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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 you welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and this is Joe McCormick. And today

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Speaker 1: we are going to be covering a film based on

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Speaker 1: a listener recommendation. So to all of you out there

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Speaker 1: who would like to write in with suggestions for us

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Speaker 1: this this may give you some hope. I wonder Rob,

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Speaker 1: should we kick this episode off by reading the message

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Speaker 1: that that suggested this movie? Sure? Yeah, go for it. Okay,

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Speaker 1: I'll take it. This is from Jordan. Jordan wrote in

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Speaker 1: to say hello, Stuff to Blow Your Mind team. I

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Speaker 1: don't always watch every Weird House Cinema movie before listening

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Speaker 1: to the episodes, but my partner and I certainly had

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Speaker 1: a blast watching Robot Monster. Our streaming service then recommended

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Speaker 1: us an equally short and hilarious movie with its own

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Speaker 1: unrelated dinosaur fights, the nineteen nine film All Monsters Attack.

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Speaker 1: If you ever had the chance to see it, I'll

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Speaker 1: give you a short pitch. Uh. This Japanese bank heist

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Speaker 1: meets home alone sci fi action mystery movie is filled

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Speaker 1: with giant monster fights that show kids how to overcome

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Speaker 1: their school bullies. Certainly qualifies as a weird house film,

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Speaker 1: to say the least. I don't think it's been covered yet,

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Speaker 1: and if not, I know my partner and I would

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Speaker 1: love to hear your take on it. Love the show,

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Speaker 1: Jordan's well, Jordan's I hope you were excited for today's episode.

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Speaker 1: We are indeed covering All Monsters Attack. Yeah, And listeners

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Speaker 1: keep the recommendations coming, because sometimes listeners let us know

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Speaker 1: about a film that's not on our radar, such as

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Speaker 1: this one. Other times, like last week's episode, let Sleeping

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Speaker 1: Corpses lie. That was a case where a listener requested

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Speaker 1: it and that kind of bumped it back up on

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Speaker 1: our list. It was on the list, but it wasn't

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Speaker 1: at the top. But yeah, so so so let us

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Speaker 1: know anytime something catches your eye, if there's anything near

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Speaker 1: and dear to your heart that you think fits the

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Speaker 1: weird house cinema template. So I think All Monsters Attack

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Speaker 1: is a very interesting film, especially for its place in

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Speaker 1: the history of the Godzilla franchise and for its varied

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Speaker 1: reception history. And I think it's also a little bit

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Speaker 1: it's interesting in the very different notes it hits. This

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Speaker 1: is a movie that is both quite funny for schlock reasons,

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Speaker 1: as as alluded to in the email, but also I

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Speaker 1: think strangely sweet and even a little bit moving. Yeah,

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Speaker 1: it has it has a good heart. It is a

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Speaker 1: It is a monster film about children, like this is

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Speaker 1: not a it's It's pretty common to see these various

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Speaker 1: Kaiju films where there is a child involved, and we

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Speaker 1: all know that's like Gamera is a friend to all

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Speaker 1: children and so forth. But this movie especially, is a

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Speaker 1: film where the child is not just a character like

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Speaker 1: the the the the childhood view of the world. It

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Speaker 1: is kind of the centerpiece of the whole picture. Uh

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Speaker 1: like that. The film doesn't make sense unless you realize

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Speaker 1: that it is from the viewpoint of a child and

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Speaker 1: not just from the view viewpoint of a child is

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Speaker 1: in it has a child protagonist, but literally the monster

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Speaker 1: drama in it is a dream in the mind of

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Speaker 1: a child. Yeah. Yeah, this is a film in which

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Speaker 1: none of the monsters are real. Um Like, none of

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Speaker 1: the monsters that we that we see, none of these

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Speaker 1: fights are actually taking place. They're all in the child's head.

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Speaker 1: They're all in his dreams. But at the same time,

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Speaker 1: it's not like those battles. It's not that they don't matter,

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Speaker 1: like it's ultimately well presented. We talked in our Robot

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Speaker 1: Monster episode about films that have the it's it was

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Speaker 1: all a dream trope in them, And this is certainly

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Speaker 1: a film where a lot of the action is taking

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Speaker 1: place within the dream. But also there is this it's

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Speaker 1: not presented in kind of a gut punchy, twisty way.

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Speaker 1: We know from the get go that this is a

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Speaker 1: dreamscape we're entering into, and yet at the same time

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Speaker 1: there's also, uh, there's also the real world plot that

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Speaker 1: is a that is taking place as well, and there

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Speaker 1: are steaks in it as well. So it's not like

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Speaker 1: all the steaks are in the dream world and nothing's

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Speaker 1: going on in the real world. Right. It is a

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Speaker 1: movie about a child who has dreams about monsters, and

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Speaker 1: those dreams about monsters teach him how to solve problems

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Speaker 1: in real life. Now, whether these are good lessons or not,

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Speaker 1: I mean, yes, that's there may be some generational divide

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Speaker 1: on that and there and this is all open for discussion. Yes,

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Speaker 1: So I thought it might be useful here to do

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Speaker 1: a brief digression on the history of the Godzilla franchise

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Speaker 1: and the place all monsters attack has within it. Uh so.

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Speaker 1: The first Godzilla movie was released in nineteen fifty four.

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Speaker 1: It was directed by Ishiro Honda, the same director as

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Speaker 1: today's movie, and it was about a giant, prehistoric reptilian

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Speaker 1: monster with radiation breath who appears from under the ocean

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Speaker 1: as a consequence of nuclear weapons testing in the Pacific.

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Speaker 1: Godzilla attacks Japan and is eventually defeated by the ingenuity

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Speaker 1: of human scientists. Now, I think it's really important to

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Speaker 1: note that if you have only seen later Godzilla movies,

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Speaker 1: you may be shocked if you go back and watch

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Speaker 1: the original, shocked to discover it's much darker tone, the

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Speaker 1: heavy themes treated in a very solemn manner, and the

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Speaker 1: fact that there is no Kaiju meet Slam. The monsters

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Speaker 1: do not suplex each other. There In fact, there's only

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Speaker 1: one monster. Godzilla is a pure antagonist in the first movie.

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Speaker 1: He doesn't wrestle other monsters, and it is not light

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Speaker 1: camp entertainment. The original Godzilla is a bleak, doomy movie. Yeah,

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Speaker 1: it's kind of grimy, it's useful black and light is

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Speaker 1: very stark. H It is a It is a serious

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Speaker 1: film about dread and horror in the modern world. However,

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Speaker 1: in the film that would follow, which was called Godzilla

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Speaker 1: Raids Again in nineteen fifty five, Godzilla once again emerges

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Speaker 1: to threaten humankind, but this time there's another element. Godzilla

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Speaker 1: is fighting another monster, so fighting this ancient fire breathing dinosaur.

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Speaker 1: To me, he's sort of based on the design of

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Speaker 1: an Ankleosaurus um and this would set off a kind

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Speaker 1: of pattern of monster on monster violence that would continue

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Speaker 1: into the following films, including movies like King Kong versus Godzilla,

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Speaker 1: that's the nineteen sixty two mothro versus Godzilla and sixty four,

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Speaker 1: various battles with monsters from outer space and with three heads,

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Speaker 1: other things coming up from the deep and rob I

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Speaker 1: wonder if you would disagree with anything here or have

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Speaker 1: anything to add to this, but I would argue a

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Speaker 1: few general trends in the Godzilla movies as they go on.

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Speaker 1: One is the trend of the moral valence of Godzilla,

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Speaker 1: who I think goes initially from hard heel to kind

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Speaker 1: of anti hero to full face. What would you agree

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Speaker 1: with that? Oh, yeah, yeah, he's definitely a baby face.

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Speaker 1: And then the most of the films, people are really

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Speaker 1: familiar with. Yeah, it's often like Godzilla has to show

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Speaker 1: up to fight a bad monster in order to protect

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Speaker 1: humanity from that monster, and he's kind of like a

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Speaker 1: dangerous ally, but ultimately it's he who is defending human

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Speaker 1: civilization from from this really wicked creature. Yeah. Yeah, I

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Speaker 1: think that that trajectory tends to hold true occasionally with

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Speaker 1: You'll see some some new Godzilla pictures that come about

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Speaker 1: in which they kind of go back to basics and

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Speaker 1: go for like the solo monster threat sort of plot.

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Speaker 1: And I guess one of the main examples of that

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Speaker 1: is um Shin Godzilla from Yeah. Well, a lot of

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Speaker 1: times when they do a reboot, it's like that shin

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Speaker 1: Godzilla is like that Godzilla, that horrible American Godzilla from

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Speaker 1: the nineties is like that yeah, or wait is it

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Speaker 1: now I'm trying to remember. I think it is. Yeah, Yeah,

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Speaker 1: I believe so, though I think the more recent American

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Speaker 1: Godzilla remake that had some extra monsters in it, as

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Speaker 1: I recall, so that would had bad ones that Godzilla

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Speaker 1: had to fight. Yeah, let them fight, Yes, some sort

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Speaker 1: of radiation eating dinosaur creatures. Yeah. Okay, So there's that trajectory.

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Speaker 1: Another thing is the tone. The tone changes. It goes

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Speaker 1: from the bleak, just doom laden horror of the first

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Speaker 1: movie to a much lighter, campier, sillier kind of entertainment,

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Speaker 1: even when it sometimes still has commentary. A lot of times,

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Speaker 1: these sillier, campier Godzilla movies will be satirical about, say

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Speaker 1: pollution or politics or the entertainment industry, even like I

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Speaker 1: think there's one where there's like, you know, somebody's trying

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Speaker 1: to boost TV ratings by capturing King Kong and then

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Speaker 1: he gets out and has to fight Godzilla and so forth.

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Speaker 1: Uh So they often satirize real elements in the world,

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Speaker 1: but they're not as dark as the first one. I

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Speaker 1: would also say, as it goes on, um, you know,

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Speaker 1: I think some people would be tempted to say that

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Speaker 1: the quality of production in the films goes down, but

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Speaker 1: I don't think that's exactly right. I would say the

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Speaker 1: quality of production becomes more variable. It's not like there's

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Speaker 1: a steady decline in the quality of Godzilla movies, but

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Speaker 1: instead we see a sort of all over the place

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Speaker 1: quality pattern. Would you agree with that? I think so,

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Speaker 1: and I do wonder how much. And this is maybe

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Speaker 1: something that Godzilla scholars may have thoughts on and indeed

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Speaker 1: it is worth pointing out that Godzilla movies are definitely

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Speaker 1: an area where there is a People have written whole

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Speaker 1: books on this, There have been agonimic papers on this.

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Speaker 1: This is this is a well explored region of weird cinema.

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Speaker 1: But I do wonder at times they get into the

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Speaker 1: sillier zone and the kid friendly zone, and I wonder

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Speaker 1: what are the different forces involved. I mean, part of

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Speaker 1: it is clearly like the reception to Godzilla by young viewers,

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Speaker 1: but then also I wonder how much of it is

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Speaker 1: the filmmakers realizing like not only the limitations of rubber

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Speaker 1: suit um monster effects, but also the potential for humor

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Speaker 1: with those suits. You know, like if you're going for

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Speaker 1: just hard um uh you know, sci fi or really

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Speaker 1: serious grim horror with it, it feels maybe you've got

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Speaker 1: to be a little, you know, a little more careful

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Speaker 1: about how you use the suit and how you show

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Speaker 1: the suit, where if you open that up a little bit,

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Speaker 1: and there's all this potential for like the goofier stuff

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Speaker 1: to take place. Yes, I fully agree with that, though

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Speaker 1: there are some films that have managed to do both

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Speaker 1: actually and that's one thing I love about shin Godzilla.

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Speaker 1: I think it succeeds fully in real grim horror and

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Speaker 1: funny camp in the same movie. Yeah, it's a it's

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Speaker 1: a careful tightrope to walk though. But anyway, back to

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Speaker 1: the film we're going to talk about today. It arrives

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Speaker 1: in nineteen sixty nine, and it has long been regarded

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Speaker 1: as one of the worst Godzilla films. It seems recently though,

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Speaker 1: a lot of critics have kind of softened on it.

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Speaker 1: They've kind of started to come around a little bit. Uh,

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Speaker 1: And you can see the reasons for both both of

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Speaker 1: the for the for the initial harsh reaction and the

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Speaker 1: softening and warming up to this movie. There are certainly

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Speaker 1: elements that are not as impressive as other films in

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Speaker 1: the franchise. The stakes are less all encompassing. I mean,

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Speaker 1: this is not a world, you know, world defining conflict

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Speaker 1: to save the planet from a three headed monster from

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Speaker 1: outer space or whatever. Instead, it is a child dealing

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Speaker 1: with loneliness and bullying who has dreams about monsters that

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Speaker 1: that inspire him to stand up for himself. It's hard

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Speaker 1: for that to feel as epic as as the other

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Speaker 1: Godzilla movies in either in either an awe inspiring and

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Speaker 1: scary way or in a funny way. And I think

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Speaker 1: one thing that has to be acknowledged is that the

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Speaker 1: original special effects and production values in this film are

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Speaker 1: very limited compared to some other films in the franchise,

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Speaker 1: and a lot of the special effects sequences that do

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Speaker 1: appear are recycled from previous movies. We'll talk more about

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Speaker 1: that as we go on. But on the other hand,

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Speaker 1: I think a lot of people have kind of come

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Speaker 1: around on this movie today as simply a different kind

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Speaker 1: of creature than most other films in the Godzilla series.

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Speaker 1: It is a sweeter, more modest, more intimate meditation on

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Speaker 1: what Godzilla had come to mean for the children of

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Speaker 1: Japan and of the world. Having just watched this film

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Speaker 1: this morning for the first time, it's hard to imagine

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Speaker 1: people hating it. I mean, it's seventy minutes. It's sixty

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Speaker 1: nine minutes long for crying out loud. You mean you

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Speaker 1: don't you don't spend too much time in this picture,

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Speaker 1: um and uh. And it has a lot of monsters

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Speaker 1: in it. I have to come back to the sort

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Speaker 1: of the the Glenn Danzig school of filmmaking. I believe

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Speaker 1: he was asking an interview what makes a great vampire film?

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Speaker 1: And he said, well, a lot of vampires and and

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Speaker 1: and so this film takes kind of that impart, like

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Speaker 1: what makes a great monster film? A lot of great

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Speaker 1: great kaiju film? Well, a lot of kaiju. There are

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Speaker 1: a lot of Kaiju in this picture. I don't know

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Speaker 1: if all of them are present, as the title would suggest,

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Speaker 1: but a lot of them are present. And Okay, once

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Speaker 1: you've checked that box off, once you're definitely giving the

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Speaker 1: audience all the monsters, what else are you going to

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Speaker 1: give them? And what can you give them? This a

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Speaker 1: little different? What? What? What can you do that would

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Speaker 1: maybe be a satisfying and different story while still delivering

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Speaker 1: all of the things that this picture has to deliver

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Speaker 1: for for the the audience that they're expecting. I think

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Speaker 1: that's a great point. And I think you could also

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Speaker 1: argue that given the general trends in the Godzilla series

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Speaker 1: up to this point, increasingly kind of sillier and campier

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Speaker 1: type movies and uh increasing use of Godzilla as a

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Speaker 1: face rather than a hell, I think you could argue

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Speaker 1: it was inevitable that these movies would end up including

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Speaker 1: movies that were explicitly meant for kids, not not just

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Speaker 1: movies that kids happened to love. Uh So, just before

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Speaker 1: All Monsters Attack came out a couple of years before,

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Speaker 1: in nine seven, we get Son of Godzilla, which, true

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Speaker 1: to title, introduced a new character to the Kaiju pantheon,

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Speaker 1: that is Manila, who is yes, Godzilla's son, and the

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Speaker 1: movie deals with parenting themes, showing Godzilla teaching his child

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Speaker 1: how to roar and how to blast out his atomic breadth.

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Speaker 1: In fact, we see some scenes from that movie of

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Speaker 1: this type taken whole cloth and shown again in All

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Speaker 1: Monsters Attack. And I have read that the introduction of

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Speaker 1: Manila in this movie was the result of a desire

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Speaker 1: at studio at Toho to introduce a cute character and

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Speaker 1: acute relationship to create a movie that would not just

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Speaker 1: appeal to kids, but also to the young parents who

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Speaker 1: would be taking kids to see movies. It makes sense, yeah,

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Speaker 1: I mean, if you want to introduce your your children

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Speaker 1: to these monster movies that by this point you know,

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Speaker 1: you've you've you've grown up on. Uh, it helps if

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Speaker 1: there's some sort of cute element. I mean, I've I've

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Speaker 1: encountered that myself with my my own son. You know,

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Speaker 1: is there is there a baby Yoda in there, a

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Speaker 1: grow goo that can you know get I mean Star

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Speaker 1: Wars has tons of stuff like that obviously, but you know,

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Speaker 1: is there some sort of like cute element that will

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Speaker 1: definitely catch their attention that they can latch onto and

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Speaker 1: then perhaps they'll they'll latch onto the rest of a

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Speaker 1: V and franchise as well. Oh yeah, I mean just

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Speaker 1: watch the term and like, you know, your your your harsh,

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Speaker 1: cynical twentysomething Star Wars geeks hate the e Walks until

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Speaker 1: they have kids, and then they watch Return with their

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Speaker 1: kids and then they're like, oh, they're actually kind of great. Yeah,

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Speaker 1: it will describe me a lie in a in a

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Speaker 1: little bit here. He is cute. He is, in fact,

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Speaker 1: more than once we noticed mental It in this movie

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Speaker 1: doing specific sort of sounds and postures reminiscent of our baby.

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Speaker 1: Uh so, like a donkey sound that he keeps making. Oh,

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Speaker 1: of course the donkey sound, but no, he does. At

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Speaker 1: one point he does it kind of I don't know,

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Speaker 1: like a pose where he's like wiggling his arms and

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Speaker 1: legs and he just looks like a human baby but anyway,

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Speaker 1: so h A lot of footage from Son of Godzilla

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Speaker 1: would end up being reused in All Monsters Attack, and

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Speaker 1: in fact, not just footage from Son, but also from

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Speaker 1: recent uh kaiju movies like Everira Horror of the Deep

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Speaker 1: that came out in nineteen sixty six. That's more of

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Speaker 1: your classic meat Slam that's where Godzilla battles a giant

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Speaker 1: shrimp crayfish type monster, but also it used footage from

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Speaker 1: King Kong Escapes from sixty seven and from Destroy All

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Speaker 1: Monsters from sixty eight. Yeah, Destroy All Monsters also has

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Speaker 1: man Ala in it. M hm. So why so much

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Speaker 1: recycled footage from other Toho movies? Well, the answer appears

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Speaker 1: to be extreme constraints on time and budget. I've read

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Speaker 1: that this was in part due to cost overruns from

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Speaker 1: other movies Tohoa was making in nineteen nine, as well

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Speaker 1: as just general money problems at the studio. These were

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Speaker 1: hard times at Toho, but for whatever reason, the edict

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Speaker 1: came down that this movie had to be made fast

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Speaker 1: and cheap, and I think you can say that when

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Speaker 1: it comes to special effects sequences, it kind of shows,

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Speaker 1: especially to the original ones, and how much footage is reused,

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Speaker 1: but at the same time, I don't think this movie

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Speaker 1: is hack work. All Monsters Attack was directed by Ishiro Honda,

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Speaker 1: the the A list Toho director who had made the

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Speaker 1: Origin in Old Godzilla, as well as most of the

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Speaker 1: Big movies and the series since then, and despite all

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Speaker 1: the limitations on the production, Honda apparently cited All Monsters

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Speaker 1: Attack as one of his personal favorites from the entire series.

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Speaker 1: I was wondering a bit why this was, and so

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Speaker 1: I was reading from Godzilla the Official Guide to the

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Speaker 1: King of the Monsters. This was the the official Toho

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Speaker 1: licensed book on the series, written by Graham Skipper, and

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Speaker 1: uh Skipper writes quote All Monsters Attack was truly a

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Speaker 1: labor of love for Honda, a small film that focused

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Speaker 1: less on the big monster fights and more on one

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Speaker 1: young child learning how to stand up for himself. While

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Speaker 1: Honda loved the spectacle and undeniable artistry of orchestrating giant

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Speaker 1: monsters rampaging through cities, he also loved the emotional core

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Speaker 1: of the people at the heart of these stories. Here

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Speaker 1: he was mostly left to do as he pleased within

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Speaker 1: the constraints, and thus we get what today feels like

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Speaker 1: a small indie film rather than a Kaiju blockbuster. Uh

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Speaker 1: And I think that's right on the money. We're we're

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Speaker 1: kind of left in the end with a cozy little

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Speaker 1: film about childhood struggles, bullying, courage, and the inspiration that

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Speaker 1: we take from our myths. Uh. And it's also a

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Speaker 1: film in which all the monster slamming is relegated to

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Speaker 1: dream sequences. But there is something very charming about it. Yeah. Again,

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Speaker 1: it checks off the box of all the monsters, lots

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Speaker 1: of monster stuff happening on screen, but then it figures

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Speaker 1: out something very interesting to do with the rest of

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Speaker 1: the picture, and in that it has a lot in

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Speaker 1: common I think with a rather different Kaiju movie, a

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Speaker 1: rather different Godzilla movie that we previously covered on Weird House.

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Speaker 1: That's Godzilla versus Hetera, which which which I would say

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Speaker 1: is not as memorable from a character standpoint. I think

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Speaker 1: this movie has a has more heart, but that one

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Speaker 1: definitely had a lot of style, a lot of like

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Speaker 1: in a hip message at the core of it. Uh

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Speaker 1: while also giving us monsters. Yes, Hetera is I think

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Speaker 1: a better movie from the point of view of just

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Speaker 1: like weird imagery and having lots of crazy visual flair

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Speaker 1: and stuff that stands out like that, but all monsters

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Speaker 1: attack has it has a soul and hetera. I don't know,

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Speaker 1: maybe yeah, alright, Well, when we were thinking about elevator

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Speaker 1: pitches for this one, I instantly thought The never Ending

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Speaker 1: Story but with Kaiju. Oh yeah, and it really does

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Speaker 1: remind me quite a bit of the film adaptation of

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Speaker 1: Michael DA's nine novel The never Ending Story. I love

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Speaker 1: both of these, by the way, um. I know Michael

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Speaker 1: Linda did not like the film adaptation, but I have

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Speaker 1: removed my heart for both of them. But in um,

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Speaker 1: in the film adaptation to The Never Ending Story, we

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Speaker 1: have a kind of lonely child in the city with

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Speaker 1: a disrupted home life who finds courage in the realm

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Speaker 1: of fantasy. And in the film anyway, at any rate,

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Speaker 1: he eventually unleashed is a luck dragon on his bullies.

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Speaker 1: In this film, we have a lonely latchkey kid in

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Speaker 1: late sixties Japan living in a heavily industrialized area, and

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Speaker 1: he finds courage through his dream jaunts to Monster Island.

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Speaker 1: Instead of actually summoning a Kaiju to defeat his bullies

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Speaker 1: and bank robbers, he home alones them as listener mail,

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Speaker 1: uh suggested, Yeah, he like he lays traps essentially and

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Speaker 1: gets them to fall through holes in the floor. Yeah,

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Speaker 1: all right, Well let's go ahead and listen to the

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Speaker 1: trailer audio on this one. Uh. This is the English

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Speaker 1: dub trailer, which I think works best for the podcast

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Speaker 1: format here, though this is not the cut of the

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Speaker 1: film I ended up watching. Um. Usually I'm all for

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Speaker 1: the English dub on a film like this, that lets

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Speaker 1: me focus more on the monsters and you know, and

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Speaker 1: the human performances are generally less important in a picture

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Speaker 1: like this, But HBO Max only offered subtitles, so I

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Speaker 1: watched it as if I were viewing a Kurasawa film.

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Speaker 1: Mm hmmmmmmmmmmm. Where is the island? Computer? Go on? Yes, yes,

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Speaker 1: do you take a jet? Take a jet to get there?

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Speaker 1: M m m. Good afternoon, ladies and gentlemen. Welcome board

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Speaker 1: Pan American Flight one Director Monster Island. We'll be flying

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Speaker 1: in thirty five thousand eight and we'll arrive on schedule.

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Speaker 1: We hope you have a pleasant flight. Thank you. M

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Speaker 1: are you watched the island over? What's ther island over?

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Speaker 1: We're ready to land, Scott Zuma and come back on

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Speaker 1: m all right, it sounds like a party, huh. I mean,

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Speaker 1: if I hadn't already watched it, I would bid the is.

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Speaker 1: Speaking of advertising for this film, I haven't confirmed this,

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Speaker 1: but the Internet alleges that the tagline was see prehistoric

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Speaker 1: monsters crawl out of the hidden depths of the Earth

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Speaker 1: and take revenge against the living. That's not even closed.

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Speaker 1: Doesn't not even remotely describing this movie, not at all

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Speaker 1: all Right, if you're wondering where you can watch this picture, well,

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Speaker 1: as of this recording, you can watch it on HBO Max,

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Speaker 1: but all streaming is subject to change, especially HBO Max

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Speaker 1: as of late. Um, so watch it while you can there,

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Speaker 1: I guess. But it's also available on Blu Ray from

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Speaker 1: the Criterion collection on They're just absolutely worshipful Godzilla the

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Speaker 1: Showa era Films, Night nine five. I've looked at the

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00:24:02,680 --> 00:24:05,840
Speaker 1: physical packaging for this at Atlanta's own Video Drome. They

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00:24:06,000 --> 00:24:08,920
Speaker 1: have them for rent there, of course, and the packaging

404
00:24:09,000 --> 00:24:11,920
Speaker 1: is just splendid, has all this amazing new artwork in it,

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Speaker 1: these very flashy, colorful illustrations of Godzilla and the monsters

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Speaker 1: that he battles. I may have to pick that up

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Speaker 1: one day. Oh, it's it's it's it's great, it's it's

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Speaker 1: a nice package. All right. Well, let's get into the

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Speaker 1: people here, uh involved in this film. So, as we

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Speaker 1: noted already, Ishu Rojanda is the director left nineteen eleven

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Speaker 1: through legendary Toho film director who of course home fifty

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Speaker 1: four Godzilla in the Movie that started at All and

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Speaker 1: he directed forty four pictures in total, eight of those

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Speaker 1: Godzilla films culminating in seventy five Terror of Mecca Godzilla.

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Speaker 1: But he also directed Rodan, the Mysteriens, The Human Vapor

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Speaker 1: Matango UM which, by the way, if you're out there

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Speaker 1: enjoying UM the current mushroom Zombie um horror series on television,

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Speaker 1: well you need to go back and watch Matango. Uh.

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Speaker 1: I'm not sure if they were the first mushroom zombie

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Speaker 1: type picture, but they have to be one of the first.

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Speaker 1: If maybe you should do Matango on the show, we

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Speaker 1: probably should. Yeah, okay, but oh. Other films he did

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Speaker 1: include Frankenstein Versus Bearragon, The War of the Gargantua's Space, Amiba,

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Speaker 1: and more. He was a friend of director at Kira

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Speaker 1: Kurasawa and served as director counselor or chief assistant director

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Speaker 1: on karasas epic Ruyan. His name continues to appear in

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Speaker 1: the credits on Godzilla movies and in other homages. He

428
00:25:34,040 --> 00:25:37,760
Speaker 1: also directed nineteen sixty three's at Tragon, which we previously

429
00:25:37,840 --> 00:25:40,159
Speaker 1: covered on Weird House, and of course, as we mentioned,

430
00:25:40,160 --> 00:25:43,080
Speaker 1: we also covered seventy ones Godzilla versus Hetera, which he

431
00:25:43,119 --> 00:25:47,520
Speaker 1: did not direct, but still Godzilla picture. Hondo is a

432
00:25:47,560 --> 00:25:50,800
Speaker 1: masterful director, and you can you can just feel his

433
00:25:50,880 --> 00:25:55,760
Speaker 1: storytelling confidence even when he's working with what appeared to

434
00:25:55,840 --> 00:26:01,040
Speaker 1: be extremely uh limiting constraints on like his budget and

435
00:26:01,320 --> 00:26:03,360
Speaker 1: what he could do with the movie. You just see

436
00:26:03,440 --> 00:26:06,520
Speaker 1: him like kind of just accepting it and plowing straight

437
00:26:06,520 --> 00:26:10,000
Speaker 1: through and making the best movie he could. Absolutely. Now

438
00:26:10,040 --> 00:26:11,679
Speaker 1: getting into some of the other connections, I guess it's

439
00:26:11,720 --> 00:26:13,800
Speaker 1: one of one of the situations when you start looking

440
00:26:13,840 --> 00:26:18,080
Speaker 1: at the people involved in uh, certainly Tohoe pictures, um

441
00:26:18,320 --> 00:26:20,560
Speaker 1: you see like this the Japanese studio system of the

442
00:26:20,640 --> 00:26:23,480
Speaker 1: day in place, so a lot of these uh you know,

443
00:26:23,520 --> 00:26:30,120
Speaker 1: we're frequent Tohoe actors or frequent um Um Honda collaborators.

444
00:26:30,200 --> 00:26:35,119
Speaker 1: So uh. The screenplay here was by Shinichi Sakazawa, who

445
00:26:35,200 --> 00:26:40,159
Speaker 1: lived nineteen twenty through a frequent collaborator with Honda inscribe

446
00:26:40,200 --> 00:26:43,280
Speaker 1: of many Godzilla movies, beginning with nineteen sixty two is

447
00:26:43,400 --> 00:26:47,320
Speaker 1: King Kong Versus Godzilla. And he also wrote Adrigan, which

448
00:26:47,320 --> 00:26:49,560
Speaker 1: we it's covered for. He was one of the writers

449
00:26:49,560 --> 00:26:52,719
Speaker 1: on it. I forget how that shook out, but um, anyway,

450
00:26:52,720 --> 00:26:55,240
Speaker 1: getting into the the actors here, of course we have

451
00:26:55,359 --> 00:26:59,639
Speaker 1: to call out Haruo Nakajima, who plays Godzilla. He is

452
00:26:59,680 --> 00:27:03,280
Speaker 1: the man in the suit. He ROWI seventeen. He played

453
00:27:03,320 --> 00:27:06,840
Speaker 1: godzill in twelve consecutive films. He was also in Mathra

454
00:27:07,080 --> 00:27:09,480
Speaker 1: in the War of the gargantuas as well as a

455
00:27:09,520 --> 00:27:12,960
Speaker 1: Cure Kurasawa's Seven Samurai in a bit role and not

456
00:27:13,080 --> 00:27:16,639
Speaker 1: as a giant monster. He's generally considered a legend and

457
00:27:16,680 --> 00:27:20,480
Speaker 1: the rubber monster suit actor par excellence. Was he ever

458
00:27:20,760 --> 00:27:23,200
Speaker 1: a pro wrestler? Like? How did he get all those

459
00:27:23,240 --> 00:27:26,680
Speaker 1: moves down? Um? I don't think he had a wrestling background. Um,

460
00:27:27,000 --> 00:27:29,199
Speaker 1: he just you know, as I think, like a lot

461
00:27:29,240 --> 00:27:33,600
Speaker 1: of these, well, the way these different monster actors end

462
00:27:33,680 --> 00:27:35,720
Speaker 1: up in the suits, that often comes end up to

463
00:27:35,880 --> 00:27:38,680
Speaker 1: to find them. Like sometimes it's a case where they're like, uh,

464
00:27:38,720 --> 00:27:41,520
Speaker 1: you know, a studied physical performer. Other times they're like

465
00:27:41,720 --> 00:27:44,960
Speaker 1: they're the willing person there. The person that was around

466
00:27:44,960 --> 00:27:46,359
Speaker 1: it was like, yes, I will do this, and it

467
00:27:46,440 --> 00:27:50,800
Speaker 1: became their thing, and certainly Uh Nakajima became like one

468
00:27:50,840 --> 00:27:53,639
Speaker 1: of the most legendary rubber suit I mean certainly the

469
00:27:53,680 --> 00:27:57,040
Speaker 1: most legendary Kaiju actor of all time. Now when it

470
00:27:57,080 --> 00:28:02,280
Speaker 1: comes to Manila, the Little Zilla creature Godzilla's Son, Uh,

471
00:28:02,359 --> 00:28:08,120
Speaker 1: this uh performance is by little Man Machin whose real

472
00:28:08,240 --> 00:28:12,680
Speaker 1: name was u Masseo Fukuzawa, who the ninety one through

473
00:28:12,720 --> 00:28:17,560
Speaker 1: two thousand UM He played Manila in three films, The

474
00:28:17,640 --> 00:28:20,320
Speaker 1: Son of Godzilla, Destroy All Monsters and All Monsters Attack,

475
00:28:20,400 --> 00:28:22,639
Speaker 1: which we previously noted, and he followed this up with

476
00:28:22,680 --> 00:28:26,200
Speaker 1: a couple of Kaiju projects, Ultraman Story from eighty four,

477
00:28:26,359 --> 00:28:29,280
Speaker 1: ultra Que the Movie from nineteen ninety. He also played

478
00:28:29,280 --> 00:28:32,640
Speaker 1: the juvenile version of the title Kaiju in the North

479
00:28:32,720 --> 00:28:38,960
Speaker 1: Korean kaiju movie Pulga Sary from UM. His final film

480
00:28:39,000 --> 00:28:45,320
Speaker 1: was the nine Tokasatsu film uh Mick, a Droid Robo

481
00:28:45,520 --> 00:28:49,200
Speaker 1: Kill Beneath Disco Club Layla. I haven't seen it, but

482
00:28:49,280 --> 00:28:51,840
Speaker 1: you may have seen that the cover art he's getting

483
00:28:52,000 --> 00:28:55,760
Speaker 1: like some dark soldier with red eyes on it. Um. Uh,

484
00:28:55,800 --> 00:28:57,680
Speaker 1: this is not one i'ch steen, but it's a I

485
00:28:57,680 --> 00:29:01,080
Speaker 1: think some people really dig it. But anyway, um, this

486
00:29:01,160 --> 00:29:05,400
Speaker 1: was a diminutive suit actor who according to Godzilla Wiki.

487
00:29:05,480 --> 00:29:07,720
Speaker 1: I looked at Godzilla Wiki in addition to the normal

488
00:29:07,800 --> 00:29:10,040
Speaker 1: databases on this one, because they generally just have excellent

489
00:29:10,080 --> 00:29:13,560
Speaker 1: information about Godzilla pictures. They say that he worked prior

490
00:29:13,600 --> 00:29:16,680
Speaker 1: to this as a mini wrestler, but I couldn't find

491
00:29:16,680 --> 00:29:19,840
Speaker 1: out really anything about that, like where he wrestled, who

492
00:29:19,840 --> 00:29:22,800
Speaker 1: he wrestled for, what his name was. I haven't guessing

493
00:29:22,800 --> 00:29:25,000
Speaker 1: he was a little man when he wrestled, but uh,

494
00:29:25,240 --> 00:29:28,600
Speaker 1: I mean there were there were some Japanese mini wrestlers,

495
00:29:29,160 --> 00:29:31,760
Speaker 1: but I think even the ones that I'm aware of,

496
00:29:31,840 --> 00:29:34,640
Speaker 1: they worked outside of Japan frequently, so I don't know

497
00:29:34,720 --> 00:29:36,200
Speaker 1: how much of a scene there was for this in

498
00:29:36,360 --> 00:29:39,640
Speaker 1: Japanese wrestling during this time period. He played a couple

499
00:29:39,680 --> 00:29:43,160
Speaker 1: of dwarf roles in the early sixties, including the Toshira

500
00:29:43,240 --> 00:29:46,320
Speaker 1: Maffoony Sinbad movie or well, I'm not sure if it's

501
00:29:46,320 --> 00:29:48,120
Speaker 1: actually a sin Bad movie, but it was released in

502
00:29:48,120 --> 00:29:51,360
Speaker 1: the West as The Lost World of Sinbad. I've never

503
00:29:51,360 --> 00:29:55,200
Speaker 1: seen that one. Now a note on on Manila here.

504
00:29:55,720 --> 00:29:58,440
Speaker 1: He's not to be confused with god Zuki, the juvenile

505
00:29:58,440 --> 00:30:01,120
Speaker 1: flying Kaiju from the hand of our Barrack cartoon the

506
00:30:01,160 --> 00:30:03,640
Speaker 1: Godzilla Power Hour from seventy eight. I know a lot

507
00:30:03,640 --> 00:30:07,360
Speaker 1: of you out there, I know exactly what I'm talking about. Also,

508
00:30:07,480 --> 00:30:10,600
Speaker 1: he's not to be confused with Godzilla Jr. Who debuted

509
00:30:10,600 --> 00:30:15,520
Speaker 1: in Toho's film Godzilla Versus Mecha Godzilla two and appeared

510
00:30:15,560 --> 00:30:19,400
Speaker 1: in two pictures after that. Both Godzuki and Godzilla Jr.

511
00:30:19,440 --> 00:30:24,560
Speaker 1: Have baby dragon vibes, while um, Manila here he's more

512
00:30:24,840 --> 00:30:26,760
Speaker 1: I don't know how would you describe him. He's kind

513
00:30:26,760 --> 00:30:29,440
Speaker 1: of like baby turtle without a shell, right, yeah, baby

514
00:30:29,480 --> 00:30:34,160
Speaker 1: turtle baby frog. Kind of like tadpole, a quadrupedal tadpole.

515
00:30:35,240 --> 00:30:39,160
Speaker 1: I'm not sure. Yeah. Very reminiscent though, of a human toddler,

516
00:30:39,800 --> 00:30:42,800
Speaker 1: not only in his appearance but also in the way

517
00:30:42,800 --> 00:30:45,280
Speaker 1: he moves around. Yes, I mean, I think they were

518
00:30:45,280 --> 00:30:48,680
Speaker 1: really trying to play up that baby angle to make, uh,

519
00:30:49,120 --> 00:30:54,480
Speaker 1: make Manilla as cute as possible. That was the directive. Yes, Now,

520
00:30:54,480 --> 00:30:56,600
Speaker 1: we mentioned that there's a human child at the center

521
00:30:56,640 --> 00:31:00,320
Speaker 1: of this picture. Uh, the child is the character uh

522
00:31:00,400 --> 00:31:04,800
Speaker 1: Ichiro Miki or just Ichiro is uh I don't even

523
00:31:04,880 --> 00:31:06,560
Speaker 1: know this is the case where they really say his

524
00:31:06,640 --> 00:31:11,160
Speaker 1: last name in the picture, but was played by Tomonori Yazaki.

525
00:31:11,560 --> 00:31:15,080
Speaker 1: Dates unknown. He was a Japanese child actor. This was

526
00:31:15,120 --> 00:31:18,440
Speaker 1: his first film, followed by mostly TV roles, some ultraman,

527
00:31:18,760 --> 00:31:22,560
Speaker 1: some common rider through around seventy three or seventy four.

528
00:31:23,120 --> 00:31:26,960
Speaker 1: His other film is the nineteen two monster flick uh

529
00:31:27,080 --> 00:31:31,120
Speaker 1: Diagoro Versus Goliath. I've read that there there's been attempts

530
00:31:31,160 --> 00:31:34,200
Speaker 1: to sort of find uh this actor as an adult

531
00:31:34,280 --> 00:31:36,720
Speaker 1: and you know, get his his take on what filming

532
00:31:36,720 --> 00:31:38,600
Speaker 1: this movie was like. But I don't think any of those,

533
00:31:38,920 --> 00:31:41,760
Speaker 1: uh those searches were ever fruitful. So I'm I'm not

534
00:31:41,800 --> 00:31:44,520
Speaker 1: sure you know what became of him. But I lived

535
00:31:44,520 --> 00:31:48,120
Speaker 1: a private life after his child acting days were behind him.

536
00:31:48,440 --> 00:31:53,200
Speaker 1: Leave Ichiro alone, let him live his life. Now there's

537
00:31:53,240 --> 00:31:56,920
Speaker 1: another character of note in the picture. So again, Ichiro

538
00:31:57,400 --> 00:32:00,360
Speaker 1: is a latch key kid, so his parents were lot

539
00:32:00,840 --> 00:32:04,120
Speaker 1: He's left to go home and look after himself and

540
00:32:04,800 --> 00:32:08,200
Speaker 1: his uh we meet this this friend of his, this um,

541
00:32:08,600 --> 00:32:11,280
Speaker 1: this man who lives in the same apartment complex that

542
00:32:11,480 --> 00:32:15,720
Speaker 1: is a toy maker or toy designer, an inventor of sorts. Right, Yeah,

543
00:32:15,880 --> 00:32:18,320
Speaker 1: he at one point he's building something he calls a

544
00:32:18,440 --> 00:32:22,320
Speaker 1: quote Kittie computer in the subtitles on the version I saw,

545
00:32:22,440 --> 00:32:25,200
Speaker 1: But it's like a computer that shows live footage of

546
00:32:25,200 --> 00:32:29,520
Speaker 1: a moon landing. Yeah, in great quality. I was like,

547
00:32:30,080 --> 00:32:34,480
Speaker 1: in color. Yeah, but yeah, so I don't know what's

548
00:32:34,520 --> 00:32:36,640
Speaker 1: going on there, but yeah, he's a toy maker and

549
00:32:36,720 --> 00:32:41,840
Speaker 1: he is he's essentially eros uh friend like he's a friend,

550
00:32:41,920 --> 00:32:45,000
Speaker 1: and he looks after Ichiro sometimes when his when his

551
00:32:45,080 --> 00:32:47,960
Speaker 1: parents are both working and can't come home. Yeah. This

552
00:32:48,080 --> 00:32:52,200
Speaker 1: character's name is Shinpei and Nami played by the actor

553
00:32:52,520 --> 00:32:57,120
Speaker 1: Hideo i'm Amoto, who through two thousand and three. And

554
00:32:57,160 --> 00:33:01,840
Speaker 1: this is a sometimes these these various Toho actors are

555
00:33:01,880 --> 00:33:04,280
Speaker 1: actors that you just kind of see another Toho films,

556
00:33:04,320 --> 00:33:06,280
Speaker 1: and there's kind of like, you know, just an ensemble

557
00:33:06,360 --> 00:33:09,680
Speaker 1: of of of of Toho actors. But there's a very

558
00:33:09,680 --> 00:33:12,240
Speaker 1: good chance folks out there have seen i'm Amoto before

559
00:33:12,280 --> 00:33:16,960
Speaker 1: because he has very distinctive looks. Tall, thin Japanese character

560
00:33:17,040 --> 00:33:19,719
Speaker 1: actor with kind of gaunt features that are maybe not

561
00:33:19,800 --> 00:33:22,480
Speaker 1: accentuated much in this picture because he's just playing a

562
00:33:22,560 --> 00:33:25,840
Speaker 1: normal human and nothing. You know, he's not an assassin

563
00:33:26,000 --> 00:33:28,640
Speaker 1: or anything. But he worked in a number of notable films.

564
00:33:29,000 --> 00:33:33,640
Speaker 1: His work includes Kurasawa's Yo Jimbo from sixty one, Quite

565
00:33:33,720 --> 00:33:37,280
Speaker 1: On from sixty four, sort of Doom, and The Tango

566
00:33:37,360 --> 00:33:40,320
Speaker 1: from sixty six. He was also in Message for Space

567
00:33:40,480 --> 00:33:44,360
Speaker 1: and a Trigon so, two films that we previously covered,

568
00:33:44,360 --> 00:33:48,080
Speaker 1: though I think those were smaller roles in those pictures. Uh.

569
00:33:48,160 --> 00:33:51,640
Speaker 1: He was also in International Secret Police Key of Keys

570
00:33:51,640 --> 00:33:54,520
Speaker 1: from sixty five, which is known to many Western movie

571
00:33:54,560 --> 00:33:58,520
Speaker 1: goers as the movie that What's Up Tiger Lily? The

572
00:33:58,520 --> 00:34:01,000
Speaker 1: Woody Allen picture was as a dub off. That was

573
00:34:01,040 --> 00:34:03,800
Speaker 1: a picture where they took a Japanese film and dubbed

574
00:34:03,840 --> 00:34:07,640
Speaker 1: over it with like new comedic dialogue. I've never seen it,

575
00:34:07,640 --> 00:34:11,120
Speaker 1: but that's the basic pitch. I think I've never seen

576
00:34:11,160 --> 00:34:14,360
Speaker 1: it either. Anyway. Amamoto was in a string of Godzilla

577
00:34:14,360 --> 00:34:18,240
Speaker 1: and Kaiju movies, as well as nix Is Echo Echo

578
00:34:18,360 --> 00:34:21,520
Speaker 1: as a rat to Birth of the Wizard and nine

579
00:34:22,120 --> 00:34:26,640
Speaker 1: seven's Mighty Jack was that featured on Mystery Science Theater.

580
00:34:26,840 --> 00:34:29,880
Speaker 1: It was, yes, Mighty Jack. Well, he's very good in

581
00:34:29,920 --> 00:34:33,320
Speaker 1: this role. It it calls on him to be the kindly,

582
00:34:33,560 --> 00:34:38,200
Speaker 1: understanding adult in in an uncaring world. Yes, let's see,

583
00:34:38,239 --> 00:34:40,160
Speaker 1: I'm going to skip a bit in the cast here.

584
00:34:40,360 --> 00:34:43,759
Speaker 1: Um we we do see at Chiro's father a little bit.

585
00:34:43,760 --> 00:34:46,520
Speaker 1: He's played by Kinji Sahara, who who was born in

586
00:34:47,160 --> 00:34:50,440
Speaker 1: two and is presumably still alive. He's a Japanese actor

587
00:34:50,520 --> 00:34:53,400
Speaker 1: who has the distinction of being in the most Godzilla films,

588
00:34:53,480 --> 00:34:56,799
Speaker 1: or at least was at the At one point he

589
00:34:56,880 --> 00:34:59,080
Speaker 1: was in thirteen of them, which I think puts him

590
00:34:59,120 --> 00:35:02,360
Speaker 1: what one over um the man in the Suit, in

591
00:35:02,400 --> 00:35:05,560
Speaker 1: addition to numerous other Toho pictures. He was in the

592
00:35:05,560 --> 00:35:09,080
Speaker 1: first Godzilla movie as a newspaper reporter and a party

593
00:35:09,080 --> 00:35:12,320
Speaker 1: guy in a boat, and his last Godzilla film was

594
00:35:12,360 --> 00:35:15,120
Speaker 1: two thousand and four's Final Wars, and it looks like

595
00:35:15,120 --> 00:35:19,240
Speaker 1: he was last active around and then finally. The music

596
00:35:19,280 --> 00:35:22,920
Speaker 1: in this one is by Kunio mia Ucci, who lived

597
00:35:23,000 --> 00:35:25,959
Speaker 1: nineteen thirty two through two thousand and six, Japanese Toho

598
00:35:26,080 --> 00:35:28,880
Speaker 1: composer whose first big score was The Human Vapor in

599
00:35:28,960 --> 00:35:31,600
Speaker 1: nineteen sixty. He followed this up with such films and

600
00:35:31,640 --> 00:35:35,520
Speaker 1: TV shows as Mighty Jack, Ultraman, Godzilla Versus Gegan, and

601
00:35:35,640 --> 00:35:41,799
Speaker 1: his stock music was used in Shin ultraman Um, which

602
00:35:41,840 --> 00:35:44,719
Speaker 1: I haven't seen yet, but apparently Joe it gives ultraman

603
00:35:44,880 --> 00:35:49,040
Speaker 1: the Shin Godzilla treatment. Oh well, at least that's what

604
00:35:49,160 --> 00:35:52,200
Speaker 1: the title and and the posters seemed to imply. Oh,

605
00:35:52,239 --> 00:35:54,880
Speaker 1: I've looked this up before, but I always forget what

606
00:35:55,040 --> 00:35:58,200
Speaker 1: it is that the title Shin Godzilla means. And I

607
00:35:58,239 --> 00:36:00,319
Speaker 1: think the deal is that Shin is a war that

608
00:36:00,400 --> 00:36:04,520
Speaker 1: has multiple meanings, Like it could be interpreted to mean

609
00:36:04,600 --> 00:36:07,359
Speaker 1: the word god, or it could be interpreted to mean

610
00:36:07,480 --> 00:36:11,759
Speaker 1: something like original or pure m. Is that right? I

611
00:36:12,040 --> 00:36:14,680
Speaker 1: believe that that that sounds familiar. I haven't looked into

612
00:36:14,760 --> 00:36:16,799
Speaker 1: it recently, but I remember reading about it when Shin

613
00:36:16,880 --> 00:36:19,000
Speaker 1: Godzilla first came out, and it's kind of like taken

614
00:36:19,000 --> 00:36:20,680
Speaker 1: on its own meeting to me, like you put Shin

615
00:36:20,800 --> 00:36:23,239
Speaker 1: on the beginning of something, and I'm expecting it to

616
00:36:23,320 --> 00:36:27,680
Speaker 1: have like a lot of scenes of bureaucracy dealing with

617
00:36:27,680 --> 00:36:31,800
Speaker 1: with UH an outrageous event. So like, I think you

618
00:36:31,840 --> 00:36:34,880
Speaker 1: could apply it to anything Shin Godzilla, Shin King Kong,

619
00:36:35,360 --> 00:36:37,839
Speaker 1: I don't know, Shin Matango there there. You could really

620
00:36:37,840 --> 00:36:42,680
Speaker 1: go crazy with Shin critters s critters shin grimlins too.

621
00:36:42,840 --> 00:36:53,040
Speaker 1: That's what we want to see, all right, You ready

622
00:36:53,080 --> 00:36:56,879
Speaker 1: to look at some stuff about the plot, let's do it. Well,

623
00:36:56,920 --> 00:37:00,239
Speaker 1: of course, we start with that beautiful Toho logo. I

624
00:37:00,239 --> 00:37:02,080
Speaker 1: know I've said this on the show before, but it

625
00:37:02,160 --> 00:37:04,080
Speaker 1: makes me feel so good every time I see the

626
00:37:04,080 --> 00:37:08,439
Speaker 1: Toho logo, Really, something in my chest just relaxes. There's

627
00:37:08,480 --> 00:37:12,280
Speaker 1: something about how it looks like it there's light shining

628
00:37:12,320 --> 00:37:15,279
Speaker 1: through glass on it that it feels like I am

629
00:37:15,440 --> 00:37:19,600
Speaker 1: in the waiting room at at an office for a

630
00:37:19,640 --> 00:37:21,960
Speaker 1: professional that I trust, you know, like I don't know

631
00:37:21,960 --> 00:37:24,759
Speaker 1: if I'm going to a doctor in this scenario, or

632
00:37:24,880 --> 00:37:28,120
Speaker 1: or what I'm going to a Tohoe picture, and I

633
00:37:28,160 --> 00:37:30,120
Speaker 1: trust that I'm going to be taken care of. You

634
00:37:30,200 --> 00:37:34,560
Speaker 1: are in good hands now. How to describe the score

635
00:37:34,719 --> 00:37:37,759
Speaker 1: that plays with the opening credits. The music throughout this

636
00:37:37,840 --> 00:37:41,520
Speaker 1: movie is generally rather strange in a way that I liked.

637
00:37:41,600 --> 00:37:44,359
Speaker 1: It's got this opening jazz tune that makes me think

638
00:37:44,400 --> 00:37:47,040
Speaker 1: a little bit of the Pink Panther. But after many

639
00:37:47,160 --> 00:37:50,480
Speaker 1: cups of coffee and then once the singing starts, it

640
00:37:50,520 --> 00:37:53,799
Speaker 1: gets really weird. Yeah, I guess the vibe is kind

641
00:37:53,800 --> 00:37:56,760
Speaker 1: of hip and fun at least until you start reading

642
00:37:56,760 --> 00:38:00,879
Speaker 1: the subtitles for the for the opening same song. Oh,

643
00:38:00,880 --> 00:38:03,000
Speaker 1: we'll get to that in a second. But also I

644
00:38:03,040 --> 00:38:06,320
Speaker 1: love how the opening credits are full of monster fight clips,

645
00:38:06,719 --> 00:38:09,319
Speaker 1: and there was one I genuinely laughed out loud. So

646
00:38:09,360 --> 00:38:13,120
Speaker 1: it's showing Godzilla fighting with one of the spider monsters.

647
00:38:13,120 --> 00:38:15,440
Speaker 1: I think that's the monster they fight originally in Son

648
00:38:15,480 --> 00:38:17,960
Speaker 1: of Godzilla, and they show the fight again in this movie,

649
00:38:18,160 --> 00:38:20,400
Speaker 1: and so it's showing this big spider and then there's

650
00:38:20,480 --> 00:38:24,640
Speaker 1: just a freeze frame on the spider spraying spider juice

651
00:38:24,680 --> 00:38:28,520
Speaker 1: out of its mouth. Yeah. Again, this is a movie

652
00:38:28,560 --> 00:38:31,080
Speaker 1: that knows the kids out there want monsters. They know

653
00:38:31,160 --> 00:38:33,719
Speaker 1: people come to Godzilla to sea monsters, and they're gonna

654
00:38:33,719 --> 00:38:36,360
Speaker 1: start delivering right away. And I enjoy how the spider

655
00:38:36,400 --> 00:38:40,440
Speaker 1: has a Sam Elliott mustache. Yeah, it's very furry. It's

656
00:38:40,480 --> 00:38:44,160
Speaker 1: a disturbingly furry spider. It's a bristly spider. It's got

657
00:38:44,200 --> 00:38:47,319
Speaker 1: like pink crystals for eyes and Sam Elliott upper lip.

658
00:38:47,680 --> 00:38:50,200
Speaker 1: Just because they're using stock footage from old films though,

659
00:38:50,280 --> 00:38:52,040
Speaker 1: doesn't mean they're not going to go ahead and use

660
00:38:52,320 --> 00:38:55,560
Speaker 1: footage from later on in the picture, which I I

661
00:38:55,640 --> 00:38:58,120
Speaker 1: always feel like it's a little cheap in a in

662
00:38:58,120 --> 00:39:00,440
Speaker 1: a movie, you know, I don't want to see the

663
00:39:00,480 --> 00:39:02,680
Speaker 1: trailer is probably already ruined enough. I don't need the

664
00:39:02,719 --> 00:39:06,239
Speaker 1: film itself ruining itself, because we do see like this

665
00:39:06,480 --> 00:39:09,560
Speaker 1: really sick Judo throw from Godzilla where he drops a

666
00:39:09,600 --> 00:39:11,680
Speaker 1: monster right on its head. And of course this is

667
00:39:11,680 --> 00:39:13,840
Speaker 1: a scene from later on in the film. It's essentially

668
00:39:13,880 --> 00:39:17,040
Speaker 1: like the finishing move Godzilla uses. That's so good. It's

669
00:39:17,040 --> 00:39:20,319
Speaker 1: a triple dip. It's from another movie already, and then

670
00:39:20,360 --> 00:39:22,960
Speaker 1: they show it to you twice in this movie, so

671
00:39:23,080 --> 00:39:24,879
Speaker 1: you could see they were they were trying to pad

672
00:39:24,880 --> 00:39:27,520
Speaker 1: out the run time. I think, Uh, then again, I

673
00:39:27,520 --> 00:39:29,520
Speaker 1: don't know they would have had a credit sequence anyway.

674
00:39:29,560 --> 00:39:31,279
Speaker 1: Maybe they just might as well. They're like, oh, let's

675
00:39:31,280 --> 00:39:33,400
Speaker 1: show that fight again in the credits. Why not. I

676
00:39:33,680 --> 00:39:36,360
Speaker 1: totally accept your criticism of that as a move, But

677
00:39:36,400 --> 00:39:38,640
Speaker 1: a lot of movies we have loved have done that.

678
00:39:38,640 --> 00:39:41,520
Speaker 1: The Really Bloody Sword showed you the entire movie during

679
00:39:41,520 --> 00:39:45,040
Speaker 1: the opening credits. They absolutely did. Yeah, sometimes you can

680
00:39:45,239 --> 00:39:49,239
Speaker 1: you can pin it on like Western distributors of of

681
00:39:49,520 --> 00:39:53,359
Speaker 1: movies from Europe or Asia and clearly, it's just like, well,

682
00:39:53,400 --> 00:39:55,560
Speaker 1: let's keep them interested so they don't leave the theater

683
00:39:55,719 --> 00:39:57,880
Speaker 1: or drive away from the drive in. But yeah, this

684
00:39:57,960 --> 00:40:00,760
Speaker 1: is this is the the original vision for the pictures

685
00:40:00,760 --> 00:40:03,160
Speaker 1: that you can't blame it anybody else. Oh, but let's

686
00:40:03,160 --> 00:40:05,040
Speaker 1: come back to So it's singing this song through the

687
00:40:05,040 --> 00:40:07,759
Speaker 1: opening credits and they play it again later on. What

688
00:40:07,920 --> 00:40:11,200
Speaker 1: is the deal with the lyrics here? They're they're intriguing

689
00:40:11,800 --> 00:40:16,400
Speaker 1: an energetic of female vocalist that, according to the subtitles,

690
00:40:16,480 --> 00:40:19,280
Speaker 1: is basically saying, don't be afraid of monsters, kids. Monsters

691
00:40:19,280 --> 00:40:23,640
Speaker 1: are actually themselves shocked by the real threat industrial pollution,

692
00:40:23,880 --> 00:40:26,200
Speaker 1: a theme that would become central to the later film

693
00:40:26,239 --> 00:40:29,360
Speaker 1: Godzilla versus Hetera, which is the one we previously covered

694
00:40:29,400 --> 00:40:33,440
Speaker 1: on on Weird House before Heatera is just a wicked

695
00:40:33,520 --> 00:40:38,240
Speaker 1: pollution monster who like powers up by huffing smokestacks. Yeah,

696
00:40:38,239 --> 00:40:40,440
Speaker 1: in that movie, it's like the central theme and the

697
00:40:40,480 --> 00:40:42,880
Speaker 1: threat at the center of the film is the physical

698
00:40:42,920 --> 00:40:47,040
Speaker 1: embodiment of that real world threat. In this movie, I

699
00:40:47,800 --> 00:40:50,040
Speaker 1: was thinking about this. I guess it kind of helps

700
00:40:50,080 --> 00:40:53,040
Speaker 1: to ground the film in a world where the monsters

701
00:40:53,040 --> 00:40:56,320
Speaker 1: have lost their power. Later, much later, in the picture,

702
00:40:56,680 --> 00:40:59,880
Speaker 1: the monsters the kaiju are compared to gods, and if

703
00:41:00,000 --> 00:41:02,160
Speaker 1: here to take that and and run with it. Back

704
00:41:02,200 --> 00:41:04,520
Speaker 1: to the beginning of the picture. Here, this is like

705
00:41:04,560 --> 00:41:06,520
Speaker 1: we're living in the twilight of the God. This is

706
00:41:06,560 --> 00:41:09,879
Speaker 1: a world that has lost its faith. The grown ups

707
00:41:09,920 --> 00:41:12,960
Speaker 1: have lost their faith anyway, and the only people who

708
00:41:13,040 --> 00:41:15,759
Speaker 1: really have faith in the gods a k a. Big

709
00:41:15,840 --> 00:41:19,800
Speaker 1: rubber monsters are the children. Yeah, I think that's exactly right.

710
00:41:19,880 --> 00:41:22,680
Speaker 1: Like and but a theme of this song, apart from

711
00:41:22,680 --> 00:41:25,440
Speaker 1: the thing about the pollution, yeah, is explicitly about the

712
00:41:25,480 --> 00:41:30,680
Speaker 1: monsters being weakened somehow. Like one part says, uh says

713
00:41:30,760 --> 00:41:33,920
Speaker 1: the monsters are crying why is earth such a hard

714
00:41:33,960 --> 00:41:37,719
Speaker 1: place to live? That it's the lyric uh, And then

715
00:41:37,920 --> 00:41:41,040
Speaker 1: another part is uh. I'm paraphrasing for this part, but

716
00:41:41,160 --> 00:41:44,560
Speaker 1: it's like wham bam, crash. You can smash everything, but

717
00:41:44,680 --> 00:41:47,759
Speaker 1: still it's not easy being a monster. See. This is

718
00:41:47,920 --> 00:41:49,680
Speaker 1: again why they probably had to have a whole bunch

719
00:41:49,680 --> 00:41:52,040
Speaker 1: of monster footage at the beginning of the picture. You

720
00:41:52,080 --> 00:41:54,239
Speaker 1: can't have this be the first thing kids watch. They're

721
00:41:54,239 --> 00:41:57,640
Speaker 1: gonna lose all hope. But anyway, as the credits finish out,

722
00:41:57,680 --> 00:42:01,560
Speaker 1: we see, uh, we see some setting. It's the industrial

723
00:42:01,800 --> 00:42:03,759
Speaker 1: I think it's supposed to be Kawasaki, but it's an

724
00:42:03,800 --> 00:42:06,759
Speaker 1: industrial area of Japan with a lot of I don't know,

725
00:42:07,040 --> 00:42:12,400
Speaker 1: oil refineries and factories and just smoke stacks pouring smog everywhere.

726
00:42:12,400 --> 00:42:17,640
Speaker 1: A barren world populated only by smoke and factories and trucks.

727
00:42:17,680 --> 00:42:21,799
Speaker 1: But amidst this unforgiving landscape, we see a couple of

728
00:42:21,840 --> 00:42:24,800
Speaker 1: sweet kids. Itchy, oh, our our main kid. He's walking

729
00:42:24,840 --> 00:42:28,160
Speaker 1: along holding hands with his friends at Chico and they

730
00:42:28,200 --> 00:42:30,319
Speaker 1: are there. I guess they're trying to make their way

731
00:42:30,320 --> 00:42:34,320
Speaker 1: home after school through this infernal landscape of of suit

732
00:42:34,520 --> 00:42:37,720
Speaker 1: and asthma. It reminds me once again of last week's

733
00:42:37,760 --> 00:42:40,080
Speaker 1: picture let Sleeping Corpses Live, where we start off in

734
00:42:40,120 --> 00:42:44,040
Speaker 1: a very industrial British city and we're supposed to be Manchester,

735
00:42:44,120 --> 00:42:47,280
Speaker 1: I think gives Manchester. Uh. And the only thing that

736
00:42:47,480 --> 00:42:50,200
Speaker 1: really calls out like any kind of like spirit of

737
00:42:50,520 --> 00:42:53,800
Speaker 1: fun or rebellion or anything like that is the streaker

738
00:42:54,320 --> 00:42:58,520
Speaker 1: in this film, it's the children. Like that everything is

739
00:42:58,520 --> 00:43:01,279
Speaker 1: is kind of gross and grinding and busy, but these

740
00:43:01,360 --> 00:43:04,640
Speaker 1: children are just a basket of joy, you know, holding

741
00:43:04,680 --> 00:43:09,759
Speaker 1: the hands um against all the grime behind them, And

742
00:43:09,880 --> 00:43:12,440
Speaker 1: I have to say, I really love these kids, especially

743
00:43:12,920 --> 00:43:16,880
Speaker 1: uh Ichiro played by Yazaki. Here he's he's just so good.

744
00:43:17,239 --> 00:43:20,239
Speaker 1: It's just a really solid kid's performance. Like there's a

745
00:43:20,280 --> 00:43:23,560
Speaker 1: lot of energy and authenticity to it that you don't

746
00:43:23,600 --> 00:43:27,600
Speaker 1: always see in a in a child actor. Yeah, this

747
00:43:27,680 --> 00:43:30,319
Speaker 1: is a cute kid. I was a little confused as

748
00:43:30,360 --> 00:43:34,880
Speaker 1: to why some reviewers had in the past written stuff

749
00:43:34,920 --> 00:43:39,360
Speaker 1: that they considered Ichiro annoying, but uh, I think maybe

750
00:43:39,360 --> 00:43:42,360
Speaker 1: I know I was reading something that made me understand

751
00:43:42,360 --> 00:43:45,239
Speaker 1: a little better. I think it's possible that part of

752
00:43:45,280 --> 00:43:50,279
Speaker 1: the reaction to this character was that some people were

753
00:43:50,360 --> 00:43:54,640
Speaker 1: hearing a particular dub of the film where his lines

754
00:43:54,719 --> 00:43:58,160
Speaker 1: were dubbed by an adult who did this really nasal,

755
00:43:58,320 --> 00:44:01,560
Speaker 1: whiney voice for all of his speaking parts. And I

756
00:44:01,600 --> 00:44:04,239
Speaker 1: can't be sure, but I think that dub exists, and

757
00:44:04,280 --> 00:44:06,680
Speaker 1: I think that is not the version I saw, So

758
00:44:07,000 --> 00:44:08,680
Speaker 1: I don't know if that is the reason for sure,

759
00:44:08,680 --> 00:44:10,759
Speaker 1: but that would partially explain it, because I thought, I

760
00:44:11,040 --> 00:44:13,960
Speaker 1: Ro is great, that is a great, great point, and

761
00:44:13,960 --> 00:44:16,160
Speaker 1: that that's probably the reason. It reminds me of a

762
00:44:16,280 --> 00:44:20,000
Speaker 1: film like say House by the cemetery where kids. Bob

763
00:44:20,120 --> 00:44:22,680
Speaker 1: is Bob the kid and the Bob, Yes, Bob the

764
00:44:22,719 --> 00:44:25,800
Speaker 1: demon child with an adult voice. Right, Yeah, he's clearly

765
00:44:25,880 --> 00:44:29,239
Speaker 1: dubbed by a grown woman, and it creates a weird

766
00:44:29,360 --> 00:44:31,960
Speaker 1: energy in the film, Like you you kind of there's

767
00:44:31,960 --> 00:44:34,200
Speaker 1: an uncanny nous to him that and there's a certain

768
00:44:34,239 --> 00:44:36,520
Speaker 1: amount of uncanny is that's supposed to be there, And

769
00:44:36,520 --> 00:44:38,960
Speaker 1: I mean there's this added layer of of the uncanny

770
00:44:39,040 --> 00:44:41,320
Speaker 1: and in a picture like this, yeah, Echo is not

771
00:44:41,360 --> 00:44:43,439
Speaker 1: supposed to be uncanny. He's not supposed to be weird.

772
00:44:43,480 --> 00:44:45,000
Speaker 1: And you get the wrong dub on there, and it's

773
00:44:45,040 --> 00:44:47,880
Speaker 1: going to totally change the feeling you get exactly. So

774
00:44:47,960 --> 00:44:51,279
Speaker 1: I think that may very well be what's going on. Um.

775
00:44:51,360 --> 00:44:53,840
Speaker 1: But so we we follow each arro around and a

776
00:44:53,880 --> 00:44:55,440
Speaker 1: lot of the early parts of the movie are just

777
00:44:55,480 --> 00:44:59,640
Speaker 1: sort of establishing his daily life and his struggles, and

778
00:45:00,080 --> 00:45:03,560
Speaker 1: maybe we could talk a little bit about elements from

779
00:45:03,640 --> 00:45:07,160
Speaker 1: from each of these these things that are established. So

780
00:45:07,280 --> 00:45:10,799
Speaker 1: one theme of the movie is bullying. Ich r Oh

781
00:45:10,960 --> 00:45:15,160
Speaker 1: is consistently bullied by a gang of bigger kids who

782
00:45:15,200 --> 00:45:19,960
Speaker 1: are led by this this sadist bully king named Gabbara.

783
00:45:20,160 --> 00:45:22,520
Speaker 1: So we see them knock each er o over on

784
00:45:22,600 --> 00:45:25,279
Speaker 1: purpose as they run by, and they taunt him and

785
00:45:25,320 --> 00:45:27,719
Speaker 1: they call him weak, and they make him feel helpless,

786
00:45:28,200 --> 00:45:30,160
Speaker 1: and you really feel for each Rro Like there's you

787
00:45:30,200 --> 00:45:32,600
Speaker 1: know these moments where the camera just lingers on his

788
00:45:32,640 --> 00:45:35,719
Speaker 1: face as he looks frustrated and sad and and knows

789
00:45:35,800 --> 00:45:39,120
Speaker 1: that he can't really fight back. Yeah, yeah, and you

790
00:45:39,160 --> 00:45:41,400
Speaker 1: know he's a good kid, and and he doesn't He

791
00:45:41,440 --> 00:45:43,480
Speaker 1: just doesn't want to make anything worse. He doesn't want

792
00:45:43,480 --> 00:45:46,720
Speaker 1: to escalate things. Then you've got another theme. So bullying

793
00:45:46,800 --> 00:45:50,520
Speaker 1: is one. Another theme is ich Ro's love of the Kaiju.

794
00:45:51,000 --> 00:45:53,360
Speaker 1: I wonder what you thought about this. Does the movie

795
00:45:53,400 --> 00:45:57,080
Speaker 1: take place in a world basically in the real world

796
00:45:57,280 --> 00:46:01,640
Speaker 1: where monsters don't exist, but the children are familiar with

797
00:46:01,719 --> 00:46:06,360
Speaker 1: the existing Godzilla movies, or does it take place in

798
00:46:06,400 --> 00:46:10,200
Speaker 1: a world where the events of the previous Godzilla movies

799
00:46:10,360 --> 00:46:14,440
Speaker 1: are known of as real events that have previously happened

800
00:46:14,480 --> 00:46:17,359
Speaker 1: in the world. I couldn't tell which, but I think

801
00:46:17,400 --> 00:46:20,280
Speaker 1: maybe it's the former, like he's literally seen the films,

802
00:46:20,600 --> 00:46:22,880
Speaker 1: I think, so if I had to to choose one,

803
00:46:22,880 --> 00:46:26,719
Speaker 1: I would go in that direction. Um, just because that

804
00:46:26,880 --> 00:46:30,160
Speaker 1: basically I mean no particular thing leads me to think

805
00:46:30,200 --> 00:46:32,480
Speaker 1: that though that there is a part where we see

806
00:46:32,600 --> 00:46:37,120
Speaker 1: a Kaiju action figure or doll, but I think we

807
00:46:37,160 --> 00:46:40,840
Speaker 1: saw one in Hetera as well, So that's that alone

808
00:46:40,920 --> 00:46:43,520
Speaker 1: is not an indicator. But I think overall, I get

809
00:46:43,560 --> 00:46:45,360
Speaker 1: the feeling that, yeah, this is a world in which

810
00:46:46,280 --> 00:46:48,960
Speaker 1: the monsters are only on TV and in the minds

811
00:46:48,960 --> 00:46:53,440
Speaker 1: of children. So Ichiro is having monster paradolia. Like a

812
00:46:53,440 --> 00:46:56,520
Speaker 1: car goes by and he's like, oh, that car, the

813
00:46:56,560 --> 00:46:59,520
Speaker 1: screeching it sounds just like Manila. It goes key ki ki.

814
00:47:01,440 --> 00:47:03,480
Speaker 1: I don't think I ever heard Nila make a kiki

815
00:47:03,560 --> 00:47:06,160
Speaker 1: key sound, unless that's supposed to be the donkey sound.

816
00:47:06,520 --> 00:47:09,240
Speaker 1: Maybe we're getting into that whole situation where we're not sure,

817
00:47:09,960 --> 00:47:13,200
Speaker 1: uh what or not. It just it varies what sounded

818
00:47:13,200 --> 00:47:16,640
Speaker 1: animal makes based on the language in which you're describing it.

819
00:47:16,719 --> 00:47:20,720
Speaker 1: So maybe donkeys go kiki ki in Japanese. Yeah, maybe

820
00:47:20,760 --> 00:47:24,680
Speaker 1: I couldn't say okay. So that's another theme. It'syero, he

821
00:47:24,840 --> 00:47:28,799
Speaker 1: gives bullied, he loves the monsters. But also the theme

822
00:47:28,840 --> 00:47:31,920
Speaker 1: of this movie is loneliness, and I think it it

823
00:47:32,000 --> 00:47:34,280
Speaker 1: tackles that in a pretty head on way. It's Erro's

824
00:47:34,360 --> 00:47:37,840
Speaker 1: family here is is working class and both of his

825
00:47:37,920 --> 00:47:41,239
Speaker 1: parents work long hours to make ends meet, and he

826
00:47:41,360 --> 00:47:44,640
Speaker 1: is often home alone after school fending for himself. So

827
00:47:44,680 --> 00:47:47,040
Speaker 1: we see a scene where he's walking by the train

828
00:47:47,120 --> 00:47:50,480
Speaker 1: tracks and this old, you know, busted industrial landscape, and

829
00:47:50,480 --> 00:47:53,080
Speaker 1: a train starts going by, and the conductor in the

830
00:47:53,160 --> 00:47:56,000
Speaker 1: front of the train or the engineer, I guess whatever.

831
00:47:56,040 --> 00:47:57,800
Speaker 1: The guy in the front of the train is his dad,

832
00:47:57,880 --> 00:48:01,000
Speaker 1: and his dad calls out, oh, hey, Zero, I'm working tonight,

833
00:48:01,040 --> 00:48:03,600
Speaker 1: be good till your mom gets home. And then actually

834
00:48:03,640 --> 00:48:06,000
Speaker 1: after this we stick with Ichiro's father for a little bit.

835
00:48:06,000 --> 00:48:08,160
Speaker 1: We see him take a smoke break with his co worker,

836
00:48:08,360 --> 00:48:11,520
Speaker 1: and we we learned that the father wants to save

837
00:48:11,600 --> 00:48:14,560
Speaker 1: up enough money that they can move away from the smog,

838
00:48:14,600 --> 00:48:16,480
Speaker 1: move out to the country or to a place where

839
00:48:16,520 --> 00:48:19,399
Speaker 1: the air is clean. So you see that he's working

840
00:48:19,480 --> 00:48:21,840
Speaker 1: long hours to I guess, try to get his his

841
00:48:22,200 --> 00:48:25,400
Speaker 1: family to this better place. But then also in the scene,

842
00:48:25,560 --> 00:48:28,520
Speaker 1: we learned from his coworker who's reading a newspaper that

843
00:48:28,560 --> 00:48:30,720
Speaker 1: there are a couple of bank robbers on the loose,

844
00:48:30,800 --> 00:48:33,759
Speaker 1: fleeing police with a suitcase full of money, and these

845
00:48:33,760 --> 00:48:36,640
Speaker 1: are Tchekhov's bank robbers. They will show up later, but

846
00:48:36,719 --> 00:48:39,279
Speaker 1: we learned that they took fifty million yen, and you

847
00:48:39,320 --> 00:48:41,799
Speaker 1: can just see Ichiro's father dreaming about what he could

848
00:48:41,800 --> 00:48:44,880
Speaker 1: do with money like that. Now we come back to bullying.

849
00:48:44,960 --> 00:48:49,440
Speaker 1: There's another bullying scene where um Ichiro and and Sachiko

850
00:48:49,520 --> 00:48:53,440
Speaker 1: are are walking around and Ichiro finds a vacuum tube

851
00:48:53,560 --> 00:48:55,560
Speaker 1: in the grass. I guess because this is an area

852
00:48:55,640 --> 00:48:59,240
Speaker 1: that used to be like an electronics factory, and um

853
00:48:59,280 --> 00:49:02,759
Speaker 1: he finds and then the bullies come up on him

854
00:49:02,880 --> 00:49:06,040
Speaker 1: and they take away his vacuum tube, and they call

855
00:49:06,160 --> 00:49:09,040
Speaker 1: him a baby, and they like mock him to his face.

856
00:49:09,760 --> 00:49:12,360
Speaker 1: And for some reason I found something very heart wrenching

857
00:49:12,400 --> 00:49:15,279
Speaker 1: about the theft of each rose vacuum tube. I think

858
00:49:15,320 --> 00:49:18,920
Speaker 1: it's because he found it. And this kind of hit

859
00:49:19,000 --> 00:49:21,759
Speaker 1: me in a strong way, because I have memories of

860
00:49:22,440 --> 00:49:26,080
Speaker 1: being a little kid and finding a treasure of some

861
00:49:26,200 --> 00:49:29,400
Speaker 1: kind just lying out on the ground somewhere. That's a

862
00:49:29,440 --> 00:49:33,520
Speaker 1: powerfully nostalgic kind of memory. And I have one specific

863
00:49:33,560 --> 00:49:36,239
Speaker 1: memory of something like this happening to me. And I

864
00:49:36,280 --> 00:49:39,640
Speaker 1: was out at some event, I think, and I found

865
00:49:39,640 --> 00:49:43,040
Speaker 1: a loose spool of tape from an audio cassette and

866
00:49:43,080 --> 00:49:45,200
Speaker 1: I was like holding it and letting it blow in

867
00:49:45,239 --> 00:49:47,400
Speaker 1: the wind, and then an older kid took it away

868
00:49:47,440 --> 00:49:49,600
Speaker 1: from me and threw it over the edge of a bridge.

869
00:49:51,080 --> 00:49:53,480
Speaker 1: Um and that, Yeah, that that really stuck with me.

870
00:49:53,640 --> 00:49:57,279
Speaker 1: So so anyway, I felt the vacuum tube scene very hard. Yeah,

871
00:49:57,280 --> 00:50:00,000
Speaker 1: this felt like a very authentic moment in this picture

872
00:50:00,120 --> 00:50:01,920
Speaker 1: or like, because I think we can all we all

873
00:50:01,920 --> 00:50:03,799
Speaker 1: have memories like that where we find some sort of

874
00:50:03,840 --> 00:50:08,880
Speaker 1: weird bit of discarded technology or or a registrate garbage,

875
00:50:09,320 --> 00:50:11,640
Speaker 1: but it's fascinating and we want to want to keep

876
00:50:11,680 --> 00:50:14,480
Speaker 1: it and uh. And then also the childhood insult of

877
00:50:14,480 --> 00:50:19,399
Speaker 1: of him being a baby, Like I definitely I don't

878
00:50:19,400 --> 00:50:22,360
Speaker 1: have memories of this myself, but I've seen that watching

879
00:50:22,400 --> 00:50:25,400
Speaker 1: my my son grow up. Like there's a period where

880
00:50:25,520 --> 00:50:28,920
Speaker 1: to call someone a baby was the was the biggest insult.

881
00:50:29,400 --> 00:50:31,359
Speaker 1: Um to the point where he would call the cat

882
00:50:31,400 --> 00:50:36,200
Speaker 1: a baby if he was snat at a cat sick burn. Yeah,

883
00:50:36,239 --> 00:50:39,840
Speaker 1: Like it's it's clearly you know, it's clearly hurting, Ichi wrote,

884
00:50:39,880 --> 00:50:42,840
Speaker 1: but uh to hear this, But then there's also this

885
00:50:42,960 --> 00:50:46,239
Speaker 1: kind of innocence to it, like these kids are so young,

886
00:50:46,960 --> 00:50:52,400
Speaker 1: even their their cruelty has a certain innocence to it. Yeah.

887
00:50:52,600 --> 00:50:55,400
Speaker 1: But then one more element of Io's daily life we

888
00:50:55,480 --> 00:50:59,840
Speaker 1: learned about is his friendship with Shiny the toymaker. And

889
00:51:00,000 --> 00:51:02,160
Speaker 1: and uh so when when he's coming home, I think,

890
00:51:02,200 --> 00:51:04,759
Speaker 1: I guess Chimpay is like maybe his neighbor. And so

891
00:51:04,840 --> 00:51:07,279
Speaker 1: he comes home and sees him working on this this

892
00:51:07,400 --> 00:51:10,600
Speaker 1: electronic device, the kiddie computer that shows people landing on

893
00:51:10,640 --> 00:51:13,439
Speaker 1: the moon, and h it's clear that you know, he's

894
00:51:13,480 --> 00:51:16,120
Speaker 1: welcome hanging out in this guy's shop and they're friendly,

895
00:51:16,160 --> 00:51:19,080
Speaker 1: and him pays a good, you know, nurturing influence on

896
00:51:19,120 --> 00:51:22,080
Speaker 1: this kid. But it's also funny because he makes this computer,

897
00:51:22,160 --> 00:51:24,520
Speaker 1: he expects each year O to be all impressed. But

898
00:51:24,560 --> 00:51:27,919
Speaker 1: what Ichiro says is the Moon's okay, but there's somewhere else.

899
00:51:27,960 --> 00:51:32,680
Speaker 1: I'd rather go Monster Island. And then he just starts

900
00:51:32,760 --> 00:51:35,239
Speaker 1: listing all the monsters. And I was like, oh, this

901
00:51:35,360 --> 00:51:38,560
Speaker 1: also made me. This seems authentic. Don't don't kids love

902
00:51:38,600 --> 00:51:42,200
Speaker 1: to list all the monsters or list all the whatevers? Uh?

903
00:51:42,520 --> 00:51:45,120
Speaker 1: Oh god, they do. And I'm I'm not going to

904
00:51:45,200 --> 00:51:47,560
Speaker 1: be a hypocrite. I'm also gonna admit I love to

905
00:51:47,600 --> 00:51:49,799
Speaker 1: list the monsters, and I've never grown out of that.

906
00:51:49,880 --> 00:51:53,640
Speaker 1: But yeah, like my son will definitely list all the Pokemon,

907
00:51:54,280 --> 00:51:58,200
Speaker 1: all the dungeons and dragons, dragon varieties, um and and

908
00:51:58,239 --> 00:51:59,920
Speaker 1: I think that's great. I love it too. I love

909
00:52:00,040 --> 00:52:02,560
Speaker 1: good monster list. But I think we see one of

910
00:52:02,600 --> 00:52:06,759
Speaker 1: the reasons that Ichiro is so infatuated with the monsters.

911
00:52:06,840 --> 00:52:10,760
Speaker 1: He talks about how they're all stronger than Gabbarra, his bully,

912
00:52:10,960 --> 00:52:13,279
Speaker 1: and he's like, you know, they don't have to worry

913
00:52:13,320 --> 00:52:15,480
Speaker 1: about bullies. They they can do what we want, what

914
00:52:15,560 --> 00:52:19,520
Speaker 1: they want. They're free because they're strong. Uh. And then

915
00:52:19,560 --> 00:52:22,799
Speaker 1: eventually we see Ichiro go back home uh. And there's

916
00:52:22,880 --> 00:52:25,960
Speaker 1: kind of a lonely snack scene where he, you know,

917
00:52:26,040 --> 00:52:28,160
Speaker 1: his mom left out a snack for him. He has that.

918
00:52:28,239 --> 00:52:30,920
Speaker 1: He watches some TV and he watches like the news

919
00:52:31,040 --> 00:52:34,160
Speaker 1: where he learns about the the bank robbers stealing the

920
00:52:34,160 --> 00:52:37,120
Speaker 1: fifty million yen. He switches I think to a soap

921
00:52:37,160 --> 00:52:40,120
Speaker 1: opera or the people are like saying, oh, I love you,

922
00:52:40,200 --> 00:52:42,759
Speaker 1: and then he there's a really funny moment where he

923
00:52:42,840 --> 00:52:45,920
Speaker 1: I can't remember that the phrase he says in Japanese,

924
00:52:45,920 --> 00:52:50,239
Speaker 1: but the translation is he just goes yuck. But then

925
00:52:50,400 --> 00:52:53,040
Speaker 1: it's segways to him playing around with this like toy

926
00:52:53,200 --> 00:52:56,400
Speaker 1: radio he's put together that he dreams like of calling

927
00:52:56,480 --> 00:53:01,000
Speaker 1: Monster Island, which seguys into a dream of him visiting

928
00:53:01,080 --> 00:53:04,520
Speaker 1: Monster Island. And this is going to be one of

929
00:53:04,520 --> 00:53:06,480
Speaker 1: the major themes for the rest of the movie is

930
00:53:06,520 --> 00:53:10,560
Speaker 1: that these recurring visits in dreams to Monster Island where

931
00:53:10,560 --> 00:53:12,840
Speaker 1: all the monsters live, where we're going to see a

932
00:53:12,920 --> 00:53:16,279
Speaker 1: lot of fights between monsters. So much of this is

933
00:53:16,280 --> 00:53:18,359
Speaker 1: going to be footage from other movies, but I think

934
00:53:18,400 --> 00:53:22,560
Speaker 1: some original stuff too. And uh, this is where Ichiro

935
00:53:22,760 --> 00:53:25,960
Speaker 1: meets Manila, the son of Godzilla, and they become friends

936
00:53:26,080 --> 00:53:28,359
Speaker 1: because they have a lot in common. It turns out

937
00:53:28,400 --> 00:53:33,080
Speaker 1: Manila is also being bullied by a monster on Monster Island,

938
00:53:33,280 --> 00:53:36,359
Speaker 1: and that monster has the same name as Ichiro's bully.

939
00:53:36,400 --> 00:53:40,840
Speaker 1: They're both called Gabbarra. Oh. By the way, he initially

940
00:53:40,920 --> 00:53:45,040
Speaker 1: dream travels to Monster Island um via direct flight, which

941
00:53:45,080 --> 00:53:48,239
Speaker 1: I thought was a marvelous dream sequence. Yes, I love

942
00:53:48,239 --> 00:53:51,359
Speaker 1: how in these scenes with Manila, he's he's also as

943
00:53:51,400 --> 00:53:53,239
Speaker 1: he's like, hey, I hear you know Godzilla. Do you

944
00:53:53,239 --> 00:53:55,040
Speaker 1: think you could introduce me to him? Because I'd love

945
00:53:55,080 --> 00:53:58,680
Speaker 1: to climb on his back, and Manila is like, well,

946
00:53:58,719 --> 00:54:00,680
Speaker 1: you know, I'll see, I'll see what Silla talked in this.

947
00:54:00,760 --> 00:54:03,880
Speaker 1: By the way, Manila says, I'll see what I can do.

948
00:54:03,960 --> 00:54:06,160
Speaker 1: But you know, Godzilla, he doesn't like me around all

949
00:54:06,200 --> 00:54:08,759
Speaker 1: the time because he gets onto me for for not

950
00:54:08,840 --> 00:54:11,960
Speaker 1: being strong enough, for not standing up to for myself

951
00:54:12,080 --> 00:54:15,320
Speaker 1: enough and um. And of course that again mirrors the

952
00:54:15,640 --> 00:54:18,920
Speaker 1: situation with I Tiro. Oh yeah, that's right, because we

953
00:54:18,960 --> 00:54:21,960
Speaker 1: actually do see a scene where Ichira's father says, you know,

954
00:54:22,080 --> 00:54:25,400
Speaker 1: he uh, he feels for his son, but he wishes

955
00:54:25,400 --> 00:54:36,680
Speaker 1: he would stand up for himself. So we're gonna get

956
00:54:36,719 --> 00:54:39,879
Speaker 1: some some slams, some smackdowns on the island. I think

957
00:54:39,880 --> 00:54:43,840
Speaker 1: we see Godzilla fighting um Ibira. I think the Ebro

958
00:54:43,960 --> 00:54:47,239
Speaker 1: Horror of the Deep, the shrimp crayfish monster. Uh. We

959
00:54:47,280 --> 00:54:50,800
Speaker 1: see various fights take place, and in a way, Ichiro

960
00:54:50,960 --> 00:54:53,279
Speaker 1: kind of like watches and learns from them. But he

961
00:54:53,320 --> 00:54:58,120
Speaker 1: also learns from watching Son of Godzilla, like like morph

962
00:54:58,400 --> 00:55:03,000
Speaker 1: up and try to fight against Gabbarra. Uh. The like

963
00:55:03,080 --> 00:55:06,440
Speaker 1: he like grows and he and they fight and Gabra

964
00:55:06,560 --> 00:55:10,200
Speaker 1: always wins at first. But you kind of like pick

965
00:55:10,280 --> 00:55:12,200
Speaker 1: up some clues along the way about how he might

966
00:55:12,239 --> 00:55:15,360
Speaker 1: beat him later on. Now, Gabra is is pretty interesting.

967
00:55:15,360 --> 00:55:18,799
Speaker 1: He's he's again our our main kaiju antagonist, and he

968
00:55:18,880 --> 00:55:21,040
Speaker 1: is original with this picture. So many of the other

969
00:55:21,320 --> 00:55:25,080
Speaker 1: Kaiju we encounter are aurist clips from other scenes or

970
00:55:25,080 --> 00:55:29,279
Speaker 1: maybe reused puppets even in the films that they that

971
00:55:29,320 --> 00:55:34,000
Speaker 1: they originally appeared in, But Gabra exists for this picture.

972
00:55:34,200 --> 00:55:36,440
Speaker 1: This is his first picture where we see this costume

973
00:55:36,920 --> 00:55:39,520
Speaker 1: um and I think he's pretty great. I've read that

974
00:55:39,560 --> 00:55:43,200
Speaker 1: he's supposed to resemble a mutated frog or toad, but

975
00:55:43,280 --> 00:55:47,359
Speaker 1: he winds up with more feline features somehow, like kind

976
00:55:47,360 --> 00:55:52,800
Speaker 1: of like a green panther. He's like a lizard cat. Yeah,

977
00:55:52,920 --> 00:55:55,840
Speaker 1: And I think these feelings of like cats similarities are

978
00:55:55,880 --> 00:55:59,560
Speaker 1: also accentuated by he's green and scaly, but he has

979
00:55:59,600 --> 00:56:02,200
Speaker 1: the shot cock of orange hair on the top of

980
00:56:02,239 --> 00:56:06,520
Speaker 1: his head amid these various horns like this, this row

981
00:56:06,560 --> 00:56:10,040
Speaker 1: of horns down down his head as well, And I

982
00:56:10,320 --> 00:56:12,960
Speaker 1: feel like the orange hair, the green skin, it kind

983
00:56:12,960 --> 00:56:15,560
Speaker 1: of gives him a cartoon leprechn look, you know what

984
00:56:15,600 --> 00:56:18,600
Speaker 1: I mean? Ye yea. Though I've I've of course that's

985
00:56:18,640 --> 00:56:20,440
Speaker 1: not what they were going for here. I've read that

986
00:56:20,520 --> 00:56:23,640
Speaker 1: what they were originally aiming for with this design was

987
00:56:23,960 --> 00:56:27,080
Speaker 1: more of a something that alluded to the Japanese only

988
00:56:27,280 --> 00:56:30,400
Speaker 1: you know, kind of an ogre figure. Um. And if

989
00:56:30,440 --> 00:56:34,160
Speaker 1: you go to the Wicked Zilla page for this monster,

990
00:56:34,239 --> 00:56:37,080
Speaker 1: you can actually see some of the preliminary sketches, uh,

991
00:56:37,120 --> 00:56:39,279
Speaker 1: the way they envisioned this creature. And yeah, I can

992
00:56:39,320 --> 00:56:42,640
Speaker 1: definitely see a sense of the only here before it's

993
00:56:42,680 --> 00:56:45,879
Speaker 1: realized in the suit. Oh, that almost kind of makes

994
00:56:45,880 --> 00:56:50,080
Speaker 1: sense with so Gabra being like this bully who just

995
00:56:50,520 --> 00:56:53,520
Speaker 1: uh wayleys each yarrow while he's on the way home

996
00:56:53,520 --> 00:56:56,440
Speaker 1: from school, like sits by the roadside and attacks him

997
00:56:56,480 --> 00:56:59,440
Speaker 1: as he goes past. He's kind of like a bandit

998
00:56:59,560 --> 00:57:03,680
Speaker 1: in a way. And that I think there's classically a

999
00:57:03,719 --> 00:57:06,319
Speaker 1: little bit of overlap between the concepts of some one

1000
00:57:06,560 --> 00:57:10,080
Speaker 1: and and like banditry ideas. Yeah, and I think also

1001
00:57:10,160 --> 00:57:13,120
Speaker 1: there are often ideas of lightning with the one. And

1002
00:57:13,200 --> 00:57:18,160
Speaker 1: indeed Gabra here has an electricity attack that he uses, um,

1003
00:57:18,280 --> 00:57:19,960
Speaker 1: but he he doesn't have a breath weapon. I thought

1004
00:57:19,960 --> 00:57:23,280
Speaker 1: that was interesting. He doesn't seem to have a projectile weapon, um,

1005
00:57:23,280 --> 00:57:26,360
Speaker 1: which I think is an interesting choice, uh, because a

1006
00:57:26,360 --> 00:57:28,680
Speaker 1: lot of times in these movies you see some sort

1007
00:57:28,720 --> 00:57:32,520
Speaker 1: of like a ranged specialist kaiju, and that's generally the

1008
00:57:33,160 --> 00:57:36,520
Speaker 1: that's a weak point for Godzilla or for GAMMERA, whoever's

1009
00:57:36,560 --> 00:57:39,000
Speaker 1: facing such a Kaiju, even though Godzilla of course has

1010
00:57:39,880 --> 00:57:43,000
Speaker 1: an amazing breath weapon that he can use at range. Now,

1011
00:57:43,040 --> 00:57:46,360
Speaker 1: for all of the kind of like sweet elements of

1012
00:57:46,400 --> 00:57:48,640
Speaker 1: this movie, there are also some things that ring kind

1013
00:57:48,640 --> 00:57:51,720
Speaker 1: of weird. One of them is when we're seeing Godzilla

1014
00:57:51,800 --> 00:57:55,640
Speaker 1: training son of Godzilla here training Manila how to use

1015
00:57:55,760 --> 00:57:59,560
Speaker 1: his radiation breath. He's he doesn't by like stomping on

1016
00:57:59,680 --> 00:58:02,919
Speaker 1: his ale. Yeah, I step on your tail that makes

1017
00:58:02,920 --> 00:58:05,840
Speaker 1: you really shoot the radiation. Uh. And until then he

1018
00:58:05,880 --> 00:58:08,240
Speaker 1: can only kind of like blow these like rings of

1019
00:58:08,360 --> 00:58:11,640
Speaker 1: radiation that don't really do anything. Yeah, So I gets

1020
00:58:11,720 --> 00:58:16,160
Speaker 1: like Godzilla's lesson here is that you must feel pain

1021
00:58:16,880 --> 00:58:19,919
Speaker 1: and m and give in to your anger, like he's

1022
00:58:19,960 --> 00:58:22,680
Speaker 1: basically giving him the dark side of the force field.

1023
00:58:24,680 --> 00:58:29,000
Speaker 1: Strike me down with all of your hate. Journey towards

1024
00:58:29,040 --> 00:58:33,960
Speaker 1: Monster Island will be complete. So again, there there may

1025
00:58:34,000 --> 00:58:37,040
Speaker 1: be a generational divide on on the message here. The

1026
00:58:37,080 --> 00:58:40,640
Speaker 1: parenting message of Godzilla, but I mean it's it's a

1027
00:58:40,720 --> 00:58:43,800
Speaker 1: music of the picture. Yes, I mean there's several things.

1028
00:58:43,880 --> 00:58:47,480
Speaker 1: There's also a real world thing where uh you know,

1029
00:58:47,560 --> 00:58:50,680
Speaker 1: there's a very nice message about giving giving each a

1030
00:58:50,760 --> 00:58:53,479
Speaker 1: confidence to stand up to his bullies. But I don't

1031
00:58:53,480 --> 00:58:55,760
Speaker 1: know if the exact way that he does that in

1032
00:58:55,800 --> 00:59:00,600
Speaker 1: the end is the best. But I think he kind

1033
00:59:00,600 --> 00:59:03,920
Speaker 1: of like fights them, but then he also at their goating,

1034
00:59:04,120 --> 00:59:06,680
Speaker 1: like pulls a mean prank on a guy who's just

1035
00:59:06,720 --> 00:59:09,160
Speaker 1: trying to paint a sign and gets him covered in paint.

1036
00:59:09,680 --> 00:59:11,160
Speaker 1: I don't know, Oh yeah, and this was what the

1037
00:59:11,200 --> 00:59:13,000
Speaker 1: bullies were trying to get him to do earlier in

1038
00:59:13,000 --> 00:59:15,120
Speaker 1: the picture. They're like, hey, see that guy painting the

1039
00:59:15,160 --> 00:59:16,760
Speaker 1: sign on the top of the ladder, you should go

1040
00:59:16,760 --> 00:59:19,080
Speaker 1: blow the horn on his motorcycle. So he falls off

1041
00:59:19,080 --> 00:59:21,400
Speaker 1: the ladder and he's like, of course I'm not gonna

1042
00:59:21,400 --> 00:59:23,200
Speaker 1: do that. I'm a good kid, and they make fun

1043
00:59:23,200 --> 00:59:25,520
Speaker 1: of him, and then later he's like, I'm I'm a

1044
00:59:25,560 --> 00:59:28,120
Speaker 1: brave kid. Now watch me go make that man fall

1045
00:59:28,200 --> 00:59:30,600
Speaker 1: off the ladder, and he does. So. I think that

1046
00:59:30,760 --> 00:59:35,080
Speaker 1: something's a little confused there, But there's another major plot line. Um.

1047
00:59:35,120 --> 00:59:36,800
Speaker 1: I don't think I'm going to go into great detail

1048
00:59:36,920 --> 00:59:38,959
Speaker 1: unless there's anything about it you wanted to hit rob

1049
00:59:38,960 --> 00:59:41,560
Speaker 1: But a major part of the real world plot, apart

1050
00:59:41,800 --> 00:59:45,400
Speaker 1: from what what's happening in the dreams of Monster Island, is, uh,

1051
00:59:45,480 --> 00:59:48,360
Speaker 1: the developing story about the bank robbers with the fifty

1052
00:59:48,360 --> 00:59:51,640
Speaker 1: million yen who are hiding out in a nearby factory.

1053
00:59:51,680 --> 00:59:54,360
Speaker 1: I think it's near the place where Ichero found the

1054
00:59:54,440 --> 00:59:58,680
Speaker 1: vacuum tube. And ultimately he is kidnapped by these bank

1055
00:59:58,760 --> 01:00:01,120
Speaker 1: robbers because we know it's your loves to like find

1056
01:00:01,160 --> 01:00:03,200
Speaker 1: and pick up treasures, and one of the treasures he

1057
01:00:03,280 --> 01:00:06,640
Speaker 1: finds and picks up is a driver's license dropped by

1058
01:00:06,680 --> 01:00:10,320
Speaker 1: one of the robbers, and oh, now now he knows

1059
01:00:10,320 --> 01:00:12,640
Speaker 1: who they are, so they have to kidnap him, and

1060
01:00:12,680 --> 01:00:16,400
Speaker 1: then ultimately he has to outsmart them with tricks and traps,

1061
01:00:16,960 --> 01:00:20,080
Speaker 1: and after the robbers are caught, there's this very interesting

1062
01:00:20,120 --> 01:00:22,880
Speaker 1: scene where it's almost like the movie is telling us

1063
01:00:22,920 --> 01:00:25,800
Speaker 1: the moral of the story, and uh, they like the

1064
01:00:25,840 --> 01:00:29,120
Speaker 1: press hale, little Ichiro is a hero, and Ichiro gives

1065
01:00:29,120 --> 01:00:33,120
Speaker 1: credit for his heroism to Manila, to the monster from

1066
01:00:33,160 --> 01:00:37,080
Speaker 1: the Godzilla movies, and uh, and there so there's this

1067
01:00:37,160 --> 01:00:41,040
Speaker 1: exchange where the toymaker his friend Shinpei is hanging out

1068
01:00:41,120 --> 01:00:45,400
Speaker 1: there near all of the reporters and he explains to them.

1069
01:00:45,440 --> 01:00:48,480
Speaker 1: He says, he means Manila the monster. I think I understand.

1070
01:00:48,880 --> 01:00:51,920
Speaker 1: He's like a higher power. And one of the reporters

1071
01:00:51,960 --> 01:00:55,720
Speaker 1: asks for clarification he's as a higher power, and Shinpai says,

1072
01:00:55,840 --> 01:00:59,480
Speaker 1: that's right. Adults believe in God's so why can't children

1073
01:00:59,520 --> 01:01:03,600
Speaker 1: have their own God's too, like Manila? And it's kind

1074
01:01:03,600 --> 01:01:06,640
Speaker 1: of a funny line, but oh, something stirred in me there.

1075
01:01:07,640 --> 01:01:10,440
Speaker 1: I absolutely agree. Yeah, this is this is one of

1076
01:01:10,440 --> 01:01:13,560
Speaker 1: my favorite parts of the picture, really, um, because I

1077
01:01:13,560 --> 01:01:16,200
Speaker 1: think it's it's rather insightful and accurate, and I think

1078
01:01:16,200 --> 01:01:18,080
Speaker 1: it's a thing that we we may be touched on

1079
01:01:18,360 --> 01:01:20,800
Speaker 1: to some degree in our discussion of Godzilla and Weird

1080
01:01:20,840 --> 01:01:25,400
Speaker 1: House before, but here it's directly brought up in the picture. Um,

1081
01:01:25,400 --> 01:01:28,960
Speaker 1: this idea that you know, toy monsters and ultimately monster

1082
01:01:29,080 --> 01:01:32,880
Speaker 1: media in general, that these are icons that connect children

1083
01:01:33,280 --> 01:01:36,720
Speaker 1: in the natural world to the powerful realm of super beings.

1084
01:01:37,000 --> 01:01:40,200
Speaker 1: In this film, localized on Monster Island, which one can

1085
01:01:40,240 --> 01:01:43,440
Speaker 1: easily compare to the various sacred mountains of various cultures

1086
01:01:43,480 --> 01:01:46,800
Speaker 1: around the world. So the monsters are strength and courage.

1087
01:01:47,240 --> 01:01:51,680
Speaker 1: They are the absolute personification or expression of emotion, and

1088
01:01:51,720 --> 01:01:55,840
Speaker 1: they have considerable power over the grown up human world

1089
01:01:56,040 --> 01:01:58,320
Speaker 1: while not being a part of that world. And of

1090
01:01:58,360 --> 01:02:00,520
Speaker 1: course we see a sequence in this where the humans

1091
01:02:00,560 --> 01:02:03,760
Speaker 1: come in jet planes to conquer Monster Island and Godzilla

1092
01:02:03,800 --> 01:02:06,880
Speaker 1: has to fight them off and destroy some some jet fighters.

1093
01:02:06,880 --> 01:02:08,920
Speaker 1: That sort of thing. I think that was maybe a

1094
01:02:08,960 --> 01:02:11,400
Speaker 1: scene from a previous picture. I'm not sure. I could

1095
01:02:11,440 --> 01:02:13,960
Speaker 1: kind of feel like filler and again checking off the

1096
01:02:14,000 --> 01:02:16,120
Speaker 1: boxes of what a monster movie should give you. But

1097
01:02:16,440 --> 01:02:18,560
Speaker 1: it also I think works in this sort of vision

1098
01:02:18,600 --> 01:02:21,840
Speaker 1: of like what is what is the energy of the

1099
01:02:21,920 --> 01:02:25,280
Speaker 1: kaiju and why is it so attractive to children? It's

1100
01:02:25,320 --> 01:02:29,120
Speaker 1: like it is big body energy um incarnate, you know,

1101
01:02:29,240 --> 01:02:32,320
Speaker 1: and it is the expression of these emotions that that

1102
01:02:32,320 --> 01:02:35,200
Speaker 1: that there may be only beginning to understand at certain ages.

1103
01:02:35,680 --> 01:02:38,760
Speaker 1: I think that's all correct. And uh, there was another

1104
01:02:38,920 --> 01:02:40,840
Speaker 1: angle in which I was thinking about this, and maybe

1105
01:02:40,920 --> 01:02:43,240
Speaker 1: this is too much of a reach, but it made

1106
01:02:43,280 --> 01:02:45,400
Speaker 1: me think about this is almost kind of painting a

1107
01:02:45,400 --> 01:02:48,880
Speaker 1: picture of a world highlighting the difference between like the

1108
01:02:48,920 --> 01:02:51,960
Speaker 1: gods of children and the gods of adults, which is

1109
01:02:52,000 --> 01:02:58,280
Speaker 1: where many adults might literally believe that the gods exist

1110
01:02:58,800 --> 01:03:04,120
Speaker 1: but don't take their lessons in their meaning to heart. Meanwhile,

1111
01:03:04,520 --> 01:03:10,040
Speaker 1: you can have children who can treat known fictional entities

1112
01:03:10,200 --> 01:03:14,080
Speaker 1: like the monsters of god Zilla like gods, and even

1113
01:03:14,120 --> 01:03:17,680
Speaker 1: though they don't literally believe they exist, they do take

1114
01:03:17,760 --> 01:03:21,640
Speaker 1: their their meaning to heart. And so it's it's almost

1115
01:03:21,640 --> 01:03:25,000
Speaker 1: like a question of like adults taking their gods literally

1116
01:03:25,120 --> 01:03:29,120
Speaker 1: but not seriously, and children taking their gods seriously but

1117
01:03:29,200 --> 01:03:32,160
Speaker 1: not literally. Yeah, I mean it brings me back to

1118
01:03:32,480 --> 01:03:34,400
Speaker 1: another thing I think we've discussed in the show before,

1119
01:03:34,480 --> 01:03:39,640
Speaker 1: like this this space for mythology in our our modern viewpoint,

1120
01:03:39,760 --> 01:03:43,120
Speaker 1: like I don't think the world needs to be just

1121
01:03:43,720 --> 01:03:46,640
Speaker 1: truth and fiction, that it needs to be just um,

1122
01:03:47,280 --> 01:03:50,440
Speaker 1: the real and the unreal. Uh, you know, the difference

1123
01:03:50,440 --> 01:03:54,600
Speaker 1: between skeptical and fundamentalist viewpoints, Like I feel like there

1124
01:03:54,640 --> 01:03:57,320
Speaker 1: needs to be a room for mythology and under that

1125
01:03:57,560 --> 01:04:00,440
Speaker 1: like a very loose version of mythology, which you have

1126
01:04:00,520 --> 01:04:04,800
Speaker 1: room for actual myths that have cultural resonance, but also

1127
01:04:05,160 --> 01:04:09,880
Speaker 1: fictional things things like Godzilla, things like Star Wars, um

1128
01:04:10,040 --> 01:04:13,560
Speaker 1: or any any bit of of media or imagination that

1129
01:04:13,680 --> 01:04:16,680
Speaker 1: ends up becoming meaningful to somebody. Yes, I think we

1130
01:04:16,720 --> 01:04:19,480
Speaker 1: should take each Euro's attitude to heart right because he

1131
01:04:19,520 --> 01:04:25,160
Speaker 1: can find absolutely raw core meaningfulness in his in his

1132
01:04:25,240 --> 01:04:29,560
Speaker 1: mythology without it being in fact true that Manila is

1133
01:04:29,560 --> 01:04:32,919
Speaker 1: a physical monster that exists in the world. Yea, though

1134
01:04:33,000 --> 01:04:35,120
Speaker 1: coming back to my question from earlier, I still don't

1135
01:04:35,160 --> 01:04:37,800
Speaker 1: know for sure whether the film is saying that he's

1136
01:04:37,880 --> 01:04:39,840
Speaker 1: just a character in a movie in the world of

1137
01:04:39,840 --> 01:04:42,840
Speaker 1: the film, or whether he was real. It's not quite clear.

1138
01:04:42,880 --> 01:04:45,960
Speaker 1: But assuming it's the former, that it's a character in

1139
01:04:46,000 --> 01:04:49,440
Speaker 1: a movie, yeah, yeah, I like the ambiguity though in

1140
01:04:49,520 --> 01:04:52,080
Speaker 1: a way it works well with this kind of children's

1141
01:04:52,160 --> 01:04:55,800
Speaker 1: viewpoint of of the world, a world in which yeah,

1142
01:04:55,840 --> 01:04:58,439
Speaker 1: I mean, maybe maybe they are real. Maybe maybe maybe

1143
01:04:58,440 --> 01:04:59,760
Speaker 1: they are It doesn't matter at the end because they

1144
01:04:59,880 --> 01:05:01,800
Speaker 1: really to him. So this was a really fun one.

1145
01:05:01,800 --> 01:05:03,680
Speaker 1: I'm glad we we did this one. I always have

1146
01:05:03,680 --> 01:05:06,920
Speaker 1: a certain amount of hesitation with kaiju movies, just because

1147
01:05:08,200 --> 01:05:11,240
Speaker 1: you don't want to spend a lot of time on

1148
01:05:11,240 --> 01:05:14,560
Speaker 1: one that is just a monster suit film, Like there's

1149
01:05:14,600 --> 01:05:16,320
Speaker 1: so many. There are a lot of great monster suit films,

1150
01:05:16,360 --> 01:05:18,439
Speaker 1: but they've gotta have something else going on in them

1151
01:05:18,440 --> 01:05:21,200
Speaker 1: to really be to to to really be worth talking about,

1152
01:05:21,480 --> 01:05:24,959
Speaker 1: and in this film definitely had had other things going

1153
01:05:25,000 --> 01:05:28,040
Speaker 1: for it besides some awesome monster battles. Well, I take

1154
01:05:28,040 --> 01:05:29,840
Speaker 1: that back. I would say the monster battles are awesome

1155
01:05:29,840 --> 01:05:32,000
Speaker 1: in this picture. Don't watch this one just for the

1156
01:05:32,040 --> 01:05:35,200
Speaker 1: monster battles, but it provides a nice balance of things.

1157
01:05:35,760 --> 01:05:37,960
Speaker 1: Mm hmm, well I agree, But I don't know. I

1158
01:05:38,040 --> 01:05:41,840
Speaker 1: might feel different. Maybe I'm just more gung ho about

1159
01:05:41,840 --> 01:05:44,680
Speaker 1: any any great big monster beat down. I didn't feel

1160
01:05:44,680 --> 01:05:47,160
Speaker 1: like Godzilla was ever in real danger in this one.

1161
01:05:47,240 --> 01:05:50,600
Speaker 1: I always knew he had this one handled. But it

1162
01:05:50,640 --> 01:05:54,040
Speaker 1: wasn't just Godzilla's battle. It was also Godzilla's son's battle.

1163
01:05:54,160 --> 01:05:57,680
Speaker 1: So uh, there's a different, different dynamic going on here.

1164
01:05:58,960 --> 01:06:00,840
Speaker 1: All right, Well, we're to go ahead and close this

1165
01:06:00,880 --> 01:06:02,960
Speaker 1: one out, but we'd love to hear from everyone out there,

1166
01:06:03,000 --> 01:06:06,480
Speaker 1: if you have thoughts on all Monsters Attack, if you

1167
01:06:06,520 --> 01:06:09,440
Speaker 1: have other favorite Kaiju movies that you would like to

1168
01:06:10,200 --> 01:06:12,280
Speaker 1: suggest for the future on Weird House Cinema, or just

1169
01:06:12,280 --> 01:06:16,080
Speaker 1: discussed in general. You know, we we read listener mail

1170
01:06:16,200 --> 01:06:19,520
Speaker 1: on usually on our Listener Mail episodes on Mondays. In

1171
01:06:19,560 --> 01:06:21,400
Speaker 1: the stuff to blow your mind podcast feed, so we're

1172
01:06:21,440 --> 01:06:24,440
Speaker 1: having to discuss all of that there. Reminder that we're

1173
01:06:24,440 --> 01:06:28,080
Speaker 1: primarily a science podcast with Core episodes on Tuesdays and Thursdays,

1174
01:06:28,360 --> 01:06:31,920
Speaker 1: Monster Factor Artifact episode on Wednesdays, and then on Friday.

1175
01:06:31,920 --> 01:06:34,120
Speaker 1: We set aside most serious concerns to just talk about

1176
01:06:34,120 --> 01:06:36,800
Speaker 1: a weird film on Weird House Cinema. And if you

1177
01:06:36,800 --> 01:06:38,280
Speaker 1: want to see a list of all the films we've

1178
01:06:38,320 --> 01:06:40,240
Speaker 1: done before, we can go to a couple of places.

1179
01:06:40,440 --> 01:06:42,800
Speaker 1: I blog about all these movies. At Samuta music dot

1180
01:06:42,800 --> 01:06:45,520
Speaker 1: com there's just a personal blog, but I maintain that

1181
01:06:45,720 --> 01:06:49,480
Speaker 1: just mostly weird House stuff these days. And then if

1182
01:06:49,480 --> 01:06:51,800
Speaker 1: you go to letterbox dot com, it's l E T

1183
01:06:51,800 --> 01:06:54,240
Speaker 1: T E R B l x D dot com. Uh,

1184
01:06:54,240 --> 01:06:56,800
Speaker 1: that's a cool website where you can chronicle your own

1185
01:06:57,000 --> 01:07:01,360
Speaker 1: cinematic explorations and make lists and so forth. At Mad Reviews,

1186
01:07:01,640 --> 01:07:04,040
Speaker 1: we have an account there. Our account is weird House

1187
01:07:04,360 --> 01:07:06,040
Speaker 1: and we have a list there that has all the

1188
01:07:06,080 --> 01:07:09,520
Speaker 1: movies that we've discussed in order, and occasionally you'll get

1189
01:07:09,560 --> 01:07:12,200
Speaker 1: a glimpse ahead at what is about to come up

1190
01:07:12,240 --> 01:07:15,720
Speaker 1: for us. Huch thanks to our audio producer J. J. Pauseway.

1191
01:07:15,880 --> 01:07:17,480
Speaker 1: If you would like to get in touch with us

1192
01:07:17,480 --> 01:07:20,240
Speaker 1: with feedback on this episode or any other, to suggest

1193
01:07:20,240 --> 01:07:22,760
Speaker 1: a topic for the future, or just to say hello.

1194
01:07:22,840 --> 01:07:25,520
Speaker 1: You can email us at contact at stuff to Blow

1195
01:07:25,560 --> 01:07:34,800
Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

1196
01:07:34,840 --> 01:07:37,520
Speaker 1: production of I Heart Radio. For more podcasts for my

1197
01:07:37,560 --> 01:07:40,520
Speaker 1: heart Radio, visit the i heart Radio app, Apple Podcasts,

1198
01:07:40,560 --> 01:07:42,360
Speaker 1: or wherever you listen to your favorite shows.