someone else to call in the

1383
01:15:13,680 --> 01:15:14,760
Speaker 2: air strikes to deal with them.

1384
01:15:14,840 --> 01:15:17,360
Speaker 3: Did you read the same trivia claim I did that.

1385
01:15:17,800 --> 01:15:20,719
Speaker 3: John Carpenter said he was inspired to do the movie

1386
01:15:20,760 --> 01:15:22,439
Speaker 3: The Fog by this movie.

1387
01:15:22,800 --> 01:15:25,600
Speaker 2: Oh I didn't run across that, but it's not surprising

1388
01:15:26,000 --> 01:15:28,120
Speaker 2: because again, this is a highly effective film, and I

1389
01:15:28,160 --> 01:15:30,200
Speaker 2: know a lot of people loved it back in the day.

1390
01:15:31,000 --> 01:15:33,599
Speaker 2: I did read. I don't remember this from my reading

1391
01:15:33,640 --> 01:15:36,439
Speaker 2: of the novel, but in Stephen King's it there is

1392
01:15:36,479 --> 01:15:40,360
Speaker 2: a reference to the crawling eye. I think one of

1393
01:15:40,360 --> 01:15:42,439
Speaker 2: the kids is frightened by one of the sequences, and

1394
01:15:42,680 --> 01:15:46,800
Speaker 2: you know, so it stood the test of time for

1395
01:15:46,840 --> 01:15:47,240
Speaker 2: a reason.

1396
01:15:47,479 --> 01:15:50,200
Speaker 3: Though, there's a thing that I think works better in

1397
01:15:50,240 --> 01:15:53,680
Speaker 3: this movie than it does in The Fog. Actually, this

1398
01:15:53,760 --> 01:15:56,880
Speaker 3: is always so. I've always had a love hate relationship

1399
01:15:56,960 --> 01:15:59,479
Speaker 3: with John Carpenter's The Fog. I really really like a

1400
01:15:59,479 --> 01:16:01,640
Speaker 3: lot of things about it. The ghost story told at

1401
01:16:01,680 --> 01:16:04,960
Speaker 3: the beginning is fantastic, and a lot of the atmospherics

1402
01:16:05,000 --> 01:16:07,200
Speaker 3: in it are just wonderful, as the FOG's rolling through

1403
01:16:07,240 --> 01:16:09,479
Speaker 3: town and we see all the kind of poltergeist effects,

1404
01:16:09,479 --> 01:16:11,960
Speaker 3: and yeah, there's so much about it that works really well.

1405
01:16:12,280 --> 01:16:14,519
Speaker 3: But on the other hand, I felt like it it

1406
01:16:14,840 --> 01:16:18,639
Speaker 3: feels like it never quite comes together as a story

1407
01:16:19,040 --> 01:16:22,000
Speaker 3: all that much. There's something kind of lacking in terms of, like,

1408
01:16:22,320 --> 01:16:24,000
Speaker 3: I don't know, maybe it needs more of a main

1409
01:16:24,120 --> 01:16:26,439
Speaker 3: character with more of a struggle or something, and so

1410
01:16:26,880 --> 01:16:29,320
Speaker 3: I've thought about that before. But another thing in it

1411
01:16:29,360 --> 01:16:33,400
Speaker 3: that never quite worked for me is the radio announcer

1412
01:16:33,479 --> 01:16:36,200
Speaker 3: character played by Adrian Barbo, who's like calling out to

1413
01:16:36,320 --> 01:16:40,160
Speaker 3: the characters over the radio where the fog is in town.

1414
01:16:40,280 --> 01:16:43,080
Speaker 3: Something about the mechanics of that just never made sense, like,

1415
01:16:43,439 --> 01:16:45,720
Speaker 3: oh the fog is there now, Oh it's there now.

1416
01:16:45,960 --> 01:16:48,120
Speaker 3: It makes more sense in this movie when you're like

1417
01:16:48,200 --> 01:16:51,320
Speaker 3: you have an observatory that's watching where the fog is going,

1418
01:16:51,640 --> 01:16:54,679
Speaker 3: like on a mountaintop versus going down in the valley.

1419
01:16:55,400 --> 01:16:58,120
Speaker 3: That kind of reads better, I think than the street

1420
01:16:58,200 --> 01:17:01,400
Speaker 3: to street fog navigation and assistance.

1421
01:17:01,720 --> 01:17:04,280
Speaker 2: Yeah, that's a good point. Yeah, John Carpenter's the Fog

1422
01:17:04,320 --> 01:17:06,000
Speaker 2: of film that I think I only ever saw once.

1423
01:17:06,080 --> 01:17:09,080
Speaker 2: And I like the music and I like the fog

1424
01:17:09,120 --> 01:17:12,439
Speaker 2: pirate effects. Yeah, but but I just have never gone

1425
01:17:12,479 --> 01:17:13,240
Speaker 2: back to rewatch it.

1426
01:17:13,640 --> 01:17:16,120
Speaker 3: Yeah, mixed feelings about it, but the strong elements are

1427
01:17:16,160 --> 01:17:19,000
Speaker 3: really strong. I can't believe I didn't mention the music obviously, Yes,

1428
01:17:19,040 --> 01:17:20,640
Speaker 3: the music is fantastic.

1429
01:17:21,120 --> 01:17:23,840
Speaker 2: Yeah. Yeah, the fog monsters are great. And you know,

1430
01:17:23,880 --> 01:17:26,800
Speaker 2: having mentioned Stephen King, I can only imagine that this film,

1431
01:17:26,880 --> 01:17:30,599
Speaker 2: at least in some small way, helped inspire his novella

1432
01:17:30,760 --> 01:17:34,880
Speaker 2: The Mist Fog Monsters, Missed Monsters. There's there's overlap there.

1433
01:17:35,920 --> 01:17:37,640
Speaker 3: Maybe we should do an episode on the fog at

1434
01:17:37,640 --> 01:17:39,920
Speaker 3: some point, and that could be a good Halloween season one.

1435
01:17:40,200 --> 01:17:42,640
Speaker 2: Yeah. Yeah, Pirate Day. I don't know, I forget what

1436
01:17:42,720 --> 01:17:45,240
Speaker 2: day Pirate Day falls, but I don't think we've done

1437
01:17:45,280 --> 01:17:46,800
Speaker 2: a proper pirate is a pirate day?

1438
01:17:46,840 --> 01:17:48,559
Speaker 3: Is that different from talk like a pirate day?

1439
01:17:48,720 --> 01:17:51,000
Speaker 2: That that is what I'm thinking of, talk like a pirate.

1440
01:17:52,800 --> 01:17:53,920
Speaker 3: I don't know when that is either.

1441
01:17:54,080 --> 01:17:54,800
Speaker 2: No, I don't either.

1442
01:17:55,680 --> 01:17:59,000
Speaker 3: Well, uh yeah, R Maybe are we done here?

1443
01:17:59,120 --> 01:18:01,880
Speaker 2: I believe we are, but we done. We'd love to

1444
01:18:01,880 --> 01:18:03,800
Speaker 2: hear from everyone out there if you have thoughts on

1445
01:18:03,840 --> 01:18:06,800
Speaker 2: this film. At what point you were introduced to it?

1446
01:18:07,920 --> 01:18:11,040
Speaker 2: MSD three K fans definitely right in about the crawling.

1447
01:18:11,120 --> 01:18:13,599
Speaker 2: I just a reminder that Stuff to Blow Your Mind

1448
01:18:13,640 --> 01:18:16,240
Speaker 2: is primarily a science and culture podcast with core episodes

1449
01:18:16,240 --> 01:18:18,639
Speaker 2: on Tuesdays and Thursdays, but on Fridays we set aside

1450
01:18:18,640 --> 01:18:20,719
Speaker 2: most serious concerns to just talk about a weird film

1451
01:18:20,720 --> 01:18:23,120
Speaker 2: on Weird House Cinema. You can find a full list

1452
01:18:23,120 --> 01:18:25,800
Speaker 2: of all the episodes we've covered over the years at letterboxed.

1453
01:18:26,280 --> 01:18:28,320
Speaker 2: Our user name there is weird House, and you can

1454
01:18:28,320 --> 01:18:31,960
Speaker 2: also look up weird House as its own playlist. Wherever

1455
01:18:32,000 --> 01:18:34,840
Speaker 2: you get your podcasts. You can subscribe to it, you

1456
01:18:34,880 --> 01:18:36,920
Speaker 2: can rate it there. You know, we'd ask that you

1457
01:18:36,960 --> 01:18:40,200
Speaker 2: still subscribe and rate the core Stuff to Blow your

1458
01:18:40,200 --> 01:18:42,920
Speaker 2: Mind podcast feed as well, but it's an additional tool

1459
01:18:42,960 --> 01:18:43,960
Speaker 2: that we're experimenting with.

1460
01:18:44,200 --> 01:18:47,839
Speaker 3: Here's thanks, as always to our excellent audio producer JJ Posway.

1461
01:18:47,960 --> 01:18:49,439
Speaker 3: If you would like to get in touch with us

1462
01:18:49,439 --> 01:18:51,919
Speaker 3: with feedback on this episode or any other, to suggest

1463
01:18:51,920 --> 01:18:53,920
Speaker 3: a topic for the future, or just to say hello,

1464
01:18:54,280 --> 01:18:56,920
Speaker 3: you can email us at contact at stuff to Blow

1465
01:18:56,920 --> 01:19:04,440
Speaker 3: your Mind dot com.

1466
01:19:04,640 --> 01:19:07,600
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1467
01:19:07,680 --> 01:19:11,480
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1468
01:19:11,560 --> 01:19:13,360
Speaker 1: or wherever you listen to your favorite shows.