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Speaker 1: Welcome to Stuff to Blow your Mind 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 this is Joe McCormick. And today we're

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Speaker 1: gonna be talking about the nineteen fifty eight British sci

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Speaker 1: fi horror classic Fiend Without a Face. Uh, this is

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Speaker 1: truly a kind of international venture because this is a

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Speaker 1: British film about an American Atomic Air Force base in Canada. Yeah,

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Speaker 1: this is This is also independently financed if I remember correctly.

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Speaker 1: And hey everybody, we're classing it up a bit here

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Speaker 1: today because this is a Criterion collection. Um. I think

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Speaker 1: the only previous Criterion collection film we've watched was Godzilla

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Speaker 1: versus Hidora. Um. And now, if you're wondering, well, what

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Speaker 1: is the Criterion collection criteria, it is quote unquote important

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Speaker 1: classics and contemporary are films. So today's film is about

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Speaker 1: a bunch of dudes shooting brain monsters with handguns in

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Speaker 1: a truly marvelous fashion. I will say that the special

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Speaker 1: effects of the last like fifteen minutes of this movie,

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Speaker 1: it's hard to believe that they were released in a

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Speaker 1: movie of nineteen fifty eight, Like, uh, this is a

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Speaker 1: movie mostly about invisible monsters, but once you finally see

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Speaker 1: the monsters revealed in their true form at the end

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Speaker 1: of the movie, they are these amazing stop motion brain

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Speaker 1: creatures and they are Ray Harryhausen level. It's like top

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Speaker 1: notch stop motion effects. And also gore that is absolutely disgusting.

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Speaker 1: It's like when the when the military buzz cuts are

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Speaker 1: shooting these brains, there is just chunky salsa flying out

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Speaker 1: of the bullet holes. It is gross. Yeah. Yeah. And

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Speaker 1: the sound effects are wonderful to lots of squeaky sound

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Speaker 1: effects for these guys when they're crawling around, but also

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Speaker 1: when they're inevitably shot or busted up with an axe.

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Speaker 1: Uh yeah that the effects here really feel ahead of

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Speaker 1: their time. Um, you know, there may be some I'm

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Speaker 1: sure there are some other films you can compare them

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Speaker 1: favorably to. But like, just for my own part, I'm

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Speaker 1: thinking Brainstorm Monster. I also think of The Tingler. The

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Speaker 1: Tingler came out the following year in nine nine, and

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Speaker 1: I love The Tingler. That's a great film, great monster

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Speaker 1: but and and and it's it's effectively portrayed on the

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Speaker 1: on the screen. But the like the the effects gap

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Speaker 1: between how we see The Tingler and how we see

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Speaker 1: these creatures. Uh, it's it's pretty pretty wide. Yeah. I

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Speaker 1: would also say a major difference is that the main

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Speaker 1: actor in The Tingler is Vincent Price, who I mean, Yeah,

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Speaker 1: I gotta love Vincent Price. The main actor in this

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Speaker 1: movie is much more down the middle of the kind

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Speaker 1: of guy who was always the stock hero in these

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Speaker 1: nineteen fifties sci fi horror movies. Absolute flat top dolt,

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Speaker 1: just a gray bucket filled to the brim with skim milk.

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Speaker 1: What is it about these fifties movies having the most

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Speaker 1: boring square hero almost every time? Oh? Yeah, I mean

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Speaker 1: it very much seems to have been the style of

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Speaker 1: the day. I mean, I'm instantly reminded of fifty ones,

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Speaker 1: the Thing from Another World, which is just wall to

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Speaker 1: wall with interchangeable guys that look like this. But in

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Speaker 1: terms of characters, I did enjoy a bit of the

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Speaker 1: character texture in uh Fiend without a Face, because this

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Speaker 1: central rectangle man is surrounded by a really interesting cast

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Speaker 1: of weirdos. There's this guy named either Gibson or Gibbons

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Speaker 1: I don't remember, but he's like the town constable who

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Speaker 1: has this baffling accent. He sounds like he's from Mars like.

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Speaker 1: Sometimes he sounds Irish, sometimes he sounds Canadian, sometimes he

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Speaker 1: sounds like New York. I really could you tell what

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Speaker 1: was going on with this guy? I could not. In general,

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Speaker 1: the accents in this this movie, we're we're kind of varied.

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Speaker 1: At times, you felt more like you're in a European

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Speaker 1: setting supposed to a Canadian setting. But yeah, you've got him.

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Speaker 1: You've got the sandwich man. I don't know if you

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Speaker 1: noticed the sandwich man, the guy who's in the military

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Speaker 1: base trying to sneak bites of bologna when the commander

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Speaker 1: isn't looking. Uh. And then you've got the psychic scientists.

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Speaker 1: This is our second movie in a row with an

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Speaker 1: awesome crank. And then finally, of course all the atomic

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Speaker 1: radiation stuff with the workers in the reactor corps who

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Speaker 1: look like they're wearing oiled up leather trench coats. Yea,

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Speaker 1: So is this a great movie all around? Not? Really

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Speaker 1: does have some really great monsters in it, But does

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Speaker 1: it meet the criterion criterion? Is it an important classic? Uh? Yeah? Sure?

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Speaker 1: Why not? Sure? Why not? I mean I find it

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Speaker 1: comforting that Criterion collection has a film like this in there,

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Speaker 1: because again, otherwise, you know, I love Criterion Collection. I

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Speaker 1: think they you know, they do a great job, and

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Speaker 1: some of their additions are fabulous. But either we're all

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Speaker 1: just um, you know, awesome Samurai films and Fellini pictures. Uh,

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Speaker 1: it wouldn't be the same. It's nice that you have

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Speaker 1: room for not only Cronenberg, but also a picture like this.

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Speaker 1: You gotta let the camp in. Yeah, and those middle

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Speaker 1: category movies too, that they do a lot of the

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Speaker 1: ones that are kind of artsy but also kind of

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Speaker 1: pulp trash, Like I feel like Night of the Hunter

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Speaker 1: is kind of in that middle category. I've got the

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Speaker 1: Criterion of that and it's great. Oh yeah, I mean

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Speaker 1: they also a Son of the White Mayor. The first

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Speaker 1: time I watched it, I watched it on the Criterion channel.

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Speaker 1: They're streaming product. So yeah, they have a lot of

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Speaker 1: animation on there. There's a lot of weird stuff in there.

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Speaker 1: So if you if you know, they don't don't assume

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Speaker 1: that it is just Samurai films and Fellini. There's there's

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Speaker 1: room for a lot of other stuff. Not to say

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Speaker 1: Samurai films and Fellini are not awesome and cannot be

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Speaker 1: super weird as well. Now, before we get into discussing

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Speaker 1: some of the themes of this movie, what what's the

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Speaker 1: elevator pitch? I believe it is. Your brain is gross,

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Speaker 1: your brain is a monster? Oh man? How best to

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Speaker 1: quickly summarize this? There is like an atomic air base

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Speaker 1: somewhere in northern Canada. It's like way up in Manitoba,

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Speaker 1: and it's being operated by the US military. They're running

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Speaker 1: some kind of radar experiments and they've got a big

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Speaker 1: nuclear reactor, and people in the local town or mad

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Speaker 1: because of the nuclear reactor. Their cows are giving sour milk.

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Speaker 1: People start mysteriously dying when they're being attacked by some

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Speaker 1: kind of invisible creature. And eventually the culprit is linked

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Speaker 1: to the psychical experiments of a crazy old crank who

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Speaker 1: specializes in what was they call it psychic investigations or something. Yeah,

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Speaker 1: and he's kind of leeching radiation off of the research

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Speaker 1: facility to further these ends. But I think this movie

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Speaker 1: actually gives us a great opportunity to talk about a

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Speaker 1: problem faced by many horror movies that go this route,

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Speaker 1: which is how do you handle an invisible monster? Uh? Now,

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Speaker 1: even in a movie with a generally visible beast, the

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Speaker 1: question of how much you should show and how early

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Speaker 1: you should show it, I think it's a very important one.

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Speaker 1: I tend to air more on the side of showing

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Speaker 1: less of your monster, especially early on, even though I

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Speaker 1: love to see a good monster. You know, it's good

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Speaker 1: for the pacing of the film, keep the mystery alive long.

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Speaker 1: But at the same time, you've got to have some

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Speaker 1: interesting imagery in the movie to to excite the mind,

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Speaker 1: to sort of titillate the your your sense of horror.

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Speaker 1: You know, you need some swatches of fur to rub,

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Speaker 1: So you've got to show a little bit of the monster.

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Speaker 1: A movie with an invisible monster can't exactly do this

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Speaker 1: by showing you like bits or flashes of the monster,

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Speaker 1: so they have to provide that texture some other way.

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Speaker 1: And maybe this can be through sound design, like we

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Speaker 1: can't see it, but we can hear it. Uh. Sometimes

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Speaker 1: this is through using environmental effects, like seeing things moving

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Speaker 1: around because of the monster or monster, or seeing footsteps

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Speaker 1: or something. And I think this movie, uh, it's most

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Speaker 1: memorable once you can finally see the brains that are

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Speaker 1: attacking everyone, But it actually has some earlier scenes that

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Speaker 1: do work very well with this invisibility criterion. One image

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Speaker 1: that really worked for me was the scene where the

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Speaker 1: Invisible Monster cuts a slit in a screen door, which

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Speaker 1: I think is all done with stop motion, but it

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Speaker 1: looks fantastic and it's very creepy. Yeah, that's a great sequence,

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Speaker 1: and it's it's our first I think it's our first

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Speaker 1: real taste of the stop motion mastery to come well.

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Speaker 1: I was trying to think about movies that do invisible

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Speaker 1: monsters really well and thinking what techniques do they use,

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Speaker 1: how do they do it. One recent example that came

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Speaker 1: to mind is the remake of the universal horror classic

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Speaker 1: The Invisible Man. This version started Elizabeth Moss, and I

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Speaker 1: think this is a fantastic example. This movie works especially

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Speaker 1: well because the invisibility of the villain is not just

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Speaker 1: a blunt, practical aid to his evil plans, but it's

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Speaker 1: sort of a cohesive theme that's interwoven through the story.

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Speaker 1: Like it poses questions that people, you know, many people

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Speaker 1: would face at some point. What do you do when

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Speaker 1: the thing that is threatening you is something that nobody

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Speaker 1: can see, and if you can't see it yourself, how

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Speaker 1: do you know it's real? And not just a figment

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Speaker 1: of your imagination. Uh. And this place directly into the

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Speaker 1: mechanics of the film, like they're they're really scary scenes

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Speaker 1: in it, and they work by creating lots of uncertainty.

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Speaker 1: There's a lot of did we really just see that?

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Speaker 1: Or did I hear something weird? There are several memorable, long,

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Speaker 1: uneasy shots of empty rooms that there's nobody in the room,

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Speaker 1: nothing is moving. You're just seeing the empty room for

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Speaker 1: it for a long time, and you keep wondering, is

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Speaker 1: something going to happen? Am I going to see anything?

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Speaker 1: Am I gonna see something move? And the tension created

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Speaker 1: by that ambiguity is horror gold. Yeah, I've heard great

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Speaker 1: things about about this one. I haven't seen it yet,

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Speaker 1: and I have to have to say I was probably

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Speaker 1: a little bit turned off of the idea of invisible

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Speaker 1: man movies in general because of Paul Verrhoven's Hollow Man

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Speaker 1: Pictures years and years ago. Uh that is. I love

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Speaker 1: Paul Verehoven, but that movie is a travesty. It is horrible.

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Speaker 1: But I love Elizabeth Moss, So you know, some some

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Speaker 1: solid invisible man effects I'd be in for that. It's

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Speaker 1: it's weird to think about invisible man movies because I

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Speaker 1: don't know that it's very it's a very appealing concept,

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Speaker 1: obviously we keep coming back to it. Um. But then

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Speaker 1: to have a non visual enemy, you have to have

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Speaker 1: these visual clues to really drive home what's happening. And

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Speaker 1: then I also think about various ghost films and hologram

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Speaker 1: people movies where you have somebody who is invisible to everybody,

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Speaker 1: but the viewer can see them. And for some reason,

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Speaker 1: I was just wondering, like, does that work just as

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Speaker 1: well as having some sort of really cool invisible person affect? Um,

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Speaker 1: could you do an adaptation of the Invisible Man and

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Speaker 1: just say, actually, we're going to see the invisible man

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Speaker 1: the whole time, um, and that will just be our

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Speaker 1: point of view for things. Oh yeah, I see what

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Speaker 1: you're saying. Just so like it's understood that the characters

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Speaker 1: can't Well, actually, I can think of a movie that

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Speaker 1: is sort of like that, which is Predator. Uh you know,

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Speaker 1: so in Predator there are scenes where the alien has

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Speaker 1: its invisibility cloak on, and like we the audience can

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Speaker 1: see there's something there, it's not I mean, we can't

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Speaker 1: see the full design of the creature, but we can

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Speaker 1: see a kind of blurry humanoid outline. The audience is

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Speaker 1: able to see this in a way that the characters can't. Really.

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Speaker 1: I think there's only like one character in the movie

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Speaker 1: who can kind of see something when none of the

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Speaker 1: others can. But there's actually a way. I would say

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Speaker 1: that Fiend Without a Face and Predator have something very

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Speaker 1: similar in common. Both are movies with invisible monsters that

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Speaker 1: create a kind of boundary crossing revelatory moment in the

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Speaker 1: final act of the film when the invisibility is is

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Speaker 1: turned off. Basically like for most of the runtime in

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Speaker 1: both movies, the monsters are invisible, but then in the

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Speaker 1: last fifteen minutes or so, the invisibility fails and we

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Speaker 1: get to see their true form, and that transition is exciting.

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Speaker 1: It makes it feel like the movie is kind of

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Speaker 1: ascended into a different place, at different level of steaks.

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Speaker 1: It creates this escalating sense of horror that I think

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Speaker 1: would not be the case if the monsters had just

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Speaker 1: been fully visible from early on. Yeah. Yeah, and it

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Speaker 1: works well like that because that's like you said earlier,

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Speaker 1: that's that's often the case with monsters in general. Uh,

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Speaker 1: don't show a lot of the monster early on. Maybe

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Speaker 1: you even rely on a lot of like monster point

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Speaker 1: of view shots and uh, and shots that sometimes obscure

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Speaker 1: completely the creature that will be revealed in full later

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Speaker 1: on in the picture. Yeah, it's nice to get little

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Speaker 1: glimpses or clues, like I think in in Predator, there's

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Speaker 1: a scene early on where we don't see the creatures

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Speaker 1: full form, but we see I think, like we see

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Speaker 1: from its point of view and we see like it's

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Speaker 1: arm after it's been injured or something. And then with

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Speaker 1: the brains in this movie, we never see them in

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Speaker 1: full but like at one point we see one I

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Speaker 1: think moving through a puddle of paint or something, and

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Speaker 1: and you see the trail that it leaves. Yeah, Predator

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Speaker 1: and Fiend Without a Face are are also similar in

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Speaker 1: that some movies put off as long as possible showing

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Speaker 1: you that monster because, let's face it, the monster effect

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Speaker 1: is not that great. But both Predator and Fiend without

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Speaker 1: a Face have amazing monsters, you know, given the time

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Speaker 1: periods that these films were released in, and also like

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Speaker 1: the budgetary constraints, uh, certainly on Fiend without a Face. Uh,

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Speaker 1: Like both both of the effects look amazing when they're

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Speaker 1: finally revealed, which is almost something of a surprise in

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Speaker 1: a film. It's kind of like in Um Friday the

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Speaker 1: Thirteenth New Blood when the mask comes off Jason and

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Speaker 1: it looks so amazing. Okay, there's part of me that

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Speaker 1: doesn't expect the sub mask makeup to be that good.

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Speaker 1: You might expect something more like in Jason Takes Manhattan,

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Speaker 1: where he's like a cute gray muppet. Okay, Well, before

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Speaker 1: we go any further, maybe we should hear some trailer audio. Brain,

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Speaker 1: let's go. That's not all The entire spinal cord is missing.

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Speaker 1: It's incredible. This is if some mental vampire at work.

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Speaker 1: Does it come from another country or another world? This

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Speaker 1: terrifying menace that G two must destroy before it's too late.

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Speaker 1: Image is fading, Sir, There it goes again. Central, How

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Speaker 1: can they stop this invisible force whose only warning is

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Speaker 1: a weird, blood chilling sound. Only two people still alive

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Speaker 1: can help this agent find the answers, the girl who

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Speaker 1: could be a spy and the scientist who could be

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Speaker 1: the destroyer of the entire human race. We're facing a

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Speaker 1: new form of life, but nobody understands. I believe it

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Speaker 1: feeds on the radiation from your atomic plants, and that

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Speaker 1: it's evil to stop him. There's only one way shut

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Speaker 1: down your atomic If I can get through, I can

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Speaker 1: blow out the control room. All right. Yeah, that's a fun,

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Speaker 1: fun trailer um including the phrase science gone wild, which

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Speaker 1: I guess is more more of a pure statement at

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Speaker 1: the time. Um. I mean, another thing I think it's

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Speaker 1: worth appreciating about this is I think Fiend Without a

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Speaker 1: Face was really pushing what you could get away with

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Speaker 1: in terms of mainstream film content, in like the level

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Speaker 1: of terror and explicit gore and stuff. And this is

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Speaker 1: really unusual for the time period. I can't really think

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Speaker 1: of any other movie like it. No, No, it definitely

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Speaker 1: stands out. So let's get into some of the people

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Speaker 1: responsible for this baby. So the director was Author Crabtree,

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Speaker 1: who lived nine hundred British filmmaker who learned his craft

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Speaker 1: under a young Alfred Hitchcock. Um. Hitchcock wasn't that much

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Speaker 1: older than him, but but that's what we apparently learned

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Speaker 1: to learn his craft. His first film was Madonna of

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Speaker 1: the Seven Moons, and after a string of pictures in

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Speaker 1: the early nineteen fifties, he switched to directing TV, directing

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Speaker 1: episodes of such shows as the Adventures of Lancelot Uh

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Speaker 1: and The Adventures of Robin Hood even nine Ivanhoe starring

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Speaker 1: Roger Moore. What wow, that sounds dry. That sounds like

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Speaker 1: a dry cracker. Yeah. So towards the end of crab

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Speaker 1: Tree's career and he retired by he moved into B

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Speaker 1: Pictures for just hand full of pictures to sort of

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Speaker 1: round out his career. But as psychotronic film scholar Michael

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Speaker 1: Weldon points out, Crabtre really hit it out of the

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Speaker 1: park with the last two two hits in a row

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Speaker 1: from Mr Crabtree, Michael Weldon writes, because he directed Fiend

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Speaker 1: without a Face in nineteen eight, followed in nineteen fifty

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Speaker 1: nine by Horrors in the Black Museum, a hypno murder

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Speaker 1: film starring Michael Goff. Now, I have not seen that

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Speaker 1: other one, and also I can't vouch for this because

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Speaker 1: I don't remember what the source was. But sometime a

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Speaker 1: while back, I know I was reading about this movie

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Speaker 1: somewhere and recall the claim that Crabtree was not exactly

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Speaker 1: happy to be working on Fiend without a Face and

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Speaker 1: may have tried to Did he try to abandon the

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Speaker 1: production or something. Um, I don't I don't have details

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Speaker 1: on that. I mean, it wouldn't surprise me. This is

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Speaker 1: a guy who had not been doing B movies most

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Speaker 1: of his career and was just kind of, I think,

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Speaker 1: finishing things up career wise. Uh. But you see, that

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Speaker 1: is sometimes the case with with directors actors. You know,

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Speaker 1: you look back on on some of some of these

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Speaker 1: individuals and you might say, remember them for a certain picture,

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Speaker 1: but that picture wasn't really big on their radar at

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Speaker 1: the time. It was just like the next step then

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Speaker 1: before they moved on to this or that. Uh. So's

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Speaker 1: it's always interesting, like what pictures really stand out in

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Speaker 1: the filmography? Uh, you know, even though they might not

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Speaker 1: have been super important to that individual at that time.

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Speaker 1: But there's no arguing with the results. This one's this

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Speaker 1: one's fun. Yeah. All right. Now, as far as the

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Speaker 1: screenwriter on this goes, we'll get to the source material

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Speaker 1: in just a second, but the screenwriter was Herbert J. Later,

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Speaker 1: who was born in nineteen twelve died in ninety three.

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Speaker 1: And Joe, do you remember when we were talking about

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Speaker 1: the Nazi zombie movie shock Waves from seven and we

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Speaker 1: discussed the weird subgenre of Nazi zombie movies, and we

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Speaker 1: pointed to two earlier films with Nazi undead stuff in them.

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Speaker 1: Oh yeah, this seems to be a a rich vein

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Speaker 1: of exploitation movie material undead Nazis in one way or another. There. Yeah, well, uh.

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Speaker 1: One of the films we mentioned was the nineteen forty

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Speaker 1: three John Carradine film titled Revenge of the Zombies, but

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Speaker 1: the other was the nineteen sixties six film titled The

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Speaker 1: Frozen Dead, in which a mad scientist keeps the heads

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Speaker 1: of Nazi war criminals alive so he can reattach them

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Speaker 1: to new bodies. Well, Herbert J. Leader wrote and directed

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Speaker 1: that movie. He also directed episodes of Meet the Press

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Speaker 1: in the late nineteen forties, and wrote and directed nineteen

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Speaker 1: sixty seven's It, starring Roddy McDowell. That's it with an

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Speaker 1: exclamation point, not to be confused with it with a period,

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Speaker 1: right or it or the question mark or the thought

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Speaker 1: provoking Lee open ended it with the semi colon. Oh yes,

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Speaker 1: all right, But like I said, this was this was

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Speaker 1: an adaptation of a of a existing work. That existing

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Speaker 1: work was was a short story titled The Thought Monster

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Speaker 1: by Amelia Reynolds who lived nineteen o three through nineteen

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Speaker 1: seventy eight. She was a groundbreaking female classic old author

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Speaker 1: who pinned the Thought Monster in ninety She wrote numerous

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Speaker 1: works of short fiction, many of which I'm to understand

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Speaker 1: or detective stories, though I have to admit I don't

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Speaker 1: think I've read any of her work unless I am.

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Speaker 1: You know, it's possible, given she wrote a number of things.

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Speaker 1: Maybe I read something in a in a compilation at

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Speaker 1: some point and I've completely forgotten about it. Yeah. Her

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Speaker 1: story was originally published in Weird Tales, and I think

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Speaker 1: you mentioned detective stories. I haven't read it in full,

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Speaker 1: but I found the full text and I did quickly

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Speaker 1: scan through it looking for some how some scenes might

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Speaker 1: align with scenes in the movie. And it looks to

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Speaker 1: me like the original story is more sort of detective

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Speaker 1: oriented than the movie is. I mean, the movie has

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Speaker 1: your standard military square as the leading man. In the movie,

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Speaker 1: he's named Major Cummings. In the original story, it seems

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Speaker 1: like Cummings is not a military dude, but a quote

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Speaker 1: psychic investigator who arrives in town to get to the

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Speaker 1: bottom of these strange murders. Yeah, now that sounds are

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Speaker 1: like a like a weird tale sort of story, and

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Speaker 1: get a psychic investigator in there, Rob, do you mind

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Speaker 1: if I read an exerpt from this story featuring a

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Speaker 1: trope that has come up on this show a number

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Speaker 1: of times before. Oh, all right, so this is from

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Speaker 1: the Thought Monster. That afternoon, Cummings called upon Dr Bradley,

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Speaker 1: who was the coroner. I am going to make a

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Speaker 1: strange request, doctor, he began, I'm going to ask that

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Speaker 1: you permit me to photograph the eyes of this poor man.

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Speaker 1: The doctor, greatly mystified, gave his consent. In the case

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Speaker 1: of a violent death, Cummings explained, as he set up

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Speaker 1: his apparatus, an image of the last thing seen is

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Speaker 1: usually photographed upon the retina of the eye. I want

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Speaker 1: to see whether a carefully developed enlargement won't show us

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Speaker 1: that image. At Bradley's interested request, he promised to let

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Speaker 1: him know the results of the experiment two or three

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Speaker 1: hours later. Therefore, he returned to the doctor's office. I

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Speaker 1: have drawn a blank, he confessed. The eye shows absolutely nothing,

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Speaker 1: but objected the doctor. I thought it was he saw

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Speaker 1: that killed him. Your theory didn't work, then asked Bradley, sympathetically.

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Speaker 1: No Cummings answered, And yet I don't see how it

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Speaker 1: could have failed in a case of this kind. There

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Speaker 1: is one alternative. Perhaps there was nothing for the dying

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Speaker 1: man to see. M hmmm, oh yeah. This is a

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Speaker 1: fun um bad science concept that famously pops up in

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Speaker 1: the nineteen two film Horror express uh Spanish horror film

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Speaker 1: that we've referenced a couple of times on the show, right,

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Speaker 1: the idea that you could find the killer's identity by

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Speaker 1: looking at the retina of the dead person, because the

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Speaker 1: killer was the last thing they saw. But here, uh,

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Speaker 1: they try to use that, but then it doesn't work

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Speaker 1: because I mean, in actuality it doesn't work, but also

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Speaker 1: because the monsters themselves are invisible. And this connects to

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Speaker 1: a recurring theme that's in the movie and the story

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Speaker 1: as well, which is that the people who died die

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Speaker 1: with expressions of such terror on their faces. It appears

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Speaker 1: they have been scared to death. All right, now, I've

401
00:23:00,119 --> 00:23:03,080
Speaker 1: already had a lot of talk about the military square

402
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Speaker 1: or the psychic investigator, Major Cummings. Who who's the actor

403
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Speaker 1: who plays this guy? This is Marshall Thompson who lived

404
00:23:09,920 --> 00:23:14,440
Speaker 1: nineteen five through nine all American actor. You couldn't get

405
00:23:14,440 --> 00:23:18,720
Speaker 1: more all American for the nineteen fifty cinema than this guy. Um,

406
00:23:18,760 --> 00:23:23,399
Speaker 1: he's like a football hamburger. Yeah, he's kept thinking of

407
00:23:23,480 --> 00:23:27,280
Speaker 1: him as his major milk died here. He's just just

408
00:23:27,840 --> 00:23:32,479
Speaker 1: I don't know, but um, yeah, he's uh. Looking at

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Speaker 1: his filmography, he's not a guy who's really familiar with

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Speaker 1: but he seems to have two major wings to his filmography,

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Speaker 1: cult films and family movies about animals. Oh boy, So

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Speaker 1: first the cult stuff. He appears in Cult of the

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Speaker 1: Cobro from nineteen fifty five, this movie. Of course, he's

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Speaker 1: also from It, The Terror from Beyond Space from nineteen

415
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Speaker 1: fifty eight and First Man into Space nineteen fifty nine.

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Speaker 1: Way is that the same IT with Roddy McDowell. I

417
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Speaker 1: think it might be the same IT as as before.

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Speaker 1: I can't imagine there are two IT exclamation point movies.

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Speaker 1: I just didn't have the But weirdly enough, it's not

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Speaker 1: IT colon, so it exclamation point colon The Terror from

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Speaker 1: Beyond Space. Wait a minute, the years don't match up.

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Speaker 1: These might be two different IT with an exclamation points. Yes,

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Speaker 1: you were correct, it's pretty separate. Movies that have it

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Speaker 1: exclamation point. Well, all right, I guess you know it's

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Speaker 1: a solid title now that it exclamation point with Rody McDowell.

426
00:24:28,400 --> 00:24:30,199
Speaker 1: I will say, I have not seen it, but it

427
00:24:30,240 --> 00:24:33,360
Speaker 1: has a great looking monster in it. The monster costume

428
00:24:33,400 --> 00:24:38,040
Speaker 1: looks like something. Um, it's it's pretty pretty intimidating, looks

429
00:24:38,080 --> 00:24:40,680
Speaker 1: kind of like a space money anyway. So those are

430
00:24:40,720 --> 00:24:43,760
Speaker 1: those are Thompson's more cult of films. Now onto the

431
00:24:43,800 --> 00:24:46,159
Speaker 1: animal movies, and this is probably where some of you

432
00:24:46,200 --> 00:24:48,520
Speaker 1: probably know this guy if you're if you're familiar with

433
00:24:48,520 --> 00:24:50,639
Speaker 1: some of these older films. He did a horse movie

434
00:24:50,800 --> 00:24:54,200
Speaker 1: called Gallant Best and forty six, and then he went

435
00:24:54,200 --> 00:24:57,919
Speaker 1: on to star in nine Clarence the Cross Eyed Lion,

436
00:24:58,520 --> 00:25:01,960
Speaker 1: and then the TV series he spinoff of That Doctor,

437
00:25:02,200 --> 00:25:05,880
Speaker 1: which ran for eighty nine episodes, um, which I mean,

438
00:25:05,920 --> 00:25:09,760
Speaker 1: of course, major TV show like eighty nine episodes is

439
00:25:09,800 --> 00:25:12,320
Speaker 1: like half a season, So I don't know how long

440
00:25:12,359 --> 00:25:14,080
Speaker 1: it actually ran, off the top of my head, but

441
00:25:14,200 --> 00:25:17,800
Speaker 1: eighty nine episodes by today's standards, certainly substantial. He later

442
00:25:17,880 --> 00:25:21,960
Speaker 1: directed some Flipper episodes and pops up as the character

443
00:25:22,080 --> 00:25:26,560
Speaker 1: just referred to as director in Samuel Fuller's Serious two film,

444
00:25:26,640 --> 00:25:31,359
Speaker 1: White Dog, starring Christy McNichol and Paul Winfield. Okay, but

445
00:25:31,520 --> 00:25:35,280
Speaker 1: but other cast members I mentioned This movie also has

446
00:25:35,320 --> 00:25:37,800
Speaker 1: a crank, and it much like the loyalized Grasp, is

447
00:25:37,840 --> 00:25:42,400
Speaker 1: the loweralized grasp. Remember had the the Professor who had

448
00:25:42,400 --> 00:25:45,760
Speaker 1: a lab just full of animals wandering around, and he

449
00:25:45,880 --> 00:25:48,879
Speaker 1: figured out that if you inject a severed human hand

450
00:25:49,359 --> 00:25:51,359
Speaker 1: with something and then shine a light on it, it

451
00:25:51,359 --> 00:25:53,320
Speaker 1: will turn into a lizard hand. But then if you

452
00:25:53,359 --> 00:25:56,359
Speaker 1: stab it with a radioactive knife, it turns into a

453
00:25:56,400 --> 00:26:00,439
Speaker 1: pile of nothing. And that was his breakthrough. This movie

454
00:26:00,440 --> 00:26:03,440
Speaker 1: has a crank who discovers that you can turn your

455
00:26:03,480 --> 00:26:07,320
Speaker 1: thoughts into an external zombie like creature that goes around

456
00:26:07,320 --> 00:26:11,280
Speaker 1: sucking out people's brains. Yeah. Like, basically he develops a

457
00:26:11,359 --> 00:26:15,200
Speaker 1: tool pa. You know. It's kind of like psychic projection monster. Yeah,

458
00:26:15,880 --> 00:26:18,720
Speaker 1: which I do have to stress again, you know, the

459
00:26:18,920 --> 00:26:21,320
Speaker 1: plot leading up. It's not like one of these movies

460
00:26:21,400 --> 00:26:24,040
Speaker 1: where oh, just skip to the last third team minutes

461
00:26:24,040 --> 00:26:26,680
Speaker 1: because the rest is direct like they do. It's stuffy

462
00:26:26,760 --> 00:26:28,800
Speaker 1: by too many of today's standards, But I feel like

463
00:26:28,800 --> 00:26:32,800
Speaker 1: they do a pretty good job establishing uh conflict within

464
00:26:32,840 --> 00:26:35,119
Speaker 1: a given environment, you get a feel for where this

465
00:26:35,240 --> 00:26:39,360
Speaker 1: movie is happening, uh and so forth. So I ultimately

466
00:26:39,400 --> 00:26:42,560
Speaker 1: like all of this stuff, even though watching it or

467
00:26:42,560 --> 00:26:45,000
Speaker 1: sort of rewatching it. Uh the other day, I was.

468
00:26:45,480 --> 00:26:47,760
Speaker 1: I was excited to get to the Brain monsters, but

469
00:26:47,800 --> 00:26:50,120
Speaker 1: I still had to appreciate the path that we took

470
00:26:50,160 --> 00:26:52,680
Speaker 1: to get there. Yeah. Like I said earlier, I mean,

471
00:26:53,200 --> 00:26:56,800
Speaker 1: so the main military characters are kind of boring, but

472
00:26:56,840 --> 00:26:59,840
Speaker 1: they're also kind of weird in certain ways. That will

473
00:27:00,000 --> 00:27:02,480
Speaker 1: sin when we talked about the plot and the broader

474
00:27:02,520 --> 00:27:05,000
Speaker 1: cast of characters, including the scientists and some of the

475
00:27:05,000 --> 00:27:10,400
Speaker 1: townspeople I think are positively wacky by by standards. Oh yeah,

476
00:27:10,440 --> 00:27:15,880
Speaker 1: and this guy playing Professor R. E. Wallgate uh Naston Reeves. Oh,

477
00:27:16,080 --> 00:27:19,520
Speaker 1: this guy's a lot of fun. He live through nine one.

478
00:27:19,920 --> 00:27:22,520
Speaker 1: I think it's my favorite performance in the whole film

479
00:27:22,560 --> 00:27:26,520
Speaker 1: because he has this great, weird kind of crunch jaw delivery,

480
00:27:26,720 --> 00:27:30,240
Speaker 1: and he comes off as kind of a protagonist slash

481
00:27:30,320 --> 00:27:35,240
Speaker 1: sort of antagonist blend of JR. Tolkien and Chancellor Palpatine.

482
00:27:35,560 --> 00:27:38,800
Speaker 1: That's good. Yeah, And I have to say the Palpatine

483
00:27:39,119 --> 00:27:42,280
Speaker 1: thing connection here for me came largely from a line

484
00:27:42,320 --> 00:27:45,960
Speaker 1: he has in which Barbara, his assistant, uh, says, I

485
00:27:45,960 --> 00:27:47,959
Speaker 1: didn't know you had a laboratory. He mentions he has

486
00:27:48,000 --> 00:27:50,399
Speaker 1: a laboratory, and he's like, it's not a story the

487
00:27:50,480 --> 00:27:55,880
Speaker 1: Jedi would tell you. But anyway. Reeves had a hundred

488
00:27:55,920 --> 00:27:59,320
Speaker 1: and fifty two credits according to IMDb, and acted from

489
00:28:00,640 --> 00:28:03,719
Speaker 1: one through nine seventy. He appeared in The forsythe Saga

490
00:28:03,760 --> 00:28:06,840
Speaker 1: in the sixties and is also known among you know,

491
00:28:06,920 --> 00:28:09,600
Speaker 1: some classic film fans for his role in house Master

492
00:28:09,760 --> 00:28:12,920
Speaker 1: from thirty eight. He also pops up on The Avengers,

493
00:28:13,320 --> 00:28:16,960
Speaker 1: The Prisoner and the film School for Scoundrels from nineteen sixty,

494
00:28:17,040 --> 00:28:20,760
Speaker 1: which I believe was remade in recent years the Dennis

495
00:28:20,800 --> 00:28:25,320
Speaker 1: the Menace Academy of of Pranks and Hijinks. Yeah, I

496
00:28:25,320 --> 00:28:28,760
Speaker 1: think he played a lot of like stuffy, upper crust characters. Well,

497
00:28:28,800 --> 00:28:31,320
Speaker 1: I found him quite lively and enjoyable in this movie,

498
00:28:31,359 --> 00:28:33,520
Speaker 1: even though his character is supposed to be I think,

499
00:28:33,640 --> 00:28:36,439
Speaker 1: like physically and mentally depleted. He's sort of on his

500
00:28:36,560 --> 00:28:39,240
Speaker 1: last legs when we meet him. But yeah, he has

501
00:28:39,280 --> 00:28:44,120
Speaker 1: this very pleasing mixture of uh, you know, a kind

502
00:28:44,120 --> 00:28:50,040
Speaker 1: of jovial, benign British aristocratic personality kind of like the

503
00:28:50,800 --> 00:28:54,800
Speaker 1: way Bertrand Russell talked, h if you've ever seen tapes

504
00:28:54,800 --> 00:28:57,440
Speaker 1: of him, but then also mixing yeah, like you say,

505
00:28:57,480 --> 00:29:01,040
Speaker 1: some Palpatine, like a little bit of edge of sith. Yeah, yeah,

506
00:29:01,520 --> 00:29:03,560
Speaker 1: which is a good line to walk with this character, because,

507
00:29:03,600 --> 00:29:06,320
Speaker 1: like I said, he turns out being responsible for the

508
00:29:06,760 --> 00:29:10,479
Speaker 1: mental vampires that are going around invisibly sucking people's brains

509
00:29:10,480 --> 00:29:12,960
Speaker 1: out through holes in the back of their head. All right, now,

510
00:29:13,000 --> 00:29:16,760
Speaker 1: I mentioned Barbara. This is the character's name. Is Barbara Grizzle.

511
00:29:17,040 --> 00:29:21,640
Speaker 1: Grizzle Grizzle, Um, Barbara Grizzle. That would be that'd be

512
00:29:21,640 --> 00:29:24,720
Speaker 1: more of a Cronenberg character. But anyway. She's played by

513
00:29:25,120 --> 00:29:28,040
Speaker 1: Kim Parker, who lived nineteen thirty two through two thousand

514
00:29:28,120 --> 00:29:31,320
Speaker 1: and ten. She was an Austrian refugee who acted in

515
00:29:31,360 --> 00:29:34,120
Speaker 1: a number of mostly I think British films between fifty

516
00:29:34,120 --> 00:29:38,000
Speaker 1: four and fifty nine, including The Good Companions, The Man

517
00:29:38,080 --> 00:29:40,440
Speaker 1: Without a Body and a number of you will know

518
00:29:40,520 --> 00:29:45,320
Speaker 1: this film nineteen fifty six gave us fire Maidens from

519
00:29:45,320 --> 00:29:48,000
Speaker 1: outer Space or fire Maidens off outer Space. This was

520
00:29:48,040 --> 00:29:50,560
Speaker 1: featured on Mystery Science Theater three thousand back in the day,

521
00:29:50,600 --> 00:29:52,680
Speaker 1: and I remember it as being pretty fun. Not a

522
00:29:52,720 --> 00:29:55,080
Speaker 1: good film by any stretch of the imagination, but but

523
00:29:55,200 --> 00:29:58,280
Speaker 1: very enjoyable as a as as a bad movie. I

524
00:29:58,400 --> 00:30:00,600
Speaker 1: don't know if I've seen this episode. It was in

525
00:30:00,640 --> 00:30:02,800
Speaker 1: one of the early seasons. This was. This was a

526
00:30:02,880 --> 00:30:07,400
Speaker 1: Joel episode and who I only vaguely remember. Like it

527
00:30:07,520 --> 00:30:09,640
Speaker 1: had fire maidens in it. They were from outer space,

528
00:30:09,680 --> 00:30:12,360
Speaker 1: and there was some sort of poorly executed beast man

529
00:30:12,520 --> 00:30:15,440
Speaker 1: who was kind of like a charred skinned monster. Okay,

530
00:30:15,440 --> 00:30:17,160
Speaker 1: now you're gonna have to help me, Joe with some

531
00:30:17,200 --> 00:30:19,120
Speaker 1: of these others because I'm gonna name some people. I'm

532
00:30:19,120 --> 00:30:22,240
Speaker 1: gonna name some characters, and I don't necessarily know which

533
00:30:22,680 --> 00:30:28,520
Speaker 1: interchangeable military dudes some of these people were. Okay, I'll

534
00:30:28,560 --> 00:30:31,280
Speaker 1: do my best, but I'm not sure about any of this. Okay,

535
00:30:31,320 --> 00:30:35,240
Speaker 1: So there's a captain, Captain al Chester in this film,

536
00:30:35,320 --> 00:30:38,800
Speaker 1: and that character is played by Terry Kilburn. I think

537
00:30:38,880 --> 00:30:41,400
Speaker 1: maybe this is like the little the Jimmy Olsen guy

538
00:30:41,600 --> 00:30:45,280
Speaker 1: who's Major Cummings little buddy. Yes, I think that would

539
00:30:45,280 --> 00:30:49,200
Speaker 1: make sense. So this this is actually a really fun connection.

540
00:30:49,320 --> 00:30:52,840
Speaker 1: So this guy was born in and as of this

541
00:30:52,920 --> 00:30:56,640
Speaker 1: recording is still alive at age. I think gonna turn

542
00:30:57,160 --> 00:31:01,440
Speaker 1: this year. Um and uh. He started out as a

543
00:31:01,560 --> 00:31:05,160
Speaker 1: child actor in Hollywood. He acted on screen from nineteen

544
00:31:05,200 --> 00:31:09,719
Speaker 1: thirty eight through nineteen sixty nine. Um. He famously played

545
00:31:09,760 --> 00:31:14,080
Speaker 1: Tiny Tim in nineteen thirty eight at Christmas Carol. Yeah.

546
00:31:14,760 --> 00:31:17,680
Speaker 1: Other film roles of note include ninety nine is Goodbye Mr.

547
00:31:17,760 --> 00:31:21,160
Speaker 1: Chips in nineteen sixty two is Lolita. And he was

548
00:31:21,200 --> 00:31:24,600
Speaker 1: a longtime partner of American actor Charles Nolty, who lived

549
00:31:24,680 --> 00:31:27,440
Speaker 1: ninety three through two thousand and ten. Well, if he

550
00:31:27,600 --> 00:31:29,840
Speaker 1: is the character I'm thinking of, he appears to be

551
00:31:29,840 --> 00:31:32,800
Speaker 1: having a great time in this movie. Again, not a

552
00:31:32,880 --> 00:31:37,160
Speaker 1: super not a superior part on the page, I would say,

553
00:31:37,160 --> 00:31:40,080
Speaker 1: except for right at the beginning he gets to accuse

554
00:31:40,120 --> 00:31:43,160
Speaker 1: our leading man of abusing drugs like it's the first

555
00:31:43,240 --> 00:31:45,960
Speaker 1: line in the movie. Yeah. Yeah, we'll get back to

556
00:31:46,040 --> 00:31:50,040
Speaker 1: that all right now. Now I do remember this character.

557
00:31:50,080 --> 00:31:53,239
Speaker 1: We also have Dr Bradley. Dr Bradley is played by

558
00:31:53,400 --> 00:31:57,040
Speaker 1: Peter Madden. Madden lived nineteen o four through nineteen seventy six,

559
00:31:57,400 --> 00:32:00,760
Speaker 1: British actor who appears in nineteen sixty Reads from Russia

560
00:32:00,800 --> 00:32:05,760
Speaker 1: with Love James Bond film is the Message, and he

561
00:32:05,840 --> 00:32:08,960
Speaker 1: also pops up on The Avengers, and he plays the

562
00:32:09,080 --> 00:32:13,640
Speaker 1: Undertaker in the opening sequence of The Prisoner. Other films

563
00:32:13,640 --> 00:32:17,920
Speaker 1: of note in his filmography include Frankenstein Created Woman, The

564
00:32:18,000 --> 00:32:22,520
Speaker 1: Kiss of the Vampire, and Doctor Shivago. Okay is this

565
00:32:22,560 --> 00:32:24,920
Speaker 1: guy that wait, which doctor is this? Is he the

566
00:32:25,040 --> 00:32:29,120
Speaker 1: local doctor or is he the military doctor? That is

567
00:32:29,120 --> 00:32:31,120
Speaker 1: a good question that I am not prepared to answer.

568
00:32:31,160 --> 00:32:34,360
Speaker 1: But he's one of those two doctors. Okay, yeah, there,

569
00:32:34,560 --> 00:32:37,000
Speaker 1: I believe they're both both of the two doctor characters

570
00:32:37,000 --> 00:32:41,400
Speaker 1: are kind of like these locals, what can you do? Yeah? Well,

571
00:32:41,520 --> 00:32:43,960
Speaker 1: is he the doctor who gets to say, Okay, here's

572
00:32:43,960 --> 00:32:46,920
Speaker 1: what happened to this dead man. His brains and spinal

573
00:32:46,960 --> 00:32:49,080
Speaker 1: cord were sucked out through two holes in the back

574
00:32:49,120 --> 00:32:51,800
Speaker 1: of his head. I think that's the military doctor who

575
00:32:51,880 --> 00:32:54,600
Speaker 1: says that, Yeah, this is the one of the very

576
00:32:54,640 --> 00:32:57,680
Speaker 1: gaunt face. Oh okay, So I think he's the local

577
00:32:57,720 --> 00:33:00,120
Speaker 1: doctor and who like counters that guy by saying, but

578
00:33:00,240 --> 00:33:02,400
Speaker 1: I don't know of any animal in these parts who

579
00:33:02,400 --> 00:33:06,120
Speaker 1: would suck out someone's brain and spinal cord through their neck. Alright.

580
00:33:06,120 --> 00:33:09,120
Speaker 1: One other actor of note, and it's this characters Sergeant

581
00:33:09,160 --> 00:33:15,320
Speaker 1: Casper played by Michael Balfour, who lived nineteen eighteen through Again.

582
00:33:15,360 --> 00:33:18,840
Speaker 1: I'm not exactly sure which military dude this was, but

583
00:33:18,880 --> 00:33:21,760
Speaker 1: he has two very notable credits. He plays a scientist

584
00:33:21,840 --> 00:33:25,760
Speaker 1: and Tim Burton's batman, and he was the first murderer

585
00:33:25,800 --> 00:33:29,240
Speaker 1: in the nineteen seventy one adaptation of William Shakespeare's Macbeth.

586
00:33:29,880 --> 00:33:32,440
Speaker 1: The two murderers are not huge roles in Macbeth, but

587
00:33:32,720 --> 00:33:35,640
Speaker 1: it's solid Hinchman work, and I have to say I

588
00:33:35,680 --> 00:33:40,400
Speaker 1: was delighted to see in the one Macbeth adaptation from

589
00:33:40,480 --> 00:33:44,880
Speaker 1: Joe Cohen um B movie action star and former Shall Khan,

590
00:33:45,040 --> 00:33:48,280
Speaker 1: Brian Thompson plays one of the murderers. So but one

591
00:33:48,320 --> 00:33:50,280
Speaker 1: of the many great reasons to check out that film.

592
00:33:50,480 --> 00:33:52,880
Speaker 1: Oh wow, you just reminded me that I haven't seen

593
00:33:52,920 --> 00:33:55,760
Speaker 1: this yet. Uh, and I would like to. Is Francis

594
00:33:55,800 --> 00:34:00,240
Speaker 1: mcdormandes Lady Macbeth. Yes, awesome. Yeah, you've got Denzel washing Ten.

595
00:34:00,760 --> 00:34:04,040
Speaker 1: Just just a wonderful cast top to bottom and beautifully

596
00:34:04,040 --> 00:34:08,200
Speaker 1: shot in black and white, very dream like. I loved it. Yeah,

597
00:34:08,239 --> 00:34:10,200
Speaker 1: I gotta see that now. As far as the music

598
00:34:10,239 --> 00:34:13,239
Speaker 1: goes on this one, This was composed by Buckston Or

599
00:34:13,360 --> 00:34:17,239
Speaker 1: who lived nine n Scottish born composer who did nine

600
00:34:17,280 --> 00:34:21,520
Speaker 1: film scores for various genre films, including The Haunted, Strangler,

601
00:34:21,840 --> 00:34:25,400
Speaker 1: Corridors of Blood, First Man Into Space, Doctor Blood's Coffin,

602
00:34:25,480 --> 00:34:29,160
Speaker 1: and The Snake Woman. He also did some soundtrack work

603
00:34:29,200 --> 00:34:32,960
Speaker 1: on Doctor Who in nineteen sixty four and nineteen sixty five. Okay,

604
00:34:32,960 --> 00:34:35,480
Speaker 1: now we should probably mention whoever did the stop motion

605
00:34:35,520 --> 00:34:40,360
Speaker 1: effects in this movie because they are tremendous. Yes, yeah, again,

606
00:34:40,400 --> 00:34:43,920
Speaker 1: tremendous effects of these stop motion brain monsters and a

607
00:34:43,920 --> 00:34:47,440
Speaker 1: few other stop motion effects. Peter Nielsen also has a

608
00:34:47,480 --> 00:34:50,799
Speaker 1: special effects credit on this But for the most part

609
00:34:50,840 --> 00:34:55,560
Speaker 1: we're looking at the Austrian duo of Rupele and Nordhoff.

610
00:34:56,640 --> 00:34:58,719
Speaker 1: So that never heard of him? Yeah, I had not

611
00:34:58,800 --> 00:35:02,400
Speaker 1: heard of them either, But uh, the this is Flow

612
00:35:02,520 --> 00:35:06,239
Speaker 1: Nordhoff who of nineteen fourteen through nine eight seven and

613
00:35:06,360 --> 00:35:10,960
Speaker 1: Carl Ludwig Rupal born nineteen fifteen. I'm assuming Ruple is

614
00:35:11,000 --> 00:35:13,320
Speaker 1: deceased because he would be a hundred and six or

615
00:35:13,360 --> 00:35:16,040
Speaker 1: a hundred and seven by now, but I'm not sure.

616
00:35:16,080 --> 00:35:18,920
Speaker 1: I couldn't find a date for his death if he

617
00:35:19,040 --> 00:35:22,120
Speaker 1: is in fact dead. So these two were apparently based

618
00:35:22,160 --> 00:35:24,760
Speaker 1: out of Munich, and I was looking into their bios

619
00:35:24,760 --> 00:35:27,480
Speaker 1: a little bit. Ruple apparently directed a trio of short

620
00:35:27,880 --> 00:35:31,319
Speaker 1: propaganda films for the Nazis under the Third Reich in

621
00:35:31,360 --> 00:35:34,040
Speaker 1: the late thirties and early forties. I could not find

622
00:35:34,080 --> 00:35:36,239
Speaker 1: out much about them, but his name comes up three

623
00:35:36,280 --> 00:35:39,720
Speaker 1: times in the book Hitler's Third Reich of the Movies

624
00:35:39,760 --> 00:35:43,080
Speaker 1: by Rolf Geeson. Uh though kind of in passing. It's

625
00:35:43,160 --> 00:35:45,719
Speaker 1: so at least based on what I was. You know,

626
00:35:45,719 --> 00:35:47,080
Speaker 1: when I was looking through this book, it doesn't seem

627
00:35:47,120 --> 00:35:50,040
Speaker 1: like he was a major figure. But he did. He

628
00:35:50,080 --> 00:35:53,120
Speaker 1: did direct a few things. Now, Nordhoff does not come

629
00:35:53,200 --> 00:35:56,000
Speaker 1: up in that book, and according to IMDb, wasn't active

630
00:35:56,040 --> 00:35:59,480
Speaker 1: in film until nineteen fifty three, and Nordov actually directed

631
00:35:59,520 --> 00:36:04,160
Speaker 1: the nineteen sixty seven anti totalitarian animated short film titled

632
00:36:04,480 --> 00:36:08,719
Speaker 1: Hands Up, Mr. Ras Nici, for which he was also

633
00:36:08,800 --> 00:36:11,600
Speaker 1: an animator. He also directed a short animated film in

634
00:36:11,680 --> 00:36:17,279
Speaker 1: nineteen sixty titled uh d Un, and then Rupel and

635
00:36:17,400 --> 00:36:20,320
Speaker 1: Nordhoff worked together on the Star of Africa and fifty

636
00:36:20,400 --> 00:36:26,680
Speaker 1: seven by director Alfred uh Weidenmann. Nordhoff was also a painter.

637
00:36:27,120 --> 00:36:31,480
Speaker 1: Nordhoff's full name was Florence Fuchs von Nordhoff, and there

638
00:36:31,560 --> 00:36:34,160
Speaker 1: is a short bio about him on the website for

639
00:36:34,200 --> 00:36:37,759
Speaker 1: the International Film Festival Rotterdam. Uh. It mentions that he

640
00:36:37,920 --> 00:36:40,439
Speaker 1: served in World War Two. Uh, it does not say

641
00:36:40,640 --> 00:36:42,760
Speaker 1: it does. It does not give any details on that service.

642
00:36:43,120 --> 00:36:44,719
Speaker 1: But based on what I was looking at, I don't

643
00:36:44,760 --> 00:36:46,960
Speaker 1: think it's like it's not like these two seem to

644
00:36:46,960 --> 00:36:48,759
Speaker 1: really go on from this film to do like a

645
00:36:48,760 --> 00:36:51,680
Speaker 1: lot of special effects work. But like again, the stuff

646
00:36:51,719 --> 00:36:54,040
Speaker 1: the work in here is is tremendous, like I can

647
00:36:54,160 --> 00:36:59,040
Speaker 1: only imagine, like this stop motion animation inspired other stop

648
00:36:59,080 --> 00:37:10,480
Speaker 1: motion artists future. Okay, well, so are you ready to

649
00:37:10,560 --> 00:37:12,880
Speaker 1: talk a bit about the plot? Let's do it. Okay,

650
00:37:12,880 --> 00:37:16,439
Speaker 1: so let's zoom in on the opening. Uh. Interesting way

651
00:37:16,440 --> 00:37:19,160
Speaker 1: of approaching it, since the opening for this film is

652
00:37:19,239 --> 00:37:24,319
Speaker 1: incredibly bland but also abrupt abruptly bland. Yes, yes, uh

653
00:37:24,480 --> 00:37:30,239
Speaker 1: silent ominous opening on military airfields and airplanes. Uh. I

654
00:37:30,280 --> 00:37:32,200
Speaker 1: got a note for if you are going to go

655
00:37:32,239 --> 00:37:34,600
Speaker 1: back in time and make movies in the nineteen fifties,

656
00:37:34,760 --> 00:37:37,919
Speaker 1: here's one way to mix it up. Don't pad your

657
00:37:37,960 --> 00:37:41,799
Speaker 1: movie out with shots of airplanes flying around, landing and

658
00:37:41,840 --> 00:37:44,160
Speaker 1: taking off. It's not that interesting. I don't I don't

659
00:37:44,160 --> 00:37:47,360
Speaker 1: know what people were into about this. That stock footage

660
00:37:47,360 --> 00:37:49,120
Speaker 1: is one way to pad it out. You don't need

661
00:37:49,160 --> 00:37:51,600
Speaker 1: to pad it out though, I mean, like shorter movies

662
00:37:51,640 --> 00:37:53,839
Speaker 1: are good. This movie actually we haven't mentioned this yet,

663
00:37:53,880 --> 00:37:56,920
Speaker 1: but this is great, great uh in the range of

664
00:37:57,040 --> 00:37:59,880
Speaker 1: drive in movie link. This is a seventy four men

665
00:38:00,040 --> 00:38:02,279
Speaker 1: it movie, and I give it credit for that. There

666
00:38:02,360 --> 00:38:05,359
Speaker 1: is absolutely no reason to make your movie longer than

667
00:38:05,360 --> 00:38:08,280
Speaker 1: it needs to be. It should be exactly as short

668
00:38:08,360 --> 00:38:10,200
Speaker 1: as you can get it with it doing what you

669
00:38:10,200 --> 00:38:14,080
Speaker 1: wanted to do anyway. Okay, so back to this military airfield.

670
00:38:14,080 --> 00:38:17,200
Speaker 1: So we see a soldier. He's like a guard with

671
00:38:17,239 --> 00:38:20,080
Speaker 1: a rifle, having a smoke by a fence. And there's

672
00:38:20,080 --> 00:38:22,400
Speaker 1: a sign on the fence that gives us some that

673
00:38:22,440 --> 00:38:24,680
Speaker 1: gives us some set up. It says US Air Force

674
00:38:25,120 --> 00:38:30,360
Speaker 1: Interceptor Command, Experimental Station number six, Winthrop, Manitoba, Canada. So

675
00:38:30,400 --> 00:38:34,640
Speaker 1: Winthrop is the name of this small local town. And

676
00:38:34,719 --> 00:38:37,680
Speaker 1: there's no music, almost no sound effects really. In the beginning,

677
00:38:37,880 --> 00:38:40,799
Speaker 1: there's like a spy plane flying overhead, and we see

678
00:38:40,880 --> 00:38:46,120
Speaker 1: radar antennas swiveling around above the base, and then the

679
00:38:46,160 --> 00:38:49,040
Speaker 1: guard begins to hear something a sound. We will we

680
00:38:49,080 --> 00:38:53,319
Speaker 1: will hear many more times throughout the film, kind of scuffling, crunching,

681
00:38:53,440 --> 00:38:57,720
Speaker 1: sound like somebody walking around in a vat of kick cereal.

682
00:38:58,880 --> 00:39:02,520
Speaker 1: Rachel and I were calling it captain crunch noises. She

683
00:39:02,520 --> 00:39:04,239
Speaker 1: she was saying, like, man, this movie is making me

684
00:39:04,320 --> 00:39:06,640
Speaker 1: hungry for Captain Crunch. And I get what she's saying,

685
00:39:06,640 --> 00:39:09,480
Speaker 1: because every time the monsters show up, it's crunch crunch.

686
00:39:09,840 --> 00:39:12,719
Speaker 1: But it was it's good branding. It's like, when that

687
00:39:12,800 --> 00:39:16,319
Speaker 1: sound occurs, you a know that is it is unnatural.

688
00:39:16,360 --> 00:39:19,000
Speaker 1: It doesn't really sound like anything you should be hearing

689
00:39:19,080 --> 00:39:21,319
Speaker 1: in the woods or in a barn or wherever the

690
00:39:21,320 --> 00:39:25,520
Speaker 1: action is taking place. And then when you hear it subsequently, subsequently,

691
00:39:25,560 --> 00:39:29,520
Speaker 1: you know what's up. Right, So the guard goes to investigate.

692
00:39:29,880 --> 00:39:32,040
Speaker 1: There's a scream, and then he comes across there's a

693
00:39:32,040 --> 00:39:33,799
Speaker 1: dead guy in the woods. And then we get the

694
00:39:33,800 --> 00:39:37,600
Speaker 1: title fiend without a face. For some reason in the

695
00:39:37,640 --> 00:39:40,879
Speaker 1: title screen, fiend and face are done with like electric

696
00:39:41,000 --> 00:39:45,360
Speaker 1: electric bolts. U. I was wondering why that is, Maybe

697
00:39:45,360 --> 00:39:48,560
Speaker 1: because the the the atomic power station in the movie

698
00:39:48,640 --> 00:39:52,320
Speaker 1: plays a role. Yes, this is these are atomic radar bolts,

699
00:39:52,440 --> 00:39:55,279
Speaker 1: not not lightning bolts or thunderbolts. It's easy to make

700
00:39:55,320 --> 00:39:57,640
Speaker 1: that mistake. So we get the credits, and then a

701
00:39:57,680 --> 00:40:00,680
Speaker 1: lot of footage of military aircraft s seaming around at

702
00:40:00,719 --> 00:40:03,200
Speaker 1: high speed and taking off and landing and stuff on

703
00:40:03,239 --> 00:40:06,360
Speaker 1: the local runways. And we learned some stuff about the setting.

704
00:40:06,440 --> 00:40:09,080
Speaker 1: This appears to be a foreign US military base up

705
00:40:09,120 --> 00:40:12,320
Speaker 1: in northern Manitoba. We learned it's very rural, far away

706
00:40:12,360 --> 00:40:15,600
Speaker 1: from the nearest big city. Uh. And then we meet

707
00:40:15,640 --> 00:40:18,279
Speaker 1: our lug hero with a flat top haircut. This is

708
00:40:18,360 --> 00:40:21,680
Speaker 1: Major Cummings and his little buddy. Again, we couldn't remember

709
00:40:21,680 --> 00:40:24,200
Speaker 1: which character this is, so maybe this is Captain somebody

710
00:40:24,280 --> 00:40:28,600
Speaker 1: or Sergeant somebody that it's his buddy here and his buddy.

711
00:40:28,640 --> 00:40:30,840
Speaker 1: This is nearly the opening line of the film. I

712
00:40:30,880 --> 00:40:33,480
Speaker 1: think there's like maybe some little comment right before it,

713
00:40:34,080 --> 00:40:36,360
Speaker 1: but pretty much the first thing said by a human

714
00:40:36,600 --> 00:40:40,080
Speaker 1: is cummings buddy saying, you ever think of trying sleep

715
00:40:40,160 --> 00:40:43,720
Speaker 1: instead of benz adrine. You might like it. And while

716
00:40:43,800 --> 00:40:46,480
Speaker 1: he's saying this, he is like pouring Major Cummings a

717
00:40:46,600 --> 00:40:49,760
Speaker 1: drink of some clear liquid out of a Florence flask,

718
00:40:49,840 --> 00:40:53,160
Speaker 1: like a boiling flask you would use in a lab. Yeah,

719
00:40:53,239 --> 00:40:56,840
Speaker 1: this is great. I immediately chuckled. And from the context,

720
00:40:57,000 --> 00:40:59,120
Speaker 1: you don't have to even be told what benzadrin is.

721
00:40:59,360 --> 00:41:03,000
Speaker 1: But bensador was a brand name for amphetamine soul fate,

722
00:41:03,360 --> 00:41:06,839
Speaker 1: which was used and I think ultimately abused from the

723
00:41:06,920 --> 00:41:11,399
Speaker 1: nineteen thirties through the nineteen seventies. So major Cummings here,

724
00:41:11,400 --> 00:41:14,279
Speaker 1: though portrayed, is like a straight lace baby face. Uh,

725
00:41:14,440 --> 00:41:18,319
Speaker 1: is just tied on speed through presumably most of the film. Uh.

726
00:41:18,360 --> 00:41:20,880
Speaker 1: There's there's a later scene where he's doing his research

727
00:41:21,440 --> 00:41:24,400
Speaker 1: and he's just pounding Benny's and speed reading books on

728
00:41:24,440 --> 00:41:28,680
Speaker 1: experimental neuroscience and psychology. It's a It's the kind of

729
00:41:28,680 --> 00:41:31,040
Speaker 1: thing where I guess, this is just like I said,

730
00:41:31,040 --> 00:41:33,239
Speaker 1: he's just supposed to be a normal military guy, but

731
00:41:33,360 --> 00:41:37,200
Speaker 1: by today's standards, like this is this is kind of crazy. Yeah,

732
00:41:37,239 --> 00:41:40,279
Speaker 1: before we learn literally anything else about him, we learned

733
00:41:40,280 --> 00:41:44,400
Speaker 1: that he is jacked on bensadrin and uh, and I

734
00:41:44,440 --> 00:41:46,840
Speaker 1: think this is I think the way it's positioned in

735
00:41:46,880 --> 00:41:49,759
Speaker 1: the movie is to is not to say, hey, this

736
00:41:49,760 --> 00:41:52,360
Speaker 1: guy is abusing drugs and isn't in his right mind.

737
00:41:52,800 --> 00:41:55,360
Speaker 1: It's to show us, Wow, he's really busy. You know,

738
00:41:55,480 --> 00:41:57,480
Speaker 1: he has a lot of work to do. This is

739
00:41:57,520 --> 00:42:00,759
Speaker 1: his his his his work. At think it's just so

740
00:42:00,840 --> 00:42:04,319
Speaker 1: strong that he just hasn't slept in weeks. Okay, so

741
00:42:04,360 --> 00:42:05,960
Speaker 1: we got to find out who is this guy who

742
00:42:06,000 --> 00:42:08,080
Speaker 1: died in the woods, that's what they're talking about, and

743
00:42:08,120 --> 00:42:12,200
Speaker 1: we learned that it is a character named Jacques Grizzle. Uh.

744
00:42:12,239 --> 00:42:15,120
Speaker 1: In fact, Major Cummings knows all about him here because

745
00:42:15,160 --> 00:42:19,000
Speaker 1: they immediately had the FBI send over a file on

746
00:42:19,040 --> 00:42:22,319
Speaker 1: this guy. This happens multiple times in the movie. It

747
00:42:22,520 --> 00:42:28,640
Speaker 1: basically presupposes that the FBI, the US Federal Bureau of Investigation,

748
00:42:29,080 --> 00:42:33,600
Speaker 1: has just files they can send over on random Canadian citizens.

749
00:42:33,640 --> 00:42:36,879
Speaker 1: The same thing happens later with Dr Walgate. Just send

750
00:42:36,920 --> 00:42:39,440
Speaker 1: over the FBI file. But yeah, there's neither of these

751
00:42:39,440 --> 00:42:42,480
Speaker 1: people are implied to have any criminal record, and they're

752
00:42:42,480 --> 00:42:45,719
Speaker 1: not even Americans. They're like just random Canadian people. But

753
00:42:45,800 --> 00:42:48,600
Speaker 1: the FBI know all about them. And you know, this

754
00:42:48,640 --> 00:42:50,839
Speaker 1: is something that again kind of like the Benza draina.

755
00:42:50,840 --> 00:42:53,239
Speaker 1: It could be played up is weird later on, like

756
00:42:53,280 --> 00:42:56,720
Speaker 1: there's this Canadian town where the FBI has elaborate files

757
00:42:56,760 --> 00:43:00,160
Speaker 1: on everyone. Isn't that crazy? But in this film just

758
00:43:00,280 --> 00:43:02,719
Speaker 1: presented as yep, this is how it works. Yeah, that's

759
00:43:02,760 --> 00:43:05,719
Speaker 1: just that's the way of the world. There's nothing remarkable

760
00:43:05,719 --> 00:43:10,600
Speaker 1: about it. So the military men are all immediately suspicious

761
00:43:10,680 --> 00:43:13,200
Speaker 1: of this dead guy of Jack Grizzlee. What was he

762
00:43:13,280 --> 00:43:15,560
Speaker 1: doing out in the woods at three in the morning.

763
00:43:15,960 --> 00:43:19,400
Speaker 1: They're like, what was he doing out there farming? Um

764
00:43:19,520 --> 00:43:22,279
Speaker 1: and uh? And they're talking about him. They're saying, who

765
00:43:22,280 --> 00:43:25,280
Speaker 1: can forget the look on that dead man's face? Again,

766
00:43:25,320 --> 00:43:28,280
Speaker 1: it's implying that there was an expression of such horror

767
00:43:28,320 --> 00:43:33,919
Speaker 1: that that his death is implied to be understood as unnatural. Uh. Here,

768
00:43:33,960 --> 00:43:35,960
Speaker 1: I just want to remark, we get our first meeting

769
00:43:36,239 --> 00:43:39,400
Speaker 1: while in a thrilling scene of them walking across the

770
00:43:39,440 --> 00:43:43,160
Speaker 1: office to go talk to the coroner, we we meet

771
00:43:43,560 --> 00:43:45,920
Speaker 1: sandwich Man, the man who is trying to hide his

772
00:43:45,960 --> 00:43:50,120
Speaker 1: bologna sandwich from the commander. Yeah, he's quite a specimen.

773
00:43:50,440 --> 00:43:53,719
Speaker 1: Sandwich Man is later killed by the brain creatures in

774
00:43:53,760 --> 00:43:57,120
Speaker 1: the last act of the movie. Tragically. I wanted sandwich

775
00:43:57,160 --> 00:43:59,799
Speaker 1: Man to make it, but so they have. They have

776
00:43:59,840 --> 00:44:02,960
Speaker 1: a talk with I guess the the um doctor on

777
00:44:02,960 --> 00:44:04,960
Speaker 1: the base or the corner or something, and they're like, hey,

778
00:44:05,080 --> 00:44:08,480
Speaker 1: was this death caused by radiation? Well, they need an

779
00:44:08,520 --> 00:44:12,800
Speaker 1: autopsy to find out, but the locals don't want an autopsy.

780
00:44:13,120 --> 00:44:15,280
Speaker 1: Uh So Cummings has to go meet with the colonel,

781
00:44:15,640 --> 00:44:18,239
Speaker 1: and the colonel is already in a meeting with the

782
00:44:18,280 --> 00:44:22,080
Speaker 1: local town's mayor who was named Hawkings and the sister

783
00:44:22,239 --> 00:44:25,480
Speaker 1: of the dead man, Barbara Grizzle played by Kim Parker,

784
00:44:26,080 --> 00:44:29,560
Speaker 1: who you could barely tell is there because her brother

785
00:44:29,640 --> 00:44:31,680
Speaker 1: was killed by a monster in the woods. She she's

786
00:44:31,800 --> 00:44:34,759
Speaker 1: very matter of fact about everything. Well, maybe she had

787
00:44:34,920 --> 00:44:37,000
Speaker 1: a Mark Hamill character come up to her and break

788
00:44:37,000 --> 00:44:38,959
Speaker 1: it to her and say, I'm sorry, but your brother

789
00:44:39,040 --> 00:44:42,480
Speaker 1: died in the woods and it was weird. Oh yeah, yeah,

790
00:44:42,640 --> 00:44:45,240
Speaker 1: oh yeah, yeah, what did he know about the giver?

791
00:44:47,200 --> 00:44:49,640
Speaker 1: But actually no, they do suspect to the brother of

792
00:44:49,680 --> 00:44:53,320
Speaker 1: having a forbidden knowledge because the colonel during this meeting,

793
00:44:53,400 --> 00:44:55,879
Speaker 1: he brings up the fact that Kim Parker's brother here

794
00:44:56,200 --> 00:44:59,600
Speaker 1: had a notebook with him containing notes on the flight

795
00:44:59,719 --> 00:45:04,480
Speaker 1: time of airplanes leaving the base. Okay, so that this

796
00:45:04,600 --> 00:45:07,279
Speaker 1: raises a serious specter. Was he some kind of communist

797
00:45:07,320 --> 00:45:11,919
Speaker 1: spy hiding in Manitoba? Well no, Barbara ends up making

798
00:45:11,920 --> 00:45:15,080
Speaker 1: the colonel look absolutely foolish by showing how this was

799
00:45:15,120 --> 00:45:18,360
Speaker 1: part of her brother's attempt to document a connection between

800
00:45:18,360 --> 00:45:21,680
Speaker 1: the fighter jet flight times and his cows being unhappy.

801
00:45:21,920 --> 00:45:24,920
Speaker 1: So all the local farmers are irate at the military

802
00:45:24,960 --> 00:45:27,480
Speaker 1: base because they think that the airplanes are making their

803
00:45:27,520 --> 00:45:31,640
Speaker 1: cows spew nasty milk. So the Colonel is sort of humiliated,

804
00:45:32,040 --> 00:45:35,600
Speaker 1: and then Cummings gives Kim Parker a ride home. He

805
00:45:35,760 --> 00:45:40,160
Speaker 1: is obviously like romantically interested in her, which is weird

806
00:45:40,200 --> 00:45:44,480
Speaker 1: given the circumstances um but he's like, at one point

807
00:45:44,520 --> 00:45:46,440
Speaker 1: on the right, he's like driving her in a jeep

808
00:45:46,480 --> 00:45:49,480
Speaker 1: down this road through the woods, and he's talking about

809
00:45:49,680 --> 00:45:52,200
Speaker 1: the guys at the military base, and he's like, we're human,

810
00:45:52,280 --> 00:45:56,120
Speaker 1: we're not monsters from outer space. Now Here we have

811
00:45:56,280 --> 00:45:58,880
Speaker 1: sort of the opening of the mystery, and more characters

812
00:45:58,880 --> 00:46:03,040
Speaker 1: will be attacked by unknown creatures throughout the film. But

813
00:46:03,280 --> 00:46:05,440
Speaker 1: I guess here, I'm not going to go scene by scene,

814
00:46:05,440 --> 00:46:08,160
Speaker 1: but maybe we can focus on some things that were interesting.

815
00:46:08,200 --> 00:46:10,960
Speaker 1: One thing I want to talk about is the nuclear

816
00:46:11,000 --> 00:46:15,120
Speaker 1: reactor scenes. So for example, there's a scene later where

817
00:46:15,160 --> 00:46:18,240
Speaker 1: the Colonel and Major Cummings are trying to use radar

818
00:46:18,360 --> 00:46:21,200
Speaker 1: to like I think they're trying to scan the entire

819
00:46:21,280 --> 00:46:23,839
Speaker 1: globe so they can get you know, use this one

820
00:46:23,920 --> 00:46:26,840
Speaker 1: radar station to see every flight going on in Russia.

821
00:46:27,920 --> 00:46:31,520
Speaker 1: But something is draining the power from their atomic reactor,

822
00:46:31,719 --> 00:46:33,960
Speaker 1: so the radar isn't working the way it's supposed to be,

823
00:46:34,440 --> 00:46:37,000
Speaker 1: and they're like, what could it be. Well, they call

824
00:46:37,120 --> 00:46:39,319
Speaker 1: up their friend who works in the reactor core, who

825
00:46:39,320 --> 00:46:41,480
Speaker 1: again is wearing what looks like I guess this is

826
00:46:41,480 --> 00:46:43,560
Speaker 1: supposed to be some kind of radiation shielding, like a

827
00:46:43,640 --> 00:46:46,840
Speaker 1: leadline suit or something, but he it looks like a

828
00:46:47,000 --> 00:46:51,240
Speaker 1: kind of slick leather trench coat. I don't know. It's interesting.

829
00:46:51,280 --> 00:46:53,680
Speaker 1: And there there of course, like push it for more power,

830
00:46:53,800 --> 00:46:55,920
Speaker 1: take out those rods. We want the reactor at a

831
00:46:56,000 --> 00:46:59,360
Speaker 1: hundred and eighty percent, and the guy is like, okay,

832
00:46:59,400 --> 00:47:02,600
Speaker 1: that's danger us, but I'll do it. Meanwhile, local farmers

833
00:47:02,640 --> 00:47:07,920
Speaker 1: are repeatedly just attacked by invisible monsters. We see, uh,

834
00:47:08,040 --> 00:47:10,880
Speaker 1: we see a lady going to feed her chickens and

835
00:47:10,920 --> 00:47:13,440
Speaker 1: then she's like attacked by something we can't see in

836
00:47:13,480 --> 00:47:16,000
Speaker 1: the barn. And then her husband comes and then he's

837
00:47:16,040 --> 00:47:19,560
Speaker 1: attacked as well. They finally do an autopsy on these people,

838
00:47:19,680 --> 00:47:24,759
Speaker 1: and the scientists confirm they say, the brain is gone, Yes,

839
00:47:24,880 --> 00:47:28,279
Speaker 1: sucked out like an egg through these two holes. Uh.

840
00:47:28,320 --> 00:47:31,480
Speaker 1: The spinal cord is missing too, And the doctor at

841
00:47:31,480 --> 00:47:34,360
Speaker 1: the army base says, I'm a doctor, not a detective colonel.

842
00:47:34,560 --> 00:47:37,279
Speaker 1: There's nothing about this in the books. Major Cummings had

843
00:47:37,320 --> 00:47:42,480
Speaker 1: the best explanation so far, mental vampire. And I think

844
00:47:42,520 --> 00:47:45,040
Speaker 1: this is where the doctor we were talking about earlier

845
00:47:45,080 --> 00:47:47,600
Speaker 1: comes in and he's like, rubbish, there are no animals

846
00:47:47,640 --> 00:47:50,640
Speaker 1: around here that suck out people's brains. I mean, it

847
00:47:50,760 --> 00:47:54,120
Speaker 1: is really hard to imagine how this works. Two holes

848
00:47:54,120 --> 00:47:56,200
Speaker 1: in the back of the head and the entire brain

849
00:47:56,239 --> 00:47:59,360
Speaker 1: and spinal column are somehow sucked out through that hole

850
00:48:00,080 --> 00:48:03,560
Speaker 1: and then but are not like liquefied presumably in the process,

851
00:48:03,560 --> 00:48:06,800
Speaker 1: because we see these brains and spinal columns crawling around

852
00:48:06,920 --> 00:48:10,479
Speaker 1: later in the film with just like extra tentacles coming

853
00:48:10,480 --> 00:48:13,200
Speaker 1: out of them. Yeah. We get more scenes of Major

854
00:48:13,239 --> 00:48:17,719
Speaker 1: Cummings uh being overly friendly with with Barbara. There's one

855
00:48:17,760 --> 00:48:19,480
Speaker 1: scene where he goes to visit her house and he

856
00:48:19,560 --> 00:48:22,000
Speaker 1: just like knocks on the door and it's open and

857
00:48:22,040 --> 00:48:24,000
Speaker 1: he comes in and oh, she's getting out of the

858
00:48:24,000 --> 00:48:26,760
Speaker 1: shower and a towel and and he and it's oh,

859
00:48:26,840 --> 00:48:30,359
Speaker 1: it's so embarrassing, but she's unfazed by it. She's just like, oh,

860
00:48:30,440 --> 00:48:33,680
Speaker 1: let me put something on. And meanwhile, you can peruse

861
00:48:33,800 --> 00:48:36,760
Speaker 1: this book called the Principles of Thought Control that's sitting

862
00:48:36,760 --> 00:48:40,520
Speaker 1: on my table here by our e Walgate, who again

863
00:48:40,640 --> 00:48:44,640
Speaker 1: is our our our, our, our our brain expert that

864
00:48:44,680 --> 00:48:46,799
Speaker 1: we'll be getting to in a minute. Right. So wal

865
00:48:47,200 --> 00:48:50,360
Speaker 1: we find out that Barbara works for Walgate. She like

866
00:48:50,480 --> 00:48:54,759
Speaker 1: transcribes all of his notes and helps him write his books. Oh.

867
00:48:54,880 --> 00:48:57,000
Speaker 1: Also this very same scene, so like she leaves the

868
00:48:57,040 --> 00:48:58,680
Speaker 1: room for a minute, he's looking at these books. She

869
00:48:58,800 --> 00:49:02,120
Speaker 1: comes back having put a row open everything on and uh,

870
00:49:02,160 --> 00:49:05,319
Speaker 1: and they're like being very flirty and then he I

871
00:49:05,360 --> 00:49:08,680
Speaker 1: think he's leaning into to kiss her, but then some

872
00:49:08,760 --> 00:49:13,080
Speaker 1: guy barges in and it's this guy, Constable Gibbons or Gibson,

873
00:49:13,920 --> 00:49:16,800
Speaker 1: and this is the guy with the the baffling accent,

874
00:49:17,280 --> 00:49:20,080
Speaker 1: and he's a little bit Scottish sounding, yeah, a little

875
00:49:20,120 --> 00:49:24,600
Speaker 1: bit yeah, And he's immediately totally hostile to this guy. Um,

876
00:49:24,640 --> 00:49:27,680
Speaker 1: he's like, have you found that g I killer yet? Uh?

877
00:49:27,719 --> 00:49:29,760
Speaker 1: You know it was probably one of you guys, probably

878
00:49:29,800 --> 00:49:32,600
Speaker 1: some some wacko from this base. Oh, and then they

879
00:49:32,640 --> 00:49:37,279
Speaker 1: immediately start punching each other. Now, eventually Gibbons ends up

880
00:49:37,360 --> 00:49:41,120
Speaker 1: leading like a posse to go find the He again

881
00:49:41,200 --> 00:49:43,840
Speaker 1: thinks it is a g I from the U. S

882
00:49:43,880 --> 00:49:46,400
Speaker 1: Air base that has gone rogue, and so they're like

883
00:49:46,480 --> 00:49:50,200
Speaker 1: looking for him in the woods with the posse. Uh,

884
00:49:50,239 --> 00:49:53,160
Speaker 1: so they're on the hunt. And then Gibbons disappears from

885
00:49:53,160 --> 00:49:56,560
Speaker 1: the hunt, and then later he returns stumbling into a

886
00:49:56,640 --> 00:50:01,200
Speaker 1: town meeting, apparently having had his brain and partially sucked out.

887
00:50:01,320 --> 00:50:04,680
Speaker 1: He's just like vacant died and like, oh yeah, just

888
00:50:04,760 --> 00:50:07,759
Speaker 1: kind of stammering. It's it's actually kind of a disturbing

889
00:50:07,840 --> 00:50:10,480
Speaker 1: scene because it's just like, oh, this this guy. We

890
00:50:10,480 --> 00:50:13,799
Speaker 1: didn't like this character particularly, I mean he was kind

891
00:50:13,800 --> 00:50:16,600
Speaker 1: of violent and possessive, but now we I mean, we

892
00:50:16,600 --> 00:50:18,799
Speaker 1: didn't want to see this happen to him. Yeah. Now

893
00:50:18,840 --> 00:50:21,840
Speaker 1: there's another scene where eventually I don't remember how he

894
00:50:21,920 --> 00:50:26,480
Speaker 1: gets there, but uh, Major Cummings is investigating something and

895
00:50:26,520 --> 00:50:29,720
Speaker 1: he ends up at the tomb of someone in town

896
00:50:30,160 --> 00:50:33,640
Speaker 1: and he gets trapped inside a crypt. Yeah, he wanted

897
00:50:33,680 --> 00:50:35,680
Speaker 1: to check out it's a body of one of the victims,

898
00:50:35,840 --> 00:50:37,799
Speaker 1: and he ends up going into this crypt. And so

899
00:50:37,920 --> 00:50:40,600
Speaker 1: this is wonderful sequence in the film, which feels like

900
00:50:40,880 --> 00:50:44,320
Speaker 1: we have accidentally trespassed into some sort of a gothic

901
00:50:44,400 --> 00:50:47,480
Speaker 1: horror movie, you know, because and it's playing into the

902
00:50:47,480 --> 00:50:50,560
Speaker 1: whole mental vampire thing, you know, the two wounds on

903
00:50:50,600 --> 00:50:53,279
Speaker 1: the back of the neck. Because suddenly we follow him

904
00:50:53,280 --> 00:50:55,920
Speaker 1: down into what seems like a perfect setting for a

905
00:50:56,000 --> 00:51:00,279
Speaker 1: vampire's tomb. There is even a sarcophagus with a lidded jar,

906
00:51:00,920 --> 00:51:03,040
Speaker 1: and uh, yeah, we're just we're like, okay, I guess

907
00:51:03,040 --> 00:51:05,799
Speaker 1: it's a vampire movie. Now it's vampires, and one is

908
00:51:05,800 --> 00:51:09,280
Speaker 1: surely going to jump out, but no, Instead what happens

909
00:51:09,320 --> 00:51:11,560
Speaker 1: is somebody locks him in the crypt, which I think

910
00:51:11,600 --> 00:51:14,919
Speaker 1: actually it provides a pretty interesting I mean, I don't

911
00:51:14,920 --> 00:51:17,759
Speaker 1: really buy this crypt his air tight maybe, but he

912
00:51:17,840 --> 00:51:20,160
Speaker 1: starts like running out of air and it's a desperate

913
00:51:20,160 --> 00:51:22,399
Speaker 1: scene where he's trying to get out. Uh he only

914
00:51:22,440 --> 00:51:24,600
Speaker 1: barely makes it when his friends come and open the

915
00:51:24,640 --> 00:51:27,120
Speaker 1: door up from the outside. Yeah. I really like this

916
00:51:27,160 --> 00:51:29,480
Speaker 1: sequence too. There's some great stuff with the candle. The

917
00:51:29,520 --> 00:51:32,480
Speaker 1: candle is fading because it doesn't have enough oxygen, and uh,

918
00:51:32,520 --> 00:51:34,880
Speaker 1: you know, that goes out there he's gonna be in

919
00:51:34,880 --> 00:51:37,920
Speaker 1: this lightless, airless environment. He's going to be entombed as

920
00:51:37,920 --> 00:51:39,759
Speaker 1: a corpse. But yeah, then they free him at the

921
00:51:39,840 --> 00:51:43,279
Speaker 1: last second. But how do we find uh, we got

922
00:51:43,280 --> 00:51:45,360
Speaker 1: to find out who locked him in the crypt. Well,

923
00:51:45,400 --> 00:51:48,719
Speaker 1: eventually it is discovered to have been doctor Wallgate, and

924
00:51:48,760 --> 00:51:52,879
Speaker 1: this leads into the revelation of the nature of the monsters.

925
00:51:52,880 --> 00:51:55,239
Speaker 1: So so what's basically what's the scheme, rob can you

926
00:51:55,280 --> 00:51:58,440
Speaker 1: lay it out? Okay, it's he has a whole sequence

927
00:51:58,440 --> 00:52:02,320
Speaker 1: where he explains that he's doing these experiments, essentially creating

928
00:52:02,360 --> 00:52:05,239
Speaker 1: Tulpa's like I can if I focus my brain and

929
00:52:05,280 --> 00:52:08,480
Speaker 1: I make this face, I can create this thing that

930
00:52:08,560 --> 00:52:11,600
Speaker 1: goes about doing my bidding. And you know, as is

931
00:52:11,640 --> 00:52:14,840
Speaker 1: often the case with things like tupas and thought projected monsters,

932
00:52:15,040 --> 00:52:16,560
Speaker 1: they start getting out of hand, they get a little

933
00:52:16,600 --> 00:52:19,160
Speaker 1: too powerful. And the whole time he's doing this by

934
00:52:19,200 --> 00:52:23,040
Speaker 1: sort of timing his experiments with some of the radiation

935
00:52:23,719 --> 00:52:26,840
Speaker 1: based radar experiments that are going on. Like he's I

936
00:52:26,840 --> 00:52:31,160
Speaker 1: don't think he's actually doing any um like capital e

937
00:52:31,480 --> 00:52:34,440
Speaker 1: espionage here, but he's he's a smart dude, and so

938
00:52:34,520 --> 00:52:37,359
Speaker 1: he he reads scientific journals. He's able to figure out

939
00:52:37,400 --> 00:52:39,640
Speaker 1: what they're doing there and able to figure out how

940
00:52:39,640 --> 00:52:42,160
Speaker 1: to time his experiments just right. So he's benefiting from

941
00:52:42,239 --> 00:52:45,360
Speaker 1: that radiation I think before. Yes, so he's trying to

942
00:52:45,440 --> 00:52:48,960
Speaker 1: harness the radiation from when the reactor is at maximum

943
00:52:49,000 --> 00:52:52,160
Speaker 1: capacity for their radar experiments. He's trying to use that,

944
00:52:53,160 --> 00:52:56,520
Speaker 1: I think before he's creating these tulpa like things. He's

945
00:52:56,560 --> 00:52:59,279
Speaker 1: just trying to do telekinesis, right, like the first time,

946
00:52:59,440 --> 00:53:01,479
Speaker 1: just try some thing with his brain, Like he's trying

947
00:53:01,480 --> 00:53:03,480
Speaker 1: to turn a page in a book with his brain,

948
00:53:03,520 --> 00:53:05,920
Speaker 1: which he eventually is able to do. And then he

949
00:53:06,000 --> 00:53:10,360
Speaker 1: keeps ratcheting that up to bigger and bigger acts of telekinesis,

950
00:53:10,360 --> 00:53:14,080
Speaker 1: and then eventually the thought escapes his head and becomes

951
00:53:14,120 --> 00:53:17,360
Speaker 1: its own entity. And then it starts going around and

952
00:53:17,400 --> 00:53:20,800
Speaker 1: sucking out people's brains, and then there's just brains of plenty,

953
00:53:20,880 --> 00:53:23,600
Speaker 1: their brains all over the place. Right, And so these

954
00:53:23,600 --> 00:53:26,840
Speaker 1: are as we've been saying invisible for most of the film,

955
00:53:26,960 --> 00:53:30,840
Speaker 1: but when made visible, which they do by cranking up

956
00:53:30,880 --> 00:53:34,440
Speaker 1: the radiation, I believe, yes, they just okay, they think

957
00:53:34,480 --> 00:53:36,960
Speaker 1: we can see them if we push the reactor to

958
00:53:37,120 --> 00:53:41,800
Speaker 1: even more beyond maximum capacity, so fantastic. It's such a

959
00:53:41,880 --> 00:53:45,759
Speaker 1: characteristically nineteen fifties movie trope by the way, you know,

960
00:53:45,800 --> 00:53:48,040
Speaker 1: it's like Charles B. Griffith saying, does it have to

961
00:53:48,080 --> 00:53:52,040
Speaker 1: be atomic radiation and Corman says, yes, I guess that

962
00:53:52,120 --> 00:53:55,760
Speaker 1: was the case here, So it's atomic radiation plus. Also, uh,

963
00:53:55,800 --> 00:53:58,360
Speaker 1: it's it's a psychic powers thriller. It's one about the

964
00:53:58,400 --> 00:54:01,560
Speaker 1: occult manifestations of human and thoughts, which I would say

965
00:54:01,760 --> 00:54:04,560
Speaker 1: that sub genre is less confined to a particular time

966
00:54:04,600 --> 00:54:07,359
Speaker 1: and place in history. It's less the nineteen fifties thing.

967
00:54:07,440 --> 00:54:09,520
Speaker 1: You know, there's always horror about the idea of what

968
00:54:09,560 --> 00:54:13,239
Speaker 1: if thoughts were more powerful than we imagined? Yeah, and

969
00:54:13,280 --> 00:54:17,040
Speaker 1: these when made visible, these again look like squirming brains

970
00:54:17,320 --> 00:54:20,880
Speaker 1: with the spinal column is like like a worm's body

971
00:54:21,000 --> 00:54:23,560
Speaker 1: or something. And it has added tentacles and kind of

972
00:54:23,600 --> 00:54:27,560
Speaker 1: antenna on top of it. It's a fabulous stop motion

973
00:54:27,600 --> 00:54:30,799
Speaker 1: creature and it does like true I joked about the

974
00:54:30,800 --> 00:54:34,160
Speaker 1: the the elevator pitch being your your brain is gross, um,

975
00:54:34,480 --> 00:54:37,319
Speaker 1: but it is kind of that. It's kind of this

976
00:54:37,320 --> 00:54:39,920
Speaker 1: this monster design that's just like, look at the brain

977
00:54:40,000 --> 00:54:43,959
Speaker 1: and this attached spinal cord. Look at this. This anatomic illustration.

978
00:54:44,320 --> 00:54:47,719
Speaker 1: This is disgusting. Uh, and this is apparently what we are.

979
00:54:47,880 --> 00:54:50,360
Speaker 1: We are this brain. What if that brain was just

980
00:54:50,440 --> 00:54:55,520
Speaker 1: crawling around, uh, trying to break through shutters and leaping

981
00:54:55,600 --> 00:54:58,400
Speaker 1: onto women, the back of women's necks and wrapping their

982
00:54:58,440 --> 00:55:01,759
Speaker 1: spinal cord around their neck. X wouldn't that be horrifying?

983
00:55:02,040 --> 00:55:04,440
Speaker 1: Oh it's like the face hugger an alien, except it's

984
00:55:04,440 --> 00:55:06,480
Speaker 1: going for the back of your head instead of the front.

985
00:55:06,760 --> 00:55:09,239
Speaker 1: I didn't think about that connection. I wonder if you know,

986
00:55:09,280 --> 00:55:11,680
Speaker 1: there are all sorts of papers talking about just how

987
00:55:11,960 --> 00:55:16,080
Speaker 1: the design of the xeno morse varying forms come into being,

988
00:55:16,160 --> 00:55:18,319
Speaker 1: and you know, and you know, of course they're very

989
00:55:18,400 --> 00:55:21,920
Speaker 1: key individuals involved in that process, including the late h

990
00:55:22,000 --> 00:55:25,480
Speaker 1: rug Eager. But I wonder, I don't remember anyone ever

991
00:55:25,520 --> 00:55:28,000
Speaker 1: pointing to fiend without a face. But yeah, the face

992
00:55:28,080 --> 00:55:30,919
Speaker 1: huggers and the fiends have a lot in common. But yeah,

993
00:55:30,960 --> 00:55:34,520
Speaker 1: basically this this scene turns into a Night of the

994
00:55:34,560 --> 00:55:37,440
Speaker 1: Living Dead style siege on a house where all the

995
00:55:37,719 --> 00:55:41,560
Speaker 1: human characters barricade themselves inside and the brains are attacking

996
00:55:41,640 --> 00:55:44,240
Speaker 1: from every from every angle, trying to get through the windows.

997
00:55:44,239 --> 00:55:47,799
Speaker 1: I think at one point they come down the chimney

998
00:55:46,960 --> 00:55:50,360
Speaker 1: um uh and uh. And this leads into that great

999
00:55:50,480 --> 00:55:53,480
Speaker 1: line from that clip you shared for me where the

1000
00:55:53,520 --> 00:55:56,319
Speaker 1: movie it came from Hollywood, where dan Ackroyd shows a

1001
00:55:56,320 --> 00:55:58,360
Speaker 1: clip from this movie and says, we just sprayed for

1002
00:55:58,440 --> 00:56:02,200
Speaker 1: brains last week. Yeah, that that was the first place

1003
00:56:02,239 --> 00:56:05,880
Speaker 1: I saw any of these sequences that was in. It

1004
00:56:05,960 --> 00:56:08,880
Speaker 1: came from Hollywood, where there's a There are different sections

1005
00:56:08,880 --> 00:56:12,520
Speaker 1: in that film about different types of old movies, and

1006
00:56:12,600 --> 00:56:15,120
Speaker 1: one of them that probably my favorite, is the brains

1007
00:56:15,280 --> 00:56:19,080
Speaker 1: section where dan Ackroyd plays this mad scientist character kind

1008
00:56:19,080 --> 00:56:22,960
Speaker 1: of like hosting this segment and it's just a super um,

1009
00:56:23,520 --> 00:56:26,839
Speaker 1: just a super intense performance. But then he sets up

1010
00:56:26,840 --> 00:56:30,400
Speaker 1: all these wonderful clips of brains and brain monsters from movies.

1011
00:56:30,719 --> 00:56:32,879
Speaker 1: So yeah, again, these brains just run a muck. They're

1012
00:56:32,880 --> 00:56:35,040
Speaker 1: trying to break into the cabin. They're breaking into the cabin,

1013
00:56:35,080 --> 00:56:39,439
Speaker 1: they're attacking people, They're they're murdering people. Meanwhile, they're trying

1014
00:56:39,480 --> 00:56:41,919
Speaker 1: to get over there to shut the radiation off. Right,

1015
00:56:42,400 --> 00:56:46,000
Speaker 1: isn't that the idea? Well shut it? I think this

1016
00:56:46,040 --> 00:56:50,319
Speaker 1: movie has a very poor understanding of how atomic reactors work.

1017
00:56:50,400 --> 00:56:53,799
Speaker 1: So I think their idea is if we blow up

1018
00:56:53,840 --> 00:56:58,359
Speaker 1: the control station of the nuclear reactor, then it will

1019
00:56:58,400 --> 00:57:02,120
Speaker 1: stop going and the power will stop, and these things

1020
00:57:02,120 --> 00:57:05,400
Speaker 1: will lose their their power because they're being fed by

1021
00:57:05,440 --> 00:57:09,680
Speaker 1: the radiation somehow. I'm not a nuclear engineer, so you know,

1022
00:57:09,680 --> 00:57:11,759
Speaker 1: if I'm wrong about this, right in and let me know.

1023
00:57:11,840 --> 00:57:15,920
Speaker 1: But I I'm pretty sure that destroying the control station

1024
00:57:16,160 --> 00:57:20,000
Speaker 1: of a nuclear reactor would have the opposite consequences. It

1025
00:57:20,040 --> 00:57:23,680
Speaker 1: would be more likely that the reactor would like continue,

1026
00:57:23,680 --> 00:57:26,040
Speaker 1: would go out of control and melt down, rather than

1027
00:57:26,080 --> 00:57:28,560
Speaker 1: it would like stop running, and then they would be

1028
00:57:28,720 --> 00:57:31,320
Speaker 1: even more visible and more powerful. But of course you

1029
00:57:31,320 --> 00:57:33,480
Speaker 1: know what's gonna happen ultimately, Yeah, they do get to

1030
00:57:33,760 --> 00:57:36,200
Speaker 1: blow up the reactor or whatever shuts it all down,

1031
00:57:36,520 --> 00:57:40,080
Speaker 1: the brains will really lose their power, and they don't

1032
00:57:40,080 --> 00:57:42,040
Speaker 1: just fall to the ground lifeless, and you know, then

1033
00:57:42,040 --> 00:57:43,880
Speaker 1: somebody has to come around and collect the brains. No,

1034
00:57:44,320 --> 00:57:48,320
Speaker 1: they melt away into basically just greasy spots on the floor.

1035
00:57:48,960 --> 00:57:52,720
Speaker 1: And it's a stop motion effect. And it's wonderful, wonderful

1036
00:57:52,760 --> 00:57:55,360
Speaker 1: stop motion sequence. And I think it's saying something because

1037
00:57:55,520 --> 00:57:59,520
Speaker 1: sometimes these transition effects and stop motion even in much

1038
00:57:59,640 --> 00:58:02,600
Speaker 1: later films can look a little awkward, but I thought

1039
00:58:02,600 --> 00:58:05,320
Speaker 1: these look tremendous. Oh yeah, yeah, I totally agree. The

1040
00:58:05,360 --> 00:58:09,120
Speaker 1: dissolving is it looks so gross. So there you have it,

1041
00:58:09,240 --> 00:58:11,600
Speaker 1: fiend without a face. Uh yeah, it's a fun flick.

1042
00:58:11,640 --> 00:58:14,520
Speaker 1: It's worth worth checking out. Uh. And like I said,

1043
00:58:14,560 --> 00:58:17,920
Speaker 1: it's Criterion Collection. Um, there's so there have been a

1044
00:58:18,000 --> 00:58:20,000
Speaker 1: number of DVDs of this put out over the years,

1045
00:58:20,040 --> 00:58:22,600
Speaker 1: but the two thousand ten Criterion Collection Edition is as

1046
00:58:22,640 --> 00:58:24,640
Speaker 1: I think definitely want to pick up. It's not out

1047
00:58:24,640 --> 00:58:28,280
Speaker 1: on Blu Ray, but the the Criterion Collection Edition is

1048
00:58:28,320 --> 00:58:31,600
Speaker 1: also available to rent or buy digitally, and I watched

1049
00:58:31,640 --> 00:58:34,640
Speaker 1: the Criterion Collection version as part of the AMC Plus

1050
00:58:34,720 --> 00:58:37,240
Speaker 1: subscription on Prime at least here in the States as

1051
00:58:37,240 --> 00:58:39,640
Speaker 1: of this recording. Uh. You can also stream it on

1052
00:58:39,680 --> 00:58:42,760
Speaker 1: the Criterion channel, which I mentioned earlier, which I have

1053
00:58:42,840 --> 00:58:45,480
Speaker 1: subscribed to in the past, and I highly recommend if

1054
00:58:45,480 --> 00:58:48,000
Speaker 1: you want to dive into a lot of films again,

1055
00:58:48,040 --> 00:58:51,360
Speaker 1: Samurai Pictures, Felini Pictures, but then also all sorts of

1056
00:58:51,360 --> 00:58:53,880
Speaker 1: weird and wonderful things you didn't even know existed. So

1057
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Speaker 1: we're gonna go ahead and close it out here, but

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00:58:55,600 --> 00:58:57,120
Speaker 1: we'd love to hear from everyone out there if you

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00:58:57,160 --> 00:59:01,200
Speaker 1: have thoughts on fiend without a Face, brain, monsters in general,

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00:59:01,280 --> 00:59:03,400
Speaker 1: any of the people or things we mentioned in this

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00:59:03,440 --> 00:59:06,000
Speaker 1: episode right in we would love to hear from you.

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Speaker 1: Reminder that Weird How Cinema publishes every Friday in the

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00:59:10,600 --> 00:59:12,800
Speaker 1: Stuff to Blow Your Mind podcast feed were primarily a

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00:59:12,840 --> 00:59:15,440
Speaker 1: science podcast, but this is our data set aside most

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00:59:15,440 --> 00:59:18,080
Speaker 1: serious concerns and just talk about a weird film. I

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00:59:18,320 --> 00:59:21,800
Speaker 1: blog about these motion pictures at Samooda Music dot com.

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00:59:22,160 --> 00:59:23,520
Speaker 1: You can also go to Stuff to Blow your Mind

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00:59:23,560 --> 00:59:25,760
Speaker 1: dot com and go to the store tab and you

1069
00:59:25,760 --> 00:59:28,080
Speaker 1: can check out the stuff to Blow your Mind merch section,

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00:59:28,240 --> 00:59:31,160
Speaker 1: which also has some Weird How Cinema merching there, including

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00:59:31,480 --> 00:59:34,880
Speaker 1: the new rub the Fur key shirt or like rub

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00:59:34,920 --> 00:59:37,520
Speaker 1: the fur toe bag. Whatever you want to put rub

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00:59:37,600 --> 00:59:40,120
Speaker 1: the fur on, you can do it. Hich Thanks as

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00:59:40,120 --> 00:59:43,800
Speaker 1: always to our excellent audio producer Seth Nicholas Johnson. If

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00:59:43,800 --> 00:59:45,480
Speaker 1: you would like to get in touch with us with

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00:59:45,600 --> 00:59:48,320
Speaker 1: feedback on this episode or any other, to suggest a

1077
00:59:48,360 --> 00:59:50,680
Speaker 1: topic for the future, or just to say hello, you

1078
00:59:50,680 --> 00:59:53,480
Speaker 1: can email us at contact at stuff to Blow your

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Speaker 1: Mind dot com. Stuff to Blow Your Mind is production

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01:00:03,400 --> 01:00:06,160
Speaker 1: of I heart Radio. For more podcasts for my heart Radio,

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01:00:06,360 --> 01:00:09,040
Speaker 1: visit the I heart Radio app, Apple podcasts, or wherever

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01:00:09,080 --> 01:00:10,440
Speaker 1: you listen to your favorite shows.