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

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today on Weird House Cinema, we're going to be talking

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Speaker 3: about the nineteen sixty film adaptation of The Time Machine,

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Speaker 3: based on the novel by H. G. Wells, directed by

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Speaker 3: George Pale, starring Rod Taylor and a Vet Me Me You.

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Speaker 3: We've gotten many requests to cover this on the on

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Speaker 3: the show before. I think it came up recently, maybe

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Speaker 3: in the last Listener Male episode or the one before that.

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Speaker 3: Somebody was asking us to do the time Machine, either

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Speaker 3: this one or I think also that there was one

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Speaker 3: in the early two thousands that is famous or infamous.

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Speaker 3: It has Guy Pierce, I think, and has a lot

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Speaker 3: of weird changes to the story.

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Speaker 2: Yeah, there are some definitely weird changes made to it.

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Speaker 2: We'll come back to the two thousand and two time Machine.

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Speaker 2: I have not watched it since it originally came out,

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Speaker 2: but I remember enjoying it.

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Speaker 3: Yeah, as Jeremy Irons as something called an uber morlock.

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Speaker 4: M m.

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Speaker 2: Yeah, he's the more lock they can talk.

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Speaker 3: Yeah, great, I've never seen it, but I'd be willing

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Speaker 3: to explore. But this version of the time Machine is

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Speaker 3: so I just want to put my cards on the

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Speaker 3: table at the beginning and say it is so great.

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Speaker 3: We can discuss a few drawbacks to it, but overall

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Speaker 3: this is just like great mid century cinema, an amazing

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Speaker 3: visual spectacle. It's got excellent time laps and stop motion effects.

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Speaker 3: It has that wonderful film grain and color palette that

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Speaker 3: it's like what people have in mind when they think

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Speaker 3: about the gorgeous color films of the mid century.

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Speaker 2: Absolutely, it's gorgeous to look at. The effects, which were

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Speaker 2: Academy Award winners at the time, still hold up really

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Speaker 2: well and are a lot of fun to watch. The

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Speaker 2: performances are effective, but it's just a fun ride and

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Speaker 2: it does a great great job. There's not a dull moment.

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Speaker 2: They do a great job unpacking the concepts that are

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Speaker 2: essential for the adventure and then delivering on that adventure. Yeah.

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Speaker 3: I think it is, while not a perfectly faithful adaptation

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Speaker 3: of the novel, I think a very good way to

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Speaker 3: take it onto film. In fact, we could talk here

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Speaker 3: at the beginning about some of the ways that it

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Speaker 3: departs from the novel. Some of them are less interesting,

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Speaker 3: but some more so. Like I guess, one thing I

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Speaker 3: will say that I think doesn't work quite as well

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Speaker 3: in the movie is that you remember, in the novel

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Speaker 3: there's no love story or romantic element at all, like

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Speaker 3: there is. The time traveler in the novel meets a

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Speaker 3: woman in the future named Weena. He befriends her, he

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Speaker 3: sort of protects her, but in the novel there's no

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Speaker 3: romance between them. In the movie, unsurprisingly, you've got Rod

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Speaker 3: Taylor and here and they fall in love. And I'm

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Speaker 3: not one of those people who is opposed to this

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Speaker 3: kind of thing in principle. Some people just always hate

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Speaker 3: it when you add a romantic subplot to literary material

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Speaker 3: where it wasn't there to begin with. I'm not always

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Speaker 3: opposed to that, but given particular features of the narrative

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Speaker 3: in the Time Machine, like how both the time traveler

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Speaker 3: and the eloy are depicted, I think it does not

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Speaker 3: work super well in this story.

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Speaker 2: Yeah, she is as we'll discuss a dull person, you know.

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Speaker 2: Is we see this in various forms and different works

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Speaker 2: of fiction, where you'll have someone like maybe they're a clone,

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Speaker 2: maybe they are indeed a far future human, but for

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Speaker 2: some reason or another, they have a They're naive, they

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Speaker 2: are innocent despite being like biologically grown people played biologically

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Speaker 2: grown actors, And yeah, it can make for some odd

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Speaker 2: space for a love story.

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Speaker 3: Yeah, so that's not the best. However, there are some

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Speaker 3: things this movie does to change the story from the

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Speaker 3: novel that I think are fantastic. Like one interesting plot

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Speaker 3: device I would single out in this regard is the

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Speaker 3: way that and if you're not familiar with the story,

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Speaker 3: this will make more sense later on. But the way

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Speaker 3: that the Morlocks use air raid sirens to hypnotize the

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Speaker 3: eloy and lure them into the Sphinx to their doom.

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Speaker 3: I guess we can talk about that more in the

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Speaker 3: plot section. But this is both a harrowing sensory spectacle

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Speaker 3: in the scene where it happens, and it also provides

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Speaker 3: an interesting twist on the movie's anti war themes.

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Speaker 2: Absolutely, and I think the film's anti war themes hold

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Speaker 2: up really well. I think that they are in large

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Speaker 2: part very true to the spirit of a lot of

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Speaker 2: the ideals that HG. Wells held for the majority of

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Speaker 2: his life. So I think these were all a great

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Speaker 2: addition then there are plenty of other like small changes,

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Speaker 2: many necessary changes, like for instance, in the original book,

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Speaker 2: which is essentially a novella, the time Traveler has no

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Speaker 2: given name. He is just the time Traveler, which I

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Speaker 2: always quite liked because it made him feel more mythic,

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Speaker 2: you know, and more mysterious, and maybe in a way

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Speaker 2: he doesn't have an identity anymore because he is like

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Speaker 2: a man removed from time.

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Speaker 3: Yeah, he's just he's the Earth rim Roamer or something

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Speaker 3: like that. Yeah, But here they give him a name,

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Speaker 3: and they give him the name H. G. Wells. Basically

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Speaker 3: the other characters call him George H. Or the you know,

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Speaker 3: his middle initial there. So it's doing the same thing. Actually,

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Speaker 3: that is done in the later film Time after Time,

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Speaker 3: which we've featured on the show nineteen, which is a

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Speaker 3: fun combination of the time machine and the story of

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Speaker 3: Jack the Ripper. But they make the time Traveler in

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Speaker 3: that also HG. Wells himself. Here it's a weird thing,

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Speaker 3: so they give him the name HG. Wells, but they

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Speaker 3: don't make him like a science fiction novelist in the

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Speaker 3: eighteen nineties. He's just the character from the book. But

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Speaker 3: they gave him the author's name.

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Speaker 2: Yeah. Yeah, so it's a little They treat it softly here.

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Speaker 2: It's not like a a hard like Hey, m HG. Wells,

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Speaker 2: the successful writer and that time Machine book I wrote, Well,

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Speaker 2: I actually made one. It's in the basement. Well, I'm

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Speaker 2: really excited to talk about this one. I had not

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Speaker 2: seen this film in quite a long time. I think

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Speaker 2: I possibly watched it on I don't know, Turner Classic

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Speaker 2: Movies or American movie classics back in the day. It

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Speaker 2: certainly is an American movie classic, and I think the

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Speaker 2: movie holds up quite well. And for that matter, I

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Speaker 2: would argue that the HG. Wells book itself holds up

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Speaker 2: quite well. I read that more recently than i'd seen

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Speaker 2: this film, and you know, it moves right along at

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Speaker 2: a great click. Very readable ideas speak to us today,

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Speaker 2: you know, as well as they did back at it

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Speaker 2: in its original publication year. You know, Wells was a

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Speaker 2: great writer with a lot of tremendous ideas. Yeah.

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Speaker 3: Yeah, It's been a while since I've read the novel

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Speaker 3: in full, though, I just recently reread a chapter from

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Speaker 3: it because I remember way back when I first read

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Speaker 3: this book in high school. One of the parts that

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Speaker 3: really stuck with me was after the main action of

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Speaker 3: the story, after the encounter with the eloy and the

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Speaker 3: Moorlocks and all of that, there is a chapter called

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Speaker 3: a Further Vision where the time traveler goes on and

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Speaker 3: on further and further millions.

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Speaker 2: Of earths, million years, I think you.

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Speaker 3: Millions of years into the future to see the final

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Speaker 3: fate of the planet Earth. And so he comes upon

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Speaker 3: this landscape where the Earth has become finally tidally locked

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Speaker 3: with the sun, so that the sun no longer rises

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Speaker 3: and sets, and the part of the Earth he is

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Speaker 3: on just happens to be within sort of the ring

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Speaker 3: around the horizon, like the part of the Earth that

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Speaker 3: is always in perpetual twilight with the sun kind of

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Speaker 3: sitting just above the horizon to the west. And so

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Speaker 3: he describes this giant red sun there and this twilight

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Speaker 3: landscape that is filled with giant crabs and butterflies, and

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Speaker 3: the crabs like start caressing his face with their antennae,

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Speaker 3: and it's a super super creepy vision that really left

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Speaker 3: an impression on me. And every now and then I

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Speaker 3: think I've read the book in full more than once,

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Speaker 3: I believe, but I've gone back and read that chapter

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Speaker 3: many times.

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Speaker 2: Yeah, it's very doomy in almost I would say, a

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Speaker 2: cosmic horror sense. It's not quite the cord that Wells

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Speaker 2: is striking there, but you can easily imagine how this

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Speaker 2: chapter of the book may have been one of the

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Speaker 2: influences on many of the cosmic horror writers in the

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Speaker 2: decades to come.

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Speaker 3: It also it provides an interesting perspective because so often,

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Speaker 3: especially genre stories, they really you want to get a

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Speaker 3: sense that there is a happily ever after, that there

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Speaker 3: is some kind of paradisical state that everything is moving toward,

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Speaker 3: and once the conflict of the story is resolved, everything

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Speaker 3: will be okay now. But the Time Traveler really it

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Speaker 3: kind of upsets that narrative because there are conflicts to

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Speaker 3: resolve in the story. It's not like nothing matters, but

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Speaker 3: you do get to see, well, in the end there

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Speaker 3: are no people here anymore anyway, It's all just crabs

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Speaker 3: in the end, and eventually not even any crabs will

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Speaker 3: be left.

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Speaker 2: Yeah, yeah, that's a great chapter. It is not depicted

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Speaker 2: in this adaptation, But then I don't think it really

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Speaker 2: I don't think it would have fit. I like the

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Speaker 2: way this film ends this film ends the way it

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Speaker 2: needed to end, and we'll discuss that towards the final

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Speaker 2: minutes of this episode.

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Speaker 3: If instead of a love story between Rod Taylor and

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Speaker 3: Vetti Mu, you had a love story between Rod Taylor

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Speaker 3: and the crab from attack of the Crab Monsters, that

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Speaker 3: would really be a way to wrap this up. What

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Speaker 3: do you think?

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Speaker 2: Possibly? Yeah, and yeah, if you wanted to end it

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Speaker 2: on a much more contemplative and doomy note, that would

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Speaker 2: be the way to go.

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Speaker 3: All right, let's see, should we listen to some trailer audio.

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Speaker 2: Yeah, let's hear a bit from the old trade.

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Speaker 4: Today man is successfully drobing deep into the mysteries of

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Speaker 4: the universe. Can he penetrate the greatest mystery of all

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Speaker 4: time itself?

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Speaker 3: Why is it that we usually ignore the fourth dimension?

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Speaker 3: You see, we can move in.

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Speaker 4: The other three, as the doctor said, up, down, forwards, backward, sideways,

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Speaker 4: But when it comes to time.

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Speaker 2: You have prisoners can bender.

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Speaker 4: Rod Taylor's breakthrough into the realm of the fourth dimension

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Speaker 4: is defied by his friend Alan Young.

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Speaker 2: If that machine can do what you see, it gone

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Speaker 2: destroy it, George before it destroys you.

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Speaker 4: Every moment is a year hurtling through the atomic wars

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Speaker 4: of the future on an incredible excursion into the unknown.

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Speaker 4: And what happens when boy meets girl thousands of years hence,

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Speaker 4: how do they wear their hair?

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Speaker 2: Who the women of your time.

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Speaker 3: Up Black Herd show me?

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Speaker 4: Is this the human race of the future? Or is

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Speaker 4: this the Morlocks fiendish creatures who live in a weird

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Speaker 4: underground's world and the Eloi the tranqu will sunshine people.

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Speaker 4: The Morlocks dominate and maintain like cattle, luring them below

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Speaker 4: with the hypnotic wail of the sirens to feed upon

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Speaker 4: them in cannibalistic chori.

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Speaker 2: All right, well, if you would like to watch nineteen

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Speaker 2: sixties The Time Machine, absolutely we encourage you to go

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Speaker 2: out and watch it for the first time, or or

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Speaker 2: revisit it before proceeding with the rest of the episode,

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Speaker 2: or just go ahead and listen to the rest of

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Speaker 2: the episode. You know, we are going to spoil some things,

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Speaker 2: but it's the time Machine. I feel like this is

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Speaker 2: one that you've probably absorbed culturally to a certain extent

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Speaker 2: at this point, and if you do want to watch

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Speaker 2: it, it is widely available, and I think all formats that

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Speaker 2: have ever existed due to time constraints. I just streamed it,

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Speaker 2: but there are some nice DVDs and Blu rays out

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Speaker 2: there as well.

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Speaker 3: Yeah, and as you alluded to, as always a spoiler

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Speaker 3: warning for the rest of the episode, this is a

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Speaker 3: pretty old story at this point. But yeah, we are

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Speaker 3: going to talk about the whole thing in granular detail.

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Speaker 3: So if somehow this story is new to you and

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Speaker 3: you're not familiar, go read the novel or watch the

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Speaker 3: movie before continuing.

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Speaker 2: Absolutely. All right, well, let's get into some of the

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Speaker 2: people behind this picture, this big special effects picture of

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Speaker 2: nineteen sixty. So we can't reference everybody, but the director

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Speaker 2: and the producer on this was George Powell lived nineteen

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Speaker 2: oh eight through nineteen eighty Hungarian American animator, film director

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Speaker 2: and producer who initially worked on films in his native

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Speaker 2: Hungary before moving to Berlin and then to Prague in

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Speaker 2: the early thirties, creating short films and commercials before immigrating

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Speaker 2: to the United States and I believe nineteen thirty nine. Now,

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Speaker 2: during this period, both in Europe and then in the

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Speaker 2: United States, he made a series of puppet tunes, So

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Speaker 2: that's puppet and tunes smashed together into one word. These

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Speaker 2: were short films, the first being I believe a dancing

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Speaker 2: cigarette commercial from nineteen thirty two. Okay, so it's kind

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Speaker 2: of I guess maybe we're even alluding to that in

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Speaker 2: this picture when we have a scene with a cigar

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Speaker 2: where we have a model of the time machine and

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Speaker 2: they fold up a cigar and stick it in there.

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Speaker 2: Though it doesn't dance or move around.

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Speaker 3: There's more cigar action than you would expect.

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Speaker 2: Yeah, I believe seven puppetoun I assume that's how one

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Speaker 2: would pronounce it. Puppet Tune shorts received Academy Award nominations.

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Speaker 2: Puppetoon animation is essentially a type of replacement animation, which

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Speaker 2: is itself a type of stop motion animation, but it

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Speaker 2: requires a vast number of near duplicate puppets to pull

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Speaker 2: off the effect. So my understanding diving into this a

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Speaker 2: little bit, is that it's kind of like cell animation

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Speaker 2: where or trip or traditional cell animation, where you would

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Speaker 2: have to have like a separate drawing of say Daffy

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Speaker 2: Duck every time Daffy Duck made the slightest movement, and

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Speaker 2: in this case, you would have to have a physical

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Speaker 2: representation a doll or puppet of Daffy Duck for each

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Speaker 2: each tiny movement that would take place. So you know,

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Speaker 2: this is not quite what we see with stop motion today. Generally,

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Speaker 2: when you see stop motion today, they're articulating some sort

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Speaker 2: of a movable puppet or model each time, and not

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Speaker 2: just replacing it with an entirely different model. Puppet tune

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Speaker 2: shorts included, let's see there is the adaptations of Doctor

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Speaker 2: Seuss's The Five Hundred Hats of Bartholomew Cubbins, as well

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Speaker 2: as an adaptation of and to and to Think that

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Speaker 2: I Saw It on Mulberry Street, also an adaptation of

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Speaker 2: Aladdin and the Magic Lamp, and also a series of

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Speaker 2: shorts featuring the character Jasper that was already seen as

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Speaker 2: racist in the nineteen forties so obviously does not hold

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Speaker 2: up well today. Now in nineteen fifty power, I'll switch

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Speaker 2: to live action film with the comedy The Great Rupert.

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Speaker 2: I think that's aid Jimmy Duranty picture, which he produced only.

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Speaker 2: But then in nineteen fifty eight he directed a Tom

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Speaker 2: Thumb movie that made use of puppatoon effects, and then

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Speaker 2: of course The Time Machine in nineteen sixty, which doesn't

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Speaker 2: use puppatoon per se, but certainly makes great use of

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Speaker 2: stop motion effects.

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Speaker 3: Yeah, and I believe it was the stop motion effects

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Speaker 3: and the and the time lapse effects for which this

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Speaker 3: movie got an Academy Award.

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Speaker 2: I'd write about that. Yeah, though it's in general, this

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Speaker 2: is just a great special effects picture, you know. It's

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Speaker 2: like this is that the production designs here are amazing,

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Speaker 2: and yeah, we get some great uses of stop motion

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Speaker 2: throughout the picture, but main but essentially whenever there's time traveling,

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Speaker 2: because there's always stuff in the background that's rotting or

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Speaker 2: growing and so forth. Yeah, melting exploding into lava.

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Speaker 3: Man, I got some things to say about that lava.

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Speaker 3: Did you read about that effects? Yeah, Okay, we'll get there.

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Speaker 2: So subsequently he directed sixty one's Atlantis the Lost Continent,

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Speaker 2: sixty two's The Wonderful World of the Brothers Grim the

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Speaker 2: fairy Tale segments only, and finally Seven Faces of Doctor

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Speaker 2: Looe in nineteen sixty four. I've never seen that one,

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Speaker 2: but of note to MST three K fans, that's the

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Speaker 2: movie that Joel quotes in the final moments of his

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Speaker 2: original run on Mystery Science Theater three thousand. This is

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Speaker 2: a bit where it's every time you stop and think

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Speaker 2: I'm alive and being alive is fantastic. Every time such

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Speaker 2: a thing happens. You're part of the circus of Doctor Lao,

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Speaker 2: which is fun. Though that movie is I believe sadly

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Speaker 2: built around a yellow face performance by Tony Randall, but

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Speaker 2: still the quote I like, all right. Moving on to

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Speaker 2: the screenwriter here. David Duncan has the screenplay credit nineteen

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Speaker 2: thirteen through nineteen ninety nine American screenwriter and novelist, best

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Speaker 2: known for his adapted screenplays for This and nineteen sixty

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Speaker 2: six Is Fantastic Voyage not an adaptation of Isaac Asimov's novel,

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Speaker 2: which was itself an adaptation of that film, but rather

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Speaker 2: an adaptation of an earlier script or treatment. Wow.

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Speaker 3: His other scripts when got around huh, yeah.

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Speaker 2: You know, that was a big picture. That was I

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Speaker 2: think when that one was coming out, and that would

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Speaker 2: be a fun one to do on Weird House. Eventually,

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Speaker 2: that was I think marketed is the most expensive science

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Speaker 2: fiction picture, science fiction picture of all time. So there

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Speaker 2: were a lot of cooks in that kitchen. Yeah. But

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Speaker 2: Duncan's other scripts include the English version of nineteen fifty

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Speaker 2: six is Rodin fifty sevens The Monster that Challenged the

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Speaker 2: World nineteen fifty sevens The Black Scorpion fifty eight's the

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Speaker 2: Thing that Couldn't Die fifty eighth, Monster on the Campus

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Speaker 2: six nineteen sixties. The Leech Woman. That's the one you were,

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Speaker 2: the one in My Dreams of Blood. This one was

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Speaker 2: featured on Mystery Science Theater three thousand as well, and

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Speaker 2: he also wrote the Human Factor episode of the original

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Speaker 2: Outer Limits.

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Speaker 3: Sorry, Rob, I was just looking up because the title

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Speaker 3: got the Monster that Challenged the World. I was trying

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Speaker 3: to remember what that one was, and oh, that's the

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Speaker 3: one about like a caterpillar that comes up out of

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Speaker 3: the out of the water.

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Speaker 2: It challenged the world. It didn't conquer, it just challenged.

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Speaker 2: Duncan also wrote a series of novels, though some of

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Speaker 2: which look quite interesting. But I think these have all

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Speaker 2: been out of print for a while and are I

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Speaker 2: think largely only available as very old to use paperbacks.

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Speaker 2: But if anyone out there has read a David Duncan

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Speaker 2: novel write in, I would love to hear about it now.

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Speaker 2: As we mentioned, this is of course an adaptation of

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Speaker 2: the original book by H. G. Wells, who lived eighteen

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Speaker 2: sixty six through nineteen forty six. He was active from

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Speaker 2: eighteen ninety five until his death, and he is generally

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Speaker 2: considered the grandfather of science fiction. He wasn't the first

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Speaker 2: to craft sci fi, and it certainly would have gone

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Speaker 2: on without him, but his influence is undeniable, given such

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Speaker 2: works as The Time Machine eighteen ninety five, The Island

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Speaker 2: of Doctor Moreau from eighteen ninety six, The Invisible Man

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Speaker 2: from eighteen ninety seven, and of course The War of

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Speaker 2: the World's from eighteen ninety eight. He was a progressive

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Speaker 2: social critic and futurist, which certainly contributes to the continued

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Speaker 2: readability of his work.

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Speaker 3: A lot of science fiction story types that recur with

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Speaker 3: variation throughout the twentieth century. I think you could essentially say,

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Speaker 3: what was the first version of this story? And often

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Speaker 3: it's argued that Wells Wells is the first version.

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Speaker 2: Yeah, and certainly in cases where there's some sort of

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Speaker 2: a predecessor, like he cemented the idea, you know, like

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Speaker 2: his is the story that casts the long shadow, and

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Speaker 2: so yeah, his works are highly readable today. They're always

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Speaker 2: interesting in terms of like what did he seem to

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Speaker 2: accurately predict as a sort of futurist. What social commentaries

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Speaker 2: did he make that are still very valid today? And

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Speaker 2: so his work is largely full of that sort of thing. Now,

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Speaker 2: as far as adaptations of the time Machine go, this

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Speaker 2: was not the first adaptation. There was a nineteen forty

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Speaker 2: nine BBC teleplay during Russell Napier. I have not seen it,

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Speaker 2: but Joe I included a couple of screenshots here for you.

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Speaker 2: The time machine looks like some sort of high tech toilet.

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Speaker 3: Yeah, yeah, sitting on the throne there, it's got lights

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Speaker 3: over it.

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Speaker 2: So there you go.

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Speaker 3: You know, in the version we have in this movie,

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Speaker 3: it's still essentially is a big chair.

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Speaker 2: But yeah, but the version we see here, and we'll

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Speaker 2: describe it a bit more in a little bit here,

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Speaker 2: it is the iconic time machine. It has become the

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Speaker 2: iconic iconic time machine. It's reasonably accurate to what was

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Speaker 2: described in the story, and it is the one that

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Speaker 2: is inevitably drawn or depicted in derivative works.

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Speaker 3: Yes, yeah, no, I love the design in this movie.

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Speaker 3: But it is a chair. It's a chair on Santa's sleigh.

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Speaker 2: Basically.

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Speaker 3: We'll talk about that more as we go on. But

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Speaker 3: this one is a little more compact and a little

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Speaker 3: bit yeah, less impressive. It does look like a toilet.

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Speaker 3: And then you've got another picture from a nineteen seventy

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Speaker 3: eight adaptation, which is more like a toilet with a

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Speaker 3: computer in front of it.

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Speaker 2: Yeah, this one looks like a nineteen seventy eight space

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Speaker 2: toilet for sure. This one starred John Beck. I also

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Speaker 2: have not seen it. I do not think it has

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Speaker 2: a very strong reputation. And then, as we previously mentioned,

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Speaker 2: there is the two thousand and two adaptations starring Guy

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Speaker 2: Pearce and Jeremy Irons, directed notably by H. G. Wells's

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Speaker 2: great grandson Simon Wells. How often do you get to

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Speaker 2: have a case like that? You know?

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Speaker 3: That is unusual? By the way, before this, I looked

401
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Speaker 3: up Simon Wells. I was like, what else did he direct?

402
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Speaker 3: He made a number of animated movies, some involving time travel.

403
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Speaker 3: He directed We're Back a Dinosaur Story. Oh remember that one?

404
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Speaker 2: Vaguely, vaguely.

405
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Speaker 3: Maybe one day on Weird House. Well, we'll have to

406
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Speaker 3: check that out, see how it holds up. I associate

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Speaker 3: that one with being a kid and maybe like getting

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Speaker 3: a babysitter and having pizza or something.

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Speaker 2: Yeah, that sounds like a good time. Yeah, yeah, two

410
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Speaker 2: thousand and two. That was the last time I saw.

411
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Speaker 2: Two thousand and two is the time Machine, But I

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Speaker 2: remember enjoying it. You know, Guy Peers is great, Jeremy

413
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Speaker 2: Irons is great. It had more locks in it, Like

414
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Speaker 2: those are kind of just the basic things I need

415
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Speaker 2: for a good film experience. There are some good actors

416
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Speaker 2: in there, and some reasonably effective monsters that live underground,

417
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Speaker 2: and I'm generally on board, But I do not remember

418
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Speaker 2: any of like the real broad Strokes. I think there's

419
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Speaker 2: some sort of subplot about the moon getting split in half.

420
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Speaker 3: Like there are moon colonists and they screw something up

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Speaker 3: and blow up the moon.

422
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Speaker 2: Yeah, that also happens in the opening to Thunder the

423
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Speaker 2: Barbarian from back in the day. The moon gets like

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Speaker 2: torn in half by something.

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Speaker 3: I didn't know that.

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Speaker 2: Oh, and then, just for comparison's sake, here Joe I

427
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Speaker 2: included a screenshot from Time after Time, which again we've

428
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Speaker 2: previously discussed on Weird House Cinema. They use a different

429
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Speaker 2: design for the time Machine. It's more like a canopied

430
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Speaker 2: little deal, but it also looked fittingly late Victorian.

431
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Speaker 3: Yeah, Time after Time looks more like an insectoid helicopter

432
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Speaker 3: without a rotor.

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Speaker 2: Yeah. It's interesting because clearly in all versions, the time

434
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Speaker 2: Traveler didn't really think about all of the features you

435
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Speaker 2: might really want on this thing, you know. Definitely a

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Speaker 2: canopy to keep subterranean monsters from pulling you off the chair.

437
00:23:22,040 --> 00:23:24,720
Speaker 2: Air Conditioning, yeah, air conditioning.

438
00:23:24,200 --> 00:23:27,600
Speaker 3: Which comes up in this film.

439
00:23:27,720 --> 00:23:30,560
Speaker 2: Yeah, all right, so let's get let's get to the

440
00:23:30,600 --> 00:23:34,800
Speaker 2: cast here playing the time Traveler h George Wells is

441
00:23:34,920 --> 00:23:38,320
Speaker 2: Rod Taylor, who lived nineteen thirty through twenty fifteen. Taylor

442
00:23:38,359 --> 00:23:41,040
Speaker 2: was an Australian born actor, best remembered for this film,

443
00:23:41,359 --> 00:23:44,399
Speaker 2: Hitchcock's The Birds in nineteen sixty three, and the Disney

444
00:23:44,400 --> 00:23:46,840
Speaker 2: animated film one hundred and one Dalmatians, in which he

445
00:23:46,880 --> 00:23:48,600
Speaker 2: plays the lead Dalmatian Pogo.

446
00:23:49,040 --> 00:23:49,919
Speaker 3: Oh, I didn't know that.

447
00:23:50,080 --> 00:23:53,800
Speaker 2: Yeah. Other credits include fifty six's World Without End, sixty

448
00:23:53,800 --> 00:23:57,679
Speaker 2: eight's Dark of the Sun, and a nineteen eighty five

449
00:23:57,880 --> 00:24:02,040
Speaker 2: Christopher Lee film titled Mask of Oh and then very

450
00:24:02,119 --> 00:24:04,520
Speaker 2: late I think this might actually be his last film credit.

451
00:24:04,760 --> 00:24:08,840
Speaker 2: He shows up in Tarantino's Inglorious Bastards in two thousand

452
00:24:08,840 --> 00:24:10,480
Speaker 2: and nine, playing Winston Churchill.

453
00:24:10,800 --> 00:24:13,280
Speaker 3: Never would have made this connection. It's basically a cameo.

454
00:24:13,359 --> 00:24:15,240
Speaker 3: He has like one or two lines. He sits in

455
00:24:15,280 --> 00:24:19,159
Speaker 3: the background while while what's his name is getting briefed.

456
00:24:19,600 --> 00:24:21,560
Speaker 2: Yeah, so I have to say Taylor, I think is

457
00:24:21,560 --> 00:24:23,240
Speaker 2: pretty great in this. He brings a lot of charm

458
00:24:23,280 --> 00:24:26,320
Speaker 2: to the to a character that would have they could

459
00:24:26,400 --> 00:24:28,240
Speaker 2: have at least certainly come off a good bit more

460
00:24:28,240 --> 00:24:30,399
Speaker 2: wooden and preachy in the hands of another actor.

461
00:24:30,960 --> 00:24:35,119
Speaker 3: No, they make him passionate. He's Yeah, he's likable in

462
00:24:35,200 --> 00:24:40,439
Speaker 3: this role because I mean, he does have to do

463
00:24:40,520 --> 00:24:43,080
Speaker 3: a bit of sermonizing in the film about the woes

464
00:24:43,119 --> 00:24:46,679
Speaker 3: of humankind and the you know, the devious stupidity of

465
00:24:46,760 --> 00:24:49,760
Speaker 3: war and all that, which if they had gone with

466
00:24:49,800 --> 00:24:51,520
Speaker 3: a different kind of like I think I read somewhere

467
00:24:51,560 --> 00:24:53,480
Speaker 3: that they were maybe thinking about getting like an older

468
00:24:53,520 --> 00:24:57,280
Speaker 3: actor looking at David Niven or something, and I don't know,

469
00:24:57,400 --> 00:25:00,080
Speaker 3: could have gone a different way. But Rod Taylor, he

470
00:25:00,640 --> 00:25:03,440
Speaker 3: just feels it like he's expressing his feelings and you're

471
00:25:03,480 --> 00:25:05,359
Speaker 3: sort of there on the ground with him instead of

472
00:25:05,400 --> 00:25:06,920
Speaker 3: being preached down at by him.

473
00:25:07,560 --> 00:25:10,800
Speaker 2: Yeah. Yeah, And I don't think I've seen any other

474
00:25:10,880 --> 00:25:12,720
Speaker 2: film that he was I mean, I guess I've seen

475
00:25:12,760 --> 00:25:15,880
Speaker 2: the birds, but it's been a long time, and I've

476
00:25:15,960 --> 00:25:18,119
Speaker 2: seen one hundred and one Dalmatians. But maybe that's not

477
00:25:18,200 --> 00:25:21,880
Speaker 2: the best way to really a praise an actor's ability,

478
00:25:22,560 --> 00:25:25,880
Speaker 2: But yeah, I think he's really good in this one,

479
00:25:26,080 --> 00:25:31,399
Speaker 2: all right. Now. Of note, mostly the main characters in

480
00:25:31,440 --> 00:25:33,720
Speaker 2: this film are going to be the time traveler Wells

481
00:25:33,880 --> 00:25:38,360
Speaker 2: and then the character Weena, who is a far future Eloy.

482
00:25:39,240 --> 00:25:43,720
Speaker 2: But there are some contemporary late Victorian characters that are

483
00:25:43,800 --> 00:25:47,000
Speaker 2: encountered early on, and then we have some like some

484
00:25:47,040 --> 00:25:50,960
Speaker 2: descendants of one of those characters. The main character here

485
00:25:51,800 --> 00:25:54,720
Speaker 2: that is one of the time traveler's friends is the

486
00:25:54,800 --> 00:25:59,760
Speaker 2: character David Philby and then later James Philby his descendant,

487
00:26:00,040 --> 00:26:02,080
Speaker 2: and they are both played by Alan Young who lived

488
00:26:02,160 --> 00:26:04,080
Speaker 2: nineteen nineteen through twenty sixteen.

489
00:26:04,960 --> 00:26:09,119
Speaker 3: Our protagonist has a group of several friends when the

490
00:26:09,160 --> 00:26:12,760
Speaker 3: action begins in eighteen ninety nine or nineteen hundred, who

491
00:26:12,840 --> 00:26:15,439
Speaker 3: are like three of the four guys are just like

492
00:26:15,560 --> 00:26:19,360
Speaker 3: cigar eating machines, but the fourth guy, the fourth guy

493
00:26:19,400 --> 00:26:22,320
Speaker 3: has more of a heart. He has a soft Scottish accent,

494
00:26:22,400 --> 00:26:25,560
Speaker 3: and he's a nice, thoughtful guy. That's the Allan Young

495
00:26:25,680 --> 00:26:26,320
Speaker 3: character here.

496
00:26:26,600 --> 00:26:29,720
Speaker 2: Yeah. Yeah. The soft Scottish accent is especially present in

497
00:26:29,800 --> 00:26:34,320
Speaker 2: the elder Philby character, and many of you, if you're

498
00:26:34,359 --> 00:26:36,600
Speaker 2: rewatching this film, you might be like, man, that Scottish

499
00:26:36,600 --> 00:26:40,080
Speaker 2: accent sounds familiar. It sounds a little bit like Scrooge McDuck.

500
00:26:40,240 --> 00:26:46,120
Speaker 2: It is absolutely Scrooge McDuck. Because Alan Young played Scrooge McDuck.

501
00:26:46,160 --> 00:26:49,639
Speaker 2: It provided Scrooge McDuck's voice for four decades, beginning with

502
00:26:49,680 --> 00:26:53,199
Speaker 2: the nineteen seventy four Disneyland Records album an adaptation of

503
00:26:53,200 --> 00:26:56,520
Speaker 2: Dickens's Christmas Carol performed by the Walt Disney Players, and

504
00:26:56,560 --> 00:27:01,200
Speaker 2: this eventually became, in my opinion, x Mickey's Christmas Carol

505
00:27:01,240 --> 00:27:04,480
Speaker 2: from nineteen eighty three like if you want a Christmas

506
00:27:04,520 --> 00:27:08,119
Speaker 2: Carol boiled down to like what thirty minutes with some

507
00:27:08,200 --> 00:27:12,560
Speaker 2: genuine laughs, but still retaining the spirit of a Christmas Carol,

508
00:27:12,680 --> 00:27:15,000
Speaker 2: you can't go wrong with with Mickey's Christmas Carol?

509
00:27:15,160 --> 00:27:17,280
Speaker 3: Is it better than the Mister Magoo Christmas Carrol?

510
00:27:17,680 --> 00:27:20,760
Speaker 2: Well, I don't. I think I've only seen that one once,

511
00:27:20,760 --> 00:27:22,400
Speaker 2: but I'm gonna go and say absolutely yes.

512
00:27:22,520 --> 00:27:26,520
Speaker 3: Yes, I don't remember that much either, but I'm sure

513
00:27:26,800 --> 00:27:28,080
Speaker 3: I saw this when I was a kid, but I

514
00:27:28,080 --> 00:27:29,000
Speaker 3: don't recall much all.

515
00:27:29,040 --> 00:27:32,280
Speaker 2: Oh yeah, I recommend potentially revisiting it. I think it

516
00:27:32,280 --> 00:27:35,120
Speaker 2: holds up really well. I think it's one of those

517
00:27:35,119 --> 00:27:38,359
Speaker 2: that I inevitably end up watching every Christmas, in part

518
00:27:38,400 --> 00:27:41,280
Speaker 2: because it's such a it's so short, like how can

519
00:27:41,320 --> 00:27:44,119
Speaker 2: you not sit down and watch it? But anyway, Alan

520
00:27:44,200 --> 00:27:48,359
Speaker 2: Young played Scrooge McDuck so many times, like he's Scrooge

521
00:27:48,400 --> 00:27:51,800
Speaker 2: McDuck on the duck Tails TV series and the Kingdom

522
00:27:51,800 --> 00:27:55,800
Speaker 2: Heart video games and so much more like he was

523
00:27:55,840 --> 00:27:56,680
Speaker 2: Scrooge McDuck.

524
00:27:57,400 --> 00:28:00,480
Speaker 3: Also, there were some great duck Tails at uptates to

525
00:28:00,880 --> 00:28:03,119
Speaker 3: like the eight and sixteen bit video game Eras.

526
00:28:03,240 --> 00:28:05,200
Speaker 2: Oh that's right, Yeah, there was a great.

527
00:28:05,080 --> 00:28:07,679
Speaker 3: Duct Tails game for the nes And then do you

528
00:28:07,680 --> 00:28:09,560
Speaker 3: remember there was there was a ducktails game for the

529
00:28:09,600 --> 00:28:12,440
Speaker 3: Sega Genesis called quack Shot. Did you ever play that one?

530
00:28:12,680 --> 00:28:14,640
Speaker 2: I don't know that I did, But I've noticed that

531
00:28:14,800 --> 00:28:17,720
Speaker 2: the Ducktails games have been some of the ones over

532
00:28:17,720 --> 00:28:20,960
Speaker 2: the years that have been like revisited and put back

533
00:28:20,960 --> 00:28:23,080
Speaker 2: out there that you know, people were really fond of,

534
00:28:23,240 --> 00:28:25,320
Speaker 2: So I'm to understand they were quality.

535
00:28:25,040 --> 00:28:27,680
Speaker 3: Games, just great side scrollers. Though there was one thing

536
00:28:27,720 --> 00:28:30,159
Speaker 3: I recall about Quackshot that was really funny, which is

537
00:28:30,400 --> 00:28:33,080
Speaker 3: it's one of these games where you can you can

538
00:28:33,200 --> 00:28:35,800
Speaker 3: get life back by picking up power ups like food,

539
00:28:35,960 --> 00:28:37,920
Speaker 3: so you can like pick up an ice cream cone

540
00:28:37,960 --> 00:28:40,560
Speaker 3: to heal yourself. But one of the things Scrooge McDuck

541
00:28:40,600 --> 00:28:43,800
Speaker 3: can pick up to heal himself is a roast chicken.

542
00:28:45,160 --> 00:28:48,440
Speaker 3: Something seems a little wrong there, but yeah.

543
00:28:49,360 --> 00:28:52,520
Speaker 2: All right, let's see. Alan Young also did other voice

544
00:28:52,520 --> 00:28:55,920
Speaker 2: acting gigs and appeared in such films as Tom Thumb

545
00:28:55,920 --> 00:28:58,840
Speaker 2: in fifty eight, seventy eight's The Cat from Outer Space

546
00:28:59,200 --> 00:29:02,560
Speaker 2: and nineteen ninety Wars Beverly Hills Cop. I think Beverly

547
00:29:02,640 --> 00:29:04,040
Speaker 2: Hills Cop Three is the one that came out in

548
00:29:04,080 --> 00:29:07,720
Speaker 2: ninety four. And then he was also a cast member

549
00:29:07,720 --> 00:29:10,640
Speaker 2: on the nineteen sixties talking horse TV show Mister Ed.

550
00:29:11,240 --> 00:29:14,080
Speaker 2: At any rate, of all of the Time Traveler's friends,

551
00:29:15,160 --> 00:29:18,800
Speaker 2: this character David Philby and then later James Philbey, this

552
00:29:18,840 --> 00:29:20,960
Speaker 2: is the only one that really matters. This is the

553
00:29:21,000 --> 00:29:23,400
Speaker 2: one that actually has a little more character to him.

554
00:29:23,440 --> 00:29:27,880
Speaker 2: He cares about the time Traveler and plays a more

555
00:29:27,920 --> 00:29:29,080
Speaker 2: important part in the plot.

556
00:29:29,280 --> 00:29:31,240
Speaker 3: Yeah, with these other three guys, it really is a

557
00:29:31,240 --> 00:29:34,160
Speaker 3: case of like, it's like the slasher movie question, why

558
00:29:34,160 --> 00:29:35,200
Speaker 3: are these people friends?

559
00:29:35,400 --> 00:29:38,680
Speaker 2: Yeah? Yeah, I guess they just attend the same club.

560
00:29:38,720 --> 00:29:52,720
Speaker 2: It's just how it worked, right, Yeah, all right, Now

561
00:29:52,800 --> 00:29:57,040
Speaker 2: let's come back to Wiena, played by Yavette Mimeeux. We've

562
00:29:57,360 --> 00:30:00,000
Speaker 2: talked about her before because she was in nineteen six

563
00:30:00,000 --> 00:30:02,240
Speaker 2: seventy nine's The Black Hole, which we discussed in a

564
00:30:02,280 --> 00:30:02,840
Speaker 2: Weird House.

565
00:30:03,160 --> 00:30:03,800
Speaker 3: Yeah, that's right.

566
00:30:04,240 --> 00:30:07,080
Speaker 2: She is the Elloy love interest, though again not a

567
00:30:07,120 --> 00:30:10,600
Speaker 2: love interest in the original book. Later credits include nineteen

568
00:30:10,640 --> 00:30:14,760
Speaker 2: seventy three's The Neptune Factor, nineteen seventy five's Journey into Fear,

569
00:30:15,200 --> 00:30:18,360
Speaker 2: and of course nineteen seventy eight's Devil Dog The Hound

570
00:30:18,440 --> 00:30:21,960
Speaker 2: of Hell, along with other various TV appearances.

571
00:30:22,440 --> 00:30:25,160
Speaker 3: Now, Rob, did you notice in her filmography that she's

572
00:30:25,200 --> 00:30:28,200
Speaker 3: in two not quite back to back, but almost back

573
00:30:28,240 --> 00:30:31,240
Speaker 3: to back Factor movies. You said The Neptune Factor from

574
00:30:31,280 --> 00:30:33,480
Speaker 3: seventy three, but in nineteen seventy she was also in

575
00:30:33,560 --> 00:30:34,720
Speaker 3: The Delta Factor.

576
00:30:35,080 --> 00:30:38,280
Speaker 2: Oh wow, A lot of factors to consider there.

577
00:30:38,400 --> 00:30:42,360
Speaker 3: Yeah, Delta Factor appears to be a Mickey Spillane adaptation.

578
00:30:44,200 --> 00:30:47,320
Speaker 2: Okay, well, the Disney voice acting credits continue here. Though,

579
00:30:47,400 --> 00:30:53,360
Speaker 2: because the more rotund bearded member of the crew here

580
00:30:53,400 --> 00:30:58,360
Speaker 2: that's hanging out. Doctor Philip Hillier is played by Sebastian Cabot,

581
00:30:58,680 --> 00:31:02,440
Speaker 2: who lived nineteen eighteen through nineteen seventy seven. He is

582
00:31:02,480 --> 00:31:05,560
Speaker 2: a repeat Disney voice actor. He narrated the Winnie the

583
00:31:05,560 --> 00:31:09,320
Speaker 2: Pooh series in the original films. He narrated nineteen sixty

584
00:31:09,320 --> 00:31:11,800
Speaker 2: threes The Sword and the Stone and did the voice

585
00:31:11,800 --> 00:31:14,720
Speaker 2: of Lord actor in that, and he played the panther

586
00:31:14,840 --> 00:31:17,560
Speaker 2: Bagheira in nineteen sixty seven's The Jungle Book.

587
00:31:17,880 --> 00:31:22,200
Speaker 3: That makes sense. I'm familiar with these voices, but I

588
00:31:22,200 --> 00:31:24,400
Speaker 3: wouldn't have pegged them to him, but now I can

589
00:31:24,440 --> 00:31:24,760
Speaker 3: hear it.

590
00:31:25,880 --> 00:31:29,520
Speaker 2: Another one of the friends is the character Walter Kemp,

591
00:31:29,600 --> 00:31:32,760
Speaker 2: played by Wit Dissel. He lived nineteen oh nine through

592
00:31:32,840 --> 00:31:38,960
Speaker 2: nineteen ninety six. Prolific TV and film actor, initially notable

593
00:31:39,200 --> 00:31:41,640
Speaker 2: to me because he was a nineteen fifty four creature

594
00:31:41,680 --> 00:31:43,840
Speaker 2: from the Black Lagoon, as well as nineteen seventy three

595
00:31:44,400 --> 00:31:48,920
Speaker 2: Soylent Green. Other credits include fifty one's Lost Continent, fifty

596
00:31:48,960 --> 00:31:52,920
Speaker 2: six's Invasion of the Body Snatchers nineteen sixties. The Magnificent

597
00:31:52,960 --> 00:31:55,720
Speaker 2: seven sixty two is the Manchurian candidate plus in a

598
00:31:55,760 --> 00:31:59,520
Speaker 2: crowning achievement. Dissel was in all three fifty seven and

599
00:31:59,560 --> 00:32:02,320
Speaker 2: fifty eight films. I was a teenage wear Wolf, I

600
00:32:02,360 --> 00:32:07,040
Speaker 2: was a teenage Frankenstein, and Monster on the Campus. He

601
00:32:07,120 --> 00:32:09,760
Speaker 2: also pops up in that nineteen seventy eight Time Machine

602
00:32:09,800 --> 00:32:13,240
Speaker 2: TV film. So this guy just has a lot of credits.

603
00:32:13,040 --> 00:32:16,320
Speaker 3: Now, I assume for the late fifties films he was

604
00:32:16,360 --> 00:32:19,600
Speaker 3: not himself the teenage were Wolf, the teenage Frankenstein, or

605
00:32:19,600 --> 00:32:20,480
Speaker 3: the Monster on Campus.

606
00:32:20,600 --> 00:32:22,680
Speaker 2: No, I think he's a professor or a teacher in

607
00:32:22,720 --> 00:32:25,080
Speaker 2: all of them. Yeah, this was like your staple professor

608
00:32:25,200 --> 00:32:29,400
Speaker 2: teacher actor during that period. I get it, Okay. Paul

609
00:32:29,480 --> 00:32:32,280
Speaker 2: Freese is in this one as well. He provides the

610
00:32:32,360 --> 00:32:34,880
Speaker 2: voice of the Rings, which will be explained in a

611
00:32:34,880 --> 00:32:38,560
Speaker 2: bit here. With nineteen twenty through nineteen eighty six prolific

612
00:32:39,360 --> 00:32:43,360
Speaker 2: actor and voice actor who isn't actually always credited, but

613
00:32:43,520 --> 00:32:45,600
Speaker 2: if you look at the episode stats for Weird House

614
00:32:45,600 --> 00:32:49,200
Speaker 2: Cinema on Letterbox, for example, he's currently right up there

615
00:32:49,200 --> 00:32:52,440
Speaker 2: behind Christopher Lee, Dick Miller, Vincent Price, and Peter Cushing

616
00:32:52,480 --> 00:32:55,360
Speaker 2: for actors with the most films that we've covered. Because

617
00:32:55,560 --> 00:32:58,200
Speaker 2: he or his voice pop up in The Thing from

618
00:32:58,240 --> 00:33:02,040
Speaker 2: Another World, The Abominable Doctor Fivees, The Flight of Dragons,

619
00:33:02,320 --> 00:33:05,520
Speaker 2: the Magic Sword, and now the Time Machine. It was

620
00:33:05,560 --> 00:33:07,640
Speaker 2: pretty prolific. He has I think three hundred and seventy

621
00:33:07,680 --> 00:33:12,160
Speaker 2: credits on IMDb. Wow. All right, let's get into some

622
00:33:12,240 --> 00:33:15,360
Speaker 2: of the behind the scenes folks. Here there will again

623
00:33:15,400 --> 00:33:19,440
Speaker 2: we can't cover everybody, but cinematography here was by Paul C. Vogel,

624
00:33:19,480 --> 00:33:22,760
Speaker 2: who lived eighteen ninety nine through nineteen seventy five. Oscar

625
00:33:22,800 --> 00:33:27,320
Speaker 2: winner for nineteen fifties Battleground and nominated for sixty threes

626
00:33:27,560 --> 00:33:30,400
Speaker 2: The Wonderful World of the Brothers Grim. He also worked

627
00:33:30,440 --> 00:33:31,600
Speaker 2: on The Magic Sword.

628
00:33:32,000 --> 00:33:33,640
Speaker 3: I was reading a bit about the look of this

629
00:33:33,800 --> 00:33:36,440
Speaker 3: film in a twenty twenty two historical review for The

630
00:33:36,440 --> 00:33:40,640
Speaker 3: American Cinematographer magazine by Darren Scott, and it mentions the

631
00:33:40,680 --> 00:33:43,240
Speaker 3: contributions of several people we'll talk about in a bit,

632
00:33:44,040 --> 00:33:48,720
Speaker 3: Geene Davis or sorry, George Davis and William Ferrari, Gene Warren,

633
00:33:48,760 --> 00:33:52,440
Speaker 3: and Wa Cheng, and the color cinematography by Paul Vogel.

634
00:33:53,960 --> 00:33:57,000
Speaker 3: It mentions a few things about Vogel's approach. One was

635
00:33:58,080 --> 00:34:02,720
Speaker 3: trying to find a and otherworldly look for the film

636
00:34:02,840 --> 00:34:06,360
Speaker 3: that did not make it look like fantasy, because you

637
00:34:06,400 --> 00:34:08,600
Speaker 3: would have a lot of cues that might have been

638
00:34:09,120 --> 00:34:13,000
Speaker 3: associated with fantasy films of the time, such as the

639
00:34:13,120 --> 00:34:18,919
Speaker 3: article mentions fog filters or other devices that people would

640
00:34:19,560 --> 00:34:21,480
Speaker 3: think gave it a kind of magical look. And he

641
00:34:21,520 --> 00:34:24,640
Speaker 3: wanted it to look strange and not like our world,

642
00:34:24,640 --> 00:34:28,880
Speaker 3: but also grounded in science and reality, not magical, and

643
00:34:28,960 --> 00:34:32,360
Speaker 3: I think that is absolutely well achieved by what we

644
00:34:32,440 --> 00:34:32,880
Speaker 3: have it.

645
00:34:34,480 --> 00:34:34,719
Speaker 2: Has.

646
00:34:35,200 --> 00:34:38,680
Speaker 3: Yeah, it's not our world, but it's also reality.

647
00:34:39,360 --> 00:34:41,239
Speaker 2: Yeah. I think this is a great point. This is

648
00:34:41,239 --> 00:34:43,279
Speaker 2: one of those things that it's so effective that it

649
00:34:43,320 --> 00:34:46,719
Speaker 2: can be pretty much invisible to the viewer because you

650
00:34:46,800 --> 00:34:48,920
Speaker 2: just you buy into the whole thing. But yeah, when

651
00:34:48,960 --> 00:34:52,640
Speaker 2: we travel into the far future of the Morlocks, it

652
00:34:53,400 --> 00:34:56,640
Speaker 2: feels real. It feels like we are still on Earth.

653
00:34:57,600 --> 00:35:00,480
Speaker 2: It doesn't feel like we're on another planet. It feels

654
00:35:00,480 --> 00:35:03,040
Speaker 2: like we were just in a distant time. Yea. So

655
00:35:03,280 --> 00:35:04,400
Speaker 2: it's perfectly executed.

656
00:35:04,560 --> 00:35:06,880
Speaker 3: There are a lot of great visual stylistic choices in

657
00:35:06,920 --> 00:35:10,480
Speaker 3: the film. To read one thing from this article talking

658
00:35:10,480 --> 00:35:14,400
Speaker 3: about the look of the Morlocks caverns underground, I mean,

659
00:35:14,440 --> 00:35:17,120
Speaker 3: which is one of the best spectacles in the movie.

660
00:35:17,960 --> 00:35:20,960
Speaker 3: Scott writes, quote. Theoretically, there was no light at all

661
00:35:21,000 --> 00:35:23,520
Speaker 3: in the underground caverns, and yet the action had to

662
00:35:23,560 --> 00:35:26,919
Speaker 3: be visible. Vogel gained the desired visual effect by using

663
00:35:27,000 --> 00:35:31,439
Speaker 3: almost no front lighting, rimming the Morlocks with back light,

664
00:35:31,520 --> 00:35:35,000
Speaker 3: and employing cross light of a greenish hue that seemed

665
00:35:35,040 --> 00:35:38,440
Speaker 3: to emanate from odd machines that bubbled and sputtered in

666
00:35:38,480 --> 00:35:41,200
Speaker 3: the background. And Rob, I've got a screen shot for

667
00:35:41,239 --> 00:35:43,640
Speaker 3: you to look at here that shows off that effect.

668
00:35:43,800 --> 00:35:46,760
Speaker 3: I see exactly what he's talking about. It's like these

669
00:35:46,800 --> 00:35:49,960
Speaker 3: creatures in a way, it helps keep their features kind

670
00:35:50,000 --> 00:35:52,480
Speaker 3: of obscure and make them a little more mysterious because

671
00:35:52,480 --> 00:35:54,919
Speaker 3: there's no light hitting them from the front, it's coming

672
00:35:54,960 --> 00:35:58,479
Speaker 3: from behind, and then this colored green blue light coming

673
00:35:58,520 --> 00:35:59,400
Speaker 3: from the sides.

674
00:35:59,760 --> 00:36:03,040
Speaker 2: Yeah. Absolutely, the Morlocks look incredible. We'll discuss some more

675
00:36:03,080 --> 00:36:06,200
Speaker 2: when we get into the plot. But as always, a

676
00:36:06,280 --> 00:36:08,160
Speaker 2: huge part of any monster in a film is not

677
00:36:08,200 --> 00:36:10,800
Speaker 2: only what the costume consists of, but how is it shot,

678
00:36:11,360 --> 00:36:13,359
Speaker 2: how is it lit? And they did a great job

679
00:36:13,400 --> 00:36:14,359
Speaker 2: with these guys.

680
00:36:14,360 --> 00:36:16,080
Speaker 3: Though there are a bunch of people I think who

681
00:36:16,160 --> 00:36:19,320
Speaker 3: should get partial credit for the look of the Morlocks

682
00:36:19,320 --> 00:36:22,680
Speaker 3: as well, including like William Tuttle and Wachang.

683
00:36:22,640 --> 00:36:27,040
Speaker 2: That's right, Wa Ming Cheng Visual Effects. He lived nineteen

684
00:36:27,120 --> 00:36:32,240
Speaker 2: seventeen through two thousand and three. Hawaiian born Chinese American designer, sculptor,

685
00:36:32,280 --> 00:36:35,480
Speaker 2: and artist, who we previously discussed on our episode concerning

686
00:36:35,560 --> 00:36:39,640
Speaker 2: nineteen fifty five's Tarantula because he built the titular tarantula

687
00:36:39,800 --> 00:36:43,279
Speaker 2: in that picture. He was later responsible for key prop

688
00:36:43,360 --> 00:36:46,839
Speaker 2: design on Star Trek the original series, including the tricorder

689
00:36:46,880 --> 00:36:50,600
Speaker 2: and communicator. He also did a lot of costumes on

690
00:36:50,640 --> 00:36:52,600
Speaker 2: some key track episodes.

691
00:36:52,360 --> 00:36:55,040
Speaker 3: Including he did some work on a costume for a

692
00:36:55,080 --> 00:36:57,640
Speaker 3: Star Trek alien that we may be talking about in

693
00:36:57,680 --> 00:36:58,919
Speaker 3: a core episode next week.

694
00:36:59,120 --> 00:37:02,279
Speaker 2: That's right, that's right. And in addition to what we

695
00:37:02,360 --> 00:37:04,640
Speaker 2: may be talking about next week, he created the tribles.

696
00:37:05,640 --> 00:37:07,399
Speaker 2: I don't know, maybe we'll talk about the triples next week.

697
00:37:07,400 --> 00:37:10,240
Speaker 2: I think I've maybe done the triples on Monster Fact before.

698
00:37:11,040 --> 00:37:13,360
Speaker 2: But yeah. He also worked on the original Outer Limits,

699
00:37:13,360 --> 00:37:16,120
Speaker 2: the original Planet of the Apes, and the TV series

700
00:37:16,239 --> 00:37:21,120
Speaker 2: Land of the Lost. His adoptive father was James Blanding, Sloan,

701
00:37:21,239 --> 00:37:25,360
Speaker 2: an American etcher, printmaker, theatrical designer, educator, painter, and puppeteer.

702
00:37:25,880 --> 00:37:27,840
Speaker 3: I went down the rabbit hole earlier this week of

703
00:37:27,880 --> 00:37:30,080
Speaker 3: looking just at a bunch of different things that Chang

704
00:37:30,120 --> 00:37:34,600
Speaker 3: designed for Star Trek, the original series, and one of

705
00:37:34,600 --> 00:37:36,279
Speaker 3: the things that caught my eye is what I just

706
00:37:36,320 --> 00:37:39,439
Speaker 3: alluded to, this thing we might be talking about next week,

707
00:37:39,920 --> 00:37:44,920
Speaker 3: which is the salt vampire creature from the original series

708
00:37:44,920 --> 00:37:47,840
Speaker 3: episode Man Trap actually season one, episode one, the first

709
00:37:47,920 --> 00:37:50,680
Speaker 3: ever episode of Star Trek, I guess, apart from the pilot,

710
00:37:52,000 --> 00:37:56,080
Speaker 3: and this caught my eye because this costume slightly reminds

711
00:37:56,080 --> 00:37:59,080
Speaker 3: me of something, doesn't It look a bit like a warlock,

712
00:37:59,239 --> 00:38:02,080
Speaker 3: not entirely, but it's got a kind of sad, drooping

713
00:38:02,239 --> 00:38:06,920
Speaker 3: monster face, long white silver hair, both kind of features

714
00:38:06,920 --> 00:38:09,359
Speaker 3: we see again in the Morlock design, or I guess beforehand,

715
00:38:09,400 --> 00:38:10,360
Speaker 3: in the Morlock design.

716
00:38:10,520 --> 00:38:13,839
Speaker 2: Yeah. Yeah, the design is similar in ways for sure,

717
00:38:13,920 --> 00:38:16,160
Speaker 2: as some of the same, like that the shaggy hair

718
00:38:16,200 --> 00:38:20,280
Speaker 2: and all. Yeah, different different mouth parts, which makes sense.

719
00:38:20,360 --> 00:38:25,040
Speaker 2: One sucks salt and the other. As we'll discuss, eats

720
00:38:25,400 --> 00:38:32,000
Speaker 2: exclusively man meat, exclusively human flesh yum yo. All right,

721
00:38:32,200 --> 00:38:34,439
Speaker 2: a few other It's worth noting that this film, again

722
00:38:34,560 --> 00:38:37,040
Speaker 2: was an Academy Award winner for its Special Effects or

723
00:38:37,120 --> 00:38:40,279
Speaker 2: its Visual Effects, and the two individuals like named on

724
00:38:40,320 --> 00:38:42,440
Speaker 2: the award, though of course you know, it's always a

725
00:38:42,520 --> 00:38:44,600
Speaker 2: huge team making any of the things. Any of these

726
00:38:44,600 --> 00:38:47,920
Speaker 2: things happen. Happened to be Gene Warren and Tim Barr.

727
00:38:48,520 --> 00:38:51,880
Speaker 2: Gene Warren lived nineteen sixteen through nineteen ninety seven. His

728
00:38:51,960 --> 00:38:55,719
Speaker 2: other credits include fifty seven's Chronos, sixty one's Master of

729
00:38:55,760 --> 00:38:57,680
Speaker 2: the World, and the TV series Land of the Lost.

730
00:38:58,160 --> 00:39:00,440
Speaker 2: He worked on some other pal pictures as well well.

731
00:39:00,480 --> 00:39:03,760
Speaker 2: And then Tim Barr lived nineteen twelve through nineteen seventy seven.

732
00:39:04,400 --> 00:39:06,719
Speaker 2: Academy Award winner again for this film and his other

733
00:39:06,760 --> 00:39:10,080
Speaker 2: special effects credits, though sometimes uncredit, include forty two's The

734
00:39:10,160 --> 00:39:13,239
Speaker 2: Mummy's Tomb, forty three's Phantom of the Opera, fifty six

735
00:39:13,320 --> 00:39:16,479
Speaker 2: is The Ten Commandments, and the TV series hr puff

736
00:39:16,520 --> 00:39:16,960
Speaker 2: and Stuff.

737
00:39:17,320 --> 00:39:20,480
Speaker 3: Hmmm, I don't know what that is, but there's a

738
00:39:20,520 --> 00:39:22,000
Speaker 3: song about it somewhere in my head.

739
00:39:22,239 --> 00:39:24,759
Speaker 2: Yeah, I don know hr puffin Stuff. I don't think

740
00:39:24,760 --> 00:39:26,920
Speaker 2: I've ever actually watched it, but I'm just familiar with

741
00:39:26,960 --> 00:39:31,640
Speaker 2: it from the people sharing weird clips and images. And

742
00:39:31,680 --> 00:39:35,480
Speaker 2: then finally, William Tuttle is credited as makeup creator, who

743
00:39:35,480 --> 00:39:38,080
Speaker 2: lived nineteen twelve through two thousand and seven. His other

744
00:39:38,160 --> 00:39:41,200
Speaker 2: makeup special effects are otherwise. Films include thirty five's Mark

745
00:39:41,239 --> 00:39:43,360
Speaker 2: of the Vampire, thirty nine is The Wizard of Oz,

746
00:39:43,719 --> 00:39:47,680
Speaker 2: fifty six is Forbidden Planet, sixty one's Atlantis, The Lost Continent,

747
00:39:48,000 --> 00:39:51,200
Speaker 2: The Wonderful World of the Brothers Grim twelve episodes of

748
00:39:51,200 --> 00:39:54,400
Speaker 2: the original Twilight Zone, seventy four is Young Frankenstein in

749
00:39:54,480 --> 00:39:57,959
Speaker 2: seventy eight's The Fury, and then finally, the composer here

750
00:39:58,000 --> 00:40:01,360
Speaker 2: for the score Russell Garcia, who nineteen sixteen through twenty

751
00:40:01,480 --> 00:40:06,720
Speaker 2: eleven American composer whose other scores include Atlantis, the Lost Continent,

752
00:40:06,960 --> 00:40:09,600
Speaker 2: and he was a composer for NBC Studios and worked

753
00:40:09,640 --> 00:40:12,760
Speaker 2: on such shows as Rawhide in sixty two and Laredo

754
00:40:12,880 --> 00:40:15,920
Speaker 2: from sixty five through sixty seven. I think it's a

755
00:40:15,920 --> 00:40:18,160
Speaker 2: fun score here. It has some nice creepy notes, a

756
00:40:18,160 --> 00:40:21,279
Speaker 2: little bit of futuristic intrigue at times. Yeah.

757
00:40:21,400 --> 00:40:24,360
Speaker 3: Yeah, it's able to action, and I think especially the

758
00:40:24,840 --> 00:40:26,480
Speaker 3: scenes of horror quite well.

759
00:40:26,719 --> 00:40:29,239
Speaker 2: Yeah, and then the action, because you know, we do

760
00:40:29,480 --> 00:40:32,279
Speaker 2: we don't quite buckle some swash or anything, but we

761
00:40:32,320 --> 00:40:35,000
Speaker 2: do get a lot of fun action. Well, there's a

762
00:40:35,000 --> 00:40:38,600
Speaker 2: big mor Lock battle Royale late in the picture. Yeah,

763
00:40:38,640 --> 00:40:39,359
Speaker 2: it's a lot of fun.

764
00:40:40,880 --> 00:40:43,280
Speaker 3: Uh okay, are you ready to talk about the plot?

765
00:40:43,480 --> 00:40:47,040
Speaker 3: Let's jump in so we get a pre credit sequence

766
00:40:47,200 --> 00:40:51,800
Speaker 3: that is just a cannonade of clocks flying through black space.

767
00:40:52,480 --> 00:40:55,040
Speaker 3: This type of imagery I know I've seen used in

768
00:40:55,080 --> 00:40:58,640
Speaker 3: other time travel stories. I wonder does it originally come

769
00:40:58,680 --> 00:41:01,440
Speaker 3: from this film or did it appear earlier? Is this

770
00:41:01,480 --> 00:41:02,880
Speaker 3: film reusing the convention?

771
00:41:03,440 --> 00:41:06,120
Speaker 2: I'm not sure either, but you certainly see allusions to

772
00:41:06,200 --> 00:41:09,160
Speaker 2: it a lot, and including to a certain extent the

773
00:41:09,200 --> 00:41:12,520
Speaker 2: Treehouse of Horror episode where Homer Simpson travels through time,

774
00:41:12,680 --> 00:41:15,400
Speaker 2: and in traveling through time, he kind of like falls

775
00:41:15,440 --> 00:41:18,840
Speaker 2: through an infinite space filled with clocks.

776
00:41:19,320 --> 00:41:22,360
Speaker 3: You know, I think we reference the Treehouse of Horror,

777
00:41:22,400 --> 00:41:25,520
Speaker 3: Short Time and Punishment more than any other piece of

778
00:41:25,640 --> 00:41:28,800
Speaker 3: media that exists. Do you think it comes up on

779
00:41:28,840 --> 00:41:30,000
Speaker 3: the show more than anything?

780
00:41:30,520 --> 00:41:33,120
Speaker 2: I mean, it might. It comes up in my life

781
00:41:33,120 --> 00:41:36,640
Speaker 2: a lot. It's up there with Willy Wank and the

782
00:41:36,680 --> 00:41:39,319
Speaker 2: Chocolate Factory is something that I probably think about every day.

783
00:41:39,560 --> 00:41:44,560
Speaker 3: Yeah, it's so rich. It's like the Iliad or something anyway.

784
00:41:44,800 --> 00:41:47,840
Speaker 3: The action opens for this film on a street in

785
00:41:47,880 --> 00:41:50,279
Speaker 3: London around the turn of the twentieth century, where there's

786
00:41:50,320 --> 00:41:52,600
Speaker 3: a large manor house on one side of the street

787
00:41:52,960 --> 00:41:55,319
Speaker 3: and on the other a row of stores, notably a

788
00:41:55,320 --> 00:41:59,040
Speaker 3: department store with a women's fashion display in the window.

789
00:41:59,360 --> 00:42:01,680
Speaker 3: This will have more plot relevance than you might guess.

790
00:42:01,960 --> 00:42:02,160
Speaker 2: Yeah.

791
00:42:03,360 --> 00:42:06,360
Speaker 3: Out of the store comes the owner, David Philby, played

792
00:42:06,360 --> 00:42:08,759
Speaker 3: by Alan Young. He's dressed in a bowler hat, a

793
00:42:08,760 --> 00:42:11,560
Speaker 3: scarf and a heavy overcoat. He locks up for the

794
00:42:11,680 --> 00:42:13,719
Speaker 3: night and runs across the street to the house of

795
00:42:13,760 --> 00:42:16,880
Speaker 3: his friend, our protagonist, who is referred to by the

796
00:42:16,960 --> 00:42:19,640
Speaker 3: other characters as George, but in the credits he is

797
00:42:19,920 --> 00:42:24,440
Speaker 3: h George Wells. So Philby is let inside by the

798
00:42:24,480 --> 00:42:29,560
Speaker 3: housekeeper mis Watchett played by Doris Lloyd, and once inside,

799
00:42:29,680 --> 00:42:33,279
Speaker 3: Philby reaches the sitting room and we meet three other

800
00:42:33,400 --> 00:42:37,000
Speaker 3: characters already nestled into high backed armchairs, and they're just

801
00:42:37,239 --> 00:42:41,200
Speaker 3: peeling through the house stash of cigars and brandy, issuing

802
00:42:41,239 --> 00:42:46,520
Speaker 3: the occasional harumph. These guys are doctor Hillier, Bridewell or Bridy,

803
00:42:47,160 --> 00:42:51,200
Speaker 3: and Kemp. It is not terribly important to distinguish these

804
00:42:51,239 --> 00:42:54,480
Speaker 3: other three guys. They're your standard late nineteenth century gold

805
00:42:54,560 --> 00:42:58,120
Speaker 3: pocket watch creatures. They love to suck cigars and they're

806
00:42:58,200 --> 00:43:01,880
Speaker 3: yammering about the price of a bushel of They're basically

807
00:43:03,200 --> 00:43:06,080
Speaker 3: picture like that dude from Titanic who talks about how

808
00:43:06,080 --> 00:43:08,160
Speaker 3: God could not sink the ship. They're all kind of

809
00:43:08,160 --> 00:43:11,440
Speaker 3: that guy. The main thing is that Philby is not

810
00:43:11,640 --> 00:43:14,440
Speaker 3: like the other three. He is more sensitive, thoughtful, and

811
00:43:14,560 --> 00:43:18,080
Speaker 3: open minded, and he's a better friend to our protagonist George.

812
00:43:19,320 --> 00:43:22,520
Speaker 3: So anyway, these guys have clearly been sitting here for

813
00:43:22,600 --> 00:43:27,080
Speaker 3: some time. When Philby joins them, the room is filled

814
00:43:27,160 --> 00:43:30,600
Speaker 3: with clocks, so they're all ticking away, not in perfect unison,

815
00:43:31,120 --> 00:43:34,680
Speaker 3: and all of the disorganized ticking summed up amounts to

816
00:43:34,760 --> 00:43:38,200
Speaker 3: this ambient clatter, almost kind of a cranking sound in

817
00:43:38,239 --> 00:43:38,960
Speaker 3: the background.

818
00:43:39,560 --> 00:43:41,719
Speaker 2: Yeah. Yeah, it's a lot of clocks. But as we're

819
00:43:41,719 --> 00:43:44,160
Speaker 2: gonna learn here, George is big on time. He's a

820
00:43:44,360 --> 00:43:46,359
Speaker 2: researcher of time, and you've got to buy a lot

821
00:43:46,400 --> 00:43:47,960
Speaker 2: of clocks if you can study it properly.

822
00:43:48,440 --> 00:43:51,040
Speaker 3: They don't seem like research instruments to me. I mean,

823
00:43:51,080 --> 00:43:54,759
Speaker 3: it seems like he's just like they're all like, they're

824
00:43:54,800 --> 00:43:58,080
Speaker 3: not scientific time pieces. It's just like grandfather clocks and

825
00:43:58,160 --> 00:44:01,040
Speaker 3: wall clocks and weird little cook two clocks everywhere.

826
00:44:01,200 --> 00:44:03,440
Speaker 2: I mean, he could be a situation where friends and

827
00:44:03,520 --> 00:44:07,440
Speaker 2: family know that he's really into potentially developing a time machine,

828
00:44:07,440 --> 00:44:09,879
Speaker 2: and they're like, what should we get him for a Christmas? Oh,

829
00:44:09,920 --> 00:44:11,920
Speaker 2: that dude loves time. Let's get him another clock.

830
00:44:12,000 --> 00:44:15,759
Speaker 3: That's right, socks and clocks every year. Yeah. So the

831
00:44:15,800 --> 00:44:19,120
Speaker 3: other three cigar guys are annoyed because their host has

832
00:44:19,239 --> 00:44:22,479
Speaker 3: kept them waiting. He invited the four of them over

833
00:44:22,520 --> 00:44:24,919
Speaker 3: to dinner several days ago, but now they are here

834
00:44:25,120 --> 00:44:27,560
Speaker 3: at the appointed time and he is nowhere to be found.

835
00:44:28,040 --> 00:44:30,719
Speaker 3: The housekeeper has made excuses for him and said that

836
00:44:30,760 --> 00:44:34,080
Speaker 3: he'll be along shortly, and the cigar guys are irritated

837
00:44:34,120 --> 00:44:36,800
Speaker 3: and they are taking offense. These guys are having a

838
00:44:36,840 --> 00:44:40,880
Speaker 3: lot of fun getting offended. Eventually, miswatch It comes in

839
00:44:41,320 --> 00:44:43,480
Speaker 3: with a note saying that if he is not here

840
00:44:43,560 --> 00:44:46,200
Speaker 3: on time, the four of them should begin dinner without him.

841
00:44:46,560 --> 00:44:50,000
Speaker 3: So they proceed into the dining room and Philby tries

842
00:44:50,040 --> 00:44:52,400
Speaker 3: to make excuses for his friends, saying that George is

843
00:44:52,480 --> 00:44:57,399
Speaker 3: usually prompt, precise, and punctual. Now you know, I love

844
00:44:57,840 --> 00:44:59,560
Speaker 3: a good freeze frame to get a look at the

845
00:44:59,600 --> 00:45:02,319
Speaker 3: spread food in a movie. So I did one. Here

846
00:45:02,719 --> 00:45:05,760
Speaker 3: looks like we have got a big blackened meat roast

847
00:45:05,800 --> 00:45:08,439
Speaker 3: of some kind in the center of the table. There's

848
00:45:08,480 --> 00:45:11,440
Speaker 3: a little plate of something white next to it. I

849
00:45:11,440 --> 00:45:13,960
Speaker 3: couldn't tell what that is. Maybe hard boiled eggs.

850
00:45:14,440 --> 00:45:14,880
Speaker 2: Okay.

851
00:45:15,120 --> 00:45:18,239
Speaker 3: Each man has a yeast roll on a dish next

852
00:45:18,239 --> 00:45:21,359
Speaker 3: to his plate, and then, apart from the green, let

853
00:45:21,440 --> 00:45:24,240
Speaker 3: us garnish underneath the meat, I see not a single

854
00:45:24,480 --> 00:45:25,840
Speaker 3: identifiable vegetable.

855
00:45:26,280 --> 00:45:29,080
Speaker 2: Yeah, yeah, I guess maybe tobacco is the vegetable.

856
00:45:28,640 --> 00:45:31,920
Speaker 3: For there you go. That's how you get your fiber. Yeah,

857
00:45:31,920 --> 00:45:35,000
Speaker 3: and plenty of wine. Of course, we're told that the host, George,

858
00:45:35,000 --> 00:45:37,520
Speaker 3: has the best wine cellar in the South of England.

859
00:45:37,960 --> 00:45:40,239
Speaker 3: So while George is presented as a bit of a

860
00:45:40,320 --> 00:45:44,000
Speaker 3: dreamer and an idealist, he is not above appreciating some luxuries.

861
00:45:44,040 --> 00:45:44,920
Speaker 3: He loves a good wine.

862
00:45:45,280 --> 00:45:48,719
Speaker 2: Yeah, and maybe he values wine because it also sort

863
00:45:48,760 --> 00:45:52,600
Speaker 2: of travels in time in the basement. Yeah, there you go.

864
00:45:53,360 --> 00:45:56,040
Speaker 3: So suddenly, while the four men are about to tuck

865
00:45:56,080 --> 00:45:58,760
Speaker 3: into their meal, the door to the dining room flies

866
00:45:58,800 --> 00:46:02,840
Speaker 3: open and install stumbles the figure of their host George.

867
00:46:02,880 --> 00:46:06,640
Speaker 3: This is Rod Taylor again. He is not dressed for dinner. Instead,

868
00:46:06,680 --> 00:46:11,880
Speaker 3: he is filthy in tattered clothing, bleeding from some superficial wounds,

869
00:46:11,920 --> 00:46:16,000
Speaker 3: and trembling with exhaustion. He collapses into a chair and

870
00:46:16,000 --> 00:46:18,799
Speaker 3: he calls out some food a drink, and then one

871
00:46:18,840 --> 00:46:21,720
Speaker 3: of the guys, Bridewell, I think, he quickly gives George

872
00:46:21,719 --> 00:46:24,799
Speaker 3: a glass of medicinal wine, which he slams down, and

873
00:46:24,800 --> 00:46:27,120
Speaker 3: then Bridewell has a drink too, Because I don't know,

874
00:46:27,160 --> 00:46:30,879
Speaker 3: I guess what he's seeing is so disturbing, and he's

875
00:46:30,880 --> 00:46:33,920
Speaker 3: got to tell them his tail while he still remembers

876
00:46:33,960 --> 00:46:37,840
Speaker 3: it all clearly. Philby tries to get George to relax.

877
00:46:37,880 --> 00:46:39,719
Speaker 3: He says, don't worry, you have all the time in

878
00:46:39,760 --> 00:46:42,640
Speaker 3: the world, and George gets a good ironic moment here.

879
00:46:42,680 --> 00:46:45,600
Speaker 3: He's like, yes, that's right, that's exactly what I have.

880
00:46:46,640 --> 00:46:49,800
Speaker 3: So to tell his tale, we start five days earlier,

881
00:46:49,840 --> 00:46:52,239
Speaker 3: when George was meeting with the same four men in

882
00:46:52,280 --> 00:46:55,319
Speaker 3: his living room on New Year's Eve, eighteen ninety nine.

883
00:46:56,239 --> 00:47:00,799
Speaker 3: George is giving a demonstration inside a box. On the

884
00:47:00,880 --> 00:47:04,440
Speaker 3: table before them is the culmination of years of work

885
00:47:04,440 --> 00:47:07,480
Speaker 3: in his laboratory. He wanted to unveil it to them

886
00:47:07,520 --> 00:47:11,040
Speaker 3: before the New century began, and he finished just in time.

887
00:47:11,680 --> 00:47:14,480
Speaker 3: What is it, well, George says, his invention has to

888
00:47:14,560 --> 00:47:18,200
Speaker 3: do with time and doctor hill Doctor Hillier, here this

889
00:47:18,320 --> 00:47:21,319
Speaker 3: is the kind of harrumphing guy with the beard who

890
00:47:21,400 --> 00:47:25,480
Speaker 3: loves the scars. He's like, ah, wonderful. What our country

891
00:47:25,520 --> 00:47:28,160
Speaker 3: needs now more than anything, is a more accurate time

892
00:47:28,239 --> 00:47:31,040
Speaker 3: piece to be used by the Army and the Royal Navy,

893
00:47:31,160 --> 00:47:36,600
Speaker 3: especially important for coordinating artillery brigades. And George smiles a

894
00:47:36,600 --> 00:47:39,080
Speaker 3: little smile. He says, no, no, no, it's not a

895
00:47:39,120 --> 00:47:41,960
Speaker 3: time piece. He says, when he speaks of time, he

896
00:47:42,040 --> 00:47:47,719
Speaker 3: is referring to the fourth dimension. Hillier is immediately dismissive.

897
00:47:47,800 --> 00:47:50,080
Speaker 3: He says, oh, that's mere theory. No one knows if

898
00:47:50,080 --> 00:47:53,759
Speaker 3: it really exists. And then we get a little scene

899
00:47:53,760 --> 00:47:57,080
Speaker 3: where George gives us a lecture on the three dimensions

900
00:47:57,120 --> 00:47:59,759
Speaker 3: of space and how time can be imagined as an

901
00:48:00,040 --> 00:48:03,880
Speaker 3: visible fourth dimension, the only one along which we cannot

902
00:48:03,880 --> 00:48:04,960
Speaker 3: travel at will.

903
00:48:05,840 --> 00:48:08,279
Speaker 2: The film really takes its time in a good way,

904
00:48:08,400 --> 00:48:11,720
Speaker 2: presenting some of the concepts of time and time travel here,

905
00:48:12,320 --> 00:48:16,680
Speaker 2: which again I think is pretty admirable. Because you know,

906
00:48:16,760 --> 00:48:19,400
Speaker 2: time travel films were not new at this point, but

907
00:48:19,480 --> 00:48:23,400
Speaker 2: a lot of time travel films prior to nineteen sixty

908
00:48:23,680 --> 00:48:26,840
Speaker 2: dependent on more dependent on more mystical time travel techniques,

909
00:48:27,239 --> 00:48:30,279
Speaker 2: you know, like hypnosis or falling asleep, that sort of thing,

910
00:48:31,360 --> 00:48:33,440
Speaker 2: and falling to sleep is kind of like time travel.

911
00:48:33,480 --> 00:48:37,880
Speaker 2: But so on one hand, maybe Christmas ghost Yeah, Christmas ghosts,

912
00:48:37,920 --> 00:48:41,080
Speaker 2: So maybe it was more essential at this time. But

913
00:48:41,239 --> 00:48:43,959
Speaker 2: also it's worth noting that the particulars of the time

914
00:48:44,000 --> 00:48:48,160
Speaker 2: machine here are also rather distinct, namely in the way

915
00:48:48,200 --> 00:48:52,440
Speaker 2: that it travels through time but not space though don't

916
00:48:52,760 --> 00:48:56,600
Speaker 2: nitpick that concept too closely either, But still essentially, as

917
00:48:56,600 --> 00:48:59,040
Speaker 2: far as we're concerned, to travel through time, not space,

918
00:48:59,320 --> 00:49:02,600
Speaker 2: and it's it's it's very important that that be cemented

919
00:49:02,640 --> 00:49:03,640
Speaker 2: in the viewer's.

920
00:49:03,239 --> 00:49:06,880
Speaker 3: Head, that's right. And it's also this lecture is good

921
00:49:07,280 --> 00:49:10,080
Speaker 3: because of the interesting way the script uses the lecture

922
00:49:10,120 --> 00:49:14,720
Speaker 3: to further characterize George. Like when he speaks of time

923
00:49:14,840 --> 00:49:18,280
Speaker 3: in this scene, he uses a lot of vocabulary having

924
00:49:18,320 --> 00:49:21,800
Speaker 3: to do with constraint and the lack of freedom. He says,

925
00:49:22,080 --> 00:49:24,960
Speaker 3: when it comes to the other three dimensions, we are free.

926
00:49:25,440 --> 00:49:28,560
Speaker 3: But when it comes to the fourth dimension, we are prisoners,

927
00:49:29,200 --> 00:49:32,280
Speaker 3: and you get this feeling of George as a man

928
00:49:32,320 --> 00:49:36,160
Speaker 3: of action, a man who breaks through barriers and feels

929
00:49:36,160 --> 00:49:39,920
Speaker 3: a kind of access and mastery over many domains due

930
00:49:39,960 --> 00:49:43,720
Speaker 3: to his strength and his economic privilege and his will power.

931
00:49:44,280 --> 00:49:49,040
Speaker 3: George's He's strong, handsome, brilliant, rich and bold. So in

932
00:49:49,080 --> 00:49:53,320
Speaker 3: a way, it's like anything feels possible to him, except

933
00:49:53,520 --> 00:49:56,359
Speaker 3: for time. There's nothing we can do about time. We

934
00:49:56,440 --> 00:49:59,520
Speaker 3: live in bondage in one part of it, and it

935
00:49:59,560 --> 00:50:02,640
Speaker 3: moves at its own pace rather than us moving through

936
00:50:02,680 --> 00:50:05,000
Speaker 3: it at ours right right.

937
00:50:05,080 --> 00:50:08,680
Speaker 2: And then also this this larger sense too right, that

938
00:50:08,680 --> 00:50:13,919
Speaker 2: that human destiny is like is a track leading into

939
00:50:13,920 --> 00:50:16,719
Speaker 2: an unknown future, and therefore we just have we have

940
00:50:16,920 --> 00:50:21,040
Speaker 2: limited vision of what's to come and of and as

941
00:50:21,080 --> 00:50:23,960
Speaker 2: we've been saying, like a complete inability to like shift

942
00:50:24,000 --> 00:50:24,680
Speaker 2: from that path.

943
00:50:36,360 --> 00:50:38,400
Speaker 3: This is a bit of a tangent, but I found

944
00:50:38,400 --> 00:50:41,520
Speaker 3: this part of the movie really interesting in the way

945
00:50:41,640 --> 00:50:48,400
Speaker 3: it's revealing George's personality. It made me think about tendencies

946
00:50:48,760 --> 00:50:52,480
Speaker 3: I've observed in reality of like once people reach a

947
00:50:52,520 --> 00:50:56,840
Speaker 3: certain level of power and freedom. I'm thinking specifically of

948
00:50:56,880 --> 00:50:59,040
Speaker 3: like a lot of tech billionaires. If you listen to

949
00:50:59,080 --> 00:51:02,280
Speaker 3: them talk. It's it seems very often like the next

950
00:51:02,320 --> 00:51:05,000
Speaker 3: thing that develops in their mind is a desire to

951
00:51:05,400 --> 00:51:09,480
Speaker 3: escape the circumstances of reality. They find it like, I

952
00:51:09,520 --> 00:51:12,440
Speaker 3: want to escape this world. You know, I've already like

953
00:51:12,560 --> 00:51:15,879
Speaker 3: mastered a kind of freedom within this world, and now

954
00:51:15,880 --> 00:51:18,040
Speaker 3: the problem is that I'm stuck in this world.

955
00:51:18,400 --> 00:51:21,480
Speaker 2: Yeah, yeah, what do we hear? Yeah, some of our

956
00:51:21,520 --> 00:51:24,840
Speaker 2: billionaires talking about it's about going to other planets or

957
00:51:24,880 --> 00:51:28,680
Speaker 2: digitizing consciousness, or if you happen to be like a

958
00:51:28,760 --> 00:51:33,000
Speaker 2: leader of a powerful nation, you may you maybe chatting

959
00:51:33,000 --> 00:51:35,200
Speaker 2: about ways to replace all your organs and live to

960
00:51:35,280 --> 00:51:36,960
Speaker 2: be one hundred and fifty years old. That, of course,

961
00:51:37,040 --> 00:51:39,160
Speaker 2: was in the news cycle recently. So yeah, I think

962
00:51:39,160 --> 00:51:40,239
Speaker 2: it's a very accurate rate.

963
00:51:40,480 --> 00:51:45,120
Speaker 3: To escape mortality, to escape morality, to escape the planet,

964
00:51:45,239 --> 00:51:49,920
Speaker 3: to escape whatever, or the limitations of Yeah. Anyway, So

965
00:51:50,560 --> 00:51:55,360
Speaker 3: after this, George he stages a demonstration of quote the

966
00:51:55,440 --> 00:51:59,080
Speaker 3: possibility of movement within the fourth dimension. So he opens

967
00:51:59,120 --> 00:52:02,120
Speaker 3: the box up on the before them, which contains a

968
00:52:02,239 --> 00:52:05,920
Speaker 3: tiny model of the film's famous time machine. So this

969
00:52:06,000 --> 00:52:07,319
Speaker 3: is just a toy size thing.

970
00:52:07,680 --> 00:52:10,200
Speaker 2: Fight as well, learn this is a working model.

971
00:52:09,880 --> 00:52:13,560
Speaker 3: Correct, Yes, yes, it worked. Yeah, So imagine Santa's sleigh

972
00:52:13,600 --> 00:52:16,160
Speaker 3: with a giant dish antenna on the back of it.

973
00:52:16,920 --> 00:52:19,560
Speaker 3: The seat for the passenger is a polished wooden arm

974
00:52:19,680 --> 00:52:23,480
Speaker 3: chair with dark red upholstery. And of course this is

975
00:52:23,520 --> 00:52:26,719
Speaker 3: only a toy sized replica. I was reading that the

976
00:52:26,760 --> 00:52:30,520
Speaker 3: resemblance to Santa's sleigh is not an accident. George Powell

977
00:52:30,560 --> 00:52:34,560
Speaker 3: allegedly modeled this design on a horse drawn sleigh because

978
00:52:34,600 --> 00:52:37,319
Speaker 3: he rode in horse drawn sleighs a lot when he

979
00:52:37,400 --> 00:52:40,279
Speaker 3: was young and he had fond memories of that. It

980
00:52:40,320 --> 00:52:43,960
Speaker 3: was created by the designers Bill Ferrari and Wacheng And

981
00:52:44,320 --> 00:52:47,480
Speaker 3: I remember I read somewhere that the chair here was

982
00:52:47,520 --> 00:52:50,640
Speaker 3: a barber's chair. I don't know, or either the chair

983
00:52:50,680 --> 00:52:53,040
Speaker 3: in the toy version or in the full size version

984
00:52:53,120 --> 00:52:56,040
Speaker 3: was a barber's chair, which doesn't quite look like to me,

985
00:52:56,160 --> 00:52:56,920
Speaker 3: but that's funny.

986
00:52:57,360 --> 00:53:02,080
Speaker 2: Yeah, yeah, again, this becomes the iconic time machine. This

987
00:53:02,200 --> 00:53:05,480
Speaker 2: is like the primary vision of the late Victorian time machine,

988
00:53:05,719 --> 00:53:07,239
Speaker 2: and it's pretty accurate to the book, I believe. In

989
00:53:07,280 --> 00:53:11,480
Speaker 2: the book it's described as having rails, levers and also

990
00:53:11,520 --> 00:53:15,560
Speaker 2: a saddle. I think we're fine to get away from

991
00:53:15,600 --> 00:53:17,400
Speaker 2: the idea of it being more of a saddle and

992
00:53:17,640 --> 00:53:18,279
Speaker 2: more of a chair.

993
00:53:18,640 --> 00:53:23,319
Speaker 3: Yeah, So George, he's gazing at this thing with excitement

994
00:53:23,440 --> 00:53:27,759
Speaker 3: and pride, and the revelation of this machine gives way

995
00:53:27,800 --> 00:53:30,400
Speaker 3: to a discussion. Bridewell says, hey, you know, don't go

996
00:53:30,520 --> 00:53:33,560
Speaker 3: messing around with the future, because George, of course says

997
00:53:33,600 --> 00:53:35,120
Speaker 3: you can travel to the future with it. He says,

998
00:53:35,120 --> 00:53:37,040
Speaker 3: don't go messing around with the future. You could screw

999
00:53:37,080 --> 00:53:40,600
Speaker 3: it up for the rest of us. And then Hillier says, no, no, no,

1000
00:53:40,600 --> 00:53:43,840
Speaker 3: the future cannot be changed. Even if you could travel

1001
00:53:43,880 --> 00:53:46,800
Speaker 3: through time, you couldn't change the course of history because

1002
00:53:46,840 --> 00:53:51,359
Speaker 3: what happens will happen either way. And George says, this

1003
00:53:51,480 --> 00:53:54,280
Speaker 3: is the question he wants to answer. Can man control

1004
00:53:54,320 --> 00:53:57,440
Speaker 3: his destiny? Can he change the shape of things to come?

1005
00:53:58,080 --> 00:54:00,440
Speaker 3: That latter phrase, I believe would become the title of

1006
00:54:00,560 --> 00:54:03,160
Speaker 3: a Wells associated film later on.

1007
00:54:03,320 --> 00:54:04,000
Speaker 2: Yes, that's right.

1008
00:54:04,880 --> 00:54:07,760
Speaker 3: So to prove he has not lost his mind to George,

1009
00:54:07,760 --> 00:54:11,520
Speaker 3: stage's a demonstration with the four gentlemen as witnesses. He

1010
00:54:11,600 --> 00:54:14,160
Speaker 3: takes a cigar from doctor Hillier's pocket, and then he

1011
00:54:14,520 --> 00:54:17,240
Speaker 3: bends the cigar into the shape of a seated man,

1012
00:54:17,840 --> 00:54:19,360
Speaker 3: and then he puts it in the seat, and he

1013
00:54:19,440 --> 00:54:23,000
Speaker 3: sends the machine off. The dish starts whirling, and the

1014
00:54:23,080 --> 00:54:25,680
Speaker 3: room rattles around them like the champagne and the ice

1015
00:54:25,719 --> 00:54:29,520
Speaker 3: bucket is rattling. And then suddenly the toy time machine disappears,

1016
00:54:29,640 --> 00:54:32,640
Speaker 3: leaving only this fading yellow glow on the table where

1017
00:54:32,640 --> 00:54:36,600
Speaker 3: it was. Where has it gone? Not anywhere in space,

1018
00:54:36,680 --> 00:54:39,759
Speaker 3: but somewhere through time. George says it could be one

1019
00:54:39,800 --> 00:54:41,080
Speaker 3: hundred years away by now.

1020
00:54:42,880 --> 00:54:45,000
Speaker 2: We never see it again, right, never again.

1021
00:54:45,200 --> 00:54:47,200
Speaker 3: When he tells us we're not going to he's just like,

1022
00:54:47,280 --> 00:54:49,919
Speaker 3: it's not coming back because there's no operator in it.

1023
00:54:49,960 --> 00:54:52,680
Speaker 2: In the future. This thing's just going to appear and

1024
00:54:52,800 --> 00:54:56,920
Speaker 2: deliver a late Victorian cigar to somebody, but also deliver

1025
00:54:57,040 --> 00:55:02,080
Speaker 2: to them I miniaturized working replica of time travel seems

1026
00:55:02,160 --> 00:55:03,960
Speaker 2: kind of reckless in many respects.

1027
00:55:04,120 --> 00:55:06,719
Speaker 3: There you go, Yeah, you don't know who's going to

1028
00:55:06,719 --> 00:55:09,880
Speaker 3: get hold of that thing though, presumably because there's nobody

1029
00:55:09,880 --> 00:55:12,240
Speaker 3: inside to turn the lever back and make it stop,

1030
00:55:12,320 --> 00:55:14,440
Speaker 3: it's just going to keep speeding through time forever.

1031
00:55:14,719 --> 00:55:17,760
Speaker 2: Oh goodness all that. I don't know that that sounds

1032
00:55:17,760 --> 00:55:21,319
Speaker 2: safe either. I'm not sure what happens when something kind

1033
00:55:21,320 --> 00:55:23,799
Speaker 2: of accelerates endlessly through time.

1034
00:55:24,680 --> 00:55:26,879
Speaker 3: In the heat death of the universe. Suddenly this thing

1035
00:55:26,920 --> 00:55:27,480
Speaker 3: pops out.

1036
00:55:28,239 --> 00:55:31,719
Speaker 2: This is maybe this is why the universe ultimately is destroyed.

1037
00:55:32,080 --> 00:55:32,560
Speaker 2: Who knows.

1038
00:55:34,040 --> 00:55:38,600
Speaker 3: Okay, let's see after the demonstration, the guests funny thing,

1039
00:55:38,640 --> 00:55:41,719
Speaker 3: they're not very impressed, Like they don't believe that his

1040
00:55:41,840 --> 00:55:45,080
Speaker 3: disappearing toy actually traveled through time. But even if he

1041
00:55:45,320 --> 00:55:49,680
Speaker 3: had invented a time machine, of what use would it be? Yeah,

1042
00:55:50,160 --> 00:55:55,200
Speaker 3: which is an insight that's is both incredibly thick headed,

1043
00:55:55,360 --> 00:55:57,520
Speaker 3: Like if it were real, wouldn't that be the most

1044
00:55:57,600 --> 00:56:01,160
Speaker 3: important invention of all time? Could apply knowledge of the

1045
00:56:01,200 --> 00:56:03,680
Speaker 3: future to the past. You could fix any mistake or

1046
00:56:03,680 --> 00:56:06,600
Speaker 3: revert any disaster. But on the other hand, when you

1047
00:56:06,640 --> 00:56:10,640
Speaker 3: think about it, it might also be accidentally profound. Since

1048
00:56:11,520 --> 00:56:12,960
Speaker 3: you know, we've talked about this on the show with

1049
00:56:13,000 --> 00:56:16,720
Speaker 3: like time travel stories before, you can imagine scenarios where essentially,

1050
00:56:16,800 --> 00:56:21,600
Speaker 3: as soon as time travel is invented, it becomes catastrophically weaponized.

1051
00:56:21,840 --> 00:56:25,200
Speaker 3: Like the parties who possess time travel would have so

1052
00:56:25,400 --> 00:56:28,400
Speaker 3: much power over those that don't they would become living

1053
00:56:28,440 --> 00:56:33,560
Speaker 3: gods among mortals. So anyway, the friends here are not

1054
00:56:33,680 --> 00:56:37,480
Speaker 3: impressed with the time machine, doctor Hillier says, He says,

1055
00:56:37,480 --> 00:56:40,880
Speaker 3: why don't you do something useful like make weapons. You

1056
00:56:40,920 --> 00:56:43,640
Speaker 3: know we're at war right now in South Africa. The

1057
00:56:43,680 --> 00:56:46,759
Speaker 3: country needs brilliant inventors like you to design things that

1058
00:56:46,800 --> 00:56:49,640
Speaker 3: can help us win the fight. And he promises to

1059
00:56:49,640 --> 00:56:52,520
Speaker 3: put George in touch with his contacts in the war office.

1060
00:56:52,800 --> 00:56:55,719
Speaker 3: And then Hillier, Bridewell, and Kemp all depart, all with

1061
00:56:55,760 --> 00:56:58,640
Speaker 3: their own plans for New Year's Eve, and George looks

1062
00:56:58,760 --> 00:57:02,560
Speaker 3: mighty depressed. But Philby remember he's the good friend. He's

1063
00:57:02,640 --> 00:57:05,440
Speaker 3: a sensitive friend with a soft Scottish accent. He stays

1064
00:57:05,440 --> 00:57:09,560
Speaker 3: behind to counsel his friend. Philby asks why this preoccupation

1065
00:57:09,680 --> 00:57:13,760
Speaker 3: with time, and George resists talking about this at first,

1066
00:57:13,800 --> 00:57:16,800
Speaker 3: but eventually he's persuaded to explain. He says, if you

1067
00:57:16,840 --> 00:57:19,240
Speaker 3: want to know the truth, I don't much care for

1068
00:57:19,280 --> 00:57:22,640
Speaker 3: the time I was born into. He explains that he

1069
00:57:22,760 --> 00:57:27,120
Speaker 3: finds the world of the present intolerably cruel and shortsighted,

1070
00:57:27,200 --> 00:57:30,600
Speaker 3: where even the most marvelous discoveries of the new science

1071
00:57:31,080 --> 00:57:34,840
Speaker 3: are captured and perverted by evil men who care only

1072
00:57:34,880 --> 00:57:38,160
Speaker 3: about the destruction of their enemies, and the quest for power,

1073
00:57:38,560 --> 00:57:42,439
Speaker 3: and George wants to escape this bloodthirsty time, to find

1074
00:57:42,440 --> 00:57:46,320
Speaker 3: a world without all of this hatred and stupidity and warmongering,

1075
00:57:46,600 --> 00:57:50,280
Speaker 3: when humankind can build and learn and live in peace.

1076
00:57:51,320 --> 00:57:54,120
Speaker 3: It's a powerful sentiment that I think the audience is

1077
00:57:54,200 --> 00:57:56,920
Speaker 3: tempted to have mixed feelings about, because on one hand

1078
00:57:57,560 --> 00:58:03,320
Speaker 3: it is an insightful and moral indictment of human of

1079
00:58:03,440 --> 00:58:06,480
Speaker 3: humankind and the way we are and of our ills.

1080
00:58:06,920 --> 00:58:10,280
Speaker 3: But also it is it's a he has a sense

1081
00:58:10,320 --> 00:58:14,440
Speaker 3: of resignation that he can't stop it, like he can't

1082
00:58:14,560 --> 00:58:17,200
Speaker 3: change it. All he can do is escape it to

1083
00:58:17,320 --> 00:58:20,800
Speaker 3: like take him to remove himself away to a time

1084
00:58:20,880 --> 00:58:22,760
Speaker 3: when humankind has become better.

1085
00:58:23,200 --> 00:58:26,040
Speaker 2: It's like he goes even beyond the privilege that he

1086
00:58:26,080 --> 00:58:30,240
Speaker 2: already has in life. Yeah, to like to distance himself

1087
00:58:30,360 --> 00:58:34,160
Speaker 2: economically and geographically from a lot of the problems in

1088
00:58:34,200 --> 00:58:37,680
Speaker 2: the world now potentially traveling through time to do so.

1089
00:58:38,040 --> 00:58:42,960
Speaker 3: Yeah, So George and Philby argue. Philby says he agrees

1090
00:58:43,000 --> 00:58:45,400
Speaker 3: with his friend. He says, you know you're you're right,

1091
00:58:45,440 --> 00:58:47,480
Speaker 3: You're right about the age we live in. But this

1092
00:58:47,520 --> 00:58:51,520
Speaker 3: obsession with escape is unhealthy, he says, destroy that machine

1093
00:58:51,600 --> 00:58:54,440
Speaker 3: before it destroys you. So I think Philby is in

1094
00:58:54,480 --> 00:58:57,520
Speaker 3: a way seen as the voice of sanity here, like

1095
00:58:57,560 --> 00:59:00,360
Speaker 3: he's you know, he's there's some wisdom in what he's saying.

1096
00:59:01,120 --> 00:59:03,880
Speaker 3: And then Philby tries to invite George to his home

1097
00:59:04,040 --> 00:59:06,440
Speaker 3: for New Year's Eve to spend it with him and

1098
00:59:06,480 --> 00:59:10,160
Speaker 3: his wife and his young son, Jamie. So this is

1099
00:59:10,200 --> 00:59:13,880
Speaker 3: almost kind of the alternative, you know, the alternative to

1100
00:59:14,240 --> 00:59:18,640
Speaker 3: the escape that George is suggesting is his love and

1101
00:59:18,720 --> 00:59:23,560
Speaker 3: brotherhood that Philby is suggesting. But George refuses. Philby asks

1102
00:59:23,640 --> 00:59:26,320
Speaker 3: him to promise that he won't go anywhere else tonight,

1103
00:59:26,840 --> 00:59:30,360
Speaker 3: and George, before Philby leave, says, I promise I won't

1104
00:59:30,520 --> 00:59:31,480
Speaker 3: walk out the door.

1105
00:59:32,240 --> 00:59:34,479
Speaker 2: Don't say anything about traveling through time.

1106
00:59:34,760 --> 00:59:38,280
Speaker 3: That's right. So George sits down and he writes an

1107
00:59:38,320 --> 00:59:40,760
Speaker 3: invitation for Philby and the other three men to come

1108
00:59:40,800 --> 00:59:43,720
Speaker 3: back to the house for dinner the following Friday, five days.

1109
00:59:43,760 --> 00:59:46,800
Speaker 3: Hence we hear people on the street outside the blowing

1110
00:59:46,840 --> 00:59:50,480
Speaker 3: party horns and yelling Happy New Year. And after this,

1111
00:59:50,600 --> 00:59:54,560
Speaker 3: George retires to his laboratory where the full sized time

1112
00:59:54,600 --> 00:59:57,720
Speaker 3: machine awaits, and we get a sharp music sting when

1113
00:59:57,760 --> 01:00:02,320
Speaker 3: it's revealed the laboratory is in George's conservatory, which is

1114
01:00:02,360 --> 01:00:06,560
Speaker 3: full of plants and work benches and tools. The windows

1115
01:00:06,560 --> 01:00:09,520
Speaker 3: are frosted over with ice, and outside it is dark.

1116
01:00:10,200 --> 01:00:15,120
Speaker 3: George he hastily makes a few mechanical preparations, like sharpening

1117
01:00:15,200 --> 01:00:17,120
Speaker 3: the He's sort of got a car key for his

1118
01:00:17,200 --> 01:00:19,640
Speaker 3: time machine. It's this lever that he has to insert

1119
01:00:19,760 --> 01:00:23,120
Speaker 3: to make the machine go. He does something to it

1120
01:00:24,040 --> 01:00:27,760
Speaker 3: and he hops in. Now the next thing. People who

1121
01:00:27,800 --> 01:00:30,480
Speaker 3: remember the broad outline of the story might think he

1122
01:00:30,560 --> 01:00:33,120
Speaker 3: is about to flip a switch and then PLoP down

1123
01:00:33,120 --> 01:00:35,040
Speaker 3: in the year eight hundred thousand in the land of

1124
01:00:35,080 --> 01:00:38,280
Speaker 3: the Eloy and the Morlocks. But there is actually a

1125
01:00:38,440 --> 01:00:41,800
Speaker 3: long and I think quite interesting middle section of the

1126
01:00:41,840 --> 01:00:45,840
Speaker 3: story here, where the time traveler is experimenting with the machine,

1127
01:00:46,160 --> 01:00:49,080
Speaker 3: taking it slow at first, and seeing what happens in

1128
01:00:49,120 --> 01:00:52,520
Speaker 3: the century after his departure. This part of the movie

1129
01:00:52,520 --> 01:00:55,400
Speaker 3: involves a lot of time laps and stop motion effects,

1130
01:00:55,400 --> 01:00:58,440
Speaker 3: which again I believe these are the main parts that

1131
01:00:58,520 --> 01:01:00,280
Speaker 3: won this film and Oscar.

1132
01:01:00,600 --> 01:01:03,760
Speaker 2: Yeah, yeah, they're incredible. They hold up quite well. I

1133
01:01:03,760 --> 01:01:05,840
Speaker 2: also want to quickly throw in that is it is.

1134
01:01:06,040 --> 01:01:10,960
Speaker 2: It always amuses me that the time machine like really

1135
01:01:11,000 --> 01:01:14,280
Speaker 2: like the centerpiece of so much time travel fiction. It

1136
01:01:14,400 --> 01:01:17,480
Speaker 2: sets its sites eight hundred thousand years in the future

1137
01:01:18,440 --> 01:01:21,000
Speaker 2: like such a safe distance when it comes to depicting

1138
01:01:21,000 --> 01:01:23,360
Speaker 2: what the future will be like, when pretty much everything

1139
01:01:23,360 --> 01:01:26,000
Speaker 2: else decides to look at the far future of nineteen

1140
01:01:26,040 --> 01:01:31,200
Speaker 2: eighty seven, yeah, or the you know, apocalyptic hell scape

1141
01:01:31,240 --> 01:01:34,680
Speaker 2: of two thousand and three and so forth. But you know,

1142
01:01:34,880 --> 01:01:36,560
Speaker 2: I don't know, maybe people will have a good laugh

1143
01:01:36,880 --> 01:01:38,520
Speaker 2: eight hundred thousand years from now.

1144
01:01:38,920 --> 01:01:41,960
Speaker 3: I think it's easier to feel emotionally involved with a

1145
01:01:42,040 --> 01:01:45,560
Speaker 3: story that is within a generation or two of your own,

1146
01:01:45,680 --> 01:01:46,480
Speaker 3: of your own time.

1147
01:01:46,560 --> 01:01:46,840
Speaker 2: You know.

1148
01:01:47,080 --> 01:01:49,720
Speaker 3: It's like, once you start getting further out from that,

1149
01:01:50,920 --> 01:01:53,560
Speaker 3: you can still have drama take place in the place

1150
01:01:53,600 --> 01:01:55,560
Speaker 3: you go to, but it just it almost starts to

1151
01:01:55,560 --> 01:01:58,600
Speaker 3: feel like a fantasy world that's just not connected to

1152
01:01:58,720 --> 01:01:59,840
Speaker 3: your present reality.

1153
01:02:00,200 --> 01:02:02,760
Speaker 2: Yeah. Yeah, I mean, as humans, we have a difficult

1154
01:02:02,880 --> 01:02:08,000
Speaker 2: time really viewing things beyond our own personal horizon. Maybe

1155
01:02:08,000 --> 01:02:10,880
Speaker 2: we can see it one generation out, so yeah, it

1156
01:02:10,880 --> 01:02:12,920
Speaker 2: makes sense that we tend to limit our storytelling to

1157
01:02:12,960 --> 01:02:13,560
Speaker 2: that time frame.

1158
01:02:14,480 --> 01:02:17,880
Speaker 3: So anyway, he first goes slow, making sure the machine works.

1159
01:02:17,880 --> 01:02:19,960
Speaker 3: He like skips ahead several hours, and he sees a

1160
01:02:20,000 --> 01:02:23,040
Speaker 3: candle burned down several inches in an instant, and then

1161
01:02:23,080 --> 01:02:25,760
Speaker 3: he goes faster, and he sees the environment change quickly

1162
01:02:25,800 --> 01:02:28,640
Speaker 3: in these cyclical ways, like the hands on the clocks

1163
01:02:28,640 --> 01:02:31,800
Speaker 3: spinning round and round, and the sun rising and setting quickly,

1164
01:02:32,800 --> 01:02:36,120
Speaker 3: frost growing on the windows and then receding. He sees

1165
01:02:36,200 --> 01:02:39,439
Speaker 3: the flowers in his greenhouse opening and closing, their little

1166
01:02:39,600 --> 01:02:43,000
Speaker 3: their blossoms, like these leapping mouths. There's a great part.

1167
01:02:43,120 --> 01:02:47,200
Speaker 3: We sees a snail racing across the floor, going fast,

1168
01:02:47,760 --> 01:02:51,640
Speaker 3: and then through the glass window he sees the department

1169
01:02:51,720 --> 01:02:54,000
Speaker 3: store across the street, and in the window of the

1170
01:02:54,040 --> 01:02:58,120
Speaker 3: store there is a mannequin displaying a fancy dress. And

1171
01:02:58,160 --> 01:03:01,400
Speaker 3: there's this whole little subplot here where we see years

1172
01:03:01,440 --> 01:03:05,360
Speaker 3: flit by through the changes in women's fashion, and the

1173
01:03:05,400 --> 01:03:08,360
Speaker 3: time traveler is like, good, heavens, that's a dress. This

1174
01:03:09,040 --> 01:03:11,960
Speaker 3: was intriguing. I wonder just how far women would permit

1175
01:03:12,000 --> 01:03:12,520
Speaker 3: this to go.

1176
01:03:14,240 --> 01:03:17,400
Speaker 2: Yeah, it's legitimately a hilarious line.

1177
01:03:17,520 --> 01:03:20,600
Speaker 3: Yeah, he says, I began to grow very fond of

1178
01:03:20,600 --> 01:03:24,280
Speaker 3: that mannequin, maybe because like me, she didn't age. So

1179
01:03:24,320 --> 01:03:27,080
Speaker 3: we see the fashions change. He stops briefly in the

1180
01:03:27,200 --> 01:03:30,800
Speaker 3: year nineteen seventeen, when he discovers the lights have gone

1181
01:03:30,840 --> 01:03:33,640
Speaker 3: out in his house. His home is now filled with

1182
01:03:33,720 --> 01:03:36,840
Speaker 3: cobwebs and dust, and there's sheets over all the furniture.

1183
01:03:37,440 --> 01:03:40,080
Speaker 3: He leaves the lab and wanders out into the street,

1184
01:03:40,200 --> 01:03:42,640
Speaker 3: where going into the department store, he sees a man

1185
01:03:42,680 --> 01:03:45,760
Speaker 3: in a military uniform who looks exactly like his friend

1186
01:03:45,880 --> 01:03:48,880
Speaker 3: David Philby. He thinks it is Philby, but when he

1187
01:03:48,880 --> 01:03:51,760
Speaker 3: greets him, the man is confused. We learn this is

1188
01:03:51,840 --> 01:03:55,920
Speaker 3: not David Philby, but his young son, Jamie, now grown

1189
01:03:56,000 --> 01:03:58,920
Speaker 3: up to the age his father was when George left.

1190
01:03:59,160 --> 01:04:02,640
Speaker 2: Yeah, same act, but now without the distinct scooge McDuck accent.

1191
01:04:02,840 --> 01:04:06,880
Speaker 3: That's right. Jamie tells George that his father was killed

1192
01:04:07,200 --> 01:04:11,280
Speaker 3: in the war a year earlier. Just sad moment. And

1193
01:04:11,280 --> 01:04:14,000
Speaker 3: then we also learned the story of the inventor Chap

1194
01:04:14,040 --> 01:04:17,320
Speaker 3: who lived across the street. He apparently disappeared in the

1195
01:04:17,400 --> 01:04:20,520
Speaker 3: year nineteen hundred and left the house in the care

1196
01:04:20,560 --> 01:04:23,640
Speaker 3: of Jamie's father, and Jamie always wanted his father to

1197
01:04:23,680 --> 01:04:26,640
Speaker 3: sell it, but David forbade it, believing his friend would

1198
01:04:26,680 --> 01:04:30,360
Speaker 3: come back someday, and he says, people hereabouts think it's

1199
01:04:30,360 --> 01:04:33,520
Speaker 3: haunted anyway. Have you been at the front? And George

1200
01:04:33,560 --> 01:04:37,000
Speaker 3: is quite confused. He's like, what front? And Jamie says

1201
01:04:37,000 --> 01:04:40,200
Speaker 3: why the war, of course, and George smiles, but with

1202
01:04:40,560 --> 01:04:44,280
Speaker 3: a clear sadness. This time seems no better than his own.

1203
01:04:44,400 --> 01:04:58,680
Speaker 3: Everywhere live's wrecked by violence again and again. So he

1204
01:04:58,720 --> 01:05:00,000
Speaker 3: goes back to the time machine.

1205
01:05:00,040 --> 01:05:02,240
Speaker 2: That's right. Time to jump back in and fast forward

1206
01:05:02,280 --> 01:05:05,040
Speaker 2: to the part where we solve this whole war thing.

1207
01:05:05,400 --> 01:05:07,520
Speaker 3: That's right. So he's going to go faster now. The

1208
01:05:07,560 --> 01:05:11,080
Speaker 3: months fly by. Suddenly in nineteen forty something rattles the

1209
01:05:11,120 --> 01:05:14,600
Speaker 3: world around him and he stops. He comes out and

1210
01:05:14,600 --> 01:05:17,640
Speaker 3: we get this nightmarish glimpse of the Blitz of London.

1211
01:05:18,240 --> 01:05:21,360
Speaker 3: There are fires raging, there's anti aircraft fire going up

1212
01:05:21,400 --> 01:05:23,800
Speaker 3: into the dark, and it's like the god of war

1213
01:05:23,920 --> 01:05:27,200
Speaker 3: still rules this cursed planet. So he pushes on in

1214
01:05:27,240 --> 01:05:30,640
Speaker 3: the machine. His house is destroyed, I guess, in the blitz,

1215
01:05:30,720 --> 01:05:33,880
Speaker 3: and the machine is speeding through time just now out

1216
01:05:33,880 --> 01:05:36,320
Speaker 3: in the open in a grassy field, and he has

1217
01:05:36,360 --> 01:05:39,760
Speaker 3: a view all around of buildings being rebuilt quickly with

1218
01:05:39,880 --> 01:05:43,640
Speaker 3: time laps and stop motion effects. The mannequin. Time lapse

1219
01:05:43,640 --> 01:05:46,440
Speaker 3: also continues. We get to see more modern fashions, including

1220
01:05:46,480 --> 01:05:50,760
Speaker 3: a bikini, and he stops again in the mid sixties

1221
01:05:50,800 --> 01:05:55,400
Speaker 3: because he hears high pitched sounds all around, and so

1222
01:05:55,440 --> 01:05:57,960
Speaker 3: the years stop racing by. The sounds come into focus

1223
01:05:58,000 --> 01:06:03,000
Speaker 3: and we realize these sounds are air raid sirens. Now

1224
01:06:03,040 --> 01:06:05,320
Speaker 3: we are in the era of the Cold War, with

1225
01:06:05,400 --> 01:06:08,320
Speaker 3: the threat of nuclear weapons always looming over us. But

1226
01:06:08,960 --> 01:06:11,480
Speaker 3: George doesn't know about this yet. Of course, he doesn't

1227
01:06:11,520 --> 01:06:13,440
Speaker 3: know what the sounds are. He sees crowds of people

1228
01:06:13,520 --> 01:06:17,440
Speaker 3: running somewhere, being ushered by civil defencemen in gray jumpsuits

1229
01:06:17,440 --> 01:06:20,280
Speaker 3: with white helmets, and people are trying to get him

1230
01:06:20,280 --> 01:06:22,440
Speaker 3: to hurry along with them, but he resists. He's like,

1231
01:06:22,440 --> 01:06:25,200
Speaker 3: what's the rush. He's like checking out a outside the

1232
01:06:25,200 --> 01:06:28,120
Speaker 3: department story. He is checking out a shaving kit display

1233
01:06:28,560 --> 01:06:31,280
Speaker 3: that has a nuclear civil defense sign right above it

1234
01:06:31,280 --> 01:06:32,760
Speaker 3: with the picture of a mushroom cloud.

1235
01:06:33,920 --> 01:06:38,200
Speaker 2: And but by your clean shave razor. Today, Yes, people

1236
01:06:38,200 --> 01:06:40,640
Speaker 2: still had the moxy to be like, you know, people

1237
01:06:40,680 --> 01:06:43,760
Speaker 2: were heading off to the bomb shelters, but diagnam it.

1238
01:06:43,880 --> 01:06:45,920
Speaker 2: They still need a shave, They still need a quality

1239
01:06:45,960 --> 01:06:46,680
Speaker 2: shaving device.

1240
01:06:46,880 --> 01:06:51,600
Speaker 3: Yeah, so he eventually meets a now aged version of

1241
01:06:51,640 --> 01:06:55,640
Speaker 3: the once young Jamie Philby. George wants to speak with

1242
01:06:55,720 --> 01:06:59,200
Speaker 3: him about the splendid technological achievements he sees all around them.

1243
01:06:59,320 --> 01:07:02,000
Speaker 3: You know, it's now the sixties. There's technology everywhere. But

1244
01:07:02,440 --> 01:07:05,400
Speaker 3: Jamie does not have time to chat. He's like, I

1245
01:07:05,440 --> 01:07:07,200
Speaker 3: can't talk to you about flat screen TVs.

1246
01:07:07,280 --> 01:07:07,440
Speaker 2: There.

1247
01:07:07,560 --> 01:07:10,560
Speaker 3: We're all going down to the bomb shelters because a

1248
01:07:10,680 --> 01:07:13,680
Speaker 3: nuclear strike is imminent. He says, we got a hurry,

1249
01:07:13,760 --> 01:07:15,960
Speaker 3: or the mushrooms will be sprouting, and he points to

1250
01:07:16,000 --> 01:07:19,120
Speaker 3: a thing in the sky that he calls the atomic satellite.

1251
01:07:19,160 --> 01:07:23,040
Speaker 3: He says it's zeroing in, and George gets back into

1252
01:07:23,120 --> 01:07:25,760
Speaker 3: his time machine just in time to avoid being destroyed.

1253
01:07:25,960 --> 01:07:28,400
Speaker 3: He sees in fast motion how the fire of war

1254
01:07:28,520 --> 01:07:32,200
Speaker 3: destroys everything. The labor of centuries gone in an instant,

1255
01:07:32,240 --> 01:07:35,920
Speaker 3: he says. And then after this, this part's a little hazy,

1256
01:07:35,960 --> 01:07:39,000
Speaker 3: but he says, mother nature responds somehow, like all of

1257
01:07:39,040 --> 01:07:43,640
Speaker 3: the human warfare causes volcanic eruptions from below, which flood

1258
01:07:43,720 --> 01:07:47,320
Speaker 3: the city with glowing hot lava. Apparently this special effect

1259
01:07:47,400 --> 01:07:50,880
Speaker 3: was done with a model city set and a big

1260
01:07:50,960 --> 01:07:55,840
Speaker 3: vat of orange oatmeal oatmeal made orange with food coloring,

1261
01:07:56,120 --> 01:07:59,480
Speaker 3: poured out onto the model set. And then the story

1262
01:07:59,520 --> 01:08:01,919
Speaker 3: is the oatme was left sitting out for several days,

1263
01:08:01,960 --> 01:08:04,240
Speaker 3: long enough that it started to ferment, and it smelled

1264
01:08:04,240 --> 01:08:05,320
Speaker 3: incredibly foul.

1265
01:08:06,600 --> 01:08:08,240
Speaker 2: It looks great though. Yeah.

1266
01:08:09,280 --> 01:08:12,720
Speaker 3: So after this, George pilots his time machine fast into

1267
01:08:12,760 --> 01:08:16,320
Speaker 3: the future. He gets encased in lava and is completely

1268
01:08:16,320 --> 01:08:18,479
Speaker 3: covered in stone, so he has to keep running the

1269
01:08:18,520 --> 01:08:21,360
Speaker 3: machine until the rock around him erodes away so he

1270
01:08:21,400 --> 01:08:25,040
Speaker 3: can escape, and that takes a long time. He eventually

1271
01:08:25,080 --> 01:08:28,599
Speaker 3: pops out of the rock, like eight hundred thousand years later,

1272
01:08:29,200 --> 01:08:33,240
Speaker 3: when the world is greatly changed, he finds himself deposited

1273
01:08:33,400 --> 01:08:37,040
Speaker 3: in what seems to be a peaceful land of perpetual summer.

1274
01:08:37,880 --> 01:08:41,000
Speaker 3: The earth stays green and lush year round, and no

1275
01:08:41,160 --> 01:08:43,160
Speaker 3: war seemed to come in and destroy all the human

1276
01:08:43,200 --> 01:08:46,000
Speaker 3: structure as he sees in the distance, And so he

1277
01:08:46,080 --> 01:08:47,960
Speaker 3: brings the time machine finally to a.

1278
01:08:47,920 --> 01:08:51,479
Speaker 2: Halt, and in this we finally get to the portion

1279
01:08:51,560 --> 01:08:55,000
Speaker 2: of the film and book that most people remember. Though again,

1280
01:08:55,160 --> 01:08:57,400
Speaker 2: the journey here really makes us earn it. You know,

1281
01:08:57,920 --> 01:09:00,160
Speaker 2: we definitely needed all these steps to get here.

1282
01:09:00,400 --> 01:09:03,160
Speaker 3: Yeah, So the time traveler He tumbles out into a

1283
01:09:03,200 --> 01:09:07,040
Speaker 3: clearing of grass surrounded by this green jungle, in front

1284
01:09:07,080 --> 01:09:10,760
Speaker 3: of some kind of stone temple crowned with a monolithic

1285
01:09:10,800 --> 01:09:13,960
Speaker 3: statue of a human head, generally referred to as a sphinx.

1286
01:09:14,800 --> 01:09:17,640
Speaker 3: The doors of this temple are made of metal, and

1287
01:09:17,720 --> 01:09:19,960
Speaker 3: they are sealed shut. Georgie goes up. He tries to

1288
01:09:20,040 --> 01:09:22,120
Speaker 3: knock on the doors, but he finds no reply.

1289
01:09:23,360 --> 01:09:26,280
Speaker 2: I love the design here of the sphinx. It's, you know,

1290
01:09:26,320 --> 01:09:31,519
Speaker 2: it feels connected to various Earth traditions, but also feels

1291
01:09:31,600 --> 01:09:35,440
Speaker 2: very alien, so it really strikes a perfect note. Yeah.

1292
01:09:35,640 --> 01:09:37,880
Speaker 3: So he goes out wandering through the landscape and he

1293
01:09:37,920 --> 01:09:43,479
Speaker 3: finds beautiful flowers everywhere, fruit trees heavy with ripe, unfamiliar produce,

1294
01:09:43,680 --> 01:09:47,439
Speaker 3: wonk of fruits. Yeah, wank exactly, Yeah, he says, not

1295
01:09:47,880 --> 01:09:51,240
Speaker 3: a weed or a briar in sight, No unpleasant plants.

1296
01:09:51,280 --> 01:09:54,200
Speaker 3: So it's as if the entire natural world has become,

1297
01:09:54,920 --> 01:09:56,440
Speaker 3: in its wild state.

1298
01:09:56,320 --> 01:09:56,919
Speaker 2: A garden.

1299
01:09:57,160 --> 01:10:00,479
Speaker 3: It's like the wilderness itself is now a fruit orchard

1300
01:10:00,479 --> 01:10:04,360
Speaker 3: in a botanical garden. Humankind has fully tamed the plant

1301
01:10:04,439 --> 01:10:08,320
Speaker 3: kingdom and shaped it entirely to our liking. And he

1302
01:10:08,479 --> 01:10:12,000
Speaker 3: thinks he says, at last, I'd found a paradise, but

1303
01:10:12,080 --> 01:10:14,599
Speaker 3: it would be no paradise if it belonged to me alone.

1304
01:10:15,400 --> 01:10:18,040
Speaker 3: So he goes out looking for people. He wanders down

1305
01:10:18,080 --> 01:10:20,559
Speaker 3: a hill covered in ivy, and he comes to one

1306
01:10:20,600 --> 01:10:23,400
Speaker 3: of the structures he saw in the distance. It is

1307
01:10:23,439 --> 01:10:28,160
Speaker 3: a giant dome with stone rocky steps leading up from

1308
01:10:28,160 --> 01:10:31,920
Speaker 3: a plaza in front, flanked by two dark sphinxes, and

1309
01:10:31,960 --> 01:10:35,080
Speaker 3: there's a big metal door leading inside. And once he

1310
01:10:35,120 --> 01:10:38,360
Speaker 3: comes close, George sees that this building is actually in

1311
01:10:38,479 --> 01:10:41,320
Speaker 3: pretty bad disrepair. It seems it has not been kept

1312
01:10:41,400 --> 01:10:45,680
Speaker 3: up for centuries. So is it abandoned? Well, seems maybe not.

1313
01:10:45,760 --> 01:10:48,360
Speaker 3: He goes inside and he finds a hall filled with

1314
01:10:48,439 --> 01:10:52,880
Speaker 3: circular banquet tables covered with glasses and bowls and ripe fruit,

1315
01:10:53,320 --> 01:10:55,600
Speaker 3: so it seems like someone is coming in here on

1316
01:10:55,640 --> 01:10:58,760
Speaker 3: a regular basis. And when he makes sounds in here,

1317
01:10:58,840 --> 01:11:02,320
Speaker 3: the sounds echo through the hall with this eerie delay pattern,

1318
01:11:02,439 --> 01:11:06,519
Speaker 3: like they're like running away and coming back. Next, the

1319
01:11:06,560 --> 01:11:10,000
Speaker 3: time Traveler wanders down to a riverside where he finds people.

1320
01:11:10,520 --> 01:11:14,200
Speaker 3: A group of beautiful, fit young men and women, all

1321
01:11:14,400 --> 01:11:19,919
Speaker 3: blonde with like The men all have bowl cuts, lounging

1322
01:11:19,960 --> 01:11:25,120
Speaker 3: on a sandy bank next to the water. They are talking, laughing, dancing,

1323
01:11:25,160 --> 01:11:26,080
Speaker 3: and picking fruit.

1324
01:11:26,560 --> 01:11:28,639
Speaker 2: Quick question, do you think they're cutting their own hair

1325
01:11:28,720 --> 01:11:30,280
Speaker 2: or do you think the morlocks cut their hair?

1326
01:11:30,800 --> 01:11:32,759
Speaker 3: Very good question. I think they're cutting their own hair,

1327
01:11:34,040 --> 01:11:38,040
Speaker 3: but only for fun, right, because there's no work in

1328
01:11:38,080 --> 01:11:38,439
Speaker 3: this world.

1329
01:11:38,640 --> 01:11:39,200
Speaker 2: We'll get to that.

1330
01:11:39,560 --> 01:11:42,320
Speaker 3: So this is what he says. He sees them all

1331
01:11:42,400 --> 01:11:45,200
Speaker 3: lounging around. He says, so this is man's future, to

1332
01:11:45,320 --> 01:11:48,280
Speaker 3: bask in the sunlight, bathe in the clear streams, and

1333
01:11:48,320 --> 01:11:50,439
Speaker 3: eat the fruits of the earth, with all knowledge of

1334
01:11:50,439 --> 01:11:54,680
Speaker 3: work and hardship forgotten. Well and why not? So it

1335
01:11:54,680 --> 01:11:57,280
Speaker 3: seems he thinks he has finally found his long sought

1336
01:11:57,320 --> 01:12:01,879
Speaker 3: earthly paradise of peace. But then he hears a scream.

1337
01:12:03,200 --> 01:12:05,599
Speaker 3: A young woman is drowning in the river. She's being

1338
01:12:05,640 --> 01:12:10,040
Speaker 3: swept away by the current, and weirdly, her friends on

1339
01:12:10,080 --> 01:12:14,120
Speaker 3: the rocks nearby do nothing. They barely seem to notice

1340
01:12:14,160 --> 01:12:17,360
Speaker 3: her cries for help, and when they occasionally glance her way,

1341
01:12:18,000 --> 01:12:20,479
Speaker 3: they don't even bother to like reach down and offer

1342
01:12:20,520 --> 01:12:24,000
Speaker 3: her a hand up. So she's drifting away helplessly while

1343
01:12:24,040 --> 01:12:26,160
Speaker 3: the rest of the people just sit there and talk

1344
01:12:26,200 --> 01:12:27,400
Speaker 3: and laugh and ignore her.

1345
01:12:27,760 --> 01:12:30,879
Speaker 2: Yeah, well they're just yeah, they're just like, oh, something's happening,

1346
01:12:31,080 --> 01:12:33,320
Speaker 2: and that's it. Is dispassionate.

1347
01:12:33,800 --> 01:12:37,280
Speaker 3: So finally the time Traveler himself jumps in the water

1348
01:12:37,360 --> 01:12:39,799
Speaker 3: to rescue her. He brings her ashore and he puts

1349
01:12:39,800 --> 01:12:43,280
Speaker 3: his coat around her shoulders, and once she comes to,

1350
01:12:43,479 --> 01:12:46,240
Speaker 3: she doesn't say anything to George. She just gets up

1351
01:12:46,320 --> 01:12:48,920
Speaker 3: and walks away. And Rob I took a screen grab

1352
01:12:48,960 --> 01:12:50,920
Speaker 3: here because did you see this part where the other

1353
01:12:51,040 --> 01:12:53,479
Speaker 3: lady's here by the river giving the time traveler the

1354
01:12:53,479 --> 01:12:59,599
Speaker 3: stink face? They're just like, ew weird. Yeah, so George

1355
01:12:59,640 --> 01:13:03,519
Speaker 3: is plexed. He's like, what's wrong with these people? Later,

1356
01:13:03,560 --> 01:13:06,240
Speaker 3: they all wander away happily to the dome that he

1357
01:13:06,280 --> 01:13:09,439
Speaker 3: found earlier, and he follows them back. He sits down

1358
01:13:09,720 --> 01:13:12,479
Speaker 3: by himself on the stairs outside, and eventually the woman

1359
01:13:12,560 --> 01:13:16,400
Speaker 3: that George rescued from the water comes and sits behind him,

1360
01:13:16,439 --> 01:13:20,439
Speaker 3: and again this is evet Mimu. She asks why he

1361
01:13:20,479 --> 01:13:23,639
Speaker 3: saved her. He asks how come twenty of her friends

1362
01:13:23,680 --> 01:13:25,640
Speaker 3: did not save her, Like why were they watching her

1363
01:13:25,760 --> 01:13:28,759
Speaker 3: dying and doing nothing to help? And she says nothing.

1364
01:13:28,840 --> 01:13:32,040
Speaker 3: She doesn't even seem to understand the question, so they

1365
01:13:32,040 --> 01:13:35,439
Speaker 3: introduce themselves to each other. Her name is Weena, and

1366
01:13:35,720 --> 01:13:40,519
Speaker 3: George learns that despite speaking perfectly understandable twentieth century English

1367
01:13:40,600 --> 01:13:43,920
Speaker 3: eight hundred thousand years later, none of these people can

1368
01:13:43,960 --> 01:13:46,800
Speaker 3: read or write, and so when he shows her what

1369
01:13:46,840 --> 01:13:49,439
Speaker 3: writing is, he writes words in the dust. She laughs.

1370
01:13:49,479 --> 01:13:52,760
Speaker 3: She thinks this is funny, and in this scene and

1371
01:13:52,800 --> 01:13:55,960
Speaker 3: the following scene he learns a number of things. He

1372
01:13:56,040 --> 01:13:59,639
Speaker 3: learns that these people call themselves the ELOI, that they

1373
01:13:59,720 --> 01:14:04,120
Speaker 3: are profoundly incurious and don't seem to have thoughts about

1374
01:14:04,200 --> 01:14:07,479
Speaker 3: much of anything. That there is no one older than

1375
01:14:07,520 --> 01:14:10,759
Speaker 3: what looks like maybe mid twenties or so, only young people.

1376
01:14:11,360 --> 01:14:15,120
Speaker 3: They have no government, no laws, nobody works, and they

1377
01:14:15,120 --> 01:14:18,560
Speaker 3: don't seem to know where their food and clothing come from.

1378
01:14:18,920 --> 01:14:21,160
Speaker 3: They are afraid of the dark and believe that you

1379
01:14:21,240 --> 01:14:24,000
Speaker 3: have to hide inside the dome after the sun goes down.

1380
01:14:24,680 --> 01:14:26,800
Speaker 2: I had a nice chuckle observing that they're kind of

1381
01:14:26,800 --> 01:14:29,040
Speaker 2: all like thirteen year olds, you know, like, where does

1382
01:14:29,080 --> 01:14:31,280
Speaker 2: food and clothing come from? I don't know, It's just

1383
01:14:31,400 --> 01:14:32,280
Speaker 2: it's provided.

1384
01:14:32,840 --> 01:14:36,840
Speaker 3: Yeah, yeah, it's just here here for us. Yeah, So

1385
01:14:36,920 --> 01:14:40,040
Speaker 3: inside the dome, George eats fruit with the rest of them,

1386
01:14:40,080 --> 01:14:43,080
Speaker 3: and he's trying to figure out how their world works.

1387
01:14:43,400 --> 01:14:46,360
Speaker 3: He tries to make conversation, but nobody has much much

1388
01:14:46,439 --> 01:14:49,599
Speaker 3: to say to him. They just sit there, docile, dull,

1389
01:14:49,680 --> 01:14:53,559
Speaker 3: eyes down, giving these simple, half hearted responses to all

1390
01:14:53,560 --> 01:14:54,439
Speaker 3: his questions, and.

1391
01:14:54,479 --> 01:14:58,400
Speaker 2: He's he's coming up with some real softball questions here,

1392
01:14:58,560 --> 01:15:00,799
Speaker 2: some real leading questions, like you give me anything.

1393
01:15:01,160 --> 01:15:05,080
Speaker 3: Yeah. On one hand, he seems to be impressed because

1394
01:15:05,080 --> 01:15:08,880
Speaker 3: he believes they have eliminated war and automated all labor

1395
01:15:08,920 --> 01:15:12,719
Speaker 3: and production, so there is no more suffering or want.

1396
01:15:13,160 --> 01:15:16,160
Speaker 3: Everything these people need is produced and harvested for them

1397
01:15:16,160 --> 01:15:19,360
Speaker 3: by machines, so they can Yeah, they can spend their

1398
01:15:19,400 --> 01:15:24,559
Speaker 3: lives doing doing what George suggests, Well, maybe you spend

1399
01:15:24,600 --> 01:15:28,400
Speaker 3: all your time studying and experimenting, learning you know about

1400
01:15:28,479 --> 01:15:32,360
Speaker 3: about the world. Evidently not the other guy at the table.

1401
01:15:32,560 --> 01:15:34,679
Speaker 3: Look when he brings this up. This guy just acts

1402
01:15:34,720 --> 01:15:38,400
Speaker 3: annoyed and he's like, you ask too many questions. And

1403
01:15:38,479 --> 01:15:41,240
Speaker 3: the time traveler says, do you have books? You know

1404
01:15:41,320 --> 01:15:43,280
Speaker 3: he wants to He's like, books will tell me about

1405
01:15:43,280 --> 01:15:46,479
Speaker 3: your culture. And one of the eloy men takes George

1406
01:15:46,520 --> 01:15:48,920
Speaker 3: to a room in the dome, which is a dark

1407
01:15:49,360 --> 01:15:52,519
Speaker 3: library with shelves indeed full of books, but they are

1408
01:15:52,720 --> 01:15:56,400
Speaker 3: covered in thick dust, and as soon as the time

1409
01:15:56,439 --> 01:15:59,559
Speaker 3: traveler tries to open one, it falls apart into flakes

1410
01:15:59,560 --> 01:16:04,439
Speaker 3: in his hand. And finally George becomes enraged and he

1411
01:16:04,560 --> 01:16:07,360
Speaker 3: shouts at the eloy He says, what have you done?

1412
01:16:07,760 --> 01:16:11,520
Speaker 3: Thousands of years of building and rebuilding, creating and recreating.

1413
01:16:11,880 --> 01:16:14,679
Speaker 3: Also you can let it crumble to dust. A million

1414
01:16:14,760 --> 01:16:17,600
Speaker 3: years of sensitive men dying for their dreams for what,

1415
01:16:18,000 --> 01:16:21,760
Speaker 3: So you can swim and dance and play. Then he

1416
01:16:21,800 --> 01:16:24,160
Speaker 3: comes back out into the hall and he yells some more.

1417
01:16:24,200 --> 01:16:26,679
Speaker 3: He yells at the whole crowd of the Eloi. He says,

1418
01:16:26,680 --> 01:16:28,760
Speaker 3: I'm going back to my own time. I won't even

1419
01:16:28,800 --> 01:16:31,320
Speaker 3: bother to tell them of the useless struggle for a

1420
01:16:31,360 --> 01:16:34,519
Speaker 3: hopeless future. But at least I can die among men.

1421
01:16:35,479 --> 01:16:37,920
Speaker 3: So here we get to I think one of the

1422
01:16:37,920 --> 01:16:42,960
Speaker 3: most interesting paradoxes of the movie. The central desire of

1423
01:16:43,040 --> 01:16:47,160
Speaker 3: our hero is to escape the cruelty and stupidity of

1424
01:16:47,200 --> 01:16:53,240
Speaker 3: his time, war, greed, rapacious destruction, and he finally does

1425
01:16:53,320 --> 01:16:55,639
Speaker 3: come to a time in the future that seems free

1426
01:16:55,760 --> 01:16:59,679
Speaker 3: of these evils, but he discovers that the people here

1427
01:16:59,720 --> 01:17:04,600
Speaker 3: make him sick because they have no virtues, no intelligence

1428
01:17:04,680 --> 01:17:10,559
Speaker 3: or curiosity, no kindness or generosity or spirit of self sacrifice.

1429
01:17:10,600 --> 01:17:13,559
Speaker 3: He has escaped a world he saw as characterized by

1430
01:17:13,920 --> 01:17:19,800
Speaker 3: vicious stupidity, and arrived in one instead of docile, mindless,

1431
01:17:20,000 --> 01:17:25,519
Speaker 3: pointless self entertainment. Now one could be tempted here to

1432
01:17:25,680 --> 01:17:28,960
Speaker 3: interpret this as an inversion of the earlier themes of

1433
01:17:29,000 --> 01:17:32,839
Speaker 3: the film, like a maybe leaning back into a spartan

1434
01:17:32,880 --> 01:17:35,800
Speaker 3: ethic of war is life. I don't think that's it.

1435
01:17:35,880 --> 01:17:38,479
Speaker 3: I don't think that is the point of the film here.

1436
01:17:39,760 --> 01:17:42,840
Speaker 3: The point of view that I detect is more that

1437
01:17:43,000 --> 01:17:46,479
Speaker 3: the time George left behind was wrong. It was ruled

1438
01:17:46,560 --> 01:17:50,799
Speaker 3: by a vicious stupidity. It did cause the needless suffering

1439
01:17:50,840 --> 01:17:53,479
Speaker 3: of millions for the glory of a few selfish men.

1440
01:17:54,200 --> 01:17:59,400
Speaker 3: But he has discovered that merely eliminating war and material

1441
01:17:59,479 --> 01:18:03,840
Speaker 3: want do not automatically make life good. You might see

1442
01:18:03,840 --> 01:18:07,240
Speaker 3: the elimination of war and material want in George's new

1443
01:18:07,400 --> 01:18:13,360
Speaker 3: dawning consciousness as necessary, but not sufficient conditions for the

1444
01:18:13,360 --> 01:18:17,680
Speaker 3: earthly paradise that he dreamed of. So the eloy are

1445
01:18:17,800 --> 01:18:21,360
Speaker 3: abhorrent to him, even though they are at peace, or

1446
01:18:21,400 --> 01:18:24,679
Speaker 3: at least they appear to be at first, because there's

1447
01:18:24,760 --> 01:18:28,360
Speaker 3: more about this world he hasn't figured out yet. So next,

1448
01:18:28,360 --> 01:18:30,920
Speaker 3: the time traveler goes back out to hop into his

1449
01:18:30,960 --> 01:18:32,719
Speaker 3: time machine. I think he's going to go back home

1450
01:18:33,080 --> 01:18:35,920
Speaker 3: or find another time. But when he gets there, the

1451
01:18:35,960 --> 01:18:41,439
Speaker 3: time machine is gone. Oh done, dun duh. Yeah, it's

1452
01:18:41,479 --> 01:18:45,000
Speaker 3: been towed exactly, adds an impound lot. He can see

1453
01:18:45,040 --> 01:18:47,160
Speaker 3: from tracks in the ground that it has been dragged

1454
01:18:47,200 --> 01:18:50,559
Speaker 3: inside the doors of the stone temple underneath the sphinx.

1455
01:18:50,800 --> 01:18:52,840
Speaker 3: Who took it and how how is he going to

1456
01:18:52,880 --> 01:18:56,599
Speaker 3: get it back now? Despite her fear of the dark

1457
01:18:56,680 --> 01:18:59,800
Speaker 3: that was established earlier, Weena follows George out into the

1458
01:18:59,800 --> 01:19:02,840
Speaker 3: world woods to warn him of danger. Interesting that this

1459
01:19:02,920 --> 01:19:06,479
Speaker 3: is the first risky or self sacrificing thing that we

1460
01:19:06,520 --> 01:19:10,040
Speaker 3: have seen in eloy Do. She's perhaps inspired by the

1461
01:19:10,080 --> 01:19:13,599
Speaker 3: way George risked his life for her earlier. But what

1462
01:19:13,680 --> 01:19:16,880
Speaker 3: is the danger? We learn it is the Morlocks. They

1463
01:19:16,880 --> 01:19:20,040
Speaker 3: come out at night. George doesn't know what these are,

1464
01:19:20,120 --> 01:19:23,280
Speaker 3: but there are several points here where we can see

1465
01:19:23,320 --> 01:19:26,400
Speaker 3: the Morlocks spying on our hero through the bushes. We

1466
01:19:26,439 --> 01:19:27,880
Speaker 3: don't get a good look at them at all, but

1467
01:19:28,160 --> 01:19:31,679
Speaker 3: we see their eyes twinkling. They have these glowing eyes

1468
01:19:31,760 --> 01:19:34,040
Speaker 3: kind of like the jawas that are a wonderful feature

1469
01:19:34,080 --> 01:19:35,599
Speaker 3: of the costume design.

1470
01:19:36,120 --> 01:19:40,080
Speaker 2: That's all right, they sparkle in the dark. And in general,

1471
01:19:40,120 --> 01:19:43,360
Speaker 2: this film does a great job of obeying all the

1472
01:19:43,439 --> 01:19:47,240
Speaker 2: laws of monster revelation. You know, we only get some

1473
01:19:47,280 --> 01:19:49,240
Speaker 2: peaks and all does it despite I realize the fact

1474
01:19:49,280 --> 01:19:51,559
Speaker 2: that they're prominently featured on the posters for this movie,

1475
01:19:51,640 --> 01:19:53,360
Speaker 2: and that's also often the case.

1476
01:19:54,439 --> 01:19:56,679
Speaker 3: One of the Morlocks tries to grab Weena and take

1477
01:19:56,720 --> 01:19:58,880
Speaker 3: her away, but George rescues her, and it seems that

1478
01:19:58,920 --> 01:20:01,120
Speaker 3: they are repelled, and not only by the light of day,

1479
01:20:01,160 --> 01:20:03,280
Speaker 3: but even by the light of a torch. They're afraid

1480
01:20:03,320 --> 01:20:05,599
Speaker 3: of fire, and we'll need to remember that for later.

1481
01:20:06,479 --> 01:20:09,519
Speaker 3: Weena and George gather sticks to build a fire for protection,

1482
01:20:10,200 --> 01:20:12,320
Speaker 3: and here we also get the first hints of a

1483
01:20:12,360 --> 01:20:15,120
Speaker 3: love story, where they're huddled around the fire at night.

1484
01:20:15,760 --> 01:20:18,880
Speaker 3: As I mentioned earlier, not always opposed to adding in

1485
01:20:18,920 --> 01:20:21,720
Speaker 3: a love story, but it seems really ill suited to

1486
01:20:21,840 --> 01:20:24,240
Speaker 3: the story of the time machine, given a number of

1487
01:20:24,280 --> 01:20:26,960
Speaker 3: things like how different the eloy are from us and

1488
01:20:27,280 --> 01:20:29,800
Speaker 3: how soon it is after George's arrival and all that.

1489
01:20:29,880 --> 01:20:32,040
Speaker 2: Ye getting they have in common as they eat fruit.

1490
01:20:32,400 --> 01:20:33,440
Speaker 3: Yeah exactly.

1491
01:20:33,560 --> 01:20:34,480
Speaker 2: Yeah.

1492
01:20:34,520 --> 01:20:38,559
Speaker 3: Anyway, the next day we get some we get some

1493
01:20:38,640 --> 01:20:42,920
Speaker 3: exposition in this sequence through the so called talking rings.

1494
01:20:43,640 --> 01:20:48,400
Speaker 3: So Weena takes George to this automated history museum where

1495
01:20:48,439 --> 01:20:51,599
Speaker 3: there are machines that tell about the events of the past,

1496
01:20:52,000 --> 01:20:54,240
Speaker 3: and you can play these sort of data discs that

1497
01:20:54,320 --> 01:20:57,600
Speaker 3: are stored in metal rings by setting them spinning on

1498
01:20:57,680 --> 01:21:02,080
Speaker 3: a glowing tabletop. From these rings, George learns that long ago,

1499
01:21:02,560 --> 01:21:05,840
Speaker 3: there was a horrible world war that left the atmosphere

1500
01:21:05,880 --> 01:21:09,439
Speaker 3: so contaminated with germs that the air was not fit

1501
01:21:09,520 --> 01:21:13,439
Speaker 3: to breathe, and two groups of humankind parted ways here.

1502
01:21:13,520 --> 01:21:16,200
Speaker 3: Some remained above ground to take their chances trying to

1503
01:21:16,200 --> 01:21:19,479
Speaker 3: survive in the poisoned atmosphere, and the other group went

1504
01:21:19,680 --> 01:21:23,800
Speaker 3: underground into caves and tunnels. The earth eventually recovered over

1505
01:21:23,840 --> 01:21:26,479
Speaker 3: the centuries, but this became a division point for the

1506
01:21:26,560 --> 01:21:30,120
Speaker 3: human species. The Eloi are descended from those who stayed

1507
01:21:30,120 --> 01:21:34,920
Speaker 3: on the surface, and the Morlocks from those who went below.

1508
01:21:35,080 --> 01:21:37,519
Speaker 3: This history is if I'm recalling correctly, Rob, I think

1509
01:21:37,520 --> 01:21:40,639
Speaker 3: you've read the novel more recently than me, somewhat different

1510
01:21:40,880 --> 01:21:43,320
Speaker 3: from the novel. My memory of the novel is that

1511
01:21:43,920 --> 01:21:48,040
Speaker 3: Wells included a class critique here, where like the Morlocks

1512
01:21:48,080 --> 01:21:52,960
Speaker 3: were descended from exploited workers who were forced to toil

1513
01:21:53,040 --> 01:21:56,759
Speaker 3: underground on the machines that kept life free and easy

1514
01:21:56,800 --> 01:22:00,320
Speaker 3: for the rich on the surface above. Though eventually, over

1515
01:22:00,720 --> 01:22:05,599
Speaker 3: the centuries the relationship changed and the exploited underground people

1516
01:22:05,600 --> 01:22:08,320
Speaker 3: became the Morlocks and became the exploiters in the most

1517
01:22:08,320 --> 01:22:10,600
Speaker 3: direct sense, by eating the surface dwellers.

1518
01:22:11,120 --> 01:22:13,320
Speaker 2: Yeah, this is my recollection as well, and yeah, it

1519
01:22:13,360 --> 01:22:16,280
Speaker 2: was more of a class critique here, though I think

1520
01:22:16,320 --> 01:22:20,200
Speaker 2: the change is understandable because it's been adapted to fit

1521
01:22:20,439 --> 01:22:27,000
Speaker 2: the overarching critique of humanity's propensity for warfare. Yeah.

1522
01:22:27,680 --> 01:22:30,320
Speaker 3: So, at some point, while George is trying to climb

1523
01:22:30,360 --> 01:22:34,599
Speaker 3: down a ventilation shaft to explore the caverns below, there's

1524
01:22:34,640 --> 01:22:37,559
Speaker 3: a sound from above. And here's a scene I made

1525
01:22:37,560 --> 01:22:40,120
Speaker 3: reference to earlier. It is the sound we hear of

1526
01:22:40,360 --> 01:22:44,160
Speaker 3: air raid sirens. When the A raid sirens go off,

1527
01:22:44,640 --> 01:22:49,479
Speaker 3: the noise puts the eloy into a hypnotized state where

1528
01:22:49,479 --> 01:22:53,280
Speaker 3: their eyes go glassy and they just start to automatically

1529
01:22:53,400 --> 01:22:57,559
Speaker 3: march en mass straight into the temple of the Sphinx

1530
01:22:57,640 --> 01:23:00,559
Speaker 3: until the door slam shut, And so this is what

1531
01:23:00,640 --> 01:23:03,240
Speaker 3: happens here. George runs after the eloy trying to get

1532
01:23:03,280 --> 01:23:06,000
Speaker 3: them to stop, but it's like they don't even see him,

1533
01:23:06,360 --> 01:23:09,600
Speaker 3: and Weena and many others are taken underground. George is

1534
01:23:09,680 --> 01:23:12,880
Speaker 3: unable to get there in time. So here we have

1535
01:23:12,960 --> 01:23:15,519
Speaker 3: the final descent into the underworld. George has to go

1536
01:23:15,600 --> 01:23:17,960
Speaker 3: in to the rescue, so he climbs down one of

1537
01:23:18,000 --> 01:23:22,920
Speaker 3: these ventilation shafts to find below the surface a great

1538
01:23:23,080 --> 01:23:26,160
Speaker 3: cavern with all these pipes and gears. This is the

1539
01:23:26,200 --> 01:23:29,639
Speaker 3: machinery that makes life on the surface possible. And also

1540
01:23:29,760 --> 01:23:34,520
Speaker 3: he finds bone pits full of human bones. He discovers

1541
01:23:34,560 --> 01:23:38,920
Speaker 3: that the Morlocks treat the Eloi as livestock for meat,

1542
01:23:39,320 --> 01:23:42,040
Speaker 3: and they lure them underground with the sound of the

1543
01:23:42,080 --> 01:23:46,400
Speaker 3: air raid sirens that now almost by like a biological mechanism.

1544
01:23:46,880 --> 01:23:50,439
Speaker 3: The surface dwellers have been conditioned to retreat underground to

1545
01:23:50,520 --> 01:23:52,920
Speaker 3: safety when they hear the air raid sirens. Like so

1546
01:23:53,760 --> 01:23:56,200
Speaker 3: the technology of war has become a part of our

1547
01:23:56,200 --> 01:24:00,519
Speaker 3: physical organism, and they retreat underground for the air raid

1548
01:24:00,560 --> 01:24:04,840
Speaker 3: sirens and then they're eaten by the Morlocks. Now, one

1549
01:24:04,840 --> 01:24:06,640
Speaker 3: thing I do wonder what kind of dishes do you

1550
01:24:06,640 --> 01:24:08,640
Speaker 3: think the Morlocks make out of the Eloy or is

1551
01:24:08,640 --> 01:24:10,080
Speaker 3: it just like raw bone chopping?

1552
01:24:10,560 --> 01:24:12,720
Speaker 2: I mean, there's there are machines down there, so I

1553
01:24:13,000 --> 01:24:15,720
Speaker 2: assume they're processed into some sort of sausage and then

1554
01:24:15,760 --> 01:24:20,040
Speaker 2: they just dump the skeletons, which I guess rather complete skeletons.

1555
01:24:20,760 --> 01:24:23,120
Speaker 2: They're in the bone pit Eloy Mortadella.

1556
01:24:23,280 --> 01:24:37,639
Speaker 3: Yeah, so here we come down to meet the Morlocks.

1557
01:24:37,720 --> 01:24:39,200
Speaker 3: Rob do you, I know, you had some stuff about

1558
01:24:39,200 --> 01:24:41,800
Speaker 3: the Morlocks. This is probably the place to talk about them.

1559
01:24:41,880 --> 01:24:44,920
Speaker 2: Yeah. Yeah. So we don't actually see these guys in

1560
01:24:44,960 --> 01:24:48,000
Speaker 2: full until this point, really pretty late in the film.

1561
01:24:48,080 --> 01:24:50,000
Speaker 2: You know, we get a few teases here and there,

1562
01:24:50,120 --> 01:24:53,599
Speaker 2: and then we begin to see them more fully as

1563
01:24:53,960 --> 01:24:58,320
Speaker 2: our hero, the time traveler, is stalking into the caverns.

1564
01:24:58,320 --> 01:25:01,280
Speaker 2: He's you know, trying to find what happen into the Eloy,

1565
01:25:01,880 --> 01:25:05,920
Speaker 2: and we begin to see them stalking him here. I

1566
01:25:06,000 --> 01:25:09,000
Speaker 2: think one of the first glimpses we get one where he's, uh,

1567
01:25:09,320 --> 01:25:14,439
Speaker 2: he's blending into the cavern walls and then he moves uh,

1568
01:25:14,479 --> 01:25:16,960
Speaker 2: and then there's even one that comes right up behind

1569
01:25:17,080 --> 01:25:18,880
Speaker 2: him like he's gonna grab him. It's almost a little

1570
01:25:18,840 --> 01:25:21,760
Speaker 2: abbot in costello. But it's still rather creepy because the

1571
01:25:21,800 --> 01:25:26,320
Speaker 2: monsters look so good. Uh. They're essentially stocky, blue gray

1572
01:25:26,439 --> 01:25:30,960
Speaker 2: ape like creatures with long manes of white hair kind

1573
01:25:30,960 --> 01:25:33,960
Speaker 2: of bangs to a little bit. They have sharp claws

1574
01:25:34,320 --> 01:25:40,559
Speaker 2: and teeth and gave it. Yeah, they're quite stealthy, and

1575
01:25:40,640 --> 01:25:42,880
Speaker 2: as we'll see in a bit, they're they're prone to

1576
01:25:43,000 --> 01:25:46,799
Speaker 2: leap at their adversaries from ledges do like a flying

1577
01:25:46,840 --> 01:25:52,200
Speaker 2: body uh body presses the kind of Luca door style. However,

1578
01:25:52,280 --> 01:25:55,439
Speaker 2: they're just as if not more, prone to injury than

1579
01:25:55,479 --> 01:25:58,840
Speaker 2: a typical human, So they're not like super strong. They

1580
01:25:58,840 --> 01:26:01,200
Speaker 2: can still get you know, knocked on the head and

1581
01:26:01,240 --> 01:26:02,080
Speaker 2: they're out for the count.

1582
01:26:02,320 --> 01:26:05,000
Speaker 3: The sense I get if the Morlocks is a glass

1583
01:26:05,040 --> 01:26:08,640
Speaker 3: cannon design. Yeah, they are very vicious and dangerous, but

1584
01:26:08,720 --> 01:26:12,280
Speaker 3: if you just hit back there, they're easily beaten. Like

1585
01:26:12,280 --> 01:26:15,800
Speaker 3: they're very delicate. There's one point where someone hits a

1586
01:26:15,800 --> 01:26:18,280
Speaker 3: Morlock in the face and it's almost like its face

1587
01:26:18,400 --> 01:26:22,400
Speaker 3: just shatters, like all the blood comes out, and and

1588
01:26:22,479 --> 01:26:26,320
Speaker 3: that if that is intentional, that would fit with the themes,

1589
01:26:26,360 --> 01:26:28,639
Speaker 3: because the whole thing is that the Eloi don't fight

1590
01:26:28,760 --> 01:26:32,040
Speaker 3: back at all. It doesn't even occur that occur to them.

1591
01:26:31,840 --> 01:26:35,920
Speaker 2: To Yeah, and if memory serves, this does essentially match

1592
01:26:36,000 --> 01:26:37,680
Speaker 2: up with the book where I think the Morlocks are

1593
01:26:37,680 --> 01:26:40,200
Speaker 2: not depicted as like super strong eight men. They are

1594
01:26:40,640 --> 01:26:45,120
Speaker 2: like weaker than a contemporary human, but they have the

1595
01:26:45,200 --> 01:26:46,639
Speaker 2: numbers on their side of course.

1596
01:26:46,920 --> 01:26:50,959
Speaker 3: Yeah. So down here, in the down here in the caverns,

1597
01:26:50,960 --> 01:26:53,519
Speaker 3: George locates the Eloi who have been brought in to

1598
01:26:53,560 --> 01:26:56,559
Speaker 3: be to be eaten, and he uses the fact that

1599
01:26:56,600 --> 01:26:59,400
Speaker 3: the Morlocks are afraid of fire to get advantage over them.

1600
01:27:00,080 --> 01:27:02,240
Speaker 3: There's also just a lot of standard like punching and

1601
01:27:02,479 --> 01:27:03,959
Speaker 3: roadhouse roadhouse, still.

1602
01:27:03,720 --> 01:27:06,479
Speaker 2: Fighting, swinging the torch around. We'll see the torch in

1603
01:27:06,479 --> 01:27:06,840
Speaker 2: a bed.

1604
01:27:07,040 --> 01:27:10,120
Speaker 3: Yes, But the very important thing here is not just

1605
01:27:10,200 --> 01:27:14,160
Speaker 3: the George fights, but that he finally inspires he rouses

1606
01:27:14,200 --> 01:27:18,400
Speaker 3: the imprisoned Eloy to fight for themselves. There's a scene

1607
01:27:18,400 --> 01:27:21,679
Speaker 3: where one of them dramatically makes a fist as if

1608
01:27:21,720 --> 01:27:23,680
Speaker 3: for the first time in his life, and then he

1609
01:27:23,760 --> 01:27:26,160
Speaker 3: punches a Morlock and breaks his face and we see

1610
01:27:26,160 --> 01:27:29,040
Speaker 3: the blood running out of its mouth and George and

1611
01:27:29,080 --> 01:27:31,200
Speaker 3: the Eloy. Then they fight back and they escape the

1612
01:27:31,280 --> 01:27:34,479
Speaker 3: underground caverns, and then on the surface, they drop flaming

1613
01:27:34,520 --> 01:27:38,120
Speaker 3: branches into the air vents all around the landscape, burning

1614
01:27:38,160 --> 01:27:39,240
Speaker 3: the passages below.

1615
01:27:39,760 --> 01:27:43,240
Speaker 2: Yes, things kind of collapse and more smoke and fire

1616
01:27:43,360 --> 01:27:45,800
Speaker 2: comes out, and I remember thinking, I mean, both times

1617
01:27:45,840 --> 01:27:48,400
Speaker 2: I've seen the film, I've had the thought, Oh, I

1618
01:27:48,400 --> 01:27:51,280
Speaker 2: hope none of the machinery they just destroyed wasn't essential

1619
01:27:51,320 --> 01:27:53,360
Speaker 2: for life to continue on the surface here.

1620
01:27:53,520 --> 01:27:55,920
Speaker 3: Well, I think the implication actually is that it was

1621
01:27:56,400 --> 01:27:59,960
Speaker 3: like they did destroy the machinery. They destroyed the morlocks

1622
01:28:00,080 --> 01:28:03,400
Speaker 3: who were harm or repressing them, but they also destroyed

1623
01:28:03,400 --> 01:28:06,439
Speaker 3: the machinery that it keeps them alive. Yeah, so they're

1624
01:28:06,439 --> 01:28:09,800
Speaker 3: going to have to learn how to live again. They're

1625
01:28:09,800 --> 01:28:11,759
Speaker 3: going to have to learn how to work.

1626
01:28:12,040 --> 01:28:15,839
Speaker 2: Yeah, presumably it doesn't like destroy oxygen, Like the machinery

1627
01:28:15,840 --> 01:28:18,639
Speaker 2: down there wasn't creating a breathable atmosphere or anything like that.

1628
01:28:18,800 --> 01:28:23,080
Speaker 3: Hopefully not. Yeah, but you know, this whole sequence I

1629
01:28:23,080 --> 01:28:26,479
Speaker 3: think is also interesting because it highlights some paradoxical stuff

1630
01:28:26,520 --> 01:28:28,680
Speaker 3: in the film that I don't know exactly what the

1631
01:28:29,280 --> 01:28:32,559
Speaker 3: intended way to take it is, but again to come

1632
01:28:32,600 --> 01:28:35,479
Speaker 3: back to the movie's anti war themes. I mean, it's

1633
01:28:35,479 --> 01:28:38,160
Speaker 3: pretty clear that the movie that the story is opposed

1634
01:28:38,200 --> 01:28:40,320
Speaker 3: to militarism. One of these themes we get over and

1635
01:28:40,360 --> 01:28:43,280
Speaker 3: over again is that every time humankind is able to

1636
01:28:43,360 --> 01:28:48,760
Speaker 3: build something good, something benevolent and brilliant and useful, we

1637
01:28:48,920 --> 01:28:52,360
Speaker 3: unleash our war making impulses and destroy it all over again.

1638
01:28:53,280 --> 01:28:56,720
Speaker 3: So it's a human kind's relationship to war before this

1639
01:28:56,800 --> 01:29:00,200
Speaker 3: point is presented as this kind of horrible addiction, one

1640
01:29:00,200 --> 01:29:02,760
Speaker 3: where every time we think we've kicked it and can

1641
01:29:02,800 --> 01:29:05,400
Speaker 3: begin to build a good life, we relapse and we

1642
01:29:05,479 --> 01:29:09,479
Speaker 3: ruin everything. And yet when George reaches the far future,

1643
01:29:10,680 --> 01:29:13,839
Speaker 3: he finds the eloy As, these people who are purely

1644
01:29:13,880 --> 01:29:18,080
Speaker 3: peaceful and have no destructive impulses. But as we talked about,

1645
01:29:18,120 --> 01:29:21,720
Speaker 3: he's disgusted by their lack of virtue and the absence

1646
01:29:21,760 --> 01:29:26,200
Speaker 3: of humanity and kindness and generosity within them. And the

1647
01:29:26,240 --> 01:29:29,799
Speaker 3: only way they're able to save themselves is when George

1648
01:29:29,800 --> 01:29:35,400
Speaker 3: inspires them to make war against their oppressors, the Morlocks.

1649
01:29:36,360 --> 01:29:38,559
Speaker 3: I don't know exactly how to take that again. I

1650
01:29:38,680 --> 01:29:41,559
Speaker 3: don't think that means the film is going back on

1651
01:29:41,600 --> 01:29:45,280
Speaker 3: its earlier values and making a war is good argument.

1652
01:29:46,040 --> 01:29:48,880
Speaker 3: But I don't know. I guess that I would have

1653
01:29:48,920 --> 01:29:51,840
Speaker 3: to take it as that it has a more complicated attitude.

1654
01:29:51,880 --> 01:29:55,479
Speaker 3: We're accepting it has an ethos of some accepting that

1655
01:29:55,600 --> 01:29:59,200
Speaker 3: sometimes we have to fight in self defense and admitting

1656
01:29:59,240 --> 01:30:02,559
Speaker 3: there could be virtue in that, but also sticking by

1657
01:30:02,600 --> 01:30:06,360
Speaker 3: this belief that maybe the case for fighting needs to

1658
01:30:06,400 --> 01:30:07,840
Speaker 3: be very strongly made.

1659
01:30:08,479 --> 01:30:10,960
Speaker 2: Yeah, yeah, like it needs to be a righteous battle.

1660
01:30:11,360 --> 01:30:14,920
Speaker 2: And it's interesting because in this moment, or at least

1661
01:30:14,920 --> 01:30:16,559
Speaker 2: the we were talking about it here, it reminds me

1662
01:30:16,600 --> 01:30:20,479
Speaker 2: of that that pivotal moment in the the Baca Ragita. Uh.

1663
01:30:20,760 --> 01:30:23,760
Speaker 2: This is the scene where I believe it's Arjina who

1664
01:30:23,840 --> 01:30:26,240
Speaker 2: is you know, he's he's he's out there on the battlefield.

1665
01:30:26,280 --> 01:30:28,880
Speaker 2: I think he's perhaps on his chariot and you know,

1666
01:30:28,880 --> 01:30:30,920
Speaker 2: there's about to be this huge battle and he's just

1667
01:30:31,320 --> 01:30:33,479
Speaker 2: ruminating on like like how can I act? How can

1668
01:30:33,520 --> 01:30:35,600
Speaker 2: I do anything? Like? This is just you know, this

1669
01:30:35,680 --> 01:30:39,240
Speaker 2: awful situation of war, and Krishna, you know, comes to

1670
01:30:39,320 --> 01:30:42,040
Speaker 2: him and persuades him that no, you know, you have

1671
01:30:42,120 --> 01:30:45,360
Speaker 2: to just follow your duty. You know, that's that's what

1672
01:30:45,439 --> 01:30:48,920
Speaker 2: you have to do like you in action is not

1673
01:30:49,000 --> 01:30:52,240
Speaker 2: a choice, and so we have something maybe akin to that.

1674
01:30:53,360 --> 01:30:56,120
Speaker 3: Though of course that that has to be done with

1675
01:30:56,240 --> 01:30:59,719
Speaker 3: the kind of with the kind of a piece biased

1676
01:30:59,760 --> 01:31:02,160
Speaker 3: re I think is the case you would make here,

1677
01:31:02,200 --> 01:31:05,160
Speaker 3: because you can justify any number of atrocities by claiming

1678
01:31:05,240 --> 01:31:09,480
Speaker 3: that it's somebody's duty and bullies and you know, oppressors

1679
01:31:09,520 --> 01:31:12,519
Speaker 3: are always able to convince themselves that they are in

1680
01:31:12,600 --> 01:31:15,479
Speaker 3: the right. If you know, if you if you are

1681
01:31:15,520 --> 01:31:19,439
Speaker 3: not skeptical of the arguments that make your side feel good,

1682
01:31:19,560 --> 01:31:21,760
Speaker 3: then yeah, you can you can always kind of come

1683
01:31:21,840 --> 01:31:24,559
Speaker 3: up with a way of justifying being the bad guy.

1684
01:31:24,960 --> 01:31:28,120
Speaker 2: Yeah, I mean, because if you're going to really like

1685
01:31:28,200 --> 01:31:31,120
Speaker 2: analyze things like maybe the Morlocks need some help too,

1686
01:31:31,160 --> 01:31:33,040
Speaker 2: and they don't just need to be wiped out. Maybe

1687
01:31:33,080 --> 01:31:35,120
Speaker 2: there's room for growth for them as well.

1688
01:31:35,400 --> 01:31:38,080
Speaker 3: Maybe well we don't really get to hear their point

1689
01:31:38,080 --> 01:31:40,879
Speaker 3: of view. If if only there were an uber Morlock

1690
01:31:41,040 --> 01:31:44,360
Speaker 3: to speak for them, to explain their side of things.

1691
01:31:44,600 --> 01:31:48,639
Speaker 2: There have been so many like time machine inspired works

1692
01:31:48,640 --> 01:31:51,200
Speaker 2: of fiction and derivative works, this has to have been

1693
01:31:51,200 --> 01:31:53,439
Speaker 2: explored at some point. I know there's been at least

1694
01:31:53,600 --> 01:31:56,200
Speaker 2: like literary and comic work for the Morlocks, like get

1695
01:31:56,240 --> 01:31:58,439
Speaker 2: a hold of the time machine and travel to late

1696
01:31:58,520 --> 01:32:01,439
Speaker 2: Victoria in England and have their own adventures there. So

1697
01:32:01,520 --> 01:32:12,920
Speaker 2: maybe someone has explored this.

1698
01:32:13,680 --> 01:32:15,840
Speaker 3: So anyway, we're coming to the ending.

1699
01:32:15,920 --> 01:32:16,160
Speaker 2: Now.

1700
01:32:17,080 --> 01:32:19,559
Speaker 3: George is going to go back to his time machine,

1701
01:32:19,560 --> 01:32:21,920
Speaker 3: but because the doors of the temple are open again,

1702
01:32:21,960 --> 01:32:24,759
Speaker 3: so he goes back to his machine. There's a question

1703
01:32:24,840 --> 01:32:27,639
Speaker 3: of whether he's gonna take Weena with him or something,

1704
01:32:27,800 --> 01:32:30,200
Speaker 3: or whether he's maybe not going to go back or

1705
01:32:30,280 --> 01:32:32,880
Speaker 3: I don't remember exactly what he lands on there. But anyway,

1706
01:32:32,880 --> 01:32:36,280
Speaker 3: there's a surprise attack by the remnant of the Morlocks.

1707
01:32:36,360 --> 01:32:39,320
Speaker 3: They jump him by his machine, and so he has

1708
01:32:39,360 --> 01:32:41,600
Speaker 3: to get in and escape through time back to the

1709
01:32:41,640 --> 01:32:44,519
Speaker 3: year nineteen hundred, and this cycles back to the beginning

1710
01:32:44,560 --> 01:32:45,000
Speaker 3: of the story.

1711
01:32:45,040 --> 01:32:48,040
Speaker 2: We get that great scene though of the Morlock that's

1712
01:32:48,080 --> 01:32:51,960
Speaker 2: been killed, slow motion rotting right as he travels forward,

1713
01:32:52,000 --> 01:32:53,679
Speaker 2: and then he's like, whoa, I don't need to go forward,

1714
01:32:53,680 --> 01:32:54,840
Speaker 2: I need to go back. Yeah.

1715
01:32:54,920 --> 01:32:56,320
Speaker 3: Well, for a second I was like, are we going

1716
01:32:56,360 --> 01:32:58,559
Speaker 3: to get the vision of the further future with the crabs?

1717
01:32:58,600 --> 01:33:02,200
Speaker 3: But we didn't. So he goes back and he you know,

1718
01:33:02,240 --> 01:33:05,320
Speaker 3: stumbles into dinner to tell the story to his friends

1719
01:33:05,320 --> 01:33:08,920
Speaker 3: at the burnt Roast dinner. They don't really believe him,

1720
01:33:09,040 --> 01:33:11,519
Speaker 3: though he does bring a piece of proof. He has

1721
01:33:11,600 --> 01:33:14,639
Speaker 3: a flower given to him by Weena, and we learn

1722
01:33:14,720 --> 01:33:18,240
Speaker 3: here that Philby is a botany fanatic and he takes

1723
01:33:18,280 --> 01:33:19,720
Speaker 3: a look at it, He's like, I've never seen a

1724
01:33:19,720 --> 01:33:22,200
Speaker 3: flower like this before. There isn't a flower like this

1725
01:33:22,240 --> 01:33:26,679
Speaker 3: on Earth. And then shortly after this, Philby comes back

1726
01:33:26,720 --> 01:33:29,679
Speaker 3: looking for George but finds both him and his time

1727
01:33:29,760 --> 01:33:30,679
Speaker 3: machine missing.

1728
01:33:31,240 --> 01:33:31,960
Speaker 2: Where did he go?

1729
01:33:32,880 --> 01:33:35,479
Speaker 3: And so I think we're just left with Philby and

1730
01:33:35,520 --> 01:33:38,120
Speaker 3: missus Watchett standing around being like, where did he go?

1731
01:33:38,439 --> 01:33:41,439
Speaker 3: Did he take anything with him? And he did take something?

1732
01:33:41,479 --> 01:33:44,040
Speaker 3: Mis Watchett is like, oh, look, three books are missing

1733
01:33:44,080 --> 01:33:44,839
Speaker 3: from the shelves.

1734
01:33:45,160 --> 01:33:47,400
Speaker 2: What could they be? That's right? And so this is

1735
01:33:47,720 --> 01:33:50,439
Speaker 2: I love this. This is a nice little, hey, audience,

1736
01:33:50,479 --> 01:33:54,759
Speaker 2: here's a ready to go conversation to have after the movie. Indeed,

1737
01:33:54,920 --> 01:33:58,880
Speaker 2: which three books might he have taken with him into

1738
01:33:58,920 --> 01:34:05,160
Speaker 2: the far future to essentially rebuild civilization and like renurture

1739
01:34:05,800 --> 01:34:10,000
Speaker 2: the best of humanity? And then indeed, like, what three

1740
01:34:10,200 --> 01:34:12,320
Speaker 2: would any individual choose to take with them?

1741
01:34:13,000 --> 01:34:15,360
Speaker 3: And you got to have dianetics got.

1742
01:34:17,360 --> 01:34:20,760
Speaker 2: Yeah, I was thinking about this. I was thinking, well,

1743
01:34:20,800 --> 01:34:23,240
Speaker 2: I guess you'd want, what a book on physics, a

1744
01:34:23,240 --> 01:34:25,960
Speaker 2: book on medicine, and maybe a book on biology. And

1745
01:34:26,000 --> 01:34:28,760
Speaker 2: I think, I mean, certainly physics would still hold up,

1746
01:34:28,800 --> 01:34:32,559
Speaker 2: and most medicine in biology, I mean obviously not for

1747
01:34:32,640 --> 01:34:38,600
Speaker 2: the extinct species, but presumably humanoid biology is still relatively

1748
01:34:38,600 --> 01:34:38,960
Speaker 2: the same.

1749
01:34:39,640 --> 01:34:43,080
Speaker 3: I would wonder if the most useful books, Yeah, maybe

1750
01:34:43,160 --> 01:34:49,240
Speaker 3: something on like a field medicine manual and a book

1751
01:34:49,280 --> 01:34:54,559
Speaker 3: about like metal working or something something, just given where

1752
01:34:54,560 --> 01:34:58,120
Speaker 3: you're starting there, because like otherwise, you know, if you

1753
01:34:58,160 --> 01:35:00,719
Speaker 3: don't know how to work metals, then that might really

1754
01:35:00,760 --> 01:35:02,439
Speaker 3: prove difficult for a long time.

1755
01:35:02,760 --> 01:35:04,640
Speaker 2: Well, I was thinking one of my first thoughts was

1756
01:35:04,680 --> 01:35:07,559
Speaker 2: a book on foraging. But we have no idea what

1757
01:35:07,600 --> 01:35:11,479
Speaker 2: the flora situation is like out there, So who knows

1758
01:35:11,880 --> 01:35:16,600
Speaker 2: A book a book on scavenging and harvesting flora and

1759
01:35:16,680 --> 01:35:20,719
Speaker 2: mushrooms wild mushrooms today would be of virtually no use.

1760
01:35:20,880 --> 01:35:22,519
Speaker 2: Presumably in the far.

1761
01:35:22,400 --> 01:35:26,080
Speaker 3: Future, presumably metals still work the same way. Yeah, so

1762
01:35:26,080 --> 01:35:28,280
Speaker 3: I'm going to stand by metalworking as one of the three.

1763
01:35:28,360 --> 01:35:30,639
Speaker 2: But yeah, I think that's a strong that's a strong

1764
01:35:30,680 --> 01:35:33,479
Speaker 2: selection metallurgy. I don't know that you could make a

1765
01:35:33,479 --> 01:35:36,439
Speaker 2: case for books of general knowledge. I don't know how.

1766
01:35:36,880 --> 01:35:40,720
Speaker 2: I don't know how ultimately useful like a farmer's almanac

1767
01:35:40,760 --> 01:35:43,840
Speaker 2: would be, But things of that nature I guess would

1768
01:35:43,880 --> 01:35:47,599
Speaker 2: be an easy selection. It gets a little easier when

1769
01:35:47,640 --> 01:35:49,679
Speaker 2: you get into the days of e readers and kindles,

1770
01:35:49,680 --> 01:35:51,360
Speaker 2: because you can just have a kindle loaded with, like

1771
01:35:51,560 --> 01:35:54,799
Speaker 2: you know, essentially all the important works of human literature,

1772
01:35:54,800 --> 01:35:58,120
Speaker 2: and then another one with a whole bunch of scientific works,

1773
01:35:58,120 --> 01:36:00,439
Speaker 2: and then you're pretty much good to go. But you

1774
01:36:00,439 --> 01:36:02,839
Speaker 2: can also nitpick this and say, why just three books?

1775
01:36:02,880 --> 01:36:04,920
Speaker 2: Like you would think he had room for if he

1776
01:36:04,960 --> 01:36:06,880
Speaker 2: had room for three, he had room for five. Just

1777
01:36:06,920 --> 01:36:10,160
Speaker 2: grab two at random, even if even if they prove

1778
01:36:10,240 --> 01:36:13,800
Speaker 2: virtually useless, you've still got two more books in a

1779
01:36:13,840 --> 01:36:15,840
Speaker 2: world where you maybe have five books total.

1780
01:36:16,400 --> 01:36:18,880
Speaker 3: I bet it really did get people chatting going out

1781
01:36:18,880 --> 01:36:21,040
Speaker 3: of the theater. I mean, I wonder if there's stories

1782
01:36:21,080 --> 01:36:21,559
Speaker 3: about that.

1783
01:36:21,960 --> 01:36:23,479
Speaker 2: I mean, I did a quick look around, and I

1784
01:36:23,479 --> 01:36:26,280
Speaker 2: see people asking this question all the time on the internet.

1785
01:36:26,360 --> 01:36:28,840
Speaker 2: People rewatch the time machine and they're like, hey, what

1786
01:36:28,960 --> 01:36:31,559
Speaker 2: three books would you choose? And you know, people are

1787
01:36:32,520 --> 01:36:35,720
Speaker 2: you know, making very personal choices here at times. You know,

1788
01:36:35,800 --> 01:36:39,120
Speaker 2: I see the Bible mentioned numerous times as being like

1789
01:36:39,160 --> 01:36:41,720
Speaker 2: a key book, and I don't know, it's also fun

1790
01:36:41,720 --> 01:36:43,320
Speaker 2: to think of it just like, okay, if I don't

1791
01:36:43,320 --> 01:36:46,400
Speaker 2: have to rebuild a human civilization, like if it was

1792
01:36:46,479 --> 01:36:48,720
Speaker 2: just for my personal reading, like essentially, treat it like

1793
01:36:48,760 --> 01:36:51,880
Speaker 2: a desert island question, which everybody loves that one as well,

1794
01:36:52,000 --> 01:36:54,559
Speaker 2: you know, like I think, well, I guess they'd bring Dune.

1795
01:36:54,800 --> 01:36:57,040
Speaker 2: I guess i'd bring Name of the Rose, and I

1796
01:36:57,040 --> 01:37:00,439
Speaker 2: don't know, maybe Dune Messiah. Maybe that's too much Dune.

1797
01:37:02,479 --> 01:37:04,040
Speaker 2: I just I wouldn't want to go as far as

1798
01:37:04,120 --> 01:37:06,800
Speaker 2: to have Dune Dune Messiah and then Children of Dune

1799
01:37:06,800 --> 01:37:09,439
Speaker 2: as well, because then I don't know, it's like I'm

1800
01:37:09,520 --> 01:37:13,720
Speaker 2: happy with just the two. But then again, it's like

1801
01:37:13,880 --> 01:37:15,760
Speaker 2: people are that I share these with the They're gonna

1802
01:37:15,760 --> 01:37:17,559
Speaker 2: be like what happens next? And I'm like, well, there

1803
01:37:17,560 --> 01:37:19,400
Speaker 2: are these other books, but I just didn't bring them.

1804
01:37:19,439 --> 01:37:20,479
Speaker 2: I only brought the first two.

1805
01:37:20,760 --> 01:37:25,479
Speaker 3: The novelization of Halloween, three, Season of the Witch. Okay,

1806
01:37:25,600 --> 01:37:27,320
Speaker 3: I think that does it for the time machine.

1807
01:37:27,720 --> 01:37:29,320
Speaker 2: All Right, we're going to go ahead and close this

1808
01:37:29,360 --> 01:37:31,240
Speaker 2: one up then, but we hope you enjoyed it, and

1809
01:37:31,240 --> 01:37:32,920
Speaker 2: we'd love to hear from everyone out there. What are

1810
01:37:32,960 --> 01:37:36,200
Speaker 2: your thoughts on the time Machine, the original work, the

1811
01:37:36,280 --> 01:37:40,519
Speaker 2: nineteen sixty adaptation, other adaptations, derivative works, you know, the

1812
01:37:40,600 --> 01:37:43,679
Speaker 2: use of the time machine and morlocks and related works

1813
01:37:43,680 --> 01:37:46,599
Speaker 2: of fiction right in We would love to hear from you.

1814
01:37:47,040 --> 01:37:48,680
Speaker 2: Just a reminder that Stuff to Blow your Mind is

1815
01:37:48,680 --> 01:37:52,080
Speaker 2: primarily a science and culture podcast, with core episodes on

1816
01:37:52,280 --> 01:37:55,719
Speaker 2: Tuesdays and Thursdays, including some past episodes on time travel,

1817
01:37:56,040 --> 01:37:59,639
Speaker 2: and we did one on time travel fiction, like when

1818
01:37:59,680 --> 01:38:04,800
Speaker 2: did we start writing about time travel? You know, speculatively

1819
01:38:04,880 --> 01:38:07,280
Speaker 2: and so forth. That's a fun one to revisit, so

1820
01:38:07,320 --> 01:38:09,799
Speaker 2: you'll find all those, you know in the archives wherever

1821
01:38:09,800 --> 01:38:11,880
Speaker 2: you get your podcasts. But yeah, on Fridays we set

1822
01:38:11,880 --> 01:38:13,840
Speaker 2: aside most serious concerns, so just talk about a weird

1823
01:38:13,840 --> 01:38:16,240
Speaker 2: film here on Weird House Cinema. If you go to

1824
01:38:16,360 --> 01:38:18,439
Speaker 2: letterbox dot com, you'll find a list of all the

1825
01:38:18,479 --> 01:38:21,280
Speaker 2: movies we've covered over the years, and sometimes a glimpse

1826
01:38:21,320 --> 01:38:23,840
Speaker 2: at what is coming up next, such as next week,

1827
01:38:23,880 --> 01:38:26,360
Speaker 2: which is Star Trek Week. Yes, on Friday, we will

1828
01:38:26,400 --> 01:38:28,880
Speaker 2: talk about one of the Star Trek movies, which one

1829
01:38:28,880 --> 01:38:31,120
Speaker 2: will it be? Well, you can go to letterbox right

1830
01:38:31,160 --> 01:38:32,920
Speaker 2: now and get a peek ahead at what we're we

1831
01:38:32,960 --> 01:38:33,400
Speaker 2: going to cover.

1832
01:38:34,280 --> 01:38:38,080
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway,

1833
01:38:38,200 --> 01:38:41,320
Speaker 3: and special thanks to our guest producers this week, Dylan

1834
01:38:41,400 --> 01:38:44,160
Speaker 3: Fagan and Evan Tyre. If you would like to get

1835
01:38:44,160 --> 01:38:46,080
Speaker 3: in touch with us with feedback on this episode or

1836
01:38:46,080 --> 01:38:48,240
Speaker 3: any other, to suggest a topic for the future, or

1837
01:38:48,360 --> 01:38:50,879
Speaker 3: just to say hello, you can email us at contact

1838
01:38:50,960 --> 01:39:01,320
Speaker 3: pat Stuff to Blow your Mind dot com.

1839
01:39:01,479 --> 01:39:04,400
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1840
01:39:04,479 --> 01:39:08,320
Speaker 1: more podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

1841
01:39:08,400 --> 01:39:23,960
Speaker 1: or wherever you're listening to your favorite shows.

1842
01:39:28,800 --> 01:39:28,840
Speaker 4: H