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

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Speaker 1: and this is Joe McCormick, and today we are bringing

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Speaker 1: you a Weird House Cinema rewind. This episode originally aired

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Speaker 1: December three, and it's on Inframan or the Super Inframan,

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Speaker 1: one of the most absolutely, frantically enjoyable movies we have

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Speaker 1: ever covered. That's right. This is a whole lot of

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Speaker 1: fun featuring Danny Lee and just a whole bunch of

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Speaker 1: monsters and really stylish costumes, lots of martial arts, action

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Speaker 1: and alien It's Jeff, It's it's a real treat. Welcome

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Speaker 1: to Stuff to Blow your mind, a production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and I'm Joe McCormick and for today's episode. Oh,

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Speaker 1: I feel so excited it I'm I'm literally tingling. I

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Speaker 1: I feel like we have unearthed a holy artifact that

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Speaker 1: was I guess maybe known by many by many others before,

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Speaker 1: but this was my first time seeing today's selection, and

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Speaker 1: it has filled me with such light and hope and

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Speaker 1: goodwill and cheer. Uh. Today's selection is Inframan, also known

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Speaker 1: as the Super Inframan, a nineteen seventy Hong Kong cinema

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Speaker 1: extravaganza that truly must be seen to be believed. This

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Speaker 1: movie has um. I was trying to think it has

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Speaker 1: an ineffability about the experience of watching it, similar to

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Speaker 1: a religious or psychedelic experiences. I think you can when

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Speaker 1: you read the words of people who have seen this movie,

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Speaker 1: they're trying to communicate something that just can't be said. Yeah, yeah,

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Speaker 1: this this movie is something special. And uh, and I

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Speaker 1: had not seen it before either. I was, I think,

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Speaker 1: barely familiar with it. I think my only real connection

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Speaker 1: to this is that I knew that the Jonah ray

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Speaker 1: Um and a comedian and actor, it was a big

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Speaker 1: fan of this film. And I knew that there were

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Speaker 1: elements there were these costumes. In the most recent Netflix

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Speaker 1: seasons of Mystery Science Theater three thousand, it copied the

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Speaker 1: skeleton costumes from this movie. Uh, you know, I did

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Speaker 1: kind of a riff on them, visual riff, but but

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Speaker 1: that was it. Otherwise, this was all new to me,

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Speaker 1: and I I mean, I'm I'm I'm glad I had

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Speaker 1: not already seen it because I got to appreciate it

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Speaker 1: a new This week I'm almost a little bit. It's

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Speaker 1: one of those melancholy experiences that's so joyful, but it's

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Speaker 1: also a little bit sad because you know you can

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Speaker 1: never experience it for the first time again. But this

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Speaker 1: is already a movie that I know I will watch

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Speaker 1: probably dozens more times in my life. It's a new

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Speaker 1: all time favorite for me. Among the weird how cinema selections.

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Speaker 1: I put it right up there with Robot Jock's Mad

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Speaker 1: Love and the other the best of the best. So

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Speaker 1: what is the deal with in for Man? I would

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Speaker 1: say Inframan combines peak I popping B movie craftsmanship with

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Speaker 1: this infectious, pleasing hyper drive of manic absurdity. I wish

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Speaker 1: there were more movies like this. And I'm not being

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Speaker 1: ironic at all. I'm completely serious when I say that

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Speaker 1: making a movie like this must require a certain kind

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Speaker 1: of rare genius. Yeah. Absolutely, um. Oh, by the way,

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Speaker 1: I should I should go and throw out Yeah this

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Speaker 1: is some yeah, sometimes done as Inframan, the Superinframan, or

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Speaker 1: the original Chinese title for this is Zone chall Rin

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Speaker 1: or Chinese Superman. But yeah, this is uh. I feel

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Speaker 1: like this movie is just an under the tree Christmas

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Speaker 1: Morning sort of treat. Uh. You can basically feel the

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Speaker 1: plastic crinkling as you as you watch it for the

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Speaker 1: first time. You know, you have to have to undo

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Speaker 1: some twist ties to remove it from the packaging. Um,

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Speaker 1: it's it's hard to imagine the sort of person who

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Speaker 1: would not be won over by this movie. Doctor should

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Speaker 1: prescribe In for Man as a treatment for painful diseases.

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Speaker 1: Hospitals should have TVs that only show In for Man.

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Speaker 1: You can only be so sad while watching in. It's true.

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Speaker 1: So apparently this was one movie, and as far as

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Speaker 1: I know, it might be the only instance ever where

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Speaker 1: the film critic Roger Ebert changed his original star rating

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Speaker 1: years after his review for this movie. So when it

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Speaker 1: came out, he wrote an absolutely glowing review. I mean,

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Speaker 1: you read the words, it sounds like he's describing one

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Speaker 1: of the greatest films he's ever seen, But he only

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Speaker 1: gave it two point five stars. That you know, they

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Speaker 1: went on a four star scale. But then more than

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Speaker 1: twenty years later, he apparently went back and changed his

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Speaker 1: rating from two point five to three, citing the fact

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Speaker 1: that in the twenty years since he had seen or

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Speaker 1: more than twenty twenty something plus years since he had

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Speaker 1: seen in for Man, there was probably not a single

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Speaker 1: month that went by that he didn't at some point

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Speaker 1: find himself thinking of it fondly. Uh. Though, I'm gonna

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Speaker 1: confused why he didn't just go straight to four stars,

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Speaker 1: like what's holding you back at three? Because when you

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Speaker 1: read his actual words, I think it's clear that he

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Speaker 1: feels like we do, that he understands that the Inframan

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Speaker 1: transcends just being a kind of a goofy zany movie

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Speaker 1: and becomes a kind of genuine masterpiece. It is something

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Speaker 1: to be cherished by the young and old and to

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Speaker 1: be analyzed by generations of scholars and philosophers. No, absolutely,

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Speaker 1: I mean I guess with with Ebert, you never know

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Speaker 1: exactly what you're gonna get. Like we've said before, I

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Speaker 1: you know, sometimes you agree with other times you know

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Speaker 1: you want to get a shouting match with him. But

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Speaker 1: I feel like the same Roger Ebert who gave Blade

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Speaker 1: to three and a half stars. Uh, and I totally

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Speaker 1: agree with that rating. UM would considerately, you know, pumping

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Speaker 1: it up to three and a half at least for

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Speaker 1: for this movie. I don't know. I want to understand

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Speaker 1: these mental constraints keeping it limited to three. I guess

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Speaker 1: some people are always trying to ice skate up hill good. Um,

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Speaker 1: but no, no, I get you. Knowing systems are hard.

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Speaker 1: I mean, how do you it's it's it's a tough

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Speaker 1: job you give yourself if you're going to rate every

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Speaker 1: film you ever watch. And uh and and you know

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Speaker 1: you have some sort of numerical value system that can

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Speaker 1: apply to films like Infra Man, but also to films

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Speaker 1: like you know, The Great Gatsby or whatever. You know.

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Speaker 1: Uh so I realized it's complicated now. It should come

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Speaker 1: as no surprise to anyone that psychotronic film chronicler Michael

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Speaker 1: Weldon wrote highly of the Inframan movie. Um. He wrote,

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Speaker 1: quote almost NonStop laughs and excitement, with some great special effects,

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Speaker 1: lots of skulls, and a character reading a Dennis Wheatley

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Speaker 1: occult novel. I don't think I noticed that detail, but

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Speaker 1: that's good. Yeah, yeah, May May is reading it late

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Speaker 1: in the film. Okay, this is during the um largely

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Speaker 1: non action oriented portion of the film in which the

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Speaker 1: professor is researching things, which, incidentally, you know, this is

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Speaker 1: about an hour into the film. And I've been loving

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Speaker 1: it and I paused it because I had to do

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Speaker 1: something else, and I was picking it back up at

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Speaker 1: night when my my, my wife and son were home

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Speaker 1: and I was like, Hey, you guys gotta come in

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Speaker 1: here because this is this is great. Everybody's gonna love this.

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Speaker 1: And so they sit down and I push play and

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Speaker 1: it's immediately researched scene and I was like, seriously, this

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Speaker 1: is the this is the longest stretch in the movie

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Speaker 1: in which there are no monsters. Reckily, they stayed with it. Uh.

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Speaker 1: They ended up watching the rest of the film with me,

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Speaker 1: and they both agreed that it was excellent. I noticed

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Speaker 1: a dynamic where maybe you felt the same thing, where

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Speaker 1: when there were scenes of this movie that suddenly slowed

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Speaker 1: down when there was a little bit of downtime, and

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Speaker 1: there is not a lot of downtime in this movie,

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Speaker 1: but when it arrives it is somehow hilarious. I think

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Speaker 1: it's something about the change in pacing when it suddenly

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Speaker 1: down shifts to characters just being still and quiet. For

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Speaker 1: a moment, I couldn't stop laughing, and I wasn't sure

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Speaker 1: exactly what that was. It just feels like, oh, okay,

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Speaker 1: now we're just watching them. Look at screens for a second. Yeah,

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Speaker 1: And I think this is the time to drive home

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Speaker 1: that this is a shob Brothers picture. Shot Brothers of course,

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Speaker 1: the Hong Kong studio, uh, that noted for its many

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Speaker 1: martial arts action films back in the day. So this

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Speaker 1: is a this is a film that excels at motion. Uh,

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Speaker 1: if nothing else, Like you know, going into a shot

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Speaker 1: Brothers film that the stunts um and then the physical

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Speaker 1: action is going to be excellent. Uh. And with this

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Speaker 1: film we just have a lot of other excellent things

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Speaker 1: built on top of that framework. I noticed when I

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Speaker 1: was watching this movie and and foolishly trying to take

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Speaker 1: comprehensive notes on the plot, which quickly proved impossible. A

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Speaker 1: word I just kept typing over and over was immediately

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Speaker 1: And I think that fact by itself helps give you

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Speaker 1: a sense of what Inframan is all about. I was

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Speaker 1: trying to think of analogies to communicate the feeling of

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Speaker 1: this movie. And if this makes any sense to me,

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Speaker 1: Inframan is almost kind of like an early Beatles song.

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Speaker 1: It's like she Loves You. It's just tight and fast

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Speaker 1: and instantly in the hook, and the catchy melody never

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Speaker 1: stops Yeah, I think that's an adequate description. Um, it's

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Speaker 1: it's it's worth noting for weird house cinema listeners that, Uh,

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Speaker 1: this is our second Shot Brothers film that we've covered.

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Speaker 1: The first was nineteen seventies six is The Oily Maniac,

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Speaker 1: which had one incredible monster, some cool black magic, but

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Speaker 1: also a fair amount of sleeves. Uh. This film, however,

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Speaker 1: is all monsters. It's comic book action and is appropriate

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Speaker 1: for all ages. Um and yeah, and came out in

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Speaker 1: seventy five, so this is the year before Oily Maniac

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Speaker 1: and there's more than one connection to be made between

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Speaker 1: the casts. So how would we even do the elevator

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Speaker 1: pitch for this movie? The first sentence I typed was

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Speaker 1: just prepared to lose your mind. That's really good. When

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Speaker 1: I was thinking on it, I was I thought, super

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Speaker 1: Inframan is a buffet for the eyes and everything is desserted.

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Speaker 1: That's very very true, very good. Um, So how to

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Speaker 1: actually boil down the plot? I'll give it a shot.

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Speaker 1: When a tyrannical which from a long lost Ice Age

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Speaker 1: civilization named Princess Dragon Mom and then there's some alternate

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Speaker 1: titles depending on translation, when she tries to destroy the

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Speaker 1: world with a team of fidgety mutant Hinchman. A brave

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Speaker 1: young man named Rama must volunteer for a dangerous experimental

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Speaker 1: surgery that will put a nuclear reactor in his body

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Speaker 1: and transform him into Inframan, a near invincible armored hero

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Speaker 1: with thunder fists, and only Inframan can save us. Now, yep,

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Speaker 1: that's pretty accurate. But and yet it does not. It

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Speaker 1: does not and cannot fully convey the visual feast that

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Speaker 1: is this film. Now, one thing that's interesting is that

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Speaker 1: while I think this movie is more than the sum

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Speaker 1: of its parts, it it comes together into this beautiful,

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Speaker 1: transcendent whole. You can also quite clearly pick out a

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Speaker 1: lot of the genre inputs on it. I think we're

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Speaker 1: not original and observing this, a lot of people have

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Speaker 1: commented that a lot of the genre can ventions of

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Speaker 1: this movie seem largely derived from certain popular especially Japanese

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Speaker 1: film and TV genres from the decade before this came out,

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Speaker 1: and so a couple of things to mention here would

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Speaker 1: probably be the influence of the so called Henshion hero shows.

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Speaker 1: Um to describe this for American audience as our age.

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Speaker 1: If you ever watched the Mighty morphin Power Rangers when

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Speaker 1: you were a kid, and maybe you've got the feeling

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Speaker 1: that is this part of a genre in some way?

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Speaker 1: Does this uh you know these tropes feel kind of

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Speaker 1: well worn, even though maybe I've never seen them before. Well, yes,

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Speaker 1: Mighty Morphin Power Rangers was indeed a sort of americanization

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Speaker 1: of a long running Japanese TV show genre. Uh this

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Speaker 1: this hingshion show, which henshion translates to something like transformation

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Speaker 1: or changing body. These were shows about a regular person

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Speaker 1: who would transform into a hero, who usually wore a

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Speaker 1: suit that had some kind of cool, will elaborate helmet.

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Speaker 1: Not always, but they would change clothes in some interesting way,

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Speaker 1: and so they might have a device or say a

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Speaker 1: magic word and then they'd go through a morphine sequence

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Speaker 1: like the Power Rangers did, and this would transform them

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Speaker 1: into their their hero more where they would have superpowers.

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Speaker 1: So big examples of of popular hinging shows from Japan

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Speaker 1: were Ultraman beginning in the mid sixties, and then there

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Speaker 1: was a show called Caman Raiders that I think came

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Speaker 1: a little bit later. Yeah, Ultraman. Of course, we we

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Speaker 1: covered a tie up co production featuring Ultraman titled Hanuman

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Speaker 1: Versus Seven Ultraman. So if you're interested in this type

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Speaker 1: of film and you didn't hear that episode, go back

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Speaker 1: and listen to it. It's pretty fun. Now. This is

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Speaker 1: a rich genre that's also had a huge impact on

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Speaker 1: cartoons of especially the eighties and nineties, a lot of

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Speaker 1: things that would have been seeing outside of Japan. We're

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Speaker 1: talking stuff like Sailor Moon, ThunderCats, Silverhawks, he Man Shira,

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Speaker 1: of course Voltron, and in the world of animation, I'm

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Speaker 1: to understand it was particularly useful because it allows you

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Speaker 1: to reuse that transformation sequence in every episode and you know,

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Speaker 1: as much of it as you needed to help you

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Speaker 1: hit your desired um episode length, right, Yeah, so you

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Speaker 1: could really pad that thing out with stuff that you

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Speaker 1: that you had shot, you know, years before. Very economical

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Speaker 1: way to make a show, especially, I think when you're

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Speaker 1: you're dealing with something like animation, where you know your

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Speaker 1: it's your your cost per frame is pretty high. But

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Speaker 1: while you can clearly recognize that the bones of a

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Speaker 1: of a Hinsion influence in in Inframan himself, this movie

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Speaker 1: has a lot of other inputs. There's so much going on,

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Speaker 1: so it clearly has kaiju inputs because there are these

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Speaker 1: assortments of weird monsters that sometimes grow very large. Uh.

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Speaker 1: It also has has strong martial arts movie influences. There's

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Speaker 1: a lot of great kung fu scenes in it. And

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Speaker 1: there is a subplot in the middle of it that

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Speaker 1: feels like the movie suddenly shifts into an espionage thriller,

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Speaker 1: like a brainwashing sleeper agent movie. And I loved that part. It'

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Speaker 1: that was absolutely a genius move. Because you have so

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Speaker 1: much action and so much monster action going on, You've

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Speaker 1: you've got to find You've gotta have a way to

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Speaker 1: pad that out a little bit. You need something else

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Speaker 1: in there, and the espionage mind washing a plot works fabulously.

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Speaker 1: So you and I may have watched different versions of

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Speaker 1: the movie. I think we saw the same thing on

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Speaker 1: the screen, I think, but different versions of getting the

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Speaker 1: English translation. So while I often prefer subtitles to dubbing

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Speaker 1: for foreign films, the dub track on the version of

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Speaker 1: Inframan that I watched, which might be the only English dub,

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Speaker 1: I'm not sure. At least the version I saw was

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Speaker 1: absolutely sublime. The frantic line delivery and unusual word choices

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Speaker 1: were perfect. They really add to the gleeful absurdity of

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Speaker 1: the film and inject even more irresistible energy and pleasure

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Speaker 1: into the viewing experience. Uh So, the version I saw,

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Speaker 1: I think was the main dub. Like it. It seems

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Speaker 1: to be the dub that other reviewers have written about

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Speaker 1: going back to the seventies, So I think it's the

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Speaker 1: original one. And it was the dub that was present

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Speaker 1: when I rented this movie from Google on on YouTube movies.

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Speaker 1: So I would say watch this dub, but also make

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Speaker 1: sure that if you do watch this movie, don't try

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Speaker 1: to watch some low quality rip of this. This movie

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Speaker 1: is gorgeous. It is a feast for the eyes, and

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Speaker 1: you really do need to see it in full high definition. Yeah. Absolutely.

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Speaker 1: I watched it on Apple TV and UH and and

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Speaker 1: I had had the choice via Apple TV as well,

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Speaker 1: but to watch it in uh either dubbed or subtitles.

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Speaker 1: I watched it in its entirety with the subtitles, though

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Speaker 1: I did go back and watch some scenes with the

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Speaker 1: dub to get a taste of the dub. Because the

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Speaker 1: thing about a Shab Brothers film from you know, from

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Speaker 1: this era, is that the dub is kind of iconic,

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Speaker 1: you know, um there's so there's something great about the

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Speaker 1: way they're dubbed. And I have to say, even though

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Speaker 1: I enjoyed here ring the Chinese language and and uh

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Speaker 1: and and getting the subtitle experience and feeling like I

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Speaker 1: was getting something, you know, closer to the original viewing experience,

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Speaker 1: there's so much action on the screen at times you

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Speaker 1: feel like you I felt like I might have been

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Speaker 1: cheating myself by focusing on the dialogue and translation rather

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Speaker 1: than the kicks and lasers and tentacles that are happening

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Speaker 1: on the screen. Yeah. I would say, at least in

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Speaker 1: my experience, the the burning fuse power of the English

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Speaker 1: dub was definitely part of this art product. I would

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Speaker 1: I would, I couldn't recommend this English dub enough. Yeah,

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Speaker 1: I think the main there mainly There mainly two points

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Speaker 1: to be made of distinction between the two. One is

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Speaker 1: that it's my understanding that the dub introduces some plot

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Speaker 1: holes that are not there otherwise um and and so

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Speaker 1: I found that when I was looking at scenes, for instance,

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Speaker 1: if you do the I did the experiment where I

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Speaker 1: put on uh, the subtitles and the dub at the

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Speaker 1: same time to see to what extent they matched up,

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Speaker 1: and there were parts of the film where they're just

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Speaker 1: talking about different things entirely, other parts where, like, you know,

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Speaker 1: the tone is a little off, but essentially this is correct. Uh.

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Speaker 1: The other areas the names of monsters, and you know,

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Speaker 1: I take my monster names seriously, and um, I don't know.

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Speaker 1: So some of the names I like better in the

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Speaker 1: subtitles than in the dub For example, Princess Dragon mom uh.

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Speaker 1: In the she her name in the subtitles is demon

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Speaker 1: Princess Elzebub, which is also a little goofy, but I

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Speaker 1: like it. I prefer it to dragon mom. Oh. What

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Speaker 1: how can you knock Princess Dragon mom? How can I

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Speaker 1: mean like that? That feels so good coming out of

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Speaker 1: my mouth. I just want to wander around the household

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Speaker 1: day saying Princess Dragon mom Oh. And then there's a

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Speaker 1: witch I as another one her female second in command

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Speaker 1: or one of her female underlings, that has the monster

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Speaker 1: hands with the eyeballs in the palm m. Guiermo del tour.

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Speaker 1: You did not invent monsters with eyes in the palms

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Speaker 1: of their hands. That is right here in nineteen seventy

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Speaker 1: five in inframan so which I was or was she

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Speaker 1: called demon? Which I also or which demon? I sometimes

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Speaker 1: I think so? And then. But but here's the other

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Speaker 1: thing that that gets complicated with the names of these monsters.

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Speaker 1: I noticed that in Michael Weldon's Ride Up he mentioned

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Speaker 1: a few slightly different names for some of these monsters.

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Speaker 1: So that leads me to think that perhaps there were

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Speaker 1: different at least different subtitles at different points. I mean he,

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Speaker 1: I mean this was a book from the nineteen eighties.

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Speaker 1: Who he is writing about this? So who knows? So

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Speaker 1: I'm wondering just how many different names we have for

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Speaker 1: these these monsters, counting the original language versions, the subtitles,

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Speaker 1: the dubs, uh who who knows? Well? So in my

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Speaker 1: dub which I was called she Demon, simple but effective.

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Speaker 1: But but whatever you call her, she demon is divine.

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Speaker 1: It's it's a very I hate to cite an internet meme,

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Speaker 1: but it's a very we have no choice but to

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Speaker 1: stand kind of situation. Like every moment she's on screen

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Speaker 1: is just like, damn, she demon is so cool? What

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Speaker 1: religion is it that worships her? Can I join that?

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Speaker 1: All right? Well, why don't we go ahead and get

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Speaker 1: a taste of some audio here for this? I picked

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Speaker 1: out what is an English language TV spot for this movie,

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Speaker 1: which I particularly love because it has this vibe of

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Speaker 1: of hey, everybody, go grab the kids. Inframan is about

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Speaker 1: to kick skulls in the face. There's toad deathliest creatures

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Speaker 1: of the universe. Watch out because nothing can stop in

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Speaker 1: from He's six million years beyond bionics, beyond beyond your

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Speaker 1: wildest imagination, the ultimate adventure with the ultimate here all

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Speaker 1: who should have excitement in promnce. Sadly you could only

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Speaker 1: hear that, you could not see that. And again that

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Speaker 1: is one of the things about Infaman. It must be

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Speaker 1: seen to be experienced. All right, Let's talk about some

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Speaker 1: of the people involved here. First of all, Yeah, like

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Speaker 1: we said, this is a Shaw Brothers studio film. This

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Speaker 1: is a studio that operated from n through eleven and

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Speaker 1: was the largest film production company in Hong Kong, making

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Speaker 1: a significant impact not only in Chinese cinema, but internationally

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Speaker 1: as well. The Shaws were Chinese film entrepreneurs. Three of

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Speaker 1: the four Shaw brothers, Runji, run Me and Rundy, founded

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Speaker 1: a film distribution company in nine operating out of Shanghai

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Speaker 1: and Singapore. Run Me and the or their youngest brother

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Speaker 1: run run Shop operated the Singapore Bass which would become

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Speaker 1: the Shaw Organization, before taking over the Hong Kong based

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Speaker 1: sister company Shaw and Sons Limited. In nineteen fifty eight,

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Speaker 1: a new company, Shaw Brothers was born. Run Me who

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Speaker 1: produced this film Live nineteen o one through five and

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Speaker 1: run Run lived in nineteen o seven through two thousand

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Speaker 1: and fourteen. Man I love seeing that Shaw Brothers logo

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Speaker 1: at the beginning of a film. You see the hammered

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Speaker 1: glass and and the it just it feels so good.

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Speaker 1: It does you know you're you're in for some action. Um.

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Speaker 1: And if anyone wants to hear more about Shaw Brothers,

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Speaker 1: I believe we went into more detail in the Oily

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Speaker 1: Maniac episode. And if you want to find that, UM,

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00:21:36,400 --> 00:21:38,000
Speaker 1: you can either dig around and stuff to blow your

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Speaker 1: mind archives, or you can go to Samouda music dot

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Speaker 1: com s E m U T A m U S

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Speaker 1: I C that is UM. That's a blog, but I

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Speaker 1: maintain and I just list all the films there. So

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Speaker 1: occasionally people right in and say, hey, where's a list

385
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Speaker 1: of all the films we've done for we're how cinema. Well,

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Speaker 1: that is where you can find it, all right. The

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00:21:54,720 --> 00:22:00,359
Speaker 1: director of Inframan was Shaan Hua who lived well. I's

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Speaker 1: still alive as far as I know. Born ninety two,

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Speaker 1: a cinematographer turned director, active from nineteen seventy four through

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Speaker 1: nineteen two. His other works include nine eight one's Kung

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Speaker 1: Fu Zombie and nine eight one's Bloody Parrot. You know

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Speaker 1: another one of my favorite weird house cinema. In fact,

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Speaker 1: i's a multiple of my favorite weird house cinema movies

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Speaker 1: we've done. We're directed by people who who were mainly

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Speaker 1: cinematographers and then and then shifted to the director's chairs.

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Speaker 1: Because mad love Carl Freund originally cinematographer and then directed

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Speaker 1: the movie. Maybe that's because I guess you have a

398
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Speaker 1: cinematographer in charge. This is somebody who really understands film

399
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Speaker 1: as as as a visual compositional medium that needs to

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Speaker 1: be a moment to moment feast for the eyes. Yeah,

401
00:22:49,600 --> 00:22:51,879
Speaker 1: that's true. I mean it makes you wonder about the

402
00:22:51,920 --> 00:22:56,080
Speaker 1: other situations, you know, like writers turn directors, actors turned directors.

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Speaker 1: You know, are these cases where musicians turn directors where

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00:23:00,240 --> 00:23:04,199
Speaker 1: you know, whatever they're their previous and prior UH focus

405
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Speaker 1: was how to what extent does that end up? Becoming

406
00:23:07,760 --> 00:23:10,280
Speaker 1: a part of their film vision as well. A lot

407
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Speaker 1: of what I love about this movie is the way

408
00:23:13,200 --> 00:23:16,800
Speaker 1: it would just like pile one crazy image on top

409
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Speaker 1: of another in in such rapid succession that I would

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Speaker 1: be just my mouth is hanging open while I'm enjoying

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Speaker 1: the look of one scene, and then it before I'm

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Speaker 1: even done having that feeling, it cuts to something else

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Speaker 1: that also looks strange and amazing. Absolutely now. The writer

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00:23:34,160 --> 00:23:37,240
Speaker 1: on this film was Quality born nineteen thirty five, a

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Speaker 1: one man screenplay machine with two hundred thirty three writing

416
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Speaker 1: credits on IMDb, known for such writing for writing such

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Speaker 1: Hong Kong action films as The thirty six Chamber of

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Speaker 1: Shao Lyn from The Wesley's Mysterious File from two thousand

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Speaker 1: and two and The Singing Killer from nineteen seventy, and

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Speaker 1: he also acted on occasion, two hundred and thirty three

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Speaker 1: writing credits in a career of how many years. How

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Speaker 1: many screenplays is that per year? Uh? Yeah, it was

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Speaker 1: a lot. I think there's even Uh I don't think

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00:24:08,880 --> 00:24:10,960
Speaker 1: he's active anymore, but I think there was at least

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Speaker 1: one recent film or one upcoming film that looked like

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Speaker 1: maybe it was based on this uh Wesley's mysterious file

427
00:24:17,640 --> 00:24:21,720
Speaker 1: thing that he had done earlier. Now onto the cast. Well,

428
00:24:21,760 --> 00:24:26,040
Speaker 1: our lead here playing Raima uh slash Inframan is none

429
00:24:26,080 --> 00:24:30,159
Speaker 1: other than Danny Lee born n Oh. Danny Lee is

430
00:24:30,240 --> 00:24:33,760
Speaker 1: just great. Oh yeah. People may remember he was the

431
00:24:33,840 --> 00:24:36,840
Speaker 1: lead in The Oily Maniac as well, but he's probably

432
00:24:36,920 --> 00:24:39,679
Speaker 1: better known for such films as The Killer, The Untold Story,

433
00:24:40,160 --> 00:24:43,960
Speaker 1: The Eight Immortals, Restaurant and City on Fire, Um Hong

434
00:24:44,040 --> 00:24:48,159
Speaker 1: Kong actor, film producer, screenwriter, director who, at least later

435
00:24:48,240 --> 00:24:50,800
Speaker 1: in his career, they made a kind of specially out

436
00:24:50,840 --> 00:24:53,280
Speaker 1: of playing cops. He played a lot of detectives and cops.

437
00:24:53,600 --> 00:24:56,240
Speaker 1: But this is early Danny Lee. I think, before he

438
00:24:56,280 --> 00:24:59,920
Speaker 1: had even adopted that moniker uh when, in which case,

439
00:25:00,000 --> 00:25:03,280
Speaker 1: you know he's in full like physical prime action hero

440
00:25:03,640 --> 00:25:07,440
Speaker 1: leading man roles situation. At least in this movie, he's

441
00:25:07,560 --> 00:25:11,159
Speaker 1: he's almost got that that el cento energy, somebody who

442
00:25:11,240 --> 00:25:14,119
Speaker 1: just seems to like beam goodness and virtue out of

443
00:25:14,200 --> 00:25:18,159
Speaker 1: his face. Yeah. I don't think Lee is active as

444
00:25:18,200 --> 00:25:21,240
Speaker 1: an actor anymore, but he's still directing and producing, including

445
00:25:21,320 --> 00:25:23,639
Speaker 1: the upcoming The Little Monk, which looks to be a

446
00:25:23,720 --> 00:25:27,560
Speaker 1: Shaolin action movie. About a child monk. So uh sounds

447
00:25:27,600 --> 00:25:31,760
Speaker 1: good now. The professor in this film Professor Liu ying

448
00:25:31,840 --> 00:25:35,280
Speaker 1: t or I think in your version is he Professor Chang? Yeah?

449
00:25:35,320 --> 00:25:40,199
Speaker 1: Professor chey Um played by Sea Wang who lived nineteen

450
00:25:40,240 --> 00:25:42,720
Speaker 1: thirty through two thousand and sixteen, another actor who was

451
00:25:42,800 --> 00:25:45,800
Speaker 1: also in The Oily Maniac He who also was in

452
00:25:46,000 --> 00:25:49,840
Speaker 1: Mafia Versus Ninja from five as well as John Woo's

453
00:25:49,880 --> 00:25:53,160
Speaker 1: A Better Tomorrow from n six which starts chaw Yon fat.

454
00:25:53,480 --> 00:25:56,960
Speaker 1: He is also wonderful in this movie and really enhances

455
00:25:57,080 --> 00:26:01,200
Speaker 1: the absurd pleasure of some scenes, like the scenes where

456
00:26:01,240 --> 00:26:05,560
Speaker 1: he's describing uh to to Raima, the young man played

457
00:26:05,560 --> 00:26:07,800
Speaker 1: by Danny Lee who becomes in for Man, describing to

458
00:26:07,960 --> 00:26:10,440
Speaker 1: him the process he's going to have to go through

459
00:26:10,520 --> 00:26:13,000
Speaker 1: to become in for Man and talking about how painful

460
00:26:13,040 --> 00:26:14,960
Speaker 1: and dangerous it will be and all the stuff he's

461
00:26:14,960 --> 00:26:17,480
Speaker 1: gonna do to his body, but delivering it in this

462
00:26:18,280 --> 00:26:21,920
Speaker 1: wonderfully somber way. It's so good. Yes, Yeah, he's He's

463
00:26:21,960 --> 00:26:25,359
Speaker 1: really good. Has a lot of screen time. Alright. We

464
00:26:25,520 --> 00:26:30,800
Speaker 1: mentioned Um Dragon Mom a k a demon Princess el Zebub,

465
00:26:31,200 --> 00:26:35,919
Speaker 1: who is one of the most notable role of performances

466
00:26:36,160 --> 00:26:38,600
Speaker 1: characters in this this film, Like when she hits the screen,

467
00:26:38,680 --> 00:26:43,320
Speaker 1: you're like, wow, uh, this this film is something else. Yeah,

468
00:26:43,400 --> 00:26:46,080
Speaker 1: every time she comes on screen, car alarms are going

469
00:26:46,160 --> 00:26:48,800
Speaker 1: off outside your house. Is just like it is a

470
00:26:48,960 --> 00:26:52,720
Speaker 1: kinetic impact. Yeah, well, I mean she is because she

471
00:26:52,880 --> 00:26:56,840
Speaker 1: hits the screen and she's she's visually like the costuming,

472
00:26:57,240 --> 00:26:59,800
Speaker 1: you know, it is incredible. And then she's immediately ordering

473
00:26:59,840 --> 00:27:03,240
Speaker 1: my monsters around and like using a magic whip, so

474
00:27:03,680 --> 00:27:07,400
Speaker 1: you know, just commands everybody's attention. She has a Yeah,

475
00:27:07,440 --> 00:27:09,920
Speaker 1: she's got a great whip, and she throws people into

476
00:27:10,119 --> 00:27:13,520
Speaker 1: a bottomless pit which actually does have a bottom, and

477
00:27:13,960 --> 00:27:16,280
Speaker 1: it is on fire, and she likes to tell people

478
00:27:16,359 --> 00:27:18,880
Speaker 1: how many thousands of degrees it is that they will

479
00:27:18,880 --> 00:27:20,959
Speaker 1: be burning when they reached the bottom. Oh yeah, it's

480
00:27:20,960 --> 00:27:24,119
Speaker 1: like three thousand, six thousand. It's it's very So. She

481
00:27:24,320 --> 00:27:27,960
Speaker 1: is played by the actor Terry Lou And I don't

482
00:27:28,000 --> 00:27:29,840
Speaker 1: have any you know, as far as I know, her

483
00:27:29,880 --> 00:27:32,800
Speaker 1: birthday is unknown. This might be her most notable role,

484
00:27:32,840 --> 00:27:35,399
Speaker 1: but she appeared in a number of horror and horror

485
00:27:35,440 --> 00:27:39,040
Speaker 1: asque Hong Kong films during the nineties seventies, including the

486
00:27:39,080 --> 00:27:43,240
Speaker 1: Oily Maniac from seventies six, And aside from the Oily

487
00:27:43,320 --> 00:27:45,520
Speaker 1: Maniac connection, I think you can basically say the same

488
00:27:45,600 --> 00:27:48,320
Speaker 1: thing for the other main female actors in this film.

489
00:27:48,680 --> 00:27:52,320
Speaker 1: That's Manzooyan who plays Maymae that's the professor's daughter, and

490
00:27:52,680 --> 00:27:57,119
Speaker 1: Dana who plays demon Witch. I um that they were

491
00:27:57,160 --> 00:28:00,399
Speaker 1: both actors who were mostly active just in the nineteen

492
00:28:00,440 --> 00:28:02,800
Speaker 1: seventies and did a lot of roles in um sort

493
00:28:02,800 --> 00:28:06,320
Speaker 1: of horror bloody films. Well, yeah, both Terry Lou and

494
00:28:06,520 --> 00:28:09,760
Speaker 1: Dana are just fabulous in this. Every scene with them

495
00:28:09,920 --> 00:28:13,600
Speaker 1: is just rocket fuel. You know. I forgot almost forgot

496
00:28:13,680 --> 00:28:17,200
Speaker 1: to mention Bruce Lee is in this really well not

497
00:28:17,800 --> 00:28:21,280
Speaker 1: noticed that not Bruce Lee with two ease, that's Bruce

498
00:28:21,400 --> 00:28:25,560
Speaker 1: Lee with one. That's Bruce Bruce LEI is kind of

499
00:28:26,240 --> 00:28:30,679
Speaker 1: um uh So the actor Chin Lung Hong born nineteen

500
00:28:30,760 --> 00:28:35,520
Speaker 1: fifty was not going by Bruce Ley yet um. But

501
00:28:36,119 --> 00:28:39,040
Speaker 1: later after this film he apparently broke out as a

502
00:28:39,160 --> 00:28:44,080
Speaker 1: Bruce Lee clone. So that was interesting. I'm not really

503
00:28:44,120 --> 00:28:47,480
Speaker 1: familiar with any Bruce Lee clone movies, but when I

504
00:28:47,560 --> 00:28:50,280
Speaker 1: looked at some of the cover art for them, I'm like, oh, yeah, yeah,

505
00:28:50,360 --> 00:28:52,960
Speaker 1: he's going for it. He's just putting himself in Bruce

506
00:28:53,080 --> 00:28:57,880
Speaker 1: Lee mode, which trans more first phenomenon. Yeah, I mean

507
00:28:57,920 --> 00:28:59,720
Speaker 1: you gotta be you know, you gotta have a certain

508
00:28:59,760 --> 00:29:03,960
Speaker 1: amoun of fitness and um physical charisma to even aspire,

509
00:29:04,520 --> 00:29:07,520
Speaker 1: uh to uh to be a knockoff Bruce Lee. So

510
00:29:07,800 --> 00:29:11,120
Speaker 1: you know, kudos, and uh, I should just also mention

511
00:29:11,240 --> 00:29:14,000
Speaker 1: that there basically I have a spot in the outline

512
00:29:14,000 --> 00:29:16,280
Speaker 1: where I just put and the rest because this is

513
00:29:16,280 --> 00:29:18,520
Speaker 1: a Shaw Brothers movie. This is a big martial arts

514
00:29:18,520 --> 00:29:21,320
Speaker 1: action movie. And this film features an extended cast of

515
00:29:21,400 --> 00:29:24,760
Speaker 1: Shaw Brothers regulars who you might recognize if you watch

516
00:29:24,840 --> 00:29:27,040
Speaker 1: these films and you go deeper into the filmography for

517
00:29:27,560 --> 00:29:30,640
Speaker 1: for inframan. Uh. The action in this film is great,

518
00:29:31,120 --> 00:29:33,800
Speaker 1: and I have to say the monster suit acting is

519
00:29:33,840 --> 00:29:37,600
Speaker 1: also just noticeably superb because we've mentioned films before, you know,

520
00:29:37,680 --> 00:29:40,160
Speaker 1: where they have a monster suit and they just kind

521
00:29:40,160 --> 00:29:42,280
Speaker 1: of just oh, we need to find somebody that's tall

522
00:29:42,400 --> 00:29:44,280
Speaker 1: enough to wear this, or we need to find somebody

523
00:29:44,320 --> 00:29:47,040
Speaker 1: who uh, you know, who can convince us that they

524
00:29:47,240 --> 00:29:49,959
Speaker 1: they are the best person to walk like an ape um.

525
00:29:50,440 --> 00:29:53,480
Speaker 1: But with this film, I mean, you have the Shaw

526
00:29:53,560 --> 00:29:58,480
Speaker 1: Brothers ensemble, so you have individuals who are highly trained

527
00:29:58,640 --> 00:30:01,680
Speaker 1: and in pique physical CONDI shan that are that are true,

528
00:30:01,720 --> 00:30:05,680
Speaker 1: you know, that excel at physical performance, and so it's

529
00:30:05,680 --> 00:30:09,560
Speaker 1: therefore not surprising that each suit comes alive with its

530
00:30:09,640 --> 00:30:13,920
Speaker 1: own crazy energy. Like Um, the plant monster that we

531
00:30:14,040 --> 00:30:17,240
Speaker 1: encounter is not just standing there sweating in the suit. No,

532
00:30:17,320 --> 00:30:20,240
Speaker 1: I mean, he's in constant motion and the tentacles are

533
00:30:20,320 --> 00:30:24,600
Speaker 1: constantly moving. And likewise, all the other monsters in this film,

534
00:30:24,680 --> 00:30:27,840
Speaker 1: they all have some sort of unique physical energy that's

535
00:30:27,880 --> 00:30:30,640
Speaker 1: going on that that that makes the thing come alive

536
00:30:31,160 --> 00:30:32,800
Speaker 1: far more than it would be if it was just

537
00:30:32,920 --> 00:30:35,640
Speaker 1: standing there. Oh yeah, I think I mentioned earlier that

538
00:30:35,800 --> 00:30:40,200
Speaker 1: that that, uh, Princess Dragon Mom's hingemen are all quite fidgety,

539
00:30:40,720 --> 00:30:44,240
Speaker 1: but that in such a good way. Like every scene

540
00:30:44,520 --> 00:30:47,640
Speaker 1: in in Princess Dragon Mom's ice layer below the Earth

541
00:30:47,880 --> 00:30:52,520
Speaker 1: is fantastic, but they're they're made so wonderful because so

542
00:30:52,920 --> 00:30:55,480
Speaker 1: you'll usually have the main action going on with Princess

543
00:30:55,560 --> 00:30:58,920
Speaker 1: Dragon Mom, maybe like giving orders to a particular mutant

544
00:30:59,120 --> 00:31:03,120
Speaker 1: or or talking with you know, discussing plans with Sheet

545
00:31:03,160 --> 00:31:07,200
Speaker 1: demon Um, but then meanwhile in the background, the monsters

546
00:31:07,240 --> 00:31:09,840
Speaker 1: are just kind of screwing around they'll be like moving.

547
00:31:10,080 --> 00:31:12,760
Speaker 1: And there's there's one monster that looks like a scaly

548
00:31:12,880 --> 00:31:16,440
Speaker 1: thing with a cylindrical head and a giant mustache. He's

549
00:31:16,480 --> 00:31:19,680
Speaker 1: got a you know, a crimson mustache monster that breathes fire.

550
00:31:20,240 --> 00:31:24,000
Speaker 1: And he's never still. He's constantly just wobbling around with

551
00:31:24,160 --> 00:31:27,240
Speaker 1: his arms flailing in the air. And that may sound simple,

552
00:31:27,320 --> 00:31:29,800
Speaker 1: but once you watch it, you really what a superb touch.

553
00:31:29,880 --> 00:31:34,040
Speaker 1: It just makes everything in the scene more more electric. Yeah,

554
00:31:34,120 --> 00:31:37,240
Speaker 1: for a movie that that needed or at least ended

555
00:31:37,320 --> 00:31:41,200
Speaker 1: up with six different monster designs for this crew of

556
00:31:41,320 --> 00:31:46,240
Speaker 1: monsters serving um els about not not counting the skeleton

557
00:31:46,280 --> 00:31:48,200
Speaker 1: in which we'll get to in a bet um, but

558
00:31:48,840 --> 00:31:53,000
Speaker 1: for to have a roster of six monsters, like, none

559
00:31:53,040 --> 00:31:56,600
Speaker 1: of them are losers. They're all tremendous designs and they

560
00:31:56,600 --> 00:31:58,800
Speaker 1: all they're all different from one another. Like we have

561
00:31:58,960 --> 00:32:02,160
Speaker 1: the two robots that I think are sometimes called the

562
00:32:02,200 --> 00:32:07,480
Speaker 1: Ironfist robots. We have this hairy gentleman who I think

563
00:32:07,600 --> 00:32:10,560
Speaker 1: is sometimes just called long haired monster that that looks

564
00:32:10,640 --> 00:32:16,680
Speaker 1: like it's more inspired by like traditional Asian um ghost

565
00:32:16,800 --> 00:32:20,520
Speaker 1: and monster motifs. We have My one of my two

566
00:32:20,640 --> 00:32:25,200
Speaker 1: favorites is mutant drill who is this kind of weird

567
00:32:26,000 --> 00:32:30,200
Speaker 1: golem looking monster kind of resembles the Oily Maniac to

568
00:32:30,320 --> 00:32:34,479
Speaker 1: certain extent, but has like two metal attack hands, one

569
00:32:34,560 --> 00:32:37,680
Speaker 1: of which is a devastating drill. Yeah, he's he's a

570
00:32:38,280 --> 00:32:42,080
Speaker 1: dreadful bipedal frog with like a with like a claw

571
00:32:42,400 --> 00:32:44,920
Speaker 1: metal claw hand and a metal drill hand. And I

572
00:32:44,960 --> 00:32:47,640
Speaker 1: actually didn't realize one of his hands was a drill

573
00:32:47,760 --> 00:32:49,800
Speaker 1: until a good way is into the movie. There's just

574
00:32:49,880 --> 00:32:53,440
Speaker 1: so much going on you can't catch it all. Yeah. Yeah, Um,

575
00:32:53,760 --> 00:32:57,800
Speaker 1: there's spider Monster, who looks like a big, cool red spider,

576
00:32:58,520 --> 00:33:01,080
Speaker 1: and then there's plant Monster, which I think is sometimes

577
00:33:01,240 --> 00:33:04,360
Speaker 1: translated as an octopus monster, but he's clearly a plant.

578
00:33:04,680 --> 00:33:06,920
Speaker 1: His his powers, which he really gets to show off

579
00:33:06,960 --> 00:33:09,720
Speaker 1: in this movie, are all based about like going into

580
00:33:09,760 --> 00:33:11,880
Speaker 1: the ground and growing up out of the ground and

581
00:33:11,920 --> 00:33:14,640
Speaker 1: then doing plant things. Oh, there's such a good scene

582
00:33:14,640 --> 00:33:18,560
Speaker 1: where he attacks the Human Science space and uh so

583
00:33:18,680 --> 00:33:20,400
Speaker 1: he's supposed to go there and destroy it and I

584
00:33:20,440 --> 00:33:23,400
Speaker 1: think kill Professor Chang or something. And he he like

585
00:33:23,560 --> 00:33:27,080
Speaker 1: plants himself into the ground and turns into these rapidly

586
00:33:27,200 --> 00:33:31,400
Speaker 1: growing vines that penetrate the walls and inframan has to

587
00:33:31,480 --> 00:33:34,240
Speaker 1: defeat him by like X raying the vines to find

588
00:33:34,320 --> 00:33:37,640
Speaker 1: where his heart is. Uh. And there's one part I

589
00:33:37,800 --> 00:33:40,880
Speaker 1: absolutely loved because again it was one of these things

590
00:33:40,920 --> 00:33:44,440
Speaker 1: where like the new ideas just keep piling on so fast.

591
00:33:44,640 --> 00:33:47,200
Speaker 1: So he has just started attacking the base, and he's

592
00:33:47,560 --> 00:33:51,160
Speaker 1: reaching his his vine tentacles in and and you know, grabbing,

593
00:33:51,320 --> 00:33:55,080
Speaker 1: grabbing the scientists and flinging them around. Um, and I

594
00:33:55,120 --> 00:33:58,040
Speaker 1: think there's some kind of emergency, like they have to, uh,

595
00:33:58,240 --> 00:34:01,080
Speaker 1: they have to reactivate the power or Infra Man will

596
00:34:01,080 --> 00:34:04,320
Speaker 1: be killed during his surgery. And so they're they're frantically

597
00:34:04,360 --> 00:34:07,400
Speaker 1: trying to do that while while the octopus vine monster

598
00:34:07,760 --> 00:34:11,239
Speaker 1: is is gumming everything up with his arms. And then

599
00:34:11,280 --> 00:34:13,759
Speaker 1: suddenly all these workers just bust in through a door

600
00:34:13,880 --> 00:34:18,760
Speaker 1: with circular saws and starts sawing vines. When that happened,

601
00:34:18,840 --> 00:34:22,120
Speaker 1: I was like, I was just releasing gusts of of

602
00:34:22,360 --> 00:34:26,239
Speaker 1: of crazy laughter. Oh my god, it's just so good.

603
00:34:26,800 --> 00:34:29,120
Speaker 1: There were moments in this where and I guess it's

604
00:34:29,160 --> 00:34:31,400
Speaker 1: just about the frantic pace of the action and just

605
00:34:31,560 --> 00:34:33,640
Speaker 1: and also just how how well it's put together. There

606
00:34:33,680 --> 00:34:35,760
Speaker 1: were moments where I thought, oh my goodness, the monsters

607
00:34:35,840 --> 00:34:38,239
Speaker 1: might win, you know, like in the brief amount of

608
00:34:38,280 --> 00:34:41,160
Speaker 1: time that you're actually able to think, uh during this film,

609
00:34:41,200 --> 00:34:43,319
Speaker 1: I mean, it's all happening. This movie is happening now.

610
00:34:43,800 --> 00:34:45,520
Speaker 1: You know. There's not a lot of time for reflection.

611
00:34:45,560 --> 00:34:48,200
Speaker 1: You're experiencing it, and therefore there were times where it's like, oh,

612
00:34:48,239 --> 00:34:49,719
Speaker 1: my goodness, I think they got him. Come on and

613
00:34:49,800 --> 00:35:02,040
Speaker 1: for Man, you know, yeah, it was it was really great. Now,

614
00:35:02,200 --> 00:35:04,520
Speaker 1: we can't list everyone involved in the awesome look of

615
00:35:04,600 --> 00:35:07,600
Speaker 1: this film, but I with I thought I would point

616
00:35:07,640 --> 00:35:11,799
Speaker 1: out that Michio Mikami did the special effects on this film.

617
00:35:11,880 --> 00:35:15,719
Speaker 1: He's credited for special effects. Uh. Mccami worked on a

618
00:35:15,840 --> 00:35:18,280
Speaker 1: few different films, one of which is an insane looking

619
00:35:18,400 --> 00:35:23,040
Speaker 1: film called Goki body Snatcher from Hell from which seems

620
00:35:23,040 --> 00:35:26,080
Speaker 1: to have space blobs and vampires in it, directed by

621
00:35:26,280 --> 00:35:29,680
Speaker 1: Hajimi Sato. Um might have to come back to that one,

622
00:35:29,880 --> 00:35:32,799
Speaker 1: but he also did special effects on a ninety eight

623
00:35:32,880 --> 00:35:38,160
Speaker 1: film titled Message from Space. Oh okay, okay, so I

624
00:35:38,320 --> 00:35:42,759
Speaker 1: see the connection. I mean, Message from Space is not

625
00:35:43,080 --> 00:35:45,239
Speaker 1: nearly on the level of infor Man. I think the

626
00:35:45,360 --> 00:35:48,080
Speaker 1: informan is is in a class of its own. But

627
00:35:48,400 --> 00:35:51,200
Speaker 1: I I see similarities. A lot of what was great

628
00:35:51,200 --> 00:35:55,239
Speaker 1: about Message from Space was like these scenes just full

629
00:35:55,400 --> 00:35:59,759
Speaker 1: of bizarre visual variety in the composition of the shot,

630
00:35:59,800 --> 00:36:03,400
Speaker 1: where there's just all these different, strangely dressed characters in

631
00:36:03,520 --> 00:36:09,440
Speaker 1: a beautifully decorated room simultaneously visually interesting and funny. Uh

632
00:36:09,600 --> 00:36:11,640
Speaker 1: And and the same is true about this movie, but

633
00:36:11,880 --> 00:36:16,000
Speaker 1: but even to a much greater extent. Yeah, and real

634
00:36:16,080 --> 00:36:19,200
Speaker 1: quick the music here. Young Chen is credited with the

635
00:36:19,280 --> 00:36:21,280
Speaker 1: music on this one, but I understand that this picture

636
00:36:21,360 --> 00:36:24,879
Speaker 1: reuses music from previous Shot Brothers production, so nothing about

637
00:36:24,880 --> 00:36:27,640
Speaker 1: it particularly stood out to me. But it's fine, it's good.

638
00:36:27,760 --> 00:36:30,480
Speaker 1: It's perfectly good music for this film. Well, there are

639
00:36:30,560 --> 00:36:33,120
Speaker 1: moments where I thought that the music really added to

640
00:36:33,160 --> 00:36:36,759
Speaker 1: the comedy. So for example, the uh, the music and

641
00:36:36,840 --> 00:36:40,160
Speaker 1: the opening credit sequence. I mean, so the opening credit sequence,

642
00:36:41,160 --> 00:36:44,600
Speaker 1: it's kind of James Bondish in a way. It had

643
00:36:44,840 --> 00:36:49,319
Speaker 1: a kind of uh, you know, psychic kaleidoscope. But then

644
00:36:49,600 --> 00:36:52,719
Speaker 1: the music was almost kind of circus music, Like I

645
00:36:52,840 --> 00:36:55,800
Speaker 1: was imagining that this was a vision that Hunter S.

646
00:36:55,880 --> 00:36:59,120
Speaker 1: Thompson would be hallucinating while he's wandering around in the

647
00:36:59,160 --> 00:37:03,440
Speaker 1: circus circus a sceno. Yeah, yeah, so much visual flare.

648
00:37:03,480 --> 00:37:06,920
Speaker 1: And that's the the credits, the the parts of the

649
00:37:06,960 --> 00:37:10,799
Speaker 1: movie where you see the schematics for Inframan are just beautiful.

650
00:37:11,320 --> 00:37:13,960
Speaker 1: Um Like I'm I'm always it always takes me out

651
00:37:14,000 --> 00:37:16,880
Speaker 1: whenever a movie decides to like show you the pages

652
00:37:17,080 --> 00:37:20,319
Speaker 1: of a of a like an evil book, or show

653
00:37:20,400 --> 00:37:24,040
Speaker 1: you some artwork or something or another, or or you know, blueprints,

654
00:37:24,600 --> 00:37:26,919
Speaker 1: and if they don't look right, if something feels off

655
00:37:26,960 --> 00:37:29,719
Speaker 1: about them or rushed, it instantly takes me out. But

656
00:37:29,800 --> 00:37:33,279
Speaker 1: these were beautiful. They look from there from another dimension. Okay, well,

657
00:37:33,320 --> 00:37:35,040
Speaker 1: I guess we're getting towards the part we're in. A

658
00:37:35,160 --> 00:37:38,839
Speaker 1: normal episode, we would we would break down the plot more.

659
00:37:38,960 --> 00:37:42,279
Speaker 1: I think it's just impossible to try to and and

660
00:37:42,520 --> 00:37:45,239
Speaker 1: and and fruitless to try to explain the plot of

661
00:37:45,360 --> 00:37:48,200
Speaker 1: Inframan scene by scene. I think it makes more sense

662
00:37:48,239 --> 00:37:50,439
Speaker 1: for us to just talk about a few more sort

663
00:37:50,480 --> 00:37:53,920
Speaker 1: of themes and highlights of the movie. Yes, but one

664
00:37:54,000 --> 00:37:55,759
Speaker 1: thing where I do want to get in a little

665
00:37:55,800 --> 00:37:58,840
Speaker 1: granular detail is is trying to explain the feel of

666
00:37:58,880 --> 00:38:02,759
Speaker 1: the movie from the very first few scenes. So after

667
00:38:02,920 --> 00:38:06,439
Speaker 1: the credits finish, uh, we go straight to a van

668
00:38:06,640 --> 00:38:09,439
Speaker 1: full of children, singing a merry song. It's driving along

669
00:38:09,480 --> 00:38:12,399
Speaker 1: a mountain road and the kids are singing, and then

670
00:38:12,560 --> 00:38:16,480
Speaker 1: just there is an immediate flying reptile attack. I love

671
00:38:16,600 --> 00:38:20,160
Speaker 1: how fast this movie gets into it after the credits finished.

672
00:38:20,200 --> 00:38:23,120
Speaker 1: I think there are literally about eight seconds before the

673
00:38:23,200 --> 00:38:26,680
Speaker 1: earth starts shaking and belching up monsters. Yeah, it's this

674
00:38:26,800 --> 00:38:30,200
Speaker 1: fabulous scene to where like big big rubbery wing monster

675
00:38:30,320 --> 00:38:35,279
Speaker 1: that looks great crashes onto like a a highway and

676
00:38:35,440 --> 00:38:38,880
Speaker 1: then it instantly vanishes into thin air and then an

677
00:38:38,920 --> 00:38:42,520
Speaker 1: earthquake just rips the earth apart. Yeah, so before you

678
00:38:42,600 --> 00:38:46,880
Speaker 1: even understand what's going on, it's earthquake giant pterodactyl uh,

679
00:38:47,360 --> 00:38:50,920
Speaker 1: like the the mutant dogs from Ghostbusters kind of thing.

680
00:38:50,920 --> 00:38:53,200
Speaker 1: I almost wonder if they were inspired by the look

681
00:38:53,239 --> 00:38:56,919
Speaker 1: of the of Princess Dragon Mom in her monster form

682
00:38:56,960 --> 00:38:59,520
Speaker 1: in this movie, because I know Dan Ackroyd is a

683
00:38:59,600 --> 00:39:01,960
Speaker 1: fan of of great B movies, so that that may

684
00:39:02,000 --> 00:39:03,960
Speaker 1: have been an influence there. I wouldn't. I wouldn't put

685
00:39:04,000 --> 00:39:06,520
Speaker 1: it past him. But then there's that, and then suddenly

686
00:39:06,600 --> 00:39:08,040
Speaker 1: so the kids are out of the van and then

687
00:39:08,080 --> 00:39:10,759
Speaker 1: the van gets sucked down into a ravine with the

688
00:39:10,920 --> 00:39:14,080
Speaker 1: driver it's still in its screaming, bloody murder, and then

689
00:39:14,360 --> 00:39:16,799
Speaker 1: you don't even have time to understand what's happening here,

690
00:39:16,840 --> 00:39:19,279
Speaker 1: But then instantly you're seeing something else. A city is

691
00:39:19,320 --> 00:39:22,840
Speaker 1: on fire, and everybody's running around screaming, what city is this?

692
00:39:23,040 --> 00:39:26,080
Speaker 1: I don't know where at T plus forty five seconds

693
00:39:26,120 --> 00:39:29,320
Speaker 1: since the credits have finished, and there's just Mayhem and

694
00:39:29,440 --> 00:39:33,279
Speaker 1: everybody running around and everything's on fire, and for some reason,

695
00:39:33,360 --> 00:39:36,040
Speaker 1: the thing that struck only the funniest about this is

696
00:39:36,080 --> 00:39:39,720
Speaker 1: that all the people carrying luggage while the fires are burning,

697
00:39:40,400 --> 00:39:44,040
Speaker 1: and then uh, and then at about seventy seconds in

698
00:39:44,320 --> 00:39:46,959
Speaker 1: or T plus seventy seconds after the credits, were also

699
00:39:47,040 --> 00:39:49,480
Speaker 1: onto something else. After the burning city, there's like a

700
00:39:49,560 --> 00:39:52,799
Speaker 1: giant radio dish and a motorcade, and then we meet

701
00:39:52,880 --> 00:39:57,360
Speaker 1: the professor and there's already a press gaggle shoving microphones

702
00:39:57,400 --> 00:39:59,279
Speaker 1: in his face, and they want to know is it

703
00:39:59,320 --> 00:40:02,880
Speaker 1: an attack another planet? What kind of monsters are they?

704
00:40:03,440 --> 00:40:05,600
Speaker 1: And the Professor's having to push through them to to

705
00:40:05,719 --> 00:40:08,440
Speaker 1: get down to business. This, of course, is Professor Chang,

706
00:40:09,000 --> 00:40:11,640
Speaker 1: and he goes into this place where everybody's wearing these

707
00:40:11,880 --> 00:40:14,640
Speaker 1: uh it's like a science center, but everybody's wearing these

708
00:40:14,960 --> 00:40:19,520
Speaker 1: shiny uniforms, whether they look like they're members of ABBA. Yeah.

709
00:40:19,840 --> 00:40:24,520
Speaker 1: Even the professor's lab coat is speak silver and shiny. Yeah. Yeah.

710
00:40:25,080 --> 00:40:26,920
Speaker 1: And and it was at this point where I was like,

711
00:40:27,080 --> 00:40:30,120
Speaker 1: I have to stop trying to take comprehensive notes because

712
00:40:30,440 --> 00:40:33,040
Speaker 1: the movie is just too much, too fast. And I'm

713
00:40:33,080 --> 00:40:37,680
Speaker 1: not like I was pausing it literally every couple of seconds. Yeah.

714
00:40:37,719 --> 00:40:39,120
Speaker 1: I mean, if we if you were to make a

715
00:40:39,239 --> 00:40:43,120
Speaker 1: note about every crazy cool thing you saw in this movie,

716
00:40:43,840 --> 00:40:46,600
Speaker 1: or if we tried to talk about every crazy cool

717
00:40:46,640 --> 00:40:49,440
Speaker 1: thing we saw in this movie, like we we'd never finish,

718
00:40:49,960 --> 00:40:52,120
Speaker 1: you know, um, so many films. It's like if it

719
00:40:52,160 --> 00:40:54,600
Speaker 1: has that one really weird thing you can focus on

720
00:40:54,840 --> 00:40:57,160
Speaker 1: and and dwell on, you know, you can have a

721
00:40:57,200 --> 00:40:59,160
Speaker 1: good time with it. But yeah, there's just so much

722
00:40:59,200 --> 00:41:02,160
Speaker 1: in this film. It's it's it's it's just you know,

723
00:41:02,320 --> 00:41:05,600
Speaker 1: visual overload in the best sense. So obviously this movie

724
00:41:05,719 --> 00:41:07,560
Speaker 1: is going to have a lot of action, a lot

725
00:41:07,640 --> 00:41:11,640
Speaker 1: of monster fights, you know, a lot of martial arts fighting,

726
00:41:11,719 --> 00:41:14,960
Speaker 1: but then also sort of gadget fighting with monsters. And

727
00:41:15,120 --> 00:41:17,760
Speaker 1: I gotta say this was this was top notch fighting.

728
00:41:17,840 --> 00:41:19,719
Speaker 1: I am of the opinion, I know I've said this

729
00:41:19,800 --> 00:41:23,160
Speaker 1: on this show before that a lot of times action

730
00:41:23,320 --> 00:41:27,720
Speaker 1: in movies is actually is quite boring because I thinks

731
00:41:27,800 --> 00:41:31,680
Speaker 1: some you know, subpar filmmakers think, well, uh, you know,

732
00:41:31,840 --> 00:41:33,839
Speaker 1: you just got to like put some action in there,

733
00:41:33,920 --> 00:41:35,880
Speaker 1: Like they think of action is just like a block

734
00:41:36,200 --> 00:41:40,160
Speaker 1: of some run time that will liven things up because

735
00:41:40,280 --> 00:41:43,520
Speaker 1: there's violence going on. But violence in itself is not

736
00:41:43,760 --> 00:41:47,640
Speaker 1: exciting or interesting. If it's like dramatically static, there's gotta

737
00:41:47,640 --> 00:41:50,360
Speaker 1: be you know, drama to the action. There's there have

738
00:41:50,480 --> 00:41:53,160
Speaker 1: to be changeups, there have to be interesting things happening

739
00:41:53,360 --> 00:41:57,440
Speaker 1: during the fighting. Yeah, I mean, ultimately a choreograph fight

740
00:41:57,560 --> 00:42:01,200
Speaker 1: needs to tell a story. And if you're film uh

741
00:42:01,520 --> 00:42:04,560
Speaker 1: like style is a bunch of likes. I've seen films

742
00:42:04,600 --> 00:42:06,680
Speaker 1: before where they have like truly some some great looking

743
00:42:06,719 --> 00:42:08,680
Speaker 1: stunt work going on. But if you cut it in

744
00:42:08,800 --> 00:42:10,840
Speaker 1: such a way that you can't follow it, there's no like,

745
00:42:11,000 --> 00:42:14,399
Speaker 1: there's no beats to it. Uh you know, there's there's

746
00:42:14,440 --> 00:42:17,040
Speaker 1: no back and forth, like you can't really get into it.

747
00:42:17,560 --> 00:42:20,160
Speaker 1: And so yeah, they the action in this film, you know,

748
00:42:20,200 --> 00:42:24,160
Speaker 1: perhaps unsurprisingly given the Shop Brothers production of it, um,

749
00:42:25,239 --> 00:42:28,120
Speaker 1: the action is excellent, Like every all the stunts are

750
00:42:28,239 --> 00:42:33,560
Speaker 1: are tremendous. Um, everything feels real even with even though

751
00:42:33,600 --> 00:42:36,640
Speaker 1: you have these, you know, at times ridiculous elements going on,

752
00:42:36,880 --> 00:42:41,440
Speaker 1: like like flying, lethal kicks and exploding spears and uh

753
00:42:41,920 --> 00:42:45,239
Speaker 1: you know, fire breathing and laser beams. It's it's still

754
00:42:45,400 --> 00:42:48,719
Speaker 1: has a very intense physicality to it. Oh yeah, and

755
00:42:48,800 --> 00:42:50,720
Speaker 1: the and they know how to make the the action

756
00:42:50,800 --> 00:42:53,839
Speaker 1: more exciting by not just having punching and kicking back

757
00:42:53,880 --> 00:42:56,120
Speaker 1: and forth going on for a long time, like they

758
00:42:56,239 --> 00:42:59,120
Speaker 1: keep changing it up with different tactics. Uh. And I

759
00:42:59,280 --> 00:43:03,759
Speaker 1: was actually repeatedly impressed by the ways that Infaman came

760
00:43:03,880 --> 00:43:07,640
Speaker 1: up with strategies for defeating the different monsters. Uh. So,

761
00:43:07,840 --> 00:43:11,280
Speaker 1: for example, you've got the robots that shoot the spiky

762
00:43:11,360 --> 00:43:14,040
Speaker 1: balls out of their arms basically on slink ease. You know,

763
00:43:14,120 --> 00:43:18,600
Speaker 1: they're they're slinky, retractable robots, And how he defeats them

764
00:43:18,960 --> 00:43:22,279
Speaker 1: is by tangling up their slinkies. Genius, genius, I mean

765
00:43:22,400 --> 00:43:25,160
Speaker 1: that that makes perfect sense. Actually, yeah, and that was

766
00:43:25,239 --> 00:43:28,439
Speaker 1: after he tried to use lethal kick on them, which

767
00:43:28,480 --> 00:43:31,399
Speaker 1: is this fabulous double footed flying kick that he says

768
00:43:32,040 --> 00:43:35,520
Speaker 1: lethal kick while doing it. Um, he had used that

769
00:43:35,560 --> 00:43:37,600
Speaker 1: successfully on a few of the other monsters and then

770
00:43:37,680 --> 00:43:39,279
Speaker 1: now it doesn't work. Now we have to go on

771
00:43:39,400 --> 00:43:41,760
Speaker 1: to the next you know, it's just it's it's it's beautiful.

772
00:43:42,040 --> 00:43:44,959
Speaker 1: So we mentioned earlier that I think we both really

773
00:43:45,080 --> 00:43:48,520
Speaker 1: enjoyed the sudden shift where the movie goes from this

774
00:43:48,920 --> 00:43:53,719
Speaker 1: big monsters sci fi action thing into an espionage movie

775
00:43:53,840 --> 00:43:56,719
Speaker 1: for a few minutes where one of the human scientists

776
00:43:56,960 --> 00:44:01,160
Speaker 1: is is kidnapped by by Princess Dragon Mom and they

777
00:44:01,239 --> 00:44:03,319
Speaker 1: take her down. They take him down to the base

778
00:44:03,600 --> 00:44:07,080
Speaker 1: and she demon there points this giant gun at his

779
00:44:07,200 --> 00:44:10,320
Speaker 1: head that like laser brainwashes him and we see a

780
00:44:10,400 --> 00:44:14,360
Speaker 1: little animated screen read out of his brain. Uh. And

781
00:44:14,480 --> 00:44:17,480
Speaker 1: then he has turned into a sleeper agent for Princess

782
00:44:17,560 --> 00:44:21,279
Speaker 1: Dragon Mom with green eyes. Uh, Like his eyes glow green,

783
00:44:21,680 --> 00:44:24,399
Speaker 1: and they send him back to like do spy work.

784
00:44:24,480 --> 00:44:27,360
Speaker 1: He's trying to steal the plans for Inframan so that

785
00:44:27,600 --> 00:44:31,320
Speaker 1: Princess Dragon Mom will know exactly what his weaknesses. And

786
00:44:31,440 --> 00:44:34,000
Speaker 1: that whole sequence was so cool, especially I like the

787
00:44:34,080 --> 00:44:36,960
Speaker 1: way that this was a simple touch, but the way

788
00:44:37,080 --> 00:44:39,360
Speaker 1: they show that he's different when his eyes are not

789
00:44:39,440 --> 00:44:42,760
Speaker 1: glowing green and shooting lasers at people. When he's reinfiltrating

790
00:44:42,800 --> 00:44:44,759
Speaker 1: the base where he worked. They just put a little

791
00:44:44,760 --> 00:44:47,279
Speaker 1: bit of makeup under his eyes, like he's dark, you know,

792
00:44:47,520 --> 00:44:50,399
Speaker 1: his the undersides of his eyes are darkened, so something

793
00:44:50,520 --> 00:44:53,879
Speaker 1: looks off about him. But everybody's just like, oh, hey,

794
00:44:53,960 --> 00:44:58,120
Speaker 1: welcome back. Yeah. I really don't want to spoil too much.

795
00:44:58,200 --> 00:44:59,840
Speaker 1: I mean, this is one that I hope, you know,

796
00:45:00,040 --> 00:45:02,000
Speaker 1: hope everybody sees at some point, So I don't want

797
00:45:02,000 --> 00:45:04,640
Speaker 1: to spoil too much about the little details of of

798
00:45:04,760 --> 00:45:07,640
Speaker 1: each battle. But there are some great parts where where

799
00:45:07,680 --> 00:45:10,600
Speaker 1: a monster suddenly decides to get huge, you know, to

800
00:45:10,760 --> 00:45:14,520
Speaker 1: grow to two kaiju size and then um and then

801
00:45:14,600 --> 00:45:17,360
Speaker 1: Informan grows in turn. I didn't know he had that power,

802
00:45:17,480 --> 00:45:19,160
Speaker 1: but he like sticks his fist up in the air

803
00:45:19,239 --> 00:45:22,920
Speaker 1: and then he transforms into giant Infra man Um. And

804
00:45:23,160 --> 00:45:26,839
Speaker 1: then the final battle down in the in the ice

805
00:45:26,960 --> 00:45:29,759
Speaker 1: Palace of the Earth where Princess Dragon Mom lives is

806
00:45:29,840 --> 00:45:33,600
Speaker 1: also just wonderful. Yeah, and there's a there's a penultimate

807
00:45:33,640 --> 00:45:36,640
Speaker 1: battle too on the surface that I really love because

808
00:45:36,680 --> 00:45:39,640
Speaker 1: it's between Team Informan when in they're like Abba esque

809
00:45:39,880 --> 00:45:45,040
Speaker 1: costumes and the skeleton army that's serving Princess ils above

810
00:45:45,239 --> 00:45:48,799
Speaker 1: which we haven't really described completely, but there it's kind

811
00:45:48,800 --> 00:45:51,880
Speaker 1: of like bicycle helmets with an actual skull face underneath

812
00:45:51,960 --> 00:45:57,560
Speaker 1: it in horns and these cool exploding spears. They look amazing.

813
00:45:58,080 --> 00:46:00,600
Speaker 1: And this is like a big epic attle with I

814
00:46:00,640 --> 00:46:04,360
Speaker 1: don't know, like at least twenty stunt man on the

815
00:46:04,600 --> 00:46:07,520
Speaker 1: on the scene at one time, flying all over the place.

816
00:46:08,000 --> 00:46:11,560
Speaker 1: Stuff is blowing up, and there's it's also just really

817
00:46:11,600 --> 00:46:15,400
Speaker 1: well shot, like there's one terrific pan across the action. Uh.

818
00:46:15,560 --> 00:46:18,120
Speaker 1: That is absolutely beautiful and conveys a sense of epic

819
00:46:18,200 --> 00:46:20,920
Speaker 1: battle better than I think most epic battle films that

820
00:46:20,960 --> 00:46:23,439
Speaker 1: I've seen. Last thing I got to mention, I could

821
00:46:23,560 --> 00:46:27,480
Speaker 1: not stop thinking about that shot where after the monsters

822
00:46:27,520 --> 00:46:31,840
Speaker 1: go out and kidnap uh Professor Chang's daughter, and we

823
00:46:31,960 --> 00:46:36,640
Speaker 1: just see them riding on a boat. Oh, it's so good,

824
00:46:36,719 --> 00:46:39,080
Speaker 1: the power boats cutting through the water going back to

825
00:46:39,160 --> 00:46:42,400
Speaker 1: the the Evil Island fortress and they're all just chilling

826
00:46:42,480 --> 00:46:44,920
Speaker 1: on the boat. Yeah. It's like skull guy to one

827
00:46:45,000 --> 00:46:47,400
Speaker 1: side of him, monster to the other. And as my

828
00:46:47,560 --> 00:46:49,200
Speaker 1: my wife pointed out, she got to watch this part

829
00:46:49,239 --> 00:46:50,960
Speaker 1: and she loved it too. She's like, you also see

830
00:46:51,000 --> 00:46:54,000
Speaker 1: the Professor do this kind of awkward necktie adjustment and

831
00:46:54,040 --> 00:46:59,239
Speaker 1: he's like, it's windy out here on the water today. Yeah.

832
00:46:59,600 --> 00:47:02,760
Speaker 1: Like I said, both my my wife and son were

833
00:47:02,840 --> 00:47:05,400
Speaker 1: totally won over by this film. My son was a

834
00:47:05,480 --> 00:47:08,200
Speaker 1: little hesitant to watch it. He was like, I said

835
00:47:08,280 --> 00:47:09,640
Speaker 1: him the trailer and he's like, I don't know, it

836
00:47:09,680 --> 00:47:11,120
Speaker 1: doesn't look like it has as much of a plot,

837
00:47:11,360 --> 00:47:13,919
Speaker 1: which on one level, you know, that's a good read.

838
00:47:14,360 --> 00:47:19,359
Speaker 1: But but but then when foolish, well, he's really into

839
00:47:19,440 --> 00:47:23,479
Speaker 1: the movie Shangshi that came out, the new Marvel film,

840
00:47:23,560 --> 00:47:26,640
Speaker 1: which is in my opinion, excellent, and uh and he

841
00:47:26,760 --> 00:47:28,919
Speaker 1: loved it too. It has you know, action and great

842
00:47:29,000 --> 00:47:31,840
Speaker 1: characters and story. So you know, that's a that's a

843
00:47:31,920 --> 00:47:34,720
Speaker 1: high bar to set for your your martial arts films.

844
00:47:35,280 --> 00:47:37,520
Speaker 1: Uh So at first he was a little hesitant. At first,

845
00:47:37,560 --> 00:47:39,359
Speaker 1: he was like, I would give this the martial arts

846
00:47:39,400 --> 00:47:42,600
Speaker 1: in this film, I think a six um but I'm

847
00:47:42,600 --> 00:47:44,399
Speaker 1: not sure out of how many I think he's using

848
00:47:44,400 --> 00:47:46,960
Speaker 1: a ten point scale, I'm not sure. But as it

849
00:47:47,120 --> 00:47:49,239
Speaker 1: proceeded he was like, no, I take it back. This

850
00:47:49,400 --> 00:47:51,879
Speaker 1: is this is great, this is so funny. I love it. So, yeah,

851
00:47:52,160 --> 00:47:54,680
Speaker 1: it's a different kind of you make a big budget

852
00:47:55,000 --> 00:47:57,040
Speaker 1: movie today, and there's obviously a lot you can do

853
00:47:57,239 --> 00:47:59,960
Speaker 1: with lots of money and the technology you know, see

854
00:48:00,080 --> 00:48:01,480
Speaker 1: g I and all that. But I think I have

855
00:48:01,640 --> 00:48:07,160
Speaker 1: even more respect for the kind of sheer creative force

856
00:48:07,239 --> 00:48:09,560
Speaker 1: and genius that allows you to do so much with

857
00:48:09,680 --> 00:48:14,440
Speaker 1: the more limited resources available in n Yeah, I think,

858
00:48:14,440 --> 00:48:16,680
Speaker 1: as as my wife pointed out, you really have to

859
00:48:16,800 --> 00:48:19,960
Speaker 1: sort of look to films like um Barbarella or Flash

860
00:48:20,040 --> 00:48:23,520
Speaker 1: Gordon defined like Western counterparts that kind of match it

861
00:48:23,719 --> 00:48:27,839
Speaker 1: for just tremendous sets and outfits. Yeah, so I'm gonna

862
00:48:27,840 --> 00:48:30,279
Speaker 1: speak on Roger Robert's behalf. I think the changing to

863
00:48:30,400 --> 00:48:32,440
Speaker 1: three stars was an error he meant to do for

864
00:48:32,719 --> 00:48:35,360
Speaker 1: that was just a typo. I give it four stars

865
00:48:35,400 --> 00:48:38,600
Speaker 1: as well. This is one of my new all time favorites.

866
00:48:39,640 --> 00:48:41,600
Speaker 1: I'm gonna have to find it, like, what's what's the

867
00:48:41,680 --> 00:48:44,239
Speaker 1: best like disk of this to own? Because I know

868
00:48:44,400 --> 00:48:46,640
Speaker 1: I will be revisiting it time after time for the

869
00:48:46,719 --> 00:48:49,040
Speaker 1: rest of my life. Yeah, I'm gonna either have to

870
00:48:49,080 --> 00:48:51,799
Speaker 1: buy it or rent it again. Because my son only

871
00:48:51,840 --> 00:48:53,560
Speaker 1: watched the last thirty minutes and he was asking me

872
00:48:53,640 --> 00:48:56,680
Speaker 1: this morning. He's like, what happened before uh, tell me

873
00:48:56,719 --> 00:48:58,359
Speaker 1: about it. I'm like, well, we'll just have to watch

874
00:48:58,400 --> 00:49:01,480
Speaker 1: it again. So yeah, you can. You can buy or

875
00:49:01,520 --> 00:49:04,080
Speaker 1: rent this film digitally at various websites. We mentioned a

876
00:49:04,120 --> 00:49:08,160
Speaker 1: couple already. Um, but eighty eight Films also has a

877
00:49:08,440 --> 00:49:12,280
Speaker 1: wonderful looking blu ray out of the film that offers

878
00:49:12,320 --> 00:49:15,480
Speaker 1: the restored uncut HD transfer and I believe that's what

879
00:49:15,640 --> 00:49:19,960
Speaker 1: we were watching as well. Um, in digital form. They're

880
00:49:20,000 --> 00:49:23,200
Speaker 1: also various international formats available out there. But again we

881
00:49:23,280 --> 00:49:25,680
Speaker 1: gotta stress if you watch this film, watch it in

882
00:49:25,760 --> 00:49:30,520
Speaker 1: the best visual quality possible. Uh, don't settle for a rip, agreed.

883
00:49:30,840 --> 00:49:32,040
Speaker 1: I mean, I guess if you get the chance to

884
00:49:32,040 --> 00:49:33,719
Speaker 1: see it on the big screen, go for it. Um,

885
00:49:34,680 --> 00:49:39,040
Speaker 1: that would be amazing. Yeah. So anyway, Yeah, great film,

886
00:49:39,360 --> 00:49:42,279
Speaker 1: highly recommended. Uh, you know, one of the one of

887
00:49:42,320 --> 00:49:45,040
Speaker 1: the best we've watched on a Weirdolt Cinema here. Speaking

888
00:49:45,080 --> 00:49:46,680
Speaker 1: of which, if you want to watch other episodes of

889
00:49:46,719 --> 00:49:49,400
Speaker 1: Weird House Cinema, well, um, I told you where there

890
00:49:49,520 --> 00:49:53,800
Speaker 1: archived earlier, but you can catch new episodes every Friday

891
00:49:54,239 --> 00:49:56,560
Speaker 1: in the Stuff to Blow your Mind podcast feed. We

892
00:49:56,600 --> 00:50:01,520
Speaker 1: are primarily a science and culture and curiosity the podcast

893
00:50:01,800 --> 00:50:04,680
Speaker 1: with Core episodes that come out on Tuesdays and Thursdays.

894
00:50:05,040 --> 00:50:07,520
Speaker 1: We have a short form artifact that comes out on Wednesdays.

895
00:50:07,560 --> 00:50:10,080
Speaker 1: We have listener mail on Monday's rerun on the weekend,

896
00:50:10,120 --> 00:50:13,200
Speaker 1: but on Fridays, that's when we just set most of

897
00:50:13,239 --> 00:50:16,160
Speaker 1: our serious concerns aside and just focus in on a

898
00:50:16,239 --> 00:50:19,480
Speaker 1: weird film. Huge thanks as always to our excellent audio

899
00:50:19,560 --> 00:50:22,480
Speaker 1: producer Seth Nicholas Johnson. If you would like to get

900
00:50:22,520 --> 00:50:24,680
Speaker 1: in touch with us with feedback on this episode or

901
00:50:24,680 --> 00:50:26,759
Speaker 1: any other, to suggest topic for the future, or just

902
00:50:26,920 --> 00:50:29,600
Speaker 1: to say hello, you can email us at contact at

903
00:50:29,680 --> 00:50:39,319
Speaker 1: stuff to Blow your Mind dot com. Stuff to Blow

904
00:50:39,360 --> 00:50:41,880
Speaker 1: Your Mind is production of I Heart Radio. For more

905
00:50:41,960 --> 00:50:44,520
Speaker 1: podcasts my heart Radio, visit the i heart Radio app,

906
00:50:44,719 --> 00:50:47,440
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.