1
00:00:01,520 --> 00:00:04,280
Speaker 1: Hey everybody, This is Chuck and welcome to this week's

2
00:00:04,400 --> 00:00:08,200
Speaker 1: edition of the Stuff You Should Know Saturday Curated selects.

3
00:00:08,960 --> 00:00:11,520
Speaker 1: This week, I decided to go with How Exploitation Films

4
00:00:11,560 --> 00:00:16,759
Speaker 1: Work from April fourteenth, twenty eleven. And this one was

5
00:00:16,800 --> 00:00:19,320
Speaker 1: an easy pick because I like all of our movie

6
00:00:19,640 --> 00:00:22,800
Speaker 1: episodes and I think Josh might have put this one

7
00:00:22,800 --> 00:00:24,720
Speaker 1: together way back in the day when we recorded it,

8
00:00:25,760 --> 00:00:28,200
Speaker 1: and it was just a really cool one. Not only

9
00:00:28,280 --> 00:00:29,960
Speaker 1: do we get to talk a lot about just some

10
00:00:30,000 --> 00:00:32,760
Speaker 1: of the great exploitation films, but just a little bit

11
00:00:32,760 --> 00:00:35,400
Speaker 1: about the history and how they came about. So I

12
00:00:35,479 --> 00:00:38,240
Speaker 1: just remember really enjoying recording this one and got great

13
00:00:38,280 --> 00:00:40,839
Speaker 1: feedback on it. So give it a shot, and if

14
00:00:40,840 --> 00:00:43,720
Speaker 1: you've already listened to it, give it another shot. That

15
00:00:43,800 --> 00:00:53,840
Speaker 1: is what I suggest enjoy. Welcome to Stuff you Should

16
00:00:53,840 --> 00:00:59,880
Speaker 1: Know from HowStuffWorks dot com.

17
00:01:00,360 --> 00:01:03,320
Speaker 2: Hey, and welcome to the podcast. I'm Josh Clark, There's

18
00:01:03,480 --> 00:01:07,400
Speaker 2: Charles W. Chuck Bryant. This is Stuff you Should Know,

19
00:01:07,959 --> 00:01:11,600
Speaker 2: the podcast and kind of a special edition. Frankly, I

20
00:01:11,640 --> 00:01:13,720
Speaker 2: am a little excited, Chuck, I'm a little giddy.

21
00:01:13,880 --> 00:01:14,640
Speaker 1: Shut your mouth.

22
00:01:15,600 --> 00:01:20,800
Speaker 2: That's yeah, okay, sure, all right, this is our first

23
00:01:20,880 --> 00:01:24,120
Speaker 2: ever movie centric podcast.

24
00:01:24,280 --> 00:01:28,399
Speaker 1: Right, movie centric for sure. Yeah, we've mentioned movies of

25
00:01:28,480 --> 00:01:30,440
Speaker 1: course all the time, but this one is like, this

26
00:01:30,480 --> 00:01:31,400
Speaker 1: is all about movies.

27
00:01:32,400 --> 00:01:35,360
Speaker 2: So this is by popular request to an extent. People

28
00:01:35,400 --> 00:01:39,040
Speaker 2: want to see like, uh, they want to hear us

29
00:01:39,080 --> 00:01:41,200
Speaker 2: talk about movies and just do a movie podcast. So

30
00:01:41,200 --> 00:01:43,399
Speaker 2: we decided to focus on exploitation films.

31
00:01:43,680 --> 00:01:43,800
Speaker 3: Right.

32
00:01:44,040 --> 00:01:46,200
Speaker 2: This is also probably the first podcast that we're going

33
00:01:46,240 --> 00:01:50,280
Speaker 2: to say, if you are a teacher of children in

34
00:01:50,680 --> 00:01:53,200
Speaker 2: eighth grade or younger, and you're using this as a

35
00:01:53,240 --> 00:01:55,800
Speaker 2: teaching tool, you might want to go to the one

36
00:01:55,880 --> 00:01:58,920
Speaker 2: before this or the one after. Yeah, we don't generally

37
00:01:58,960 --> 00:02:01,559
Speaker 2: try to alienate. Add it says, we're not attempting to now,

38
00:02:01,760 --> 00:02:04,720
Speaker 2: it's just a natural byproduct of the exploitation film.

39
00:02:05,200 --> 00:02:08,840
Speaker 1: Can't talk about exploitation films without talking about some lurid

40
00:02:08,880 --> 00:02:09,560
Speaker 1: subject matter.

41
00:02:09,840 --> 00:02:14,079
Speaker 2: Yeah, you can't say exploitation without ploit.

42
00:02:14,320 --> 00:02:19,399
Speaker 1: Yeah, they weren't exploiting, just people being nice, right, nice ploitation.

43
00:02:19,919 --> 00:02:22,160
Speaker 2: So, Chuck, I went and saw a movie the other

44
00:02:22,240 --> 00:02:25,120
Speaker 2: day called I Saw the Devil. It's a Korean movie.

45
00:02:25,160 --> 00:02:29,800
Speaker 2: It's by the guy who did the Tale of Two Sisters.

46
00:02:29,840 --> 00:02:32,000
Speaker 1: I think Oh, he said more violent than Old Boy.

47
00:02:32,240 --> 00:02:36,040
Speaker 2: Yeah, the Old Boy is one of the main characters.

48
00:02:36,200 --> 00:02:41,040
Speaker 2: And I've seen Old Boy. I've seen what's the other

49
00:02:41,080 --> 00:02:45,280
Speaker 2: one he did, the vampire movie, Yeah, Thirst, So I

50
00:02:45,320 --> 00:02:48,000
Speaker 2: think it's pretty good. It was okay, this one is

51
00:02:48,040 --> 00:02:49,880
Speaker 2: it's the most violent thing I've ever seen in my life.

52
00:02:49,880 --> 00:02:52,320
Speaker 2: It's the most graphically violent movie I've ever seen in

53
00:02:52,320 --> 00:02:56,400
Speaker 2: my life. The only the only reason, like I was

54
00:02:56,440 --> 00:02:58,880
Speaker 2: able to complete is because I'm like, this is it's

55
00:02:58,880 --> 00:03:02,519
Speaker 2: a movie, but I walked out of it like it's

56
00:03:02,560 --> 00:03:05,520
Speaker 2: so over the top, it's so gory. It's clearly an

57
00:03:05,560 --> 00:03:06,760
Speaker 2: exploitation film.

58
00:03:06,919 --> 00:03:07,399
Speaker 1: Yeah.

59
00:03:08,200 --> 00:03:10,359
Speaker 2: Yeah, But the problem is is, like, really, if you

60
00:03:10,440 --> 00:03:15,560
Speaker 2: start to look around, John Hughes, films technically are exploitation films.

61
00:03:15,560 --> 00:03:18,360
Speaker 2: The Breakfast Club is technically an exploitation film.

62
00:03:18,480 --> 00:03:22,360
Speaker 1: Yeah, there's a big wave of teen exploitation films, and

63
00:03:22,639 --> 00:03:23,959
Speaker 1: we'll get to that, but yeah, you're right.

64
00:03:24,040 --> 00:03:26,840
Speaker 2: So one of the broader definitions of exploitation films is

65
00:03:26,880 --> 00:03:30,480
Speaker 2: basically anything that's really like over the top, that is

66
00:03:30,919 --> 00:03:37,839
Speaker 2: beyond reality, or that maybe focuses on people's fears, their

67
00:03:38,280 --> 00:03:42,000
Speaker 2: sexuality and basically just kind of serves it up in

68
00:03:42,040 --> 00:03:44,320
Speaker 2: a larger than life manner. That's one way of looking

69
00:03:44,360 --> 00:03:45,320
Speaker 2: at exploitation films.

70
00:03:45,400 --> 00:03:51,000
Speaker 1: Yeah, you're basically they're exploiting some of the seedier aspects

71
00:03:51,000 --> 00:03:52,600
Speaker 1: of humanity most times.

72
00:03:52,320 --> 00:03:56,560
Speaker 2: Sure, like murder or sex, like weird sex, that kind

73
00:03:56,640 --> 00:03:58,760
Speaker 2: of thing, sex, weird.

74
00:03:58,680 --> 00:04:01,680
Speaker 1: Sex, teenage rebelling against parents.

75
00:04:01,360 --> 00:04:04,480
Speaker 2: Sure, like weird science. Have you ever been to a

76
00:04:04,480 --> 00:04:06,480
Speaker 2: party where a couch shot out of the chimney and

77
00:04:06,520 --> 00:04:08,880
Speaker 2: into the pond? I mean it's a pretty nice party.

78
00:04:08,920 --> 00:04:12,800
Speaker 2: I don't think it's ever really happened, you know. So

79
00:04:13,440 --> 00:04:16,160
Speaker 2: that's the vast definition of exploitation. But you and I

80
00:04:16,360 --> 00:04:21,640
Speaker 2: are kind of qualified to teach a cinema class at

81
00:04:21,680 --> 00:04:26,000
Speaker 2: like maybe a low level community college at this point,

82
00:04:26,040 --> 00:04:28,120
Speaker 2: after the amount of research we've done in this sure,

83
00:04:28,160 --> 00:04:30,840
Speaker 2: and we found that academically there's a there's a much

84
00:04:30,839 --> 00:04:39,520
Speaker 2: more distinct definition for exploitation, and it's seemingly interchangeable term grindhouse.

85
00:04:39,600 --> 00:04:41,960
Speaker 1: Right, Yeah, what's the Is there a definition definition?

86
00:04:42,080 --> 00:04:45,760
Speaker 2: It's more like a timeframe. Okay, so from like nineteen

87
00:04:45,880 --> 00:04:49,080
Speaker 2: nineteen when they really first started making movies to I

88
00:04:49,120 --> 00:04:53,120
Speaker 2: think nineteen sixty nineteen fifty nine, when the Hayes Act

89
00:04:53,160 --> 00:04:57,720
Speaker 2: went away, that was exploitation and then after that it

90
00:04:58,520 --> 00:05:03,240
Speaker 2: became Grindhouse. Gotcha, it's my understanding. Okay, so let's do

91
00:05:03,320 --> 00:05:04,400
Speaker 2: this all.

92
00:05:04,360 --> 00:05:05,440
Speaker 1: Right, Well, that's the old joke.

93
00:05:05,640 --> 00:05:05,920
Speaker 2: Was it?

94
00:05:06,400 --> 00:05:10,920
Speaker 1: In the awesome documentary American Grindhouse, which documents this era

95
00:05:11,040 --> 00:05:13,480
Speaker 1: of filmmaking. Yeah, the old joke, one of the guys says,

96
00:05:13,560 --> 00:05:17,599
Speaker 1: is that exploitation films began five minutes after the camera

97
00:05:17,720 --> 00:05:19,640
Speaker 1: was invented, the motion picture camera.

98
00:05:19,480 --> 00:05:22,000
Speaker 2: Because the guy was like the directors like to his girlfriend, hey,

99
00:05:22,040 --> 00:05:23,400
Speaker 2: would you mind taking your clothes off.

100
00:05:23,360 --> 00:05:25,880
Speaker 1: Or the camera exactly? So it says something about the

101
00:05:25,960 --> 00:05:28,760
Speaker 1: human condition that you invent the film camera, and the

102
00:05:28,760 --> 00:05:32,119
Speaker 1: first moving images were often Lurid Edison's film that showed

103
00:05:32,120 --> 00:05:36,159
Speaker 1: clips of like decapitations and violence and guys fighting, yeah,

104
00:05:36,360 --> 00:05:41,000
Speaker 1: and nit naked women as film tests. So it's just

105
00:05:41,160 --> 00:05:42,640
Speaker 1: that says a lot about people like, all right, now

106
00:05:42,640 --> 00:05:45,800
Speaker 1: we know how to capture things, so let's capture sex

107
00:05:45,839 --> 00:05:47,960
Speaker 1: and violence right first.

108
00:05:48,200 --> 00:05:53,839
Speaker 2: Right, And although that really kind of jibed with public tastes,

109
00:05:53,960 --> 00:05:58,120
Speaker 2: or at least public fascination, it didn't jibe with the

110
00:05:58,839 --> 00:06:02,599
Speaker 2: prevailing standards. They agreed upon standards, right.

111
00:06:02,839 --> 00:06:05,679
Speaker 1: Right, I think he said nineteen nineteen. But the first

112
00:06:05,800 --> 00:06:10,520
Speaker 1: exploitation film was nineteen thirteen, Oh, okay, Trafficking Souls or

113
00:06:10,680 --> 00:06:13,919
Speaker 1: While New York Sleeps, right, and that, like you said,

114
00:06:14,040 --> 00:06:16,599
Speaker 1: exploitation often plays into fears. That played into the fear

115
00:06:16,640 --> 00:06:21,120
Speaker 1: at the time of the white slave trade. Budget of

116
00:06:21,160 --> 00:06:24,119
Speaker 1: fifty seven grand and gross four hundred and fifty thousand dollars,

117
00:06:24,160 --> 00:06:25,839
Speaker 1: which nineteen thirteen is a lot of dough.

118
00:06:25,920 --> 00:06:27,240
Speaker 2: That is a ton of though, and.

119
00:06:27,200 --> 00:06:29,800
Speaker 1: That was Universal Pictures and they went, hey, going on

120
00:06:29,839 --> 00:06:30,440
Speaker 1: to something here.

121
00:06:30,680 --> 00:06:34,960
Speaker 2: Right after that was released the Hayes Code. Will Hayes

122
00:06:35,040 --> 00:06:39,479
Speaker 2: was the Postmaster General and the Presbyterian elder and he

123
00:06:39,640 --> 00:06:42,680
Speaker 2: was making one hundred grand a year during the depression.

124
00:06:42,880 --> 00:06:43,760
Speaker 1: Unbelievable, right.

125
00:06:44,200 --> 00:06:48,600
Speaker 2: He basically said, like, look, we need we need to

126
00:06:48,760 --> 00:06:54,040
Speaker 2: apply some moral standards to filmmaking. There's decapitation, there's naked breast,

127
00:06:54,120 --> 00:06:58,600
Speaker 2: there's white white slavery, Like we need to we need

128
00:06:58,640 --> 00:07:00,400
Speaker 2: to fure this right.

129
00:07:00,440 --> 00:07:03,560
Speaker 1: Well, actually there wasn't nudity yet like those early test films.

130
00:07:03,560 --> 00:07:06,480
Speaker 1: There were, but nudity we'll get to that later, okay,

131
00:07:07,279 --> 00:07:09,120
Speaker 1: But yes, that's what Hayes tried to do. And like

132
00:07:09,880 --> 00:07:15,040
Speaker 1: prohibition didn't exactly quell drinking, the Hayes code actually sort

133
00:07:15,080 --> 00:07:17,200
Speaker 1: of gave rise to the exploitation movement.

134
00:07:17,480 --> 00:07:22,440
Speaker 2: Yeah, it's just like just like prohibition, just like marijuana prohibition,

135
00:07:22,720 --> 00:07:25,760
Speaker 2: just like well any drug prohibition. Anytime you say you

136
00:07:25,800 --> 00:07:29,000
Speaker 2: can't do this, you can't have something that you want,

137
00:07:30,280 --> 00:07:32,440
Speaker 2: somebody else is going to operate in a black market.

138
00:07:32,480 --> 00:07:35,040
Speaker 2: A black market's going to spring up, simple economics. Yeah,

139
00:07:35,120 --> 00:07:37,800
Speaker 2: and that's exactly what happened, and that's where exploitation cinema

140
00:07:37,880 --> 00:07:40,360
Speaker 2: came up. It's like, you can't get this from Hollywood

141
00:07:40,440 --> 00:07:43,080
Speaker 2: because Hollywood has to play by the rules. But my

142
00:07:43,200 --> 00:07:47,680
Speaker 2: production studio is my model t and let's go make

143
00:07:47,720 --> 00:07:50,200
Speaker 2: this movie. Give me some money. I'm going to film

144
00:07:50,520 --> 00:07:55,000
Speaker 2: a child being born close up and put it in

145
00:07:55,080 --> 00:07:55,600
Speaker 2: the movies.

146
00:07:55,840 --> 00:07:58,040
Speaker 1: Yes, and you can do that. You can make your

147
00:07:58,040 --> 00:08:00,760
Speaker 1: movies all day long. But if they're never exhibited, than

148
00:08:01,360 --> 00:08:03,280
Speaker 1: what good are you doing or not? Like they were

149
00:08:03,280 --> 00:08:05,720
Speaker 1: trying to do some good, but you're not making any scratch.

150
00:08:06,040 --> 00:08:09,800
Speaker 1: So the forty thieves they talk about in the documentary

151
00:08:09,840 --> 00:08:14,400
Speaker 1: were these filmmakers and exhibitors basically that traveled around like carnies,

152
00:08:15,280 --> 00:08:19,400
Speaker 1: setting up these sort of gorilla film screenings and some

153
00:08:19,600 --> 00:08:21,360
Speaker 1: places sort of out of the way where they can't

154
00:08:21,400 --> 00:08:25,440
Speaker 1: get caught. And that was for the first time, you know,

155
00:08:25,440 --> 00:08:28,440
Speaker 1: they were taking films outside of the mainstream.

156
00:08:28,680 --> 00:08:28,920
Speaker 2: Yeah.

157
00:08:29,040 --> 00:08:31,160
Speaker 1: Different. Sometimes they weren't even theaters. They would show them

158
00:08:31,280 --> 00:08:34,840
Speaker 1: like VFW halls if you want to go see Birth

159
00:08:34,880 --> 00:08:36,840
Speaker 1: of a Baby films. Apparently they were popular.

160
00:08:36,920 --> 00:08:39,600
Speaker 2: Yeah, that was a whole genre, early genre of exploitation.

161
00:08:39,880 --> 00:08:42,880
Speaker 1: Well, and so was early on a lot of the

162
00:08:42,880 --> 00:08:45,559
Speaker 1: film centered around like how to wear a condom and

163
00:08:45,640 --> 00:08:47,040
Speaker 1: the sex hygiene films.

164
00:08:47,120 --> 00:08:50,400
Speaker 2: Yeah, because there was no information about that out there,

165
00:08:50,400 --> 00:08:57,360
Speaker 2: and so exploitation filmmakers, whether disingenuously or genuinely, were presenting

166
00:08:57,400 --> 00:08:59,959
Speaker 2: their stuff like this is a public service. People need

167
00:09:00,120 --> 00:09:03,680
Speaker 2: to know this, right and making movies about it. But

168
00:09:04,360 --> 00:09:07,000
Speaker 2: also and people were going on that excuse as well,

169
00:09:07,040 --> 00:09:09,240
Speaker 2: like well, I need to know about this, but at

170
00:09:09,280 --> 00:09:11,320
Speaker 2: the same time, it's like I want to see this

171
00:09:11,760 --> 00:09:14,280
Speaker 2: the craziest thing I'll ever see in my life exactly,

172
00:09:14,480 --> 00:09:15,920
Speaker 2: you know, on screen.

173
00:09:15,760 --> 00:09:17,199
Speaker 1: Or they argued a lot of times that they were

174
00:09:17,200 --> 00:09:20,280
Speaker 1: cautionary tales. If they were about drugs or violence, they

175
00:09:20,320 --> 00:09:22,560
Speaker 1: would say, hey, this could happen to you, so you

176
00:09:22,559 --> 00:09:24,880
Speaker 1: should educate yourself. But what they really want to do

177
00:09:24,920 --> 00:09:25,280
Speaker 1: is get the.

178
00:09:25,240 --> 00:09:27,280
Speaker 2: Movie scene and make some money exactly.

179
00:09:29,559 --> 00:09:32,240
Speaker 1: Paramount Decision of nineteen forty eight. This is pretty big.

180
00:09:32,280 --> 00:09:35,920
Speaker 1: This Supreme Court voted that movie studios could no longer

181
00:09:35,960 --> 00:09:38,800
Speaker 1: own their own movie theaters. At the time, you know,

182
00:09:39,040 --> 00:09:42,439
Speaker 1: there would be like the Paramount Theater in Hollywood from

183
00:09:42,920 --> 00:09:45,720
Speaker 1: the Paramount film production company. It would show their movies.

184
00:09:46,160 --> 00:09:49,000
Speaker 1: Supreme Court said no more, and all of a sudden,

185
00:09:49,720 --> 00:09:53,040
Speaker 1: exploitation films became a little bit more legit because the

186
00:09:53,040 --> 00:09:55,480
Speaker 1: Hayes Code kind of fell apart. Yeah, and this is

187
00:09:55,520 --> 00:09:58,199
Speaker 1: post World War two, so people.

188
00:09:57,960 --> 00:10:00,360
Speaker 2: Had seen a lot of death recently out.

189
00:10:00,240 --> 00:10:02,800
Speaker 1: Of death, and then a little more they thought ladies

190
00:10:03,200 --> 00:10:08,000
Speaker 1: in suggestive roles were good for morale, and there was

191
00:10:08,360 --> 00:10:11,800
Speaker 1: a little bit of loosening on the sex thing a

192
00:10:11,800 --> 00:10:13,080
Speaker 1: little bit post World War two.

193
00:10:13,160 --> 00:10:18,599
Speaker 2: And that led to another subgenre of exploitation film, the

194
00:10:18,720 --> 00:10:23,960
Speaker 2: newdest colony films, which were pawned off as documentaries. A

195
00:10:23,960 --> 00:10:26,839
Speaker 2: lot well most of these were pawned off as document documentaries,

196
00:10:26,840 --> 00:10:30,480
Speaker 2: which legitimized them, but really it was maybe maybe it

197
00:10:30,520 --> 00:10:33,520
Speaker 2: actually was film that a news camp. Probably not. Mostly

198
00:10:33,559 --> 00:10:38,160
Speaker 2: there were actors and actresses just engaged in archery naked

199
00:10:38,720 --> 00:10:40,720
Speaker 2: or long walks naked.

200
00:10:40,800 --> 00:10:43,800
Speaker 1: There could be no sex. Still that was still no taboo.

201
00:10:43,440 --> 00:10:46,800
Speaker 2: But it was just like naked pretty people right at

202
00:10:46,840 --> 00:10:49,800
Speaker 2: a newdist colony, which is interesting because you're not a nudist,

203
00:10:49,880 --> 00:10:51,480
Speaker 2: so come learn about them exactly.

204
00:10:51,679 --> 00:10:54,959
Speaker 1: Yeah, after that, through the history, we had things like

205
00:10:55,360 --> 00:10:58,440
Speaker 1: the teen like you said, the teen Rebellion of the

206
00:10:58,440 --> 00:11:01,080
Speaker 1: fifties with that rebel thought, a car in Blackboard Jungle,

207
00:11:01,080 --> 00:11:03,360
Speaker 1: and movies like that. All of a sudden, we're targeted

208
00:11:03,360 --> 00:11:07,559
Speaker 1: specifically at teens, which was new. And then drive in

209
00:11:07,640 --> 00:11:10,880
Speaker 1: theaters were built so teenagers could see movies where their

210
00:11:10,920 --> 00:11:13,520
Speaker 1: parents weren't going to be. Apparently the adults didn't go

211
00:11:13,559 --> 00:11:14,600
Speaker 1: to drive ins a lot at first.

212
00:11:14,600 --> 00:11:16,800
Speaker 2: Oh yeah, it's all kids. I didn't know that.

213
00:11:17,040 --> 00:11:19,840
Speaker 1: So they showed exploitation films, and then later the beach films,

214
00:11:20,480 --> 00:11:23,840
Speaker 1: which were marketed as it's silly, it's Frankie avalon, but

215
00:11:23,880 --> 00:11:27,720
Speaker 1: they were decidedly weird and overtly sexual sometimes.

216
00:11:28,200 --> 00:11:32,400
Speaker 2: And then chuck, if you'll notice, we're kind of progressing

217
00:11:32,440 --> 00:11:37,960
Speaker 2: along in this chronological order, and each thing is kind

218
00:11:37,960 --> 00:11:39,280
Speaker 2: of being built on the last.

219
00:11:39,480 --> 00:11:41,679
Speaker 1: It was very much a step process.

220
00:11:41,480 --> 00:11:46,040
Speaker 2: Right, And apparently that was kind of the form that

221
00:11:46,360 --> 00:11:50,760
Speaker 2: exploitation filmmaking followed. Until nineteen sixty it was just it

222
00:11:50,800 --> 00:11:55,000
Speaker 2: was centered around drugs, violence, sex, and in a lot

223
00:11:55,080 --> 00:11:57,200
Speaker 2: of ways they were presented as documentaries. They might not

224
00:11:57,240 --> 00:12:03,000
Speaker 2: have a plot. Basically, it was one person would make

225
00:12:03,040 --> 00:12:05,200
Speaker 2: some film and it would just break all the rules,

226
00:12:05,200 --> 00:12:07,200
Speaker 2: and then then a bunch of other people would make

227
00:12:07,240 --> 00:12:12,400
Speaker 2: similar films, and that was the way it went. And

228
00:12:12,440 --> 00:12:16,000
Speaker 2: then in the nineteen sixties things just started to go

229
00:12:16,240 --> 00:12:19,680
Speaker 2: every which way, all sorts of directions. Right, So nudity

230
00:12:20,120 --> 00:12:26,600
Speaker 2: nudy films were a long standing thread of exploitation films

231
00:12:26,920 --> 00:12:29,880
Speaker 2: and then they probably reached their pinnacle with Russ Myers, right,

232
00:12:30,000 --> 00:12:31,720
Speaker 2: King of the Nudies is what he's called.

233
00:12:31,880 --> 00:12:34,480
Speaker 1: Yeah, he was the first guy to He's significant because

234
00:12:34,520 --> 00:12:38,840
Speaker 1: he was the first director to have films featuring nudity

235
00:12:38,960 --> 00:12:44,880
Speaker 1: that actually were dramatic narratives and had plots and characters,

236
00:12:44,880 --> 00:12:48,599
Speaker 1: and they weren't classified as documentaries anymore. And then the

237
00:12:48,679 --> 00:12:51,440
Speaker 1: Roughies came along and they offered up violence for the

238
00:12:51,720 --> 00:12:56,360
Speaker 1: not first time, but big time for the first time, right,

239
00:12:57,040 --> 00:12:59,120
Speaker 1: And that has a lot to do with the fact

240
00:12:59,120 --> 00:13:01,800
Speaker 1: that it was the sixties and Kennedy was shot and

241
00:13:02,320 --> 00:13:04,760
Speaker 1: the United States was just becoming increasingly violent.

242
00:13:04,840 --> 00:13:08,200
Speaker 2: America lost its innocence. Yeah, and the other thing that

243
00:13:08,240 --> 00:13:10,880
Speaker 2: really happened in the nineteen sixties was the Hayes Coote

244
00:13:10,920 --> 00:13:16,640
Speaker 2: officially won away, was replaced by the MPAA and the

245
00:13:16,640 --> 00:13:21,120
Speaker 2: the I guess the long standing prohibition on Hollywood producing

246
00:13:21,160 --> 00:13:27,199
Speaker 2: exploitation films was it was lessened, decreased, and so studios

247
00:13:27,240 --> 00:13:29,800
Speaker 2: were like, oh, we can make money over here too, Well,

248
00:13:29,880 --> 00:13:32,840
Speaker 2: let's start making exploitation films right, And this is where

249
00:13:32,880 --> 00:13:39,559
Speaker 2: grindhouse was born. So my cinema professor definition of grindhouse

250
00:13:39,720 --> 00:13:45,600
Speaker 2: is big budget, studio backed exploitation films. Okay, okay, yeah,

251
00:13:45,720 --> 00:13:46,720
Speaker 2: that's that's mine.

252
00:13:46,800 --> 00:13:47,240
Speaker 4: I like it.

253
00:13:47,360 --> 00:13:48,960
Speaker 2: That's gonna be a quiz question later.

254
00:13:49,040 --> 00:13:52,400
Speaker 1: Yeah, I'll go with that. Actually, back up one second.

255
00:13:52,400 --> 00:13:54,600
Speaker 1: We got to mention Herschel Gordon Lewis. He was a

256
00:13:54,720 --> 00:13:57,800
Speaker 1: director who had a co director. I can't remember the

257
00:13:57,800 --> 00:14:01,280
Speaker 1: other guy's named you. Anyway, he was a co director

258
00:14:01,320 --> 00:14:03,360
Speaker 1: and he was one of these exploitation guys that was

259
00:14:03,360 --> 00:14:05,959
Speaker 1: getting frustrated because there weren't a lot of places to

260
00:14:06,000 --> 00:14:08,040
Speaker 1: show your movie. So it was a pretty crowded marketplace.

261
00:14:08,480 --> 00:14:11,720
Speaker 1: So he said, what's the one taboo that like people

262
00:14:11,760 --> 00:14:15,160
Speaker 1: will pay to see that you're allowed to show in theaters,

263
00:14:15,920 --> 00:14:20,720
Speaker 1: but that studios won't make. And it was Gore.

264
00:14:21,280 --> 00:14:21,760
Speaker 2: Oh yeah.

265
00:14:21,800 --> 00:14:25,080
Speaker 1: He was the first guy to start showing really disgusting

266
00:14:25,120 --> 00:14:30,040
Speaker 1: bloody scenes in his movie, uh, blood Feast, Blood Feast, yeah,

267
00:14:30,040 --> 00:14:32,320
Speaker 1: which actually was three years after Psycho, and Psycho also

268
00:14:32,320 --> 00:14:35,480
Speaker 1: did a lot for the mainstream ushering in of sure,

269
00:14:35,600 --> 00:14:38,600
Speaker 1: a little bit of Gore in that, but there was a.

270
00:14:37,960 --> 00:14:41,640
Speaker 2: Shot of blood following Janet Lee's murder, you know, which

271
00:14:41,680 --> 00:14:44,680
Speaker 2: is I imagine it's pretty graphic for Hollywood, right, and

272
00:14:44,680 --> 00:14:47,120
Speaker 2: that's what you think of your like, oh, those stupid sixties,

273
00:14:47,320 --> 00:14:49,920
Speaker 2: but that's you know, they were so naive, like that

274
00:14:50,000 --> 00:14:52,840
Speaker 2: was controversial, not really though, Like if you stepped just

275
00:14:52,880 --> 00:14:57,440
Speaker 2: slightly outside of Hollywood, you ran into things like Blood Feast, right,

276
00:14:57,640 --> 00:15:00,160
Speaker 2: or you know Last House on the Left, Yes, well

277
00:15:00,160 --> 00:15:01,760
Speaker 2: that's nineteen seventy two, I think.

278
00:15:01,760 --> 00:15:05,320
Speaker 1: Yeah, Wes Craven. So that was important because all of

279
00:15:05,320 --> 00:15:10,800
Speaker 1: a sudden, a drugs started, well three things. Political themes

280
00:15:10,840 --> 00:15:15,120
Speaker 1: started popping up, right, sexual freedom, the youth generation. Drugs

281
00:15:15,160 --> 00:15:17,920
Speaker 1: started popping up in movies for the first time drug use.

282
00:15:18,080 --> 00:15:21,600
Speaker 1: Well not for the first time. We'll talk about reefer madness. Yeah,

283
00:15:21,640 --> 00:15:24,760
Speaker 1: but teenagers were depicted as victims of violence for the

284
00:15:24,760 --> 00:15:27,920
Speaker 1: first time. Like Last House on the Left, I believe

285
00:15:28,080 --> 00:15:31,000
Speaker 1: is kind of regarded as the first teen slasher film.

286
00:15:31,960 --> 00:15:36,440
Speaker 2: Yeah, Wes Craven, it was almost a snuff film. It

287
00:15:36,520 --> 00:15:38,120
Speaker 2: was almost regarded like that.

288
00:15:38,160 --> 00:15:39,520
Speaker 1: It's pretty hardcore, but yeah, it.

289
00:15:39,560 --> 00:15:43,360
Speaker 2: Definitely blood Feasts definitely allowed Last House on the Left

290
00:15:43,360 --> 00:15:47,320
Speaker 2: to come around, but it also probably more directly formed

291
00:15:47,360 --> 00:15:52,040
Speaker 2: the foundation for slasher exploitation, like Friday the thirteenth, Third

292
00:15:52,160 --> 00:15:56,120
Speaker 2: Nightmare on Elm Street. Absolutely, My Bloody Valentine's another big one.

293
00:15:57,920 --> 00:16:00,520
Speaker 1: Yeah, The Crazy Oh yeah, that was in a digital right,

294
00:16:00,520 --> 00:16:30,880
Speaker 1: there's a remake now, I think, yeah, yeah, remakes. So

295
00:16:30,960 --> 00:16:35,320
Speaker 1: that brings us We're in the seventies, politically charged movies

296
00:16:35,680 --> 00:16:38,800
Speaker 1: brought race to the mix, and all of a sudden

297
00:16:38,840 --> 00:16:44,160
Speaker 1: we had black exploitation or black exploitation movement starting exploiting

298
00:16:44,200 --> 00:16:47,040
Speaker 1: the civil rights movement basically. But the cool thing about

299
00:16:47,360 --> 00:16:49,600
Speaker 1: black exploitation films is for the first time you had

300
00:16:50,040 --> 00:16:51,640
Speaker 1: African Americans as heroes.

301
00:16:52,320 --> 00:16:55,400
Speaker 2: Yeah, and not heroes in a typical sense, not even

302
00:16:55,480 --> 00:16:59,240
Speaker 2: anti heroes, but heroes that were like, they didn't ride

303
00:16:59,240 --> 00:17:02,280
Speaker 2: into town on on a white horse or wearing a

304
00:17:02,320 --> 00:17:06,119
Speaker 2: white hat, right, They very clearly wore black hats if

305
00:17:06,200 --> 00:17:08,880
Speaker 2: need be, Like they would engage in crime, they would

306
00:17:09,000 --> 00:17:13,720
Speaker 2: murder people if nippy they were. They were basically like

307
00:17:13,880 --> 00:17:18,359
Speaker 2: the face of black America coming out of the Civil

308
00:17:18,440 --> 00:17:20,360
Speaker 2: Rights are like, we're ticked off.

309
00:17:20,560 --> 00:17:22,520
Speaker 1: Yeah, you know, and we're gonna stick it to the

310
00:17:22,520 --> 00:17:24,320
Speaker 1: white man, stick it to the man, and we're gonna

311
00:17:24,320 --> 00:17:25,119
Speaker 1: do it in these movies.

312
00:17:25,320 --> 00:17:27,600
Speaker 2: Chuck, I know the movie you're about to to mention.

313
00:17:27,720 --> 00:17:29,520
Speaker 2: Let's this is it?

314
00:17:31,480 --> 00:17:32,480
Speaker 1: You keep the fath of me.

315
00:17:33,200 --> 00:17:38,440
Speaker 3: You my man, You're my favorite man, can you.

316
00:17:49,240 --> 00:17:49,320
Speaker 4: So?

317
00:17:49,440 --> 00:17:52,840
Speaker 1: Yes? That was a landmark film for a lot of reasons.

318
00:17:52,840 --> 00:17:56,080
Speaker 1: One because it grows four million bucks and it made

319
00:17:56,119 --> 00:17:59,119
Speaker 1: the major studio say, hey, you know what the black

320
00:17:59,160 --> 00:18:00,639
Speaker 1: hero is marketable?

321
00:18:00,960 --> 00:18:02,600
Speaker 2: Yeah, well, you haven't said the title yet.

322
00:18:02,840 --> 00:18:03,560
Speaker 1: Oh I didn't know.

323
00:18:04,200 --> 00:18:05,680
Speaker 2: Okay, you gotta say it right too.

324
00:18:06,000 --> 00:18:09,960
Speaker 1: Melvin Van Peebles film Sweet Sweetbacks, Badass.

325
00:18:10,119 --> 00:18:13,400
Speaker 2: Song, Nice That was well done. That was nineteen seventy one.

326
00:18:13,560 --> 00:18:16,920
Speaker 2: Melvin Van Peebles, whose last name may sound familiar. He's

327
00:18:16,960 --> 00:18:20,320
Speaker 2: the father of Mario Van Peebles for you younger cats

328
00:18:20,480 --> 00:18:21,280
Speaker 2: listening to this.

329
00:18:21,200 --> 00:18:25,200
Speaker 1: One cats our age actually younger cats, because he's kind of.

330
00:18:25,200 --> 00:18:29,520
Speaker 2: Like, okay, so cats are Yeah, that's Mario van Peebles's dad,

331
00:18:29,560 --> 00:18:30,680
Speaker 2: you know, New Jack City.

332
00:18:30,800 --> 00:18:31,440
Speaker 1: Yeah, exactly.

333
00:18:31,840 --> 00:18:34,800
Speaker 2: So Melvin Van Peebles made this movie. He produced it,

334
00:18:34,800 --> 00:18:36,800
Speaker 2: he raised the money for it, he wrote it, he

335
00:18:36,880 --> 00:18:39,840
Speaker 2: directed it, he starred in it. And it was the

336
00:18:39,880 --> 00:18:44,560
Speaker 2: beginning of the blaxploitation subgenre, which is one of the

337
00:18:44,560 --> 00:18:48,520
Speaker 2: most important genres of any American.

338
00:18:48,600 --> 00:18:51,360
Speaker 1: Cinema absolutely ever, absolutely.

339
00:18:50,840 --> 00:18:54,160
Speaker 2: And so considering how important that subgenre is, this quote

340
00:18:54,200 --> 00:18:58,480
Speaker 2: from Time Magazine's film critic Richard Corliss should really hit home.

341
00:18:58,720 --> 00:19:03,240
Speaker 2: Sweet Sweet Back is quote, without question or competition, the

342
00:19:03,280 --> 00:19:06,480
Speaker 2: most influential movie by a black filmmaker. So this is

343
00:19:06,520 --> 00:19:08,960
Speaker 2: a really big deal, right, yeah.

344
00:19:08,720 --> 00:19:10,760
Speaker 1: And it was just quickly on the plot. It was

345
00:19:10,760 --> 00:19:14,640
Speaker 1: about a black man who was a jiggielow who.

346
00:19:14,560 --> 00:19:16,680
Speaker 2: Had which is a male prostitute for you, young.

347
00:19:16,640 --> 00:19:18,440
Speaker 1: Cat, and he had a deal worked out with the

348
00:19:18,480 --> 00:19:20,639
Speaker 1: cops where he said, you know, you can arrest me

349
00:19:21,160 --> 00:19:23,520
Speaker 1: as much as you want, release me right afterward, fill

350
00:19:23,520 --> 00:19:27,080
Speaker 1: your quota. It's all good. And then one day, while

351
00:19:27,080 --> 00:19:30,480
Speaker 1: the arrest is going down, the cops attack a black panther,

352
00:19:31,000 --> 00:19:34,439
Speaker 1: and Sweet Sweet Back kills one of the cops and

353
00:19:34,480 --> 00:19:36,960
Speaker 1: then just says he just goes on a rampage against

354
00:19:36,960 --> 00:19:37,679
Speaker 1: the white man after that.

355
00:19:37,840 --> 00:19:38,040
Speaker 5: Yep.

356
00:19:38,280 --> 00:19:43,320
Speaker 2: So you've got prostitution, tons and tons of nudity and sex,

357
00:19:44,520 --> 00:19:51,000
Speaker 2: lots of violence, and other crimes all wrapped up into

358
00:19:51,040 --> 00:19:52,240
Speaker 2: a black power theme.

359
00:19:52,520 --> 00:19:52,960
Speaker 1: That's right.

360
00:19:54,040 --> 00:19:56,800
Speaker 2: And then to top it all off, you have what

361
00:19:57,000 --> 00:20:00,919
Speaker 2: is arguably a child sex scene starring Mario Van Peebles

362
00:20:01,000 --> 00:20:04,359
Speaker 2: Melvivan People's son at I think age six, He's a

363
00:20:04,440 --> 00:20:09,760
Speaker 2: kid having sex as Sweet Sweet Pack. It's his first

364
00:20:09,760 --> 00:20:13,760
Speaker 2: sexual encounter with an older person. And in the cult podcast,

365
00:20:13,920 --> 00:20:15,640
Speaker 2: if he became a cult leader, he would have taken

366
00:20:15,680 --> 00:20:18,320
Speaker 2: any younger bride, remember I am. It's right. So if

367
00:20:18,320 --> 00:20:21,440
Speaker 2: you're interested in that movie and you can't get enough

368
00:20:21,440 --> 00:20:25,960
Speaker 2: of Sweet Sweetbacks bad Ass Song, you could also check

369
00:20:25,960 --> 00:20:30,720
Speaker 2: out Bad Ass exclamation Point, which is Mario Van Peebles's

370
00:20:30,720 --> 00:20:32,880
Speaker 2: biopic about his father making that movie.

371
00:20:32,920 --> 00:20:34,840
Speaker 1: That's right, And I have not seen that, but I

372
00:20:34,880 --> 00:20:36,159
Speaker 1: wanted to at the time, and it just sort of

373
00:20:36,160 --> 00:20:36,919
Speaker 1: supped tough the cracks.

374
00:20:37,000 --> 00:20:38,919
Speaker 2: There's always Netflix, Baby, that's right.

375
00:20:39,720 --> 00:20:44,080
Speaker 1: And what happened with Sweet Sweetback was that, like I said,

376
00:20:44,080 --> 00:20:45,840
Speaker 1: that told the studios, hey, that we can market this,

377
00:20:46,280 --> 00:20:48,200
Speaker 1: and so they got a little more mainstream with movies

378
00:20:48,240 --> 00:20:52,520
Speaker 1: like Superfly, which were a little safer Shaft Shaft movies

379
00:20:52,520 --> 00:20:54,280
Speaker 1: at wide audiences would enjoy as well.

380
00:20:54,359 --> 00:20:57,919
Speaker 2: Yeah, the ones that didn't scare the man exactly like

381
00:20:57,960 --> 00:21:00,240
Speaker 2: Shaft's a good guy. He doesn't take any guff from them.

382
00:21:00,240 --> 00:21:02,800
Speaker 2: But the people he's not taking gup from or the cops,

383
00:21:03,000 --> 00:21:06,320
Speaker 2: who's really on the same side as That's right. So

384
00:21:06,520 --> 00:21:12,480
Speaker 2: chuck exploitation obviously huge. It affected everything from you know,

385
00:21:12,640 --> 00:21:16,000
Speaker 2: Menace to society to Blackula. All of that came from

386
00:21:16,040 --> 00:21:20,200
Speaker 2: Sweet Sweet Back. And we mentioned the guy who directed

387
00:21:20,200 --> 00:21:24,080
Speaker 2: this next movie, Russ Myers. This is probably a seminal work.

388
00:21:24,160 --> 00:21:26,240
Speaker 2: Let's listen to this clip from the trailer.

389
00:21:27,080 --> 00:21:31,399
Speaker 3: You ladies and gentlemen gold go for a wild wild

390
00:21:31,520 --> 00:21:35,440
Speaker 3: ride with the Watusi cuts, but beware the sweetest kittens

391
00:21:35,480 --> 00:21:39,560
Speaker 3: have the sharpest claw or your own safety. See faster

392
00:21:39,760 --> 00:21:45,280
Speaker 3: pussy cuts, kill kill wild weather, wild wheels. Race the

393
00:21:45,400 --> 00:21:51,240
Speaker 3: fastest pussy cuts and they'll be jill so far woman sulpit.

394
00:21:57,680 --> 00:21:59,800
Speaker 6: Placing your stuff on this kid then hanging. It's a

395
00:22:00,200 --> 00:22:01,320
Speaker 6: nothing by nothing.

396
00:22:01,560 --> 00:22:04,840
Speaker 5: He's got nothing to do with the Moneys, the money.

397
00:22:04,920 --> 00:22:05,720
Speaker 2: Jack and Jill.

398
00:22:06,080 --> 00:22:12,720
Speaker 3: They make a mafia look like brownie They.

399
00:22:10,800 --> 00:22:12,320
Speaker 1: Make the mafia look like Browniees.

400
00:22:12,400 --> 00:22:15,880
Speaker 2: That's right. That says quite a bit about them. So

401
00:22:16,200 --> 00:22:19,600
Speaker 2: that was faster pussy Cat Kill Kill. In nineteen sixty

402
00:22:19,640 --> 00:22:27,159
Speaker 2: five russ Meyer's basically women exploitation film nudy film. Remember

403
00:22:27,240 --> 00:22:29,800
Speaker 2: russ Meyers was King of the nudies. He made twenty

404
00:22:29,800 --> 00:22:32,640
Speaker 2: six movies, but this is probably at the very least

405
00:22:32,720 --> 00:22:36,240
Speaker 2: is his best known, if not like his masterpiece.

406
00:22:36,359 --> 00:22:39,399
Speaker 1: Yeah, and he hatched a slew of I mean not

407
00:22:39,480 --> 00:22:42,200
Speaker 1: that he wasn't legit. He was, but what mainstream people

408
00:22:42,200 --> 00:22:45,000
Speaker 1: would call legit filmmakers were came up through the russ

409
00:22:45,040 --> 00:22:48,600
Speaker 1: Meyer film camp basically. Yeah, So it's pretty cool.

410
00:22:48,840 --> 00:22:53,359
Speaker 2: Yeah, and russ Meyer also a little known fact. Another

411
00:22:53,440 --> 00:22:55,639
Speaker 2: movie that's mentioned in this article. There's an article on

412
00:22:55,680 --> 00:22:58,679
Speaker 2: the site, by the way, called ten noteworthy exploitation Films

413
00:22:58,680 --> 00:23:01,280
Speaker 2: that this is based on, Yeah, written by you, Yeah,

414
00:23:01,880 --> 00:23:03,840
Speaker 2: which I showingly recommend going to read because it has

415
00:23:03,840 --> 00:23:05,400
Speaker 2: a lot of extra stuff we're not going to cover

416
00:23:05,440 --> 00:23:07,960
Speaker 2: in this one. Yeah, or at least extra movies. But

417
00:23:09,280 --> 00:23:13,520
Speaker 2: russ Meyer directed a movie called Beyond the Valley of

418
00:23:13,520 --> 00:23:17,639
Speaker 2: the Dolls two, right, which was the bastard son of

419
00:23:17,720 --> 00:23:20,720
Speaker 2: the legitimate film that Beyond Valley of Dolls is a

420
00:23:20,800 --> 00:23:25,600
Speaker 2: jiggle fest written by none other than Roger Ebert's right, Yeah.

421
00:23:24,960 --> 00:23:26,720
Speaker 1: The movie Roger Ebert ever wrote.

422
00:23:26,520 --> 00:23:29,120
Speaker 2: Yeah, he had a Yeah, it was a very brief career.

423
00:23:29,160 --> 00:23:30,879
Speaker 2: But that's it. That's an illustrious one. Really.

424
00:23:31,640 --> 00:23:33,280
Speaker 1: Yeah. So if you're going to talk about the plot,

425
00:23:33,280 --> 00:23:36,760
Speaker 1: a faster pussy cat kill kill And I say that

426
00:23:36,760 --> 00:23:40,280
Speaker 1: because there's three exclamation points and a comma.

427
00:23:40,080 --> 00:23:43,439
Speaker 2: Exclamation point kill it three exclamation points.

428
00:23:43,520 --> 00:23:45,680
Speaker 1: Yeah, Okay, I thought it was a comment then too.

429
00:23:46,000 --> 00:23:47,720
Speaker 1: All right, either way, that's a lot of punctuation for

430
00:23:47,760 --> 00:23:51,560
Speaker 1: a film title, right, And it was about three bisexual

431
00:23:51,600 --> 00:23:53,879
Speaker 1: go go dancers. They go on a crime spree out

432
00:23:53,920 --> 00:23:56,280
Speaker 1: in the desert and what do they do. They end

433
00:23:56,400 --> 00:23:58,840
Speaker 1: up killing a man or no, they kill the man

434
00:23:59,119 --> 00:24:00,520
Speaker 1: and a couple keep girl.

435
00:24:01,080 --> 00:24:03,959
Speaker 2: They basically empower her, yeah, come on with by murdering

436
00:24:03,960 --> 00:24:06,360
Speaker 2: her boyfriend and she ends up on the crimes free

437
00:24:06,440 --> 00:24:07,000
Speaker 2: with them.

438
00:24:07,440 --> 00:24:10,800
Speaker 1: And they basically end up going to an isolated house

439
00:24:10,840 --> 00:24:12,919
Speaker 1: with a wheelchair bound old man and his sons.

440
00:24:13,160 --> 00:24:14,760
Speaker 2: Who's a leech. They're all leeches.

441
00:24:14,800 --> 00:24:17,000
Speaker 1: They want these women, Yeah, but they don't know that

442
00:24:17,040 --> 00:24:19,760
Speaker 1: these women are tough, tough ladies.

443
00:24:19,800 --> 00:24:22,000
Speaker 2: And the men and his son, the man and his

444
00:24:22,040 --> 00:24:25,240
Speaker 2: sons apparently are allegedly have a large amount of cash

445
00:24:25,240 --> 00:24:26,960
Speaker 2: stashed in this house. So it's kind of like a

446
00:24:27,760 --> 00:24:32,920
Speaker 2: standoff of gall see who will come out on top?

447
00:24:33,240 --> 00:24:35,359
Speaker 1: Well, and you know who comes out on top. And

448
00:24:35,440 --> 00:24:38,560
Speaker 1: this film was noteworthy for one big reason was that

449
00:24:39,800 --> 00:24:42,080
Speaker 1: there's a lot of duelism towards gender. So on one hand,

450
00:24:42,400 --> 00:24:45,800
Speaker 1: he's exploiting these women and apparently got women in their

451
00:24:45,800 --> 00:24:48,320
Speaker 1: first trimester of pregnancy, so they were more voluptuous.

452
00:24:48,400 --> 00:24:50,359
Speaker 2: Yeah, not in this film, but in his other films

453
00:24:50,560 --> 00:24:53,879
Speaker 2: he would hire I can't remember the lady's name, but

454
00:24:53,960 --> 00:24:55,840
Speaker 2: the star of Festor pussy Cat Kill Kill is in

455
00:24:55,920 --> 00:24:58,960
Speaker 2: other Russ Meyers films, gotcha, and he made sure that

456
00:24:59,040 --> 00:25:01,639
Speaker 2: she was like well in to her third first trimester

457
00:25:02,280 --> 00:25:06,080
Speaker 2: to enhance her natural bustiness.

458
00:25:06,160 --> 00:25:09,679
Speaker 1: That's right, yeah, her bosom if you will. But the script,

459
00:25:09,840 --> 00:25:11,639
Speaker 1: like I said, it was dualism because while he did that,

460
00:25:11,680 --> 00:25:14,800
Speaker 1: it also empowered women because the women in his films

461
00:25:14,920 --> 00:25:17,320
Speaker 1: bowed to no man. No, they were the champs. They

462
00:25:17,320 --> 00:25:19,480
Speaker 1: were they were heroines really for the first time.

463
00:25:19,520 --> 00:25:23,520
Speaker 2: But they were objectified very clearly. But at the same time,

464
00:25:23,560 --> 00:25:25,960
Speaker 2: if you follow the script and really look at their characters,

465
00:25:26,440 --> 00:25:28,800
Speaker 2: then yeah, they're powerful women.

466
00:25:29,200 --> 00:25:33,560
Speaker 1: And this kind of kicked off a big slew of

467
00:25:33,760 --> 00:25:38,360
Speaker 1: women exploitation films, exploitation films, the women in Prison movies.

468
00:25:38,240 --> 00:25:40,600
Speaker 2: Yes, which we Lead's sisters very big.

469
00:25:40,440 --> 00:25:43,720
Speaker 1: At the time. Women were lead actors for the first time,

470
00:25:43,760 --> 00:25:47,800
Speaker 1: they were aggressors for the first time, still nude often

471
00:25:47,840 --> 00:25:49,000
Speaker 1: while they were doing this stuff.

472
00:25:49,160 --> 00:25:52,840
Speaker 2: Spawn the television show The Facts of Life.

473
00:25:54,840 --> 00:25:56,840
Speaker 1: But the interesting thing is they found that these movies

474
00:25:56,840 --> 00:25:58,760
Speaker 1: appealed to men and women because men would go see

475
00:25:58,760 --> 00:26:00,879
Speaker 1: it for obvious reasons. Yeah, women would go see it

476
00:26:00,880 --> 00:26:04,520
Speaker 1: because it was empowering and they didn't mind, you know,

477
00:26:04,520 --> 00:26:06,320
Speaker 1: looking at the naked ladies because women are much more

478
00:26:06,359 --> 00:26:10,840
Speaker 1: grown up, sure than men are. But Josh, the seventies

479
00:26:10,880 --> 00:26:15,239
Speaker 1: also got a little schlocky, which in a sense was

480
00:26:15,480 --> 00:26:18,080
Speaker 1: true to the exploitation model. They like, they really went

481
00:26:18,119 --> 00:26:21,920
Speaker 1: over the top. No more political statements, no more advancing

482
00:26:22,000 --> 00:26:27,680
Speaker 1: of women's gender or African merin Americans. It just got

483
00:26:27,720 --> 00:26:29,480
Speaker 1: really shlocky and outrageous at that point.

484
00:26:29,480 --> 00:26:32,280
Speaker 2: Well, what happened starting in the sixth really took hold

485
00:26:32,280 --> 00:26:34,840
Speaker 2: in the seventies, and then from that point on was

486
00:26:35,040 --> 00:26:39,520
Speaker 2: exploitation cinema, early on showing a live birth, nudest camps,

487
00:26:39,640 --> 00:26:42,639
Speaker 2: these are all geared toward adults in the sixties, and

488
00:26:42,680 --> 00:26:45,280
Speaker 2: then later on big time in the seventies, the audience

489
00:26:45,320 --> 00:26:51,560
Speaker 2: became almost exclusively teenagers, like those driving teenagers or well

490
00:26:51,800 --> 00:26:58,000
Speaker 2: teenagers anywhere, who cares, but the audience was teenagers, and

491
00:26:58,400 --> 00:27:01,359
Speaker 2: the cast started to become teenage, so it had a

492
00:27:01,400 --> 00:27:04,120
Speaker 2: little more of a bent on what teenagers we're having

493
00:27:04,119 --> 00:27:07,480
Speaker 2: to deal with, like bullying, like the kid in this

494
00:27:07,640 --> 00:27:09,880
Speaker 2: next clip right, which is I have to say, one

495
00:27:09,880 --> 00:27:11,920
Speaker 2: of my favorite movies from way way back.

496
00:27:12,480 --> 00:27:14,120
Speaker 1: Here we go with Toxic Avenger.

497
00:27:14,280 --> 00:27:15,920
Speaker 2: Yeah, meet little Melvin.

498
00:27:16,359 --> 00:27:20,040
Speaker 6: He's a ninety pound weekly. Everyone hated Melbourne.

499
00:27:20,119 --> 00:27:21,800
Speaker 3: Yeah, I'm going to take this mop and shove it

500
00:27:21,840 --> 00:27:22,679
Speaker 3: down your throat.

501
00:27:22,920 --> 00:27:23,880
Speaker 2: They teased him.

502
00:27:24,119 --> 00:27:29,360
Speaker 1: I want to do it with you, PoCA. They taunted him.

503
00:27:29,800 --> 00:27:33,280
Speaker 6: They tormented him until he had a horrifying accident and

504
00:27:33,359 --> 00:27:38,960
Speaker 6: fell into a vat of nuclear waste, transforming Little Melbourne

505
00:27:39,359 --> 00:27:43,840
Speaker 6: into a hideously deformed creature of superhuman size and strength.

506
00:27:45,359 --> 00:27:48,800
Speaker 5: Movement became the Toxic Avenger.

507
00:27:51,680 --> 00:27:54,800
Speaker 1: So Josh. The Toxic Avenger movie was unique in that

508
00:27:55,080 --> 00:28:00,359
Speaker 1: its film production company, Trauma mm HM, is very popular

509
00:28:00,359 --> 00:28:01,000
Speaker 1: in their own right.

510
00:28:01,160 --> 00:28:03,080
Speaker 2: Have you ever seen surf Nazis Must Die?

511
00:28:03,119 --> 00:28:05,119
Speaker 1: I haven't, but I know about Trump. I mean, they

512
00:28:05,119 --> 00:28:08,000
Speaker 1: are master self promoters and marketiers.

513
00:28:08,160 --> 00:28:11,200
Speaker 2: They were one of the first production companies to have

514
00:28:11,240 --> 00:28:14,480
Speaker 2: a website, like a really comprehensive website. You should go

515
00:28:14,520 --> 00:28:18,640
Speaker 2: on their website, their whole catalog. It's really just well done.

516
00:28:19,560 --> 00:28:21,480
Speaker 2: It's schlocky, but it's well done, right.

517
00:28:21,520 --> 00:28:24,600
Speaker 1: And Toxic Avenger follows the story of a ninety eight

518
00:28:24,600 --> 00:28:28,760
Speaker 1: pound weekling who was picked on released the same year's Ghostbusters.

519
00:28:29,119 --> 00:28:31,480
Speaker 1: Do you notice that nineteen eighty four.

520
00:28:31,520 --> 00:28:34,040
Speaker 2: Right, Yeah, so it was it occurred at zero year.

521
00:28:34,119 --> 00:28:38,000
Speaker 1: It's year zero. Yeah, we'll just put the null set

522
00:28:38,600 --> 00:28:42,320
Speaker 1: represent that. And this kid gets pushed out of a

523
00:28:42,400 --> 00:28:45,360
Speaker 1: window into a that of toxic sludge.

524
00:28:45,040 --> 00:28:46,840
Speaker 2: Which that's beyond bullying.

525
00:28:46,920 --> 00:28:49,240
Speaker 1: Really yeah, I mean, this is basically it's a more

526
00:28:49,280 --> 00:28:51,960
Speaker 1: twisted version of modern problems. The Chevy Chase film from

527
00:28:51,960 --> 00:28:52,880
Speaker 1: a couple of years earlier.

528
00:28:53,000 --> 00:28:54,720
Speaker 2: Okay, I have seen that one.

529
00:28:54,920 --> 00:28:57,479
Speaker 1: Oh you never saw a modern problem. No, it's very silly,

530
00:28:57,800 --> 00:29:00,239
Speaker 1: but he got toxic sledge dumped on him and had

531
00:29:00,280 --> 00:29:01,840
Speaker 1: special powers.

532
00:29:01,840 --> 00:29:04,200
Speaker 2: From years earlier, prior or after.

533
00:29:05,440 --> 00:29:07,880
Speaker 1: What when was the movie, Yeah, it was two years

534
00:29:07,920 --> 00:29:12,120
Speaker 1: before Toxic Avenger. But Toxic Avenger took it into are

535
00:29:12,760 --> 00:29:15,960
Speaker 1: special effects way that modern Problems never did.

536
00:29:16,040 --> 00:29:21,160
Speaker 2: So the janitor Melvin I believe his name is, becomes toxified,

537
00:29:21,160 --> 00:29:26,200
Speaker 2: it becomes toxic. The Toxic Avenger who beats the tar

538
00:29:26,320 --> 00:29:28,920
Speaker 2: out of people at the health club where he was

539
00:29:29,000 --> 00:29:34,240
Speaker 2: abused and mutated and has tons of sex as the

540
00:29:34,280 --> 00:29:39,800
Speaker 2: Toxic Avenger because his newfound manhood is just irresistible to women.

541
00:29:40,080 --> 00:29:43,320
Speaker 2: And one of the things that's noteworthy about the Toxic

542
00:29:43,360 --> 00:29:47,880
Speaker 2: Avenger is that they actually tried to make decent effects. Yeah,

543
00:29:48,280 --> 00:29:51,400
Speaker 2: it wasn't just it wasn't horrible. I guess you could.

544
00:29:51,240 --> 00:29:52,920
Speaker 1: Say, well for the time, you know, it wasn't bad.

545
00:29:53,280 --> 00:29:57,280
Speaker 2: No, they remained bad, and they probably were kind of

546
00:29:57,280 --> 00:30:01,320
Speaker 2: bad even back then, but for for grindhouse films, yeah

547
00:30:01,360 --> 00:30:05,520
Speaker 2: they were, they were great, right. And it was also

548
00:30:05,640 --> 00:30:08,160
Speaker 2: noteworthy because it came out of Trauma Productions or Trouma

549
00:30:08,240 --> 00:30:12,880
Speaker 2: Studios and it led to a whole line of Toxic

550
00:30:12,920 --> 00:30:17,320
Speaker 2: Avenger movies and schlock in general, which is basically like

551
00:30:17,640 --> 00:30:20,360
Speaker 2: some crazy, horrible thing has happened, but we're not going

552
00:30:20,440 --> 00:30:22,120
Speaker 2: to dwell too much on that. Let's see what let's

553
00:30:22,240 --> 00:30:24,400
Speaker 2: let's see where the action takes us. Yeah, exactly, So

554
00:30:24,520 --> 00:30:28,440
Speaker 2: like Bad Taste, the Peter Peter Jackson's first film, right

555
00:30:28,600 --> 00:30:30,800
Speaker 2: is a great example of schlock that came out of

556
00:30:30,960 --> 00:30:32,280
Speaker 2: Toxic Avenger.

557
00:30:31,920 --> 00:30:34,880
Speaker 1: And he had the film that followed, Peter Jackson Dead Alive,

558
00:30:34,920 --> 00:30:38,640
Speaker 1: which was at one point supposedly the gorriest film ever made. Really,

559
00:30:38,680 --> 00:30:42,160
Speaker 1: although it sounds like your new Korean movie has surpassed that.

560
00:30:42,280 --> 00:30:44,360
Speaker 2: Yeah, I think it probably has. I haven't seen that

561
00:30:44,440 --> 00:30:46,880
Speaker 2: Alive's seen Bad Taste and Bad Taste it was horribly gory,

562
00:30:46,920 --> 00:30:48,080
Speaker 2: but I think this has it beat.

563
00:30:48,240 --> 00:30:49,880
Speaker 1: Yeah, but I bet you if anything. I mean, I

564
00:30:49,880 --> 00:30:51,719
Speaker 1: haven't seen the one you're talking about. But is it

565
00:30:51,760 --> 00:30:52,840
Speaker 1: more realistic gore?

566
00:30:53,000 --> 00:30:55,600
Speaker 2: Yeah, with bad just like these are aliens that are

567
00:30:55,640 --> 00:30:58,000
Speaker 2: having their heads blown off. So it definitely takes you

568
00:30:58,200 --> 00:31:03,040
Speaker 2: at least a a degree away from caring this is

569
00:31:03,160 --> 00:31:07,520
Speaker 2: happening to human beings. And I saw the Devil, so

570
00:31:07,560 --> 00:31:10,520
Speaker 2: it definitely is driven home a little more well.

571
00:31:10,320 --> 00:31:12,560
Speaker 1: And the violence that even the gore back then it

572
00:31:12,640 --> 00:31:15,360
Speaker 1: was so over the top, right out of Fangora magazine.

573
00:31:15,400 --> 00:31:18,320
Speaker 2: It's like, you know, dude, Fangoria is still around, is it? Yeah?

574
00:31:18,320 --> 00:31:19,000
Speaker 1: I figured it was.

575
00:31:19,400 --> 00:31:21,560
Speaker 2: I'm glad it is. We follow it on our Twitter feed.

576
00:31:21,760 --> 00:31:25,080
Speaker 1: Oh we do. Yeah, Like Ahead'll explode in scanners and

577
00:31:26,000 --> 00:31:28,400
Speaker 1: you know, it's not disturbing because it's so clearly over

578
00:31:28,440 --> 00:31:30,680
Speaker 1: the top. But these new movies are much more disturbing.

579
00:31:30,680 --> 00:31:33,560
Speaker 2: If you ask me, I agree wholeheartedly because they're more realistic.

580
00:31:34,960 --> 00:31:38,480
Speaker 2: So carrying on with Chucks and my Ciscal and eber Act.

581
00:31:39,720 --> 00:31:43,280
Speaker 2: This is the second to last movie in our little

582
00:31:43,320 --> 00:31:48,720
Speaker 2: list today, and this one's from way back from the thirties.

583
00:31:48,720 --> 00:31:51,240
Speaker 2: So let's talk about reefer madness.

584
00:31:52,080 --> 00:31:54,640
Speaker 5: Lee's high school boys and girls are having a hot

585
00:31:54,720 --> 00:31:59,680
Speaker 5: at the local soda fountain. Innocently they dance innocent of

586
00:32:00,040 --> 00:32:05,440
Speaker 5: you and deadly menace lurking behind closed doors. May wanna

587
00:32:06,040 --> 00:32:12,760
Speaker 5: the burning weed with its roots in hell or watchcase

588
00:32:13,440 --> 00:32:18,360
Speaker 5: if you want to, you will meet Bill, who once

589
00:32:18,440 --> 00:32:21,400
Speaker 5: took pride in his strong will, as he takes the

590
00:32:21,480 --> 00:32:26,040
Speaker 5: first step toward enslavement. Here he.

591
00:32:42,040 --> 00:32:53,960
Speaker 1: Softly so, so that was the excellent reefer Madness, which

592
00:32:54,040 --> 00:32:57,800
Speaker 1: was an exploitation drug exploitation film and very much a

593
00:32:57,840 --> 00:33:01,480
Speaker 1: cautionary tale. It even shaped the drug culture and how

594
00:33:02,280 --> 00:33:05,360
Speaker 1: people looked at drugs. Is you know marijuana at the time,

595
00:33:05,440 --> 00:33:07,280
Speaker 1: Is this really evil thing that can make you crazy

596
00:33:07,440 --> 00:33:08,120
Speaker 1: and kill people?

597
00:33:08,280 --> 00:33:12,320
Speaker 2: Yeah? And actually, in very much the vein of early

598
00:33:12,400 --> 00:33:19,320
Speaker 2: exploitation films, it was produced and distributed as a public service,

599
00:33:19,440 --> 00:33:23,360
Speaker 2: like the alternate title for it was Tell Your Children,

600
00:33:24,160 --> 00:33:27,480
Speaker 2: And the whole thing set in a pta meeting where

601
00:33:27,520 --> 00:33:31,120
Speaker 2: this guy is relating the story, and it's a story

602
00:33:31,120 --> 00:33:36,440
Speaker 2: about lost lives, about murder, about guilt and paranoia, and

603
00:33:36,520 --> 00:33:40,200
Speaker 2: all of it is fed and based on rampant drug use,

604
00:33:40,560 --> 00:33:43,440
Speaker 2: which is really just a lot of pot smoking which

605
00:33:43,480 --> 00:33:47,680
Speaker 2: can turn you into a fiend. And it's apparently the

606
00:33:47,800 --> 00:33:51,960
Speaker 2: director his name is Dwayne Esper. He did other exploitation

607
00:33:52,000 --> 00:33:56,560
Speaker 2: films from the thirties like Sex Madness, Psychotic Connections, and

608
00:33:57,280 --> 00:34:00,520
Speaker 2: he made a name for himself basically taking these things

609
00:34:00,520 --> 00:34:04,640
Speaker 2: that may have originally been written as a public service

610
00:34:04,920 --> 00:34:09,279
Speaker 2: right and making them so outlandish that he exploited the

611
00:34:09,320 --> 00:34:12,920
Speaker 2: people who were making these movies right and created this

612
00:34:13,080 --> 00:34:17,400
Speaker 2: legacy of like just insanely over the top exploitation films

613
00:34:17,400 --> 00:34:18,520
Speaker 2: from the thirties.

614
00:34:18,120 --> 00:34:22,160
Speaker 1: Well, and ironically, refor Madness years later would become not

615
00:34:22,239 --> 00:34:24,960
Speaker 1: so much an anti drug propaganda film, how should I

616
00:34:24,960 --> 00:34:28,759
Speaker 1: say this, but a film that college students would sit

617
00:34:28,800 --> 00:34:32,880
Speaker 1: around and watch while partaking and laughing at this whole thing. Yeah,

618
00:34:32,960 --> 00:34:33,760
Speaker 1: and a cult film.

619
00:34:33,840 --> 00:34:36,839
Speaker 2: Yeah, because it puts drugs so far out there that

620
00:34:37,719 --> 00:34:41,239
Speaker 2: if you, despite all the warnings, take drugs anyway and

621
00:34:41,280 --> 00:34:43,719
Speaker 2: you realize that you don't turn into a fiend and

622
00:34:43,800 --> 00:34:50,440
Speaker 2: murder somebody, you refor Madness basically dares you to go further.

623
00:34:51,120 --> 00:34:53,399
Speaker 2: So it's kind of an it's the opposite. It has

624
00:34:53,400 --> 00:34:55,720
Speaker 2: the opposite effect of what I think its original intent

625
00:34:55,840 --> 00:34:58,359
Speaker 2: was before Duayne Asberg got its hands on it. And

626
00:34:58,600 --> 00:35:01,840
Speaker 2: as a side note, I had trouble deciding between Reefer

627
00:35:01,920 --> 00:35:05,120
Speaker 2: Madness and another nineteen thirties film by a guy named

628
00:35:05,120 --> 00:35:07,520
Speaker 2: Todd Browning called Freaks.

629
00:35:07,760 --> 00:35:11,080
Speaker 1: Oh yeah, well that was that was huge because it

630
00:35:11,160 --> 00:35:16,919
Speaker 1: was the first big exploitation film pre Hayes Code and Last.

631
00:35:16,800 --> 00:35:18,480
Speaker 2: Yeah, first and last, and it was it was an

632
00:35:18,560 --> 00:35:21,640
Speaker 2: MGM film. Yeah, and it's widely considered a masterpiece.

633
00:35:21,719 --> 00:35:23,560
Speaker 1: Yeah, mean, it looks great. It's it's not it was

634
00:35:23,600 --> 00:35:24,280
Speaker 1: well done.

635
00:35:24,440 --> 00:35:27,439
Speaker 2: It's a huge it's a it's a revenge movie, which

636
00:35:27,480 --> 00:35:31,760
Speaker 2: is a very common theme in exploitation films. Yeah, especially

637
00:35:31,880 --> 00:35:36,560
Speaker 2: violent ones. But it's it featured Browning dared to have

638
00:35:36,680 --> 00:35:37,400
Speaker 2: real freaks.

639
00:35:37,600 --> 00:35:40,560
Speaker 1: I guess if you yes, Circus side show freaks, Yeah.

640
00:35:41,080 --> 00:35:44,759
Speaker 2: Star in this and they basically exact their revenge on

641
00:35:44,920 --> 00:35:48,200
Speaker 2: people who've mistreated them. And I have not seen it.

642
00:35:48,440 --> 00:35:50,799
Speaker 2: Oh really yeah, yeah, I wanted to. I hear it's

643
00:35:50,880 --> 00:35:51,920
Speaker 2: just awesome. I can't win.

644
00:35:52,120 --> 00:35:55,640
Speaker 1: It ended his career though, unfortunately. Really yeah, and he

645
00:35:55,680 --> 00:35:58,160
Speaker 1: was a popular filmmaker at the time.

646
00:35:58,480 --> 00:36:01,600
Speaker 2: Well, hats off to him for first staying true to

647
00:36:01,600 --> 00:36:04,080
Speaker 2: his art. Chuck just took his hat off on the

648
00:36:04,120 --> 00:36:06,120
Speaker 2: old cap. All right, Chuck, here's the last one that

649
00:36:06,120 --> 00:36:09,120
Speaker 2: we've got a clip for which I think everybody will

650
00:36:09,160 --> 00:36:13,719
Speaker 2: notice or recognize without even a word. There's not even

651
00:36:13,760 --> 00:36:16,040
Speaker 2: a word in this clip, and you will understand what's

652
00:36:16,080 --> 00:36:16,560
Speaker 2: going on.

653
00:36:16,640 --> 00:36:30,520
Speaker 4: So here we go.

654
00:36:46,520 --> 00:36:49,920
Speaker 1: So, Josh, those are the unmistakable sounds of fist of

655
00:36:50,040 --> 00:36:51,680
Speaker 1: fury of mister one.

656
00:36:51,560 --> 00:36:55,799
Speaker 2: Mister Bruce Ley, Bruce Lee kicking bottom. This first movie, Yeah,

657
00:36:55,840 --> 00:36:58,879
Speaker 2: which was originally titled well, it's still title I think

658
00:36:58,920 --> 00:37:04,279
Speaker 2: in Asia the Big and in America it is its

659
00:37:04,400 --> 00:37:05,439
Speaker 2: titled Fists of Fury.

660
00:37:05,520 --> 00:37:06,880
Speaker 1: Yeah, it was on the other night. Okay, Well I

661
00:37:06,880 --> 00:37:08,680
Speaker 1: saw part of it. Oh yeah, yeah, I didn't realize

662
00:37:08,719 --> 00:37:10,200
Speaker 1: it was his first one, though I would have tuned in.

663
00:37:10,400 --> 00:37:14,439
Speaker 2: Yeah, And it was first of what five five major films, right,

664
00:37:14,920 --> 00:37:17,760
Speaker 2: And basically it's the story of a martial arts student

665
00:37:17,800 --> 00:37:22,600
Speaker 2: who's investigating the murder of his teacher. And it began

666
00:37:23,440 --> 00:37:26,719
Speaker 2: the martial arts exploitation sub genre.

667
00:37:27,000 --> 00:37:29,360
Speaker 1: Which later would become just martial arts films. Right or

668
00:37:29,440 --> 00:37:30,800
Speaker 1: was it still considered exploitation.

669
00:37:30,960 --> 00:37:32,600
Speaker 2: It's all the same, Okay, they're one and the same.

670
00:37:32,680 --> 00:37:36,520
Speaker 2: Anything that even remotely resembles a Bruce Lee movie, specifically

671
00:37:36,600 --> 00:37:39,760
Speaker 2: The Big Boss or any of them, is martial arts

672
00:37:39,800 --> 00:37:44,400
Speaker 2: exploitation technically, because again we arrive at that one definition.

673
00:37:44,480 --> 00:37:48,200
Speaker 2: It's over the top, like Bruce Ley's taking on scores

674
00:37:48,400 --> 00:37:52,359
Speaker 2: of anonymous thugs for two hours, one after the other,

675
00:37:52,400 --> 00:37:54,400
Speaker 2: for two hours, just beating the tar out of all

676
00:37:54,480 --> 00:37:58,640
Speaker 2: these people without tiring. Really, everybody's kind of waiting their

677
00:37:58,680 --> 00:38:01,120
Speaker 2: turn politely in a circle around him, and he has

678
00:38:01,160 --> 00:38:03,680
Speaker 2: to beat everybody right, and then he works his way

679
00:38:03,760 --> 00:38:06,160
Speaker 2: up and it's over the top, so it is exploitation.

680
00:38:06,280 --> 00:38:10,360
Speaker 2: But it led to other films like Samurai exploitation. Remember

681
00:38:10,400 --> 00:38:13,319
Speaker 2: American Ninja. Remember the whole ninja film thing that came

682
00:38:13,360 --> 00:38:15,680
Speaker 2: out in the mid eighties. Uh huh, that's from Bruce

683
00:38:15,760 --> 00:38:18,200
Speaker 2: Lee's that's Bruce Lee's doing well.

684
00:38:18,239 --> 00:38:19,880
Speaker 1: Yeah, and you go to these at the time when

685
00:38:19,920 --> 00:38:22,000
Speaker 1: I was first going to New York many years ago,

686
00:38:22,120 --> 00:38:23,959
Speaker 1: that would be uh, you know, you go to Times

687
00:38:23,960 --> 00:38:25,480
Speaker 1: Square and this was still when Time Square was kind

688
00:38:25,480 --> 00:38:28,360
Speaker 1: of gross, and that would be just the the Martial

689
00:38:28,440 --> 00:38:31,200
Speaker 1: Arts movie store where it was all that stuff. Man,

690
00:38:31,360 --> 00:38:34,800
Speaker 1: like thousands of movies about ninja's and samuraiz and martial

691
00:38:34,880 --> 00:38:36,359
Speaker 1: artists and very big.

692
00:38:36,560 --> 00:38:36,920
Speaker 4: Yeah.

693
00:38:37,280 --> 00:38:39,879
Speaker 2: I was inspired by American Ninja to become a ninja.

694
00:38:39,880 --> 00:38:43,640
Speaker 2: Remember I entered a ninja training with Tommy Roper, who

695
00:38:43,680 --> 00:38:45,759
Speaker 2: had like more throwing stars than any kid.

696
00:38:45,760 --> 00:38:47,960
Speaker 1: I ever, what did you have? Like one throwing star?

697
00:38:48,200 --> 00:38:50,440
Speaker 2: I borrowed his. Okay, I was not allowed to have

698
00:38:50,520 --> 00:38:51,520
Speaker 2: throwing stars on my own.

699
00:38:52,400 --> 00:38:53,239
Speaker 1: Oh I wasn't either.

700
00:38:53,360 --> 00:38:53,560
Speaker 2: Yeah.

701
00:38:53,840 --> 00:38:57,520
Speaker 1: Baptist, No, that was very violent. No, nunbchucks.

702
00:38:57,600 --> 00:39:00,719
Speaker 2: Not even that transcends like religious back. It's like, if

703
00:39:00,719 --> 00:39:02,840
Speaker 2: you're a good parent, you shouldn't let your kid have

704
00:39:02,960 --> 00:39:03,520
Speaker 2: throwing star.

705
00:39:03,640 --> 00:39:06,040
Speaker 1: It's a good point. And as you point in the article,

706
00:39:06,080 --> 00:39:09,799
Speaker 1: this actually led to another subgenre, which was Bruce Lee

707
00:39:10,080 --> 00:39:11,759
Speaker 1: lookalike movies. Yeah.

708
00:39:11,800 --> 00:39:14,560
Speaker 2: So he made five movies and then died at age

709
00:39:14,600 --> 00:39:18,280
Speaker 2: thirty two. Yeah, and nineteen seventy three. So Big Boss

710
00:39:18,280 --> 00:39:20,719
Speaker 2: released in nineteen seventy one, he dies two years later.

711
00:39:20,880 --> 00:39:24,719
Speaker 2: Everybody's like, no, so let's find some guys that look

712
00:39:24,800 --> 00:39:29,120
Speaker 2: like him, which is really kind of stereotypical and racist

713
00:39:29,200 --> 00:39:32,879
Speaker 2: for the West. But Bruce Lee l I or Lee

714
00:39:33,440 --> 00:39:36,640
Speaker 2: or l E or just l E. Well, Bruce l

715
00:39:36,719 --> 00:39:40,040
Speaker 2: I or Bruce ell Ee. I don't think there was

716
00:39:40,080 --> 00:39:43,319
Speaker 2: ever like Bruce l e I g H. I don't

717
00:39:43,320 --> 00:39:45,359
Speaker 2: think it ever got that far. But I mean they

718
00:39:45,400 --> 00:39:48,239
Speaker 2: released dozens of Bruce Lee and I just made air

719
00:39:48,320 --> 00:39:49,080
Speaker 2: quote films.

720
00:39:49,200 --> 00:39:49,439
Speaker 1: Yeah.

721
00:39:49,800 --> 00:39:54,600
Speaker 2: So Bruce Lee created the martial arts exploitation genre and subgenre,

722
00:39:55,000 --> 00:40:00,040
Speaker 2: and he inadvertently created the Bruce Lee exploitation subgenre of

723
00:40:00,040 --> 00:40:02,520
Speaker 2: the martial arts exploitation subgenre.

724
00:40:02,080 --> 00:40:05,440
Speaker 1: By dying young, Yeah and being very popular. Yeah, And

725
00:40:05,760 --> 00:40:08,040
Speaker 1: which one was the one he had? Kareem Antal Jabbarian

726
00:40:08,760 --> 00:40:09,400
Speaker 1: Enter the Dragon.

727
00:40:09,520 --> 00:40:09,719
Speaker 2: Yeah.

728
00:40:09,800 --> 00:40:12,359
Speaker 1: Yeah, if you've never seen a like seven foot plus

729
00:40:12,440 --> 00:40:14,439
Speaker 1: guy to martial arts, you should check that out.

730
00:40:14,520 --> 00:40:17,160
Speaker 2: And if you can't get enough Bruce Lee and you

731
00:40:17,280 --> 00:40:20,640
Speaker 2: have a good sense of humor, check out Kentucky Fried

732
00:40:20,719 --> 00:40:24,640
Speaker 2: movie made by one Jerry's Rucker, Jerry who we met

733
00:40:24,760 --> 00:40:29,160
Speaker 2: in Los Angeles recently and who used an exploitive to me.

734
00:40:29,480 --> 00:40:31,239
Speaker 2: He did it was one of the high points of

735
00:40:31,280 --> 00:40:34,640
Speaker 2: my life, it is. But yeah, Kentucky Fry movie awesome.

736
00:40:34,880 --> 00:40:37,120
Speaker 1: Actually, when we met Jerry Zucker, we told him that

737
00:40:37,160 --> 00:40:38,759
Speaker 1: our little speech we were given that night was one

738
00:40:38,760 --> 00:40:41,239
Speaker 1: of the highlights of our career thus far. And he says, well,

739
00:40:41,280 --> 00:40:44,040
Speaker 1: it doesn't say much about your career, does it. Like

740
00:40:44,080 --> 00:40:45,760
Speaker 1: the first thing to do does is something.

741
00:40:45,600 --> 00:40:48,000
Speaker 2: Funny and we just like kind of fawned over the man.

742
00:40:48,760 --> 00:40:50,960
Speaker 1: We should mention briefly and it's in the article, but

743
00:40:51,239 --> 00:40:54,880
Speaker 1: just as a teaser. The late seventies we got Nazi

744
00:40:54,920 --> 00:40:58,600
Speaker 1: exploitation movies, not exploitation as a subgenre. Yeah, And one

745
00:40:58,600 --> 00:41:01,520
Speaker 1: of the major players there movie was ilsa she Wolf

746
00:41:01,560 --> 00:41:01,799
Speaker 1: of the.

747
00:41:01,880 --> 00:41:07,120
Speaker 2: S S Yeah, which led to ilsa Siberian Tigris and

748
00:41:07,320 --> 00:41:10,759
Speaker 2: ilsa harm Keeper of the oil sheeks. Really, there's a

749
00:41:10,760 --> 00:41:15,520
Speaker 2: whole sex violence franchise, Dominatrix franchise that was based out

750
00:41:15,520 --> 00:41:17,080
Speaker 2: of the Nazis' floitation film.

751
00:41:17,239 --> 00:41:20,239
Speaker 1: You know, one could argue that q T mister Tarantino

752
00:41:20,640 --> 00:41:27,040
Speaker 1: has made nothing but exploitation films since pulp fiction, because

753
00:41:27,239 --> 00:41:31,960
Speaker 1: the kill bills were definitely martial arts exploitation. The Jackie

754
00:41:32,000 --> 00:41:37,160
Speaker 1: Brown was a riff on on black exploitation. Sure, death

755
00:41:37,239 --> 00:41:39,480
Speaker 1: Proof obviously that was what they were trying to do there.

756
00:41:39,600 --> 00:41:42,480
Speaker 2: Death Proof is Carsploitation, which follows in the tradition of

757
00:41:42,560 --> 00:41:46,640
Speaker 2: Vanishing Point, which was released the same year as basically

758
00:41:46,680 --> 00:41:51,680
Speaker 2: its rival to the founder, the founding movie of Carsploitation

759
00:41:51,800 --> 00:41:54,680
Speaker 2: Two Lane Blacktop right, whichat movie. Yeah, if you want

760
00:41:54,719 --> 00:41:57,960
Speaker 2: to start an argument with an exploitation film, buff tell him.

761
00:41:58,040 --> 00:42:02,120
Speaker 2: Vanishing Point was the beginning of copl They'll get mad

762
00:42:02,120 --> 00:42:02,400
Speaker 2: at you.

763
00:42:02,800 --> 00:42:06,000
Speaker 1: And then finally Tarantino with The Inglorious Bastards, which was

764
00:42:06,000 --> 00:42:09,760
Speaker 1: clearly a riff on the Nazi exploitation films. Yeah, beaten

765
00:42:09,840 --> 00:42:12,040
Speaker 1: Nazis to death with the baseball bat, yes, about as

766
00:42:12,160 --> 00:42:13,920
Speaker 1: over the top and lurid as it gets awesome.

767
00:42:14,000 --> 00:42:18,879
Speaker 2: Yeah, so, and then Machete I hated it, but Robert

768
00:42:19,719 --> 00:42:20,880
Speaker 2: it's terrible.

769
00:42:20,560 --> 00:42:22,160
Speaker 1: And of course he was the other half of the

770
00:42:22,560 --> 00:42:24,560
Speaker 1: Rodriguez was the other half with his Planet Terror of

771
00:42:24,560 --> 00:42:27,919
Speaker 1: the Grindhouse double feature. Yeah, okay, and Machete was born

772
00:42:27,960 --> 00:42:29,759
Speaker 1: from one of the little fake trailers they made in

773
00:42:29,800 --> 00:42:30,160
Speaker 1: that movie.

774
00:42:30,160 --> 00:42:30,759
Speaker 2: Oh is that right?

775
00:42:30,840 --> 00:42:33,200
Speaker 1: Yeah, it was one of the fake movie previews.

776
00:42:33,320 --> 00:42:36,120
Speaker 2: It is even as far as like a purposefully B

777
00:42:36,400 --> 00:42:37,239
Speaker 2: movie not good.

778
00:42:37,400 --> 00:42:39,400
Speaker 1: No, well, death Proof was okay, but I didn't like

779
00:42:39,400 --> 00:42:40,239
Speaker 1: Planet Tear that much.

780
00:42:40,360 --> 00:42:43,880
Speaker 2: Yeah, and then Chuck. Well, first of all, before we

781
00:42:43,920 --> 00:42:46,240
Speaker 2: get to today, we also have to give a shout

782
00:42:46,239 --> 00:42:51,320
Speaker 2: out to Porno's. Porno came out of the exploitation film genre.

783
00:42:51,280 --> 00:42:53,640
Speaker 1: And it arguably had a lot to do with killing

784
00:42:54,760 --> 00:42:57,680
Speaker 1: the X or pushing it into the mainstream, because once

785
00:42:57,719 --> 00:42:59,520
Speaker 1: you had the movie Deep Throat and all of a sudden,

786
00:43:00,080 --> 00:43:03,840
Speaker 1: pornography was on the screen, it's like, you can't do

787
00:43:03,880 --> 00:43:06,160
Speaker 1: an exploitation film about it anymore. If there's the real

788
00:43:06,200 --> 00:43:09,359
Speaker 1: deal going on, it loses all its power. And then

789
00:43:09,400 --> 00:43:12,040
Speaker 1: a little movie called Jaws came along and all of

790
00:43:12,040 --> 00:43:15,879
Speaker 1: a sudden, a quote unquote B movie style movie made

791
00:43:16,200 --> 00:43:20,080
Speaker 1: gobs and gobs of money, and that put a little

792
00:43:20,120 --> 00:43:23,240
Speaker 1: bit of mainstream respectability on the map all of a sudden,

793
00:43:23,320 --> 00:43:27,840
Speaker 1: And so one might argue, Josh that movies like Jaws

794
00:43:27,840 --> 00:43:31,839
Speaker 1: and Pornography kind of shoved exploitation films even though they

795
00:43:31,840 --> 00:43:33,880
Speaker 1: still exist. They're sort of mainstream movies now.

796
00:43:33,960 --> 00:43:37,400
Speaker 2: Yeah, well, yeah, I guess another word for grindhouse these

797
00:43:37,480 --> 00:43:41,920
Speaker 2: days is blockbuster. Jaws was the first blockbuster movie, summer blockbuster,

798
00:43:42,480 --> 00:43:44,879
Speaker 2: and now you have to have summer blockbusters, and they're

799
00:43:44,880 --> 00:43:48,520
Speaker 2: always over the top and exploitive of viewers' tastes.

800
00:43:48,760 --> 00:43:51,120
Speaker 1: And not only Tarantino, those other filmmakers out that are

801
00:43:51,400 --> 00:43:56,000
Speaker 1: trying to capture that seventies vibe with overt exploitation films again,

802
00:43:56,120 --> 00:43:59,800
Speaker 1: shot that way, shot on thirty five or I'm sorry,

803
00:44:00,400 --> 00:44:02,040
Speaker 1: sixteen millimeter film, stuff like that.

804
00:44:02,160 --> 00:44:07,640
Speaker 2: Yeah, so, Chuck, I say, our message to everybody is

805
00:44:07,800 --> 00:44:10,760
Speaker 2: number one, go on to the site, read ten noteworthy

806
00:44:10,760 --> 00:44:16,799
Speaker 2: exploitation films. Number two if that interests you. Like, even

807
00:44:16,840 --> 00:44:21,960
Speaker 2: the ten noteworthy exploitation films I chose don't cover even

808
00:44:22,520 --> 00:44:26,080
Speaker 2: I think a third of the exploitation subgenres. So there'll

809
00:44:26,080 --> 00:44:28,640
Speaker 2: probably be another article forthcoming at some point. If there is,

810
00:44:28,680 --> 00:44:31,160
Speaker 2: we'll let you know and then go watch some exploitation

811
00:44:31,239 --> 00:44:32,600
Speaker 2: movies and enjoy them.

812
00:44:32,960 --> 00:44:35,799
Speaker 1: Yeah, watch the documentary American Grindhouse too, if you're into that.

813
00:44:36,040 --> 00:44:38,720
Speaker 2: Yeah, that's a great one. It's free on Hulu. Actually

814
00:44:39,080 --> 00:44:42,960
Speaker 2: there's ads, but Hulu dot com has American Grindhouse for free.

815
00:44:43,080 --> 00:44:45,759
Speaker 2: It is not safe for work now, in no way,

816
00:44:45,760 --> 00:44:47,520
Speaker 2: shape or form. I was watching it at work and

817
00:44:47,560 --> 00:44:50,560
Speaker 2: I was like, WHOA, Okay, really, yeah, if you are

818
00:44:50,600 --> 00:44:53,239
Speaker 2: watching it at work, tab browsing is what you want

819
00:44:53,280 --> 00:44:55,799
Speaker 2: to be doing, right, and keep your finger over the

820
00:44:55,880 --> 00:44:59,160
Speaker 2: mouse and keep the cursor over the other tab.

821
00:44:59,000 --> 00:45:01,319
Speaker 1: Right and say or in our case, you can just

822
00:45:01,360 --> 00:45:04,920
Speaker 1: say it's research. But you can't do that. If you're

823
00:45:04,960 --> 00:45:07,279
Speaker 1: an accountant at JP Morgan.

824
00:45:07,080 --> 00:45:10,480
Speaker 2: You're just a cicco, a weirdo, that weird guy in accounting.

825
00:45:11,239 --> 00:45:15,760
Speaker 2: So look up ten noteworthy exploitation films. You can type

826
00:45:15,760 --> 00:45:19,880
Speaker 2: that into the handy search bar HowStuffWorks dot Com. And now,

827
00:45:20,280 --> 00:45:22,399
Speaker 2: at long last, it's time for listener mail.

828
00:45:23,000 --> 00:45:26,200
Speaker 1: Joshua's I'm gonna call this it's a small world after all.

829
00:45:27,239 --> 00:45:31,120
Speaker 1: Dear guys, I'm a longtime fan from Minnesota and enjoy

830
00:45:31,239 --> 00:45:33,400
Speaker 1: spreading stuff. You should know. Goodness, wherever I go, my

831
00:45:33,440 --> 00:45:35,960
Speaker 1: coworkers at a local coffee shop know me for the

832
00:45:36,080 --> 00:45:39,520
Speaker 1: trivia and information I abound in. But after giving you

833
00:45:39,560 --> 00:45:42,919
Speaker 1: what that he says he abounds in, I guess he's

834
00:45:42,920 --> 00:45:46,520
Speaker 1: proficient in. Okay, did he misuse that? Yeah?

835
00:45:46,920 --> 00:45:47,400
Speaker 4: I don't know.

836
00:45:48,360 --> 00:45:49,560
Speaker 2: It sounds hilarious.

837
00:45:49,600 --> 00:45:52,160
Speaker 1: It does after giving credit where credit is due, which

838
00:45:52,200 --> 00:45:55,200
Speaker 1: means us several of them decided to subscribe your podcast.

839
00:45:56,080 --> 00:45:58,400
Speaker 1: Listening to the podcast is also given me an advantage

840
00:45:58,400 --> 00:46:02,200
Speaker 1: at work for thinking of the coffee shop's daily trivia question,

841
00:46:02,640 --> 00:46:05,160
Speaker 1: which saves people ten cents on their drink if you

842
00:46:05,280 --> 00:46:09,359
Speaker 1: know it. After relistening to how legos work, I set

843
00:46:09,400 --> 00:46:12,800
Speaker 1: the trivia question for which company produces the most tires

844
00:46:12,840 --> 00:46:16,080
Speaker 1: on a yearly basis? Abridge stone be goodyear see Lego Bricks.

845
00:46:17,120 --> 00:46:20,719
Speaker 1: You know the answer, John. Most people were surprised and

846
00:46:20,760 --> 00:46:23,560
Speaker 1: pleased to find out it was Lego Bricks, reminding me

847
00:46:23,840 --> 00:46:27,920
Speaker 1: about the little playsets that their kids enjoy. This is

848
00:46:27,920 --> 00:46:30,040
Speaker 1: where it gets weird. One of the customers read the

849
00:46:30,040 --> 00:46:33,840
Speaker 1: trivia question, looked at me and said, it's a puntsy scheme.

850
00:46:34,080 --> 00:46:35,600
Speaker 2: Nice, that's awesome, and.

851
00:46:35,560 --> 00:46:37,759
Speaker 1: The best Italian accent he could muster. Everyone else gave

852
00:46:37,840 --> 00:46:41,360
Speaker 1: him an odd look. I started laughing. He apologized and

853
00:46:41,400 --> 00:46:43,200
Speaker 1: then say and said he just heard it on a

854
00:46:43,239 --> 00:46:46,840
Speaker 1: podcast he had just listened to Legos followed by Ponzi Schemes.

855
00:46:47,280 --> 00:46:49,160
Speaker 1: Long story short, we were both pleased to find out

856
00:46:49,200 --> 00:46:51,320
Speaker 1: that we were both fans. We are now on a

857
00:46:51,320 --> 00:46:54,600
Speaker 1: first name basis, eager to discuss the most recent episodes.

858
00:46:55,440 --> 00:46:58,120
Speaker 1: So these dudes of Minneapolis. Daniel, that's awesome.

859
00:46:58,120 --> 00:47:01,640
Speaker 2: Thanks Daniel and his friend now new friend. This is

860
00:47:01,760 --> 00:47:04,600
Speaker 2: his unnamed friend. Hedn't name him, you wouldn't know him.

861
00:47:04,600 --> 00:47:05,440
Speaker 2: He met him at camp.

862
00:47:05,600 --> 00:47:06,600
Speaker 1: That's right, band camp.

863
00:47:07,600 --> 00:47:12,799
Speaker 2: Thanks Daniel, that's really awesome. Wow, that's really cool. Let

864
00:47:12,800 --> 00:47:16,320
Speaker 2: me let us know if you tweet those daily facts

865
00:47:16,360 --> 00:47:19,800
Speaker 2: for your coffeehouse, because we will start following you. Indeed,

866
00:47:19,880 --> 00:47:23,080
Speaker 2: that'd be very cool if you want to follow us.

867
00:47:23,120 --> 00:47:25,759
Speaker 2: We have our own Twitter feed. Seriously, it's called s

868
00:47:25,880 --> 00:47:30,040
Speaker 2: Y s K Podcast one word, ten thousand strong plus Yeah.

869
00:47:30,440 --> 00:47:33,440
Speaker 2: We're on uh no, we're up to like eleven and change.

870
00:47:33,960 --> 00:47:37,400
Speaker 2: That's plus ten. That's true. We're also on Facebook, Facebook,

871
00:47:37,440 --> 00:47:39,160
Speaker 2: dot com, slash stuff. You should know. We have a

872
00:47:39,239 --> 00:47:41,440
Speaker 2: Kiva team, right, we're trying to get the half a

873
00:47:41,480 --> 00:47:47,640
Speaker 2: million dollars right, that's Kiva dot org, slash Team slash

874
00:47:47,680 --> 00:47:50,480
Speaker 2: stuff you should know, And then you can always send

875
00:47:50,520 --> 00:47:53,200
Speaker 2: us a good old fashioned email. We want to know

876
00:47:53,440 --> 00:47:58,759
Speaker 2: what your favorite exploitation film of all time is. You

877
00:47:58,800 --> 00:48:02,680
Speaker 2: can send that in an email to Stuff Podcast at

878
00:48:02,719 --> 00:48:13,480
Speaker 2: HowStuffWorks dot com.

879
00:48:13,600 --> 00:48:16,160
Speaker 1: For more on this and thousands of other topics, visit

880
00:48:16,200 --> 00:48:24,759
Speaker 1: HowStuffWorks dot com