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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're going to be taking a look at a nineteen

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Speaker 1: fifty four science fiction movie called Devil Girl from Mars,

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Speaker 1: a movie about people who are obsessed with liquor, who

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Speaker 1: in fact are in many cases even named after liquors,

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Speaker 1: and who are gather in a rural inn in Scotland

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Speaker 1: to be attacked by an evil Martian boss lady who

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Speaker 1: wants to kidnap and dominate Scottish men. Yes, that's right,

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Speaker 1: fans of Weird How Cinema may feel an inkling of

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Speaker 1: of a memory that this is in fact the second

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Speaker 1: movie we've done with this exact plot, the plot of

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Speaker 1: women from another planet within our Solar system are running

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Speaker 1: out of men and must come to Earth to steal

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Speaker 1: our precious earth hunks. Uh. The other one was the

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Speaker 1: lighthearted Mexican romantic musical horror comedy Ship of Monsters from

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Speaker 1: nineteen sixty and that one was such a delight I

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Speaker 1: still remember that so fondly. I think Devil Girl from

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Speaker 1: Mars is also a delight, but in a very different way.

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Speaker 1: Ship of Monsters is uh is clever, spunky, charming, intentionally funny,

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Speaker 1: and made with this infectious sense of whimsy. Devil Girl

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Speaker 1: from Mars is the exact opposite. It is made hilarious

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Speaker 1: by virtue of its absurd self seriousness. Yeah. Yeah, this

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Speaker 1: is not a lighthearted musical romp uh that it's It's

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Speaker 1: still a lot of fun and has some great design

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Speaker 1: work in it, because that was one of the things

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Speaker 1: we loved about about about the Ship of Monsters has

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Speaker 1: some great monster designs, some great costumes, and we we

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Speaker 1: have we have some of that going on in Devil

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Speaker 1: Girl from Mars as well. But also there is no

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Speaker 1: character and Devil Girl from Mars like Lolo Gonzales and

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Speaker 1: Ship of Monsters you know, with the twinkle in his

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Speaker 1: eye and the funny songs and all that. No, this

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Speaker 1: is a movie mostly about men who are very serious

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Speaker 1: about staying on Earth. Yeah. And none of the male

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Speaker 1: performers are actually that interesting, either in their in their

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Speaker 1: careers or or in their performances here at least I

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Speaker 1: didn't find them so. But the but, but the female

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Speaker 1: performers are pretty great. Uh. The titular devil girl from Mars,

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Speaker 1: I think is clearly the star of the show. My

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Speaker 1: initial reaction to this when I started watching it. I

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Speaker 1: got about twenty minutes in and I was like, I

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Speaker 1: don't know if this is all that great. Maybe this

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Speaker 1: movie is really going to be kind of a drag.

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Speaker 1: But then the moment the Martian shows up, the movie

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Speaker 1: kicks into high gear immediately. Yeah, I agree that that

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Speaker 1: you warned me about the first twenty minutes, and the

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Speaker 1: first twenty minutes of this film are indeed quite slow. Um,

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Speaker 1: and that are not all that fantastic. So um yeah,

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Speaker 1: so definitely know that going into the film. But we

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Speaker 1: mentioned Scottish, uh as much as anything is purely a

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Speaker 1: Scottish film, I guess this is kind of our first

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Speaker 1: Scottish film on Weird House Cinema, right, I can't think

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Speaker 1: of another one. And it's also it's not incidentally Scottish

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Speaker 1: is not just like made by Scott's. This is very

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Speaker 1: much set in Scotland, right right. I think you can

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Speaker 1: you can maybe get into the production credits and say like, well,

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Speaker 1: it's more basically a British production basically in production. But yeah,

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Speaker 1: a lot of Scottish talent involved in this picture and

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Speaker 1: said in Scotland right. Uh. This film also has a

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Speaker 1: very interesting indirect role in the history of science fiction

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Speaker 1: literature because it was apparently an early point of inspiration,

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Speaker 1: a sort of anti inspiration, for the great science fiction

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Speaker 1: author Octavia Butler. I found a transcript of a talk

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Speaker 1: she delivered. It m I t in about the role

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Speaker 1: of media like movies and TV in the history of

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Speaker 1: sci fi um and she she goes over a bunch

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Speaker 1: of different topics in the speech, but one of the

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Speaker 1: first things she does is talk about seeing this movie

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Speaker 1: when she was a kid. So I want to read

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Speaker 1: her quote from the speech. She says, it's impossible to

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Speaker 1: begin to talk about myself in the media without going

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Speaker 1: back to how I wound up writing science fiction, and

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Speaker 1: that is by watching a terrible movie. The movie was

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Speaker 1: called Devil Girl from Mars, and I saw it when

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Speaker 1: I was about twelve years old, and it changed my life.

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Speaker 1: It was one of those old nineteen fifties movies in

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Speaker 1: which the beautiful Martian woman arrives on Earth to announce

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Speaker 1: that all of the Martian men have died off and

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Speaker 1: there were a bunch of man hungry women up there

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Speaker 1: and the earthmen don't want to go. And as I

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Speaker 1: was watching this film, I had a series of revelations.

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Speaker 1: The first was that geez, I can write a better

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Speaker 1: story than that, And then I thought, gee, anybody can

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Speaker 1: write a better story than that. And my third thought

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Speaker 1: was the clincher, somebody got paid for writing that awful story.

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Speaker 1: So I was often writing, and a year later I

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Speaker 1: was busy submitting terrible pieces of fiction to innocent magazines.

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Speaker 1: I found this story so beautiful. Yeah, it's a that's fun.

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Speaker 1: I wasn't aware of this connection. And uh and and indeed,

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Speaker 1: this is essentially I think one of the things that

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Speaker 1: I've always enjoyed about films of this nature. Not that

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Speaker 1: I mean there have been times where I've been inspired

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Speaker 1: to write something based on on on a on a

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Speaker 1: less than stellar plot in a film or something, but

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Speaker 1: more often than not, it's just like you're watching a film.

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Speaker 1: There are spaces in it, spaces that yes that it's

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Speaker 1: not only like could this be improved, but what if

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Speaker 1: this world was improved? And so there there's this like

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Speaker 1: there's this film, there's this skeleton within the film, and

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Speaker 1: then you sort of apply the meat to that skeleton

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Speaker 1: with your own imagination, either in a in a product

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Speaker 1: based um creative endeavor, or just in the mindscape of

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Speaker 1: enjoying the film totally. I I have long been of

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Speaker 1: the opinion that if you're trying to study a creative

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Speaker 1: art you can learn just as much or even more

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Speaker 1: by studying bad examples of that art form as you

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Speaker 1: can from studying good examples. Like when you see the

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Speaker 1: bad Ones, it gives you a kind of analytical confidence.

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Speaker 1: You can understand how when when things aren't working. Now,

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Speaker 1: there's a lot that does work in this film, though

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Speaker 1: at least from a from a design standpoint. Uh As

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Speaker 1: we'll get into there's there's there's there's at least one

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Speaker 1: amazing costume, there's a there's some cool sets, there's a

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Speaker 1: there's a cool robot, and and there are some times

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Speaker 1: where there's a lot of technobabble, as we'll discuss. But occasionally,

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Speaker 1: as our alien visitor is talking about conditions back home

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Speaker 1: and laying down a little um world building, some of

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Speaker 1: it does, you know, kind of get you get at

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Speaker 1: least got my mind rolling. It's like, I wonder what

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Speaker 1: this this gender war was, Like? How did all the

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Speaker 1: Martian men die, you know, and you know that they're

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Speaker 1: not they're they're not feeling on all the details for you,

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Speaker 1: but they're giving you, like a few visuals, some some

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Speaker 1: sites and sounds, some ideas, and then your brain kind

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Speaker 1: of sketches in the rest of it. And uh, and

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Speaker 1: that's that's something I always enjoy about a film like

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Speaker 1: this totally. I was actually I was tempted to start

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Speaker 1: asking genuinely interested questions about the War of the Sexes

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Speaker 1: that took place on Mars. I was like, well, where

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Speaker 1: they're like where they're like people on Mars who fell

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Speaker 1: in love and they were like traitors to their to

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Speaker 1: their side in the War of the Sexes? That I

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Speaker 1: don't know. Yeah, it raises a lot of questions you

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Speaker 1: probably shouldn't think too literally about at all. I know

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Speaker 1: that this isn't the only work of fiction to to

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Speaker 1: contemplate such a thing, so I guess, you know, metaphorically

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Speaker 1: at least it Uh, it's it's useful in um in fiction.

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Speaker 1: You know that this plot differs somewhat from the premise

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Speaker 1: of Ship of Monsters and Ship of Monsters the Aliens

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Speaker 1: or one of the aliens. It comes from Venus and

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Speaker 1: the problem is that on Venus, the men all destroyed

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Speaker 1: each other with atomic wars. So so the men they

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Speaker 1: got nuclear weapons and they killed all the other men.

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Speaker 1: So Venus has no men left, so it was an

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Speaker 1: intra sex dispute. The men killed each other on on Venus.

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Speaker 1: In this movie, it is that the women of Mars

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Speaker 1: went to war with the men of Mars and killed them.

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Speaker 1: I don't know if that's significant anyway. Maybe not. Well,

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Speaker 1: I guess she is supposed to have sort of a

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Speaker 1: black widow kind of vibe to her. In fact, there

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Speaker 1: is this part rather clumsily where one of the child

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Speaker 1: the child characters what's his name, Tommy, Tommy, Yes, Tommy's like,

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Speaker 1: you were like that spider and that my dad sees

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Speaker 1: in the barn or something like that, you know, basically saying, oh,

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Speaker 1: you're like a black widow spider, and it's kind of like, yeah,

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Speaker 1: that's yes, that's part of what they're going for with

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Speaker 1: the black costume, and you know this, and it's kind

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Speaker 1: of a trope and a stereotype of like a feminine

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Speaker 1: power in films like this. Yeah, I think the character

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Speaker 1: is written in a way that is supposed to strike

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Speaker 1: terror in the hearts of a nineteen fifties male in

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Speaker 1: the way that she is at least I think the

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Speaker 1: way she's supposed to be received is as like very

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Speaker 1: beautiful but also very like cold and rational and calculatingly evil. Yeah,

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Speaker 1: and it's definitely portrayed in a way that is I

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Speaker 1: would say, um what sexually ahead of her time? Um

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Speaker 1: Like I was reading about this this film in um

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Speaker 1: in Michael Weldon's Sucotronic books that summarizes this, he writes, quote,

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Speaker 1: the alien herself is a real vision in boots, black tights,

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Speaker 1: padded shoulders cape and a shiny black skull cap. The

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Speaker 1: stuffy British males actually want to stay in England, which

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Speaker 1: is great, though not in England. They are in Scotland.

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Speaker 1: I guess a couple of them are from England and

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Speaker 1: stuck in Scotland and others are from Scotland. But whatever

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Speaker 1: the case. Yeah, they for some reason do not want

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Speaker 1: to return to Mars with her and become part of

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Speaker 1: like a captive earthling breeding program. Right. But then, I

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Speaker 1: mean I was also thinking this whole time. I was like, like,

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Speaker 1: if they were excited to go, they would get to

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Speaker 1: Mars and they'd find out that their participation in the

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Speaker 1: breeding program involves being like hooked up in a tank

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Speaker 1: somewhere and having their brain removed or something. Um So,

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Speaker 1: which would I think would have been fitting? That would

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Speaker 1: have been a nice um like. I don't know if

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Speaker 1: that would be a maybe be a nineties outer limits ending. Oh,

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Speaker 1: that would be a good twist if like the character

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Speaker 1: who goes as very like over eager young man um.

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Speaker 1: But I was thinking the other twist given that like

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Speaker 1: they didn't the Martians didn't realize Earth was gonna have

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Speaker 1: a thick atmosphere, so when they got here, you know,

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Speaker 1: they had trouble landing. It makes me think, well, what

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Speaker 1: if they get the Earthlings back to Mars and they

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Speaker 1: don't realize that Earthlings need to breathe oxygen, so as

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Speaker 1: soon as they get there, it's just suffocation. We gotta

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Speaker 1: go back for more. Now, I think we've already done

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Speaker 1: the elevator pitch, so maybe we can skip that. But

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Speaker 1: we've got to hear some trailer audio. All right, let's

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Speaker 1: do it. We saw this with our own eyes, and

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Speaker 1: object the like of which we had never seen before.

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Speaker 1: A frightening, strange sheep descending from outer space with relentless putts.

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Speaker 1: Where did it come from? And God? Did it want

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Speaker 1: to the Us? How I've ever seen before? Hellon? Would

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Speaker 1: you mean hello? Hello? It's like something from row flat

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Speaker 1: to do not try to follow me. You cannot get

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Speaker 1: help around it. Yes, I've drawn an invisible walls through

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Speaker 1: which no one may pass. Here is a news reporter

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Speaker 1: with a world shattering storm, a girl trying to escape

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Speaker 1: from her posts, the scientist trapped in spite of his knowledge.

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Speaker 1: And here also is the barmaid hiding a murderers secret,

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Speaker 1: a murderer with a life already off it, and introducing

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Speaker 1: the devil girl from Mars herself. Got back on, fireful,

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Speaker 1: get back, shoot one shoot alright, alright, sounds pretty good.

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Speaker 1: Let's see. So there are a bunch of places you

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Speaker 1: can watch this one. I think I just streamed it

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Speaker 1: on Amazon. Yeah, I I rented it through through Prime.

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Speaker 1: You can stream or buy it wherever you get your

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Speaker 1: digital movies. It also looks like you can stream it

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Speaker 1: um via film Movement uh flicks fling uh some other places.

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Speaker 1: And I should also point out that there have been

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Speaker 1: some basic physical releases as well, but also Bridget and

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Speaker 1: Mary Joe covered it on riff tracks, so I haven't

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Speaker 1: actually experienced their riff of the film, but I've I've

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Speaker 1: very much enjoyed Bridget and Mary Joe's riffing in the past,

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Speaker 1: so I bet they do a good job with this one.

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Speaker 1: There's a there's all, there's a lot of stuff to

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Speaker 1: to have fun with here. Yeah, I've got to watch

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Speaker 1: that now. All right, Well, let's get into the various humans,

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Speaker 1: mostly Scottish humans, involved in the creation of this picture, alright.

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Speaker 1: Starting at the top, we have director David McDonald born

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Speaker 1: nineteen o four and died in nineteen eighty three, Scottish

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Speaker 1: born director who at one point worked under Cecil B.

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Speaker 1: De Mill in the US as a production assistant. This

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Speaker 1: would have been like the late nineteen twenties and I

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Speaker 1: guess early thirties, uh, basically an apprenticeship. Before returning back

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Speaker 1: to the UK. He worked with the Crown Film Unit

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Speaker 1: during World War Two to produce morale boosting pictures. And

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Speaker 1: I've seen this film referred to as a career low point. Uh.

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Speaker 1: And certainly he seems to have maybe been more successful

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Speaker 1: during his lifetime with various other film and TV projects,

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Speaker 1: most of which I'm not familiar with. I don't think

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Speaker 1: he did much in the way of sci fi or

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Speaker 1: horror outside of this film. For instance, his most noteworthy

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Speaker 1: films seem to have been ninety seven, The Brothers, ninety eight,

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Speaker 1: Christopher Columbus in the nine seven Swashbuckler, The Moonraker, The Moonraker. Yeah, no,

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Speaker 1: no connection or at least um, I don't know. Maybe

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Speaker 1: maybe Moonraker has something to do with the plot of

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Speaker 1: this fifty seven Swashbuckler. I'm not sure. So when I

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Speaker 1: was watching the credits for this movie, one of the

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Speaker 1: weirdest things I noticed was the credit indicating that this

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Speaker 1: is somehow based on a play for the stage. Yeah,

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Speaker 1: this was weird. This was it was similar to something

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Speaker 1: we encountered with Dr X. Right, yeah, but in this one. Yeah,

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Speaker 1: you you have the credit that reads, uh like the

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Speaker 1: credit for a play based on the play by John C.

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Speaker 1: Mather and James Eastwood. And then James Eastwood also has

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Speaker 1: a screenplay credit, which, because at first one I was

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Speaker 1: looking at just how it was listed on IMDb, I

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Speaker 1: was like, well, maybe they say play, but they mean screenplay. No,

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Speaker 1: it seems more more clear that this was a play.

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Speaker 1: And then it was adapted into a screenplay. Okay, yeah,

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Speaker 1: I don't know. This is Matther's only film credit. Eastwood

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Speaker 1: also worked on the screenplay for such films as nineteen

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Speaker 1: fifty five The Case of the Red Monkey in nineteen

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Speaker 1: fifty six is Beyond Mombassa, which has Christopher Lee in

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Speaker 1: it and the young Christopher Lee. But it started seemingly

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Speaker 1: mostly just a shirtless Cornell Wild and then also Donna Reed.

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Speaker 1: Oh but let's not bury the lead. If there is

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Speaker 1: one reason to watch this movie, it is our villain

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Speaker 1: played by Patricia Lafawn. That's right, she plays Naya. This

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Speaker 1: is our martian visitor. Lafon lived nineteen nineteen through And yeah, this, uh,

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Speaker 1: this is a this is a really fun role of

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Speaker 1: our vamping space lord here. And it's fitting because her

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Speaker 1: biggest film role outside of this, uh and I guess,

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Speaker 1: probably being fair, probably her biggest screen role period was

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Speaker 1: playing Imparius Pompeia in MGM Sword and Sandal blockbuster Quo

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Speaker 1: Vadis from nineteen fifty one. That was a film that

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Speaker 1: had Robert Taylor, uh Peter Houston off in it, and

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Speaker 1: also an uncredited role as a chariot driver. We have

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Speaker 1: Christopher Lee. Christopher Lee is just in the background, creeping around,

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Speaker 1: uncredited with a goatee and sometimes credited in one number

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Speaker 1: of pictures from this era. Uh, this movie. I don't

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Speaker 1: know if it's primarily about Nero, but it's Nero is

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Speaker 1: a major character in an Emperor Nero And I think

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Speaker 1: she plays a Queen of Rome. Is that right? Oh, yes,

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Speaker 1: she's queenly. You can look up footage and stills from it.

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Speaker 1: She's in that. She's decked out in gold and its

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Speaker 1: elaborate hair do. Uh. And but she has that let

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Speaker 1: look on her face. She's got that smirk and those eyes.

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Speaker 1: And I do have to say, like, if you look

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Speaker 1: up images from Devil Girl from Mars, there are probably

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Speaker 1: any of her performances. Yes, uh, stunning outfit, stunning screen presence,

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Speaker 1: but you're missing it. You're missing out on all the

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Speaker 1: nuances if you don't see her alive in the scene.

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Speaker 1: Because her her sneer has a life all its own.

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Speaker 1: She's using her her eyebrows in very expressive ways. It's

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Speaker 1: a it's it's a wonderful performance. Yeah, I mean in

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Speaker 1: some ways you would say it's in a it's a

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Speaker 1: very emotionally flat performance, like she's supposed to play like

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Speaker 1: a very like unfeeling like a cold, imperious, unfeeling creature.

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Speaker 1: But she is very expressive in like the way she

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Speaker 1: raises her eyebrows at the pathetic attempts at heroism by

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Speaker 1: earth men. Yeah, it's kind of like sometimes you hear

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Speaker 1: a criticism of a villain roll and say, well, this

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Speaker 1: is a real mustache twirling villain roll, meaning that yes,

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Speaker 1: it's leaning into a whole bunch of stereotypes and and

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Speaker 1: tropes for regarding you know, the particular classic cinematic villain

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Speaker 1: and this over the top evil. Yeah. Yeah, and this

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Speaker 1: is very much similar case. But the thing is when

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Speaker 1: a mustache is is twirl just right on screen, Um,

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Speaker 1: it's it's satisfying. So this is definitely a performance that satisfies. Yes,

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Speaker 1: this is a pencil thin, eyebrow twirling role. Yes. So.

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Speaker 1: Lafon also appeared in twenty three Paces to Baker Street

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Speaker 1: in fifty six that had And Johnson and Estelle Winwood

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Speaker 1: in it. She was an actor of stage and screen,

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Speaker 1: and she also seems to have had some connections to

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Speaker 1: the London, Paris, New York fashion world. I love her

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Speaker 1: every time she she It's like, um, you know, it's

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Speaker 1: like Pucci. It's like every time Naya was not on screen,

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Speaker 1: character should be asking where is Naya? When is she

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Speaker 1: coming back? I felt the same way. Yeah, alright, I'm

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Speaker 1: gonna mention some of these male performers, though again they're

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Speaker 1: the least interesting part about the film. For the most part.

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Speaker 1: You have Hugh McDermott playing Michael, a journalist. Uh this

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Speaker 1: actor who of nineteen o six seventy two, Scottish actor

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Speaker 1: also known for Pimpernell's Smith from forty one and The

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Speaker 1: Flying Swan from Not familiar with either of those pictures.

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Speaker 1: He plays a loudmouth journalist who I think is supposed

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Speaker 1: to be likable, but he is not. He comes off

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Speaker 1: as an absolutely insufferable jerk. Yeah. But hey, now we

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Speaker 1: have another of the female players in this film, and

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Speaker 1: so it's a really good one. We have Hazel Court

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Speaker 1: playing Ellen, a fashion model. You know, I haven't introduced

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Speaker 1: this concept yet, but the beginning of this movie is

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Speaker 1: sort of like the prologue to the Canterbury Tales, where

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Speaker 1: it's just a gathering of all of these randos into

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Speaker 1: an inn somewhere and finding out all about like, why

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Speaker 1: is this person here? Oh, it's a surprise that they

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Speaker 1: showed up and she she is also like sort of

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Speaker 1: an odd puzzle piece amongst all the others here. She's

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Speaker 1: like a a a fancy London fashion model who's all

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Speaker 1: glitz and glam. She drinks tomato juice notably, and people

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Speaker 1: repeatedly point this out throughout the movie. In fact, I

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Speaker 1: think they even refer to her sometimes as tomato juice girl.

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Speaker 1: And I think she's meant to be taken in in

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Speaker 1: the situation of the film. Is sort of a gym

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Speaker 1: amongst the rough pebbles. Yeah, yeah, so yeah, it's a

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Speaker 1: it's a it's a fun it's a fun performance. I

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Speaker 1: feel like she she brings a lot of life and

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Speaker 1: character into this into this role, um probably more than

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Speaker 1: was necessary, and also in a way that lets you,

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Speaker 1: it gives you a hint of what's to come, because

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Speaker 1: uh British actor here, but also essentially a horror queen

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Speaker 1: of the late fifties early sixties. She'd go on to

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Speaker 1: become a star of Hammer horror films, and she also

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Speaker 1: worked with the likes of Roger Corman. Her credits include

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Speaker 1: the Curse of Frankenstein, from seven, The Mask of the

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Speaker 1: Red Death from sixty four, The Man Who Could Cheat

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Speaker 1: Death in ninety nine, Dr Blood's Coffin in sixty one

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Speaker 1: and also ninety three is the Raven. On TV, she

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Speaker 1: appeared on both The Twilight Zone and Thriller, and I

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Speaker 1: suspect we'll discuss her once again in an upcoming Halloween

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Speaker 1: selection for Weird House Cinema. Her final film was The

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Speaker 1: Final Conflict, and which she had basically a cameo. But

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Speaker 1: this was the This was the OMEN picture that had

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Speaker 1: Sam Neil playing a grown up Damien. Oh, okay, it's

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Speaker 1: called The Final Conflict, but it's all it's the OMEN three, right,

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Speaker 1: It's like the OMEN three colon the Final Conflict. Yeah,

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Speaker 1: or sometimes I think it's just called The Final Conflict.

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Speaker 1: I don't know. You're right, Yeah, it's both. I think

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Speaker 1: the demonic Sam Neil becomes President of the United States,

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Speaker 1: I think something like that. I don't. I don't think

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Speaker 1: I ever saw that, and I think I only saw

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Speaker 1: the first one. Yeah, all right, but but she's not

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Speaker 1: the only exciting of female presence in the picture. We

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Speaker 1: also have Adrian Corey, who plays Doris, a barmaid. Uh So,

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Speaker 1: Corey lived through two thousand and sixteen. Scottish born actor

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Speaker 1: known for her roles, probably best known for roles in

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Speaker 1: Doctor Shivago and A Clockwork Orange, along with such films

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Speaker 1: as nineteen sixty five A Study in Terror. This is

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Speaker 1: a film that had John Neville as Sherlock Holmes taking

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Speaker 1: on Jack the Ripper. And then she's also in a

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Speaker 1: film that I know you've you've seen, but but I haven't.

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Speaker 1: I remember you talking about this Mad House starring Vincent

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Speaker 1: Price and Peter Cushen. Looking this up, I don't know

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Speaker 1: have I seen this? Maybe you haven't seen it. Maybe,

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Speaker 1: but if I said I've seen it, I don't remember

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Speaker 1: seeing it now, Okay, well maybe maybe we just will

390
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Speaker 1: see it in the future at some point. But Corey

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Speaker 1: was also in the fun Hammer Space Romp Moon zero

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Speaker 1: two from in a film from seventy two called Vampire

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Speaker 1: Circus that I don't know much about, but with a

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Speaker 1: title like Vampire Circus, you know there's got to be

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Speaker 1: something interesting in there. I would say that both Hazel

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Speaker 1: Court and Adrian Corey do more with the roles they

397
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Speaker 1: have in this movie than is actually there on the page. Right, Yeah,

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Speaker 1: they both like clearly these are these are two actors

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Speaker 1: who would go on to have much bigger roles and

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Speaker 1: bigger pictures, and you can see why. Oh you know,

401
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Speaker 1: I would also actually say that about mainly because this

402
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Speaker 1: is just a really underwritten movie except for the just, uh,

403
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Speaker 1: you know, a delicious weirdness of all the scenes where

404
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Speaker 1: Naya is explaining our home planet and their and their

405
00:22:49,280 --> 00:22:52,240
Speaker 1: plans and stuff. But other than that, it's it's the

406
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Speaker 1: characters are kind of underwritten. But the guy who plays

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00:22:55,960 --> 00:22:58,119
Speaker 1: the Professor also does a little bit more with the

408
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Speaker 1: role than you might have expected. Yeah, he's played by

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Speaker 1: an actor by the name of I think I'm saying

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Speaker 1: his last name. I could be wrong, Joseph tom Alty. Yeah,

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Speaker 1: that's what I thought. Tom Alty. He lived nineteen Northern

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Speaker 1: Irish novelist, playwright and character actor, and he was he

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Speaker 1: was in at least I don't know the extent of

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Speaker 1: these roles, but he is credited as having appeared in

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Speaker 1: Tonight to Remember, I believe that's a Titanic movie in

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Speaker 1: nineteen fifty six. Is Moby Dick. So he plays Professor Hennessy. Yes,

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Speaker 1: that's right, um, and he had I think despite the

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Speaker 1: fact that the movie is all really all Naya. The

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Speaker 1: line that Rachel and I kept quoting back and forth

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Speaker 1: at each other is one of his lines, the part

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Speaker 1: where he says, I am a scientist. I believe what

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Speaker 1: my brain tells me to believe. Oh that's that's not

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Speaker 1: that's not how it works. I love it. I also

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Speaker 1: believe my brain tells me to believe. I really have

425
00:23:57,560 --> 00:24:10,280
Speaker 1: no choice. Alright, let's see another I'm not including all

426
00:24:10,320 --> 00:24:12,800
Speaker 1: of the because here at least the halfs another male.

427
00:24:13,160 --> 00:24:16,280
Speaker 1: Way too many characters in this movie. Yeah, but there

428
00:24:16,320 --> 00:24:18,280
Speaker 1: is another one by the name of David, who is

429
00:24:18,320 --> 00:24:21,440
Speaker 1: a handy man, and he's played by James Edmond. James

430
00:24:21,480 --> 00:24:25,359
Speaker 1: Edmond was a Canadian actor, probably best known for this film,

431
00:24:25,400 --> 00:24:31,080
Speaker 1: but he was also in Black Christmas alongside. It's one

432
00:24:31,119 --> 00:24:33,000
Speaker 1: kind of forgets that that had a pretty pretty good

433
00:24:33,040 --> 00:24:37,399
Speaker 1: cast Black Christmas. It had Olivia Hussey, it had cre Delay,

434
00:24:37,560 --> 00:24:41,320
Speaker 1: Margot Kidder and John Saxon. I saw it many years ago.

435
00:24:41,359 --> 00:24:43,880
Speaker 1: I remember it did not leave a good impression. But

436
00:24:44,040 --> 00:24:46,200
Speaker 1: now it's kind of a kind of a nasty film,

437
00:24:46,200 --> 00:24:49,440
Speaker 1: as I recall. But there's no argument with that cast.

438
00:24:49,480 --> 00:24:52,760
Speaker 1: That's a good cast, all right. On the music front

439
00:24:53,359 --> 00:24:58,280
Speaker 1: Edwin asked Lee did the music. British composer of worked

440
00:24:58,280 --> 00:25:01,080
Speaker 1: in a lot of British action TV shows such as

441
00:25:01,119 --> 00:25:03,560
Speaker 1: The Saint. That's probably his his what he's most known for.

442
00:25:03,680 --> 00:25:06,320
Speaker 1: He also did music for The Hammer adaptation of The

443
00:25:06,320 --> 00:25:09,680
Speaker 1: Phantom of the Opera from sixty two starring Herbert lom

444
00:25:09,720 --> 00:25:14,600
Speaker 1: and a Jack the Ripper TV movie starring Boris Karloff. Now,

445
00:25:14,880 --> 00:25:19,240
Speaker 1: one name that caught my attention, uh from the credits

446
00:25:19,680 --> 00:25:23,800
Speaker 1: for the wrong reason was it said the Patricia A.

447
00:25:23,920 --> 00:25:28,000
Speaker 1: Fonds costume was by Ronald Cobb, and I was like

448
00:25:28,359 --> 00:25:32,320
Speaker 1: Ron Cobb like from Alien and Raiders of the Lost Ark. No,

449
00:25:32,600 --> 00:25:36,520
Speaker 1: it is a different ron Cobb, but also a second

450
00:25:36,640 --> 00:25:39,320
Speaker 1: excellent ron cop the this world has at least two

451
00:25:39,640 --> 00:25:42,159
Speaker 1: genius Ron Cobs in it. Yeah, this was a lot

452
00:25:42,200 --> 00:25:44,520
Speaker 1: of fun to dive into because initially, when I did

453
00:25:44,520 --> 00:25:46,880
Speaker 1: the scan of the people involved, I saw that credit too,

454
00:25:46,960 --> 00:25:48,760
Speaker 1: and I saw this guy, Ronald Cobb, and I saw

455
00:25:48,840 --> 00:25:51,120
Speaker 1: that he had no other film credits, so I thought, well,

456
00:25:51,160 --> 00:25:52,919
Speaker 1: maybe it's just a one off, but it's worth mentioning,

457
00:25:52,920 --> 00:25:56,600
Speaker 1: and because the costume is great and clearly as one

458
00:25:56,640 --> 00:25:59,320
Speaker 1: of the selling points of the whole picture. But looking

459
00:25:59,359 --> 00:26:01,720
Speaker 1: into it a bit more more. Yeah, this is a

460
00:26:01,800 --> 00:26:05,159
Speaker 1: Ronald Cobb who lived nineteen oh seven through nineteen seventy seven,

461
00:26:05,760 --> 00:26:11,480
Speaker 1: and um this guy worked primarily in theater and especially

462
00:26:11,520 --> 00:26:14,919
Speaker 1: in cabaret during that this time period. UM I ran

463
00:26:14,960 --> 00:26:18,240
Speaker 1: across some of his watercolors for various costumes that he

464
00:26:18,320 --> 00:26:21,040
Speaker 1: designed over the years, several of which seem to be

465
00:26:21,040 --> 00:26:24,160
Speaker 1: in the collection of the Victoria and Albert Museum. UM

466
00:26:24,240 --> 00:26:26,720
Speaker 1: I included a link here for you, Joe, and also

467
00:26:26,760 --> 00:26:29,720
Speaker 1: include these these links in the blog post I do

468
00:26:29,840 --> 00:26:32,760
Speaker 1: for this at sam muta music dot com. I didn't

469
00:26:32,760 --> 00:26:35,280
Speaker 1: find anything that looked like a sketch that he had

470
00:26:35,320 --> 00:26:39,399
Speaker 1: put together for Devil Girls specifically, but oh wow, there's

471
00:26:39,440 --> 00:26:44,480
Speaker 1: some really wild, imaginative, dark and ahead of their time

472
00:26:44,600 --> 00:26:47,280
Speaker 1: I think kind of designs that he put together for

473
00:26:47,320 --> 00:26:50,679
Speaker 1: these costumes. Right, So these he has a lot of

474
00:26:50,680 --> 00:26:53,680
Speaker 1: costume designs for, like it appears to be burlesque clubs

475
00:26:53,720 --> 00:26:56,720
Speaker 1: of some kind in in London in like the sixties

476
00:26:56,760 --> 00:26:59,840
Speaker 1: and seventies. But they are not just your your standards

477
00:27:00,000 --> 00:27:03,480
Speaker 1: EXE outfits. They are weird. Like one is kind of

478
00:27:03,680 --> 00:27:07,240
Speaker 1: grim Reaper themed with like a big gallows and I

479
00:27:07,280 --> 00:27:10,320
Speaker 1: don't even know what it has bats and yeah, yeah,

480
00:27:11,280 --> 00:27:13,639
Speaker 1: there's another one that has this like a flag with

481
00:27:13,720 --> 00:27:16,800
Speaker 1: a pentagram on it, like this really wild stuff that

482
00:27:16,920 --> 00:27:19,280
Speaker 1: seemed that you know, you wouldn't expect to be emerging

483
00:27:19,320 --> 00:27:21,639
Speaker 1: from this time period necessary land Less year, you know,

484
00:27:21,680 --> 00:27:24,639
Speaker 1: really into I guess too, you know less costume design

485
00:27:24,720 --> 00:27:27,760
Speaker 1: of the period. Uh there's also a headdress that has

486
00:27:27,800 --> 00:27:30,359
Speaker 1: something that looks like a like a kind of like

487
00:27:30,400 --> 00:27:34,000
Speaker 1: a muppet goblin on top of it. It's really really cool,

488
00:27:34,240 --> 00:27:36,600
Speaker 1: kind of almost it also looks almost like a camera.

489
00:27:36,640 --> 00:27:38,600
Speaker 1: I don't know, it's weird. I can't really put it

490
00:27:38,640 --> 00:27:41,080
Speaker 1: all together. But you can find all of these images

491
00:27:41,960 --> 00:27:45,920
Speaker 1: online and the collection of the the Victorian Album Museum.

492
00:27:46,160 --> 00:27:49,679
Speaker 1: There are also some images apparently he he did some

493
00:27:49,720 --> 00:27:52,679
Speaker 1: of his designs for Murray's Club in Soho back in

494
00:27:52,720 --> 00:27:55,600
Speaker 1: the day, and so if you go to the website

495
00:27:55,640 --> 00:27:58,080
Speaker 1: for Murray's Club they have some of these watercolors as

496
00:27:58,080 --> 00:27:59,960
Speaker 1: well for for other designs that he did. Some of

497
00:28:00,040 --> 00:28:02,360
Speaker 1: these are not as weird as the ones we're describing here,

498
00:28:02,400 --> 00:28:05,680
Speaker 1: but they're still pretty interesting. Now that the costume that

499
00:28:05,680 --> 00:28:08,760
Speaker 1: that that Nia has on in this picture, it's not

500
00:28:08,840 --> 00:28:14,720
Speaker 1: nearly as um uh as revealing as these various cabaret designs.

501
00:28:15,320 --> 00:28:17,679
Speaker 1: But but still you can see, you can see some

502
00:28:17,720 --> 00:28:20,280
Speaker 1: of the connections to this world, you know, like that's

503
00:28:20,280 --> 00:28:24,920
Speaker 1: why it is perhaps a little more um alluring than

504
00:28:25,040 --> 00:28:27,679
Speaker 1: than what you would normally see going on with costuming

505
00:28:28,000 --> 00:28:31,040
Speaker 1: in pictures from this time period. No, the Devil Girl

506
00:28:31,119 --> 00:28:34,760
Speaker 1: from Mars is dressed kind of like a cross between um,

507
00:28:35,000 --> 00:28:39,959
Speaker 1: the the Astronauts in Planet of the Vampires and Batman,

508
00:28:40,520 --> 00:28:44,280
Speaker 1: but with a burlesque twist. Yeah, now I was. I

509
00:28:44,360 --> 00:28:48,880
Speaker 1: read that writer John Mather referenced earlier later claimed in

510
00:28:48,920 --> 00:28:53,080
Speaker 1: an interview that the suit was actually constructed by John Sutcliffe,

511
00:28:53,400 --> 00:28:56,720
Speaker 1: a British fashion and fetish designer and photographer who worked

512
00:28:56,720 --> 00:29:00,360
Speaker 1: a lot with leather and rubber and PVC, so lots

513
00:29:00,360 --> 00:29:03,640
Speaker 1: of like cats suits and gas masks. However, I couldn't

514
00:29:03,640 --> 00:29:07,920
Speaker 1: find anything of anything firm about his connection to this film,

515
00:29:08,200 --> 00:29:11,120
Speaker 1: and there do seem to be some misconceptions about film

516
00:29:11,120 --> 00:29:14,040
Speaker 1: projects that he is sometimes uh said to have been

517
00:29:14,080 --> 00:29:16,720
Speaker 1: involved in. For instance, I think sometimes it's been said

518
00:29:16,760 --> 00:29:19,360
Speaker 1: that he designed the cats suit that him appeal we

519
00:29:19,400 --> 00:29:23,080
Speaker 1: are wears in the Avengers. Uh, that isn't doesn't seem

520
00:29:23,080 --> 00:29:25,640
Speaker 1: to be the case. But he did design the cats

521
00:29:25,680 --> 00:29:29,440
Speaker 1: suit that marry Anne Faithful wears in The Girl on

522
00:29:29,440 --> 00:29:32,680
Speaker 1: a Motorcycle, and I think that inspired the cats suit

523
00:29:32,760 --> 00:29:35,320
Speaker 1: worn by him appeal. Uh So, I don't know where

524
00:29:35,320 --> 00:29:37,400
Speaker 1: the truth lies and all of that. It seems like

525
00:29:37,440 --> 00:29:40,400
Speaker 1: maybe it's a situation where Cobb designs it and then

526
00:29:40,400 --> 00:29:42,840
Speaker 1: they're like, well, somebody needs to build this thing, and

527
00:29:42,880 --> 00:29:45,160
Speaker 1: someone's like, well, I know this guy named John. Uh,

528
00:29:45,160 --> 00:29:47,120
Speaker 1: he's really into this stuff. He can make it come

529
00:29:47,160 --> 00:29:50,400
Speaker 1: to life. M hmm, all right, well, are you ready

530
00:29:50,440 --> 00:29:53,680
Speaker 1: to talk about the plot. Let's dive into the first

531
00:29:53,720 --> 00:29:57,200
Speaker 1: twenty minutes of The Devil Girl from Mars. Really, I

532
00:29:57,200 --> 00:29:59,480
Speaker 1: feel like the first twenty minutes of this movie is

533
00:29:59,520 --> 00:30:01,760
Speaker 1: going to be more were fun to discuss than to watch.

534
00:30:01,840 --> 00:30:03,840
Speaker 1: And then and then it's a flip side once and

535
00:30:03,920 --> 00:30:07,240
Speaker 1: I shows up starts with the bank. Yeah yeah, well

536
00:30:07,520 --> 00:30:09,280
Speaker 1: he starts with big Ben. I mean, how could you

537
00:30:09,280 --> 00:30:11,640
Speaker 1: deny that? We see that, you know, there's like a

538
00:30:11,640 --> 00:30:15,320
Speaker 1: title card a London Films International release, and then uh

539
00:30:15,400 --> 00:30:18,440
Speaker 1: we see an airplane coasting through the clouds, then a

540
00:30:18,480 --> 00:30:22,120
Speaker 1: whistling sound growing higher and pitch, and then boom, plane

541
00:30:22,280 --> 00:30:26,000
Speaker 1: explodes in a stupendous fireball and we see the title

542
00:30:26,120 --> 00:30:29,479
Speaker 1: It's Devil Girl from Mars in block letters. Now, there

543
00:30:29,480 --> 00:30:31,520
Speaker 1: were several things I thought were funny about the credits.

544
00:30:31,520 --> 00:30:33,640
Speaker 1: There was seeing the name Ron Cobb, even though it

545
00:30:33,680 --> 00:30:35,760
Speaker 1: was a different one. There was seeing that this was

546
00:30:35,800 --> 00:30:37,960
Speaker 1: based on a play. But then the other funny thing

547
00:30:37,960 --> 00:30:41,440
Speaker 1: that caught my attention is the producer credit screen. The

548
00:30:41,440 --> 00:30:44,920
Speaker 1: producers get their own screen, and the screen makes it

549
00:30:44,960 --> 00:30:48,160
Speaker 1: look like we're supposed to already know who the producers are.

550
00:30:48,200 --> 00:30:52,040
Speaker 1: It's as produced by the Danziggers. And then it's got

551
00:30:52,080 --> 00:30:56,280
Speaker 1: two little signatures, like in handwriting Edward J. Danziger and

552
00:30:56,320 --> 00:30:58,720
Speaker 1: what does that say Harry Lee Danziger. I have no

553
00:30:58,840 --> 00:31:01,880
Speaker 1: idea who that those people are, but like it presents

554
00:31:01,920 --> 00:31:05,920
Speaker 1: it as if they're like the Osmond's or something. Yeah,

555
00:31:05,960 --> 00:31:07,800
Speaker 1: I I looked at it into them briefly, and they

556
00:31:07,800 --> 00:31:10,520
Speaker 1: apparently were very active producers at the time, American born

557
00:31:10,560 --> 00:31:13,040
Speaker 1: brothers who produced many British films and TV shows in

558
00:31:13,080 --> 00:31:15,800
Speaker 1: the fifties and sixties. I'm not sure most of the

559
00:31:15,840 --> 00:31:19,520
Speaker 1: titles there there they were involved with really resonated beyond

560
00:31:19,560 --> 00:31:22,760
Speaker 1: their time. So I think it's it's unless you're really

561
00:31:22,760 --> 00:31:24,680
Speaker 1: into pictures of this time period, you probably don't know

562
00:31:24,680 --> 00:31:27,840
Speaker 1: who the Dan Figgers are. Devil Girl seems to be

563
00:31:27,880 --> 00:31:31,400
Speaker 1: one of the best remembered productions from everything they put out.

564
00:31:31,400 --> 00:31:35,000
Speaker 1: For example, along with perhaps the film, the only film

565
00:31:35,040 --> 00:31:38,480
Speaker 1: that maybe it is a little more famous than this

566
00:31:38,520 --> 00:31:40,960
Speaker 1: one would be the nineteen fifty six sci fi movie

567
00:31:41,000 --> 00:31:44,800
Speaker 1: Satellite in the Sky. This one had Kirian Moore in it,

568
00:31:45,080 --> 00:31:47,440
Speaker 1: who many out there may remember as the actor who

569
00:31:47,440 --> 00:31:50,400
Speaker 1: played Pony in Darby Ogill and the Little People. He

570
00:31:50,480 --> 00:31:52,840
Speaker 1: was also in Crack in the World and Invasion of

571
00:31:52,880 --> 00:31:56,000
Speaker 1: the Triffids. I haven't seen any of that. So oh

572
00:31:56,040 --> 00:31:58,680
Speaker 1: you haven't seen Darby o Gil. No, oh, it's a

573
00:31:58,720 --> 00:32:01,960
Speaker 1: fun one. When in St. Patty's Day rolls back around,

574
00:32:02,040 --> 00:32:05,160
Speaker 1: you should you should watch that one, Okay, all right? Well,

575
00:32:05,200 --> 00:32:08,280
Speaker 1: after the credits wrap up, we established the setting of

576
00:32:08,320 --> 00:32:11,120
Speaker 1: the movie, which is the Bonnie Charlie. It is a

577
00:32:11,200 --> 00:32:15,840
Speaker 1: rustic country in nestled upon the Scottish more supposed to

578
00:32:15,840 --> 00:32:19,400
Speaker 1: be somewhere in Inverness Shire, which is up in the Highlands,

579
00:32:19,600 --> 00:32:22,760
Speaker 1: and it's said to beat wintertime, so it's cold and

580
00:32:22,800 --> 00:32:26,240
Speaker 1: this is a you know, a lonely cozy little country

581
00:32:26,280 --> 00:32:29,480
Speaker 1: house and inn. And the first thing we hear is

582
00:32:29,520 --> 00:32:31,520
Speaker 1: a radio going. So we we go inside and the

583
00:32:31,640 --> 00:32:34,440
Speaker 1: radio is saying, this is the BBC Home Service. Here

584
00:32:34,520 --> 00:32:36,800
Speaker 1: is the news. It was announced by the Home Office

585
00:32:36,840 --> 00:32:40,200
Speaker 1: today that a that the mysterious noise heard over a

586
00:32:40,280 --> 00:32:43,720
Speaker 1: lonely part of Inverness Shire yesterday was caused by a

587
00:32:43,760 --> 00:32:47,400
Speaker 1: supposed meteor falling to Earth. And here we meet a

588
00:32:47,400 --> 00:32:50,640
Speaker 1: couple of characters. We meet Tommy the annoying kid, and

589
00:32:50,680 --> 00:32:54,320
Speaker 1: we meet Doris the barmaid. And of course she is

590
00:32:54,320 --> 00:32:57,240
Speaker 1: going to be very busy in this movie because a

591
00:32:57,280 --> 00:33:00,400
Speaker 1: major theme of Devil Girl from Mars is needing a drink.

592
00:33:00,760 --> 00:33:02,920
Speaker 1: And granted, the characters in this film are put in

593
00:33:03,040 --> 00:33:07,720
Speaker 1: exceptional circumstances, but it's still Their intake of scotch suggests

594
00:33:09,080 --> 00:33:14,280
Speaker 1: a daily, regular intake of scotch that seems a bit

595
00:33:14,600 --> 00:33:16,840
Speaker 1: beyond what I would be comfortable with. Well, yeah, and

596
00:33:17,040 --> 00:33:20,320
Speaker 1: the the excessive intake of scotch begins long before any

597
00:33:20,400 --> 00:33:23,000
Speaker 1: aliens appear on the same right, Yeah, they're already hard

598
00:33:23,040 --> 00:33:27,280
Speaker 1: drinking before anything supernatural or out of this world occurs.

599
00:33:27,360 --> 00:33:30,120
Speaker 1: So you know, the radio is blabberant on with exposition

600
00:33:30,120 --> 00:33:33,360
Speaker 1: about an unidentified white aircraft seen floating in the sky

601
00:33:33,480 --> 00:33:36,960
Speaker 1: over the Hebrides, and Tony the Kid is like, OI,

602
00:33:37,120 --> 00:33:40,280
Speaker 1: what's a meteor? And Doris says, I don't know, but

603
00:33:40,480 --> 00:33:42,800
Speaker 1: you know, let's say good job to the meteor for

604
00:33:42,880 --> 00:33:46,200
Speaker 1: not landing on us. And then here comes Mrs Jamison,

605
00:33:46,200 --> 00:33:48,920
Speaker 1: who is Tommy's aunt, and she is the proprietor of

606
00:33:48,960 --> 00:33:52,320
Speaker 1: the inn, and she kept reminding me of Maggie Smith.

607
00:33:52,480 --> 00:33:56,560
Speaker 1: But her main characteristics are being suspicious of strangers, which

608
00:33:56,600 --> 00:33:59,600
Speaker 1: is a very good quality for an innkeeper, and h

609
00:33:59,640 --> 00:34:03,080
Speaker 1: skull holding her husband for having his seventeen dram of Scotch.

610
00:34:03,880 --> 00:34:05,920
Speaker 1: I can't remember if I've already flagged this or not.

611
00:34:06,200 --> 00:34:09,200
Speaker 1: Maybe I have, but I just want to emphasize again

612
00:34:09,239 --> 00:34:12,239
Speaker 1: the owners of the inn are named Jamison and the

613
00:34:12,360 --> 00:34:16,440
Speaker 1: husband is apparently named Jamie Jamieson. That'd be like if

614
00:34:16,440 --> 00:34:19,799
Speaker 1: you had a character named Jack Jack Danielson and Jack

615
00:34:19,880 --> 00:34:23,120
Speaker 1: Jack Danielson or I think the professor's character name is

616
00:34:23,600 --> 00:34:27,600
Speaker 1: is Henny Hennessy. So anyway, Tommy the Kid, he's sent

617
00:34:27,680 --> 00:34:30,720
Speaker 1: to bed and Doris and Mrs Jamison discussed the meteor.

618
00:34:30,840 --> 00:34:33,239
Speaker 1: Doris thinks it might be romantic that it came all

619
00:34:33,239 --> 00:34:35,280
Speaker 1: the way from outer space to land in their sleepy

620
00:34:35,320 --> 00:34:39,080
Speaker 1: neck of the woods. And Mrs Mrs Jamison is not impressed.

621
00:34:39,120 --> 00:34:41,319
Speaker 1: She's she's just like, oh, a bit of rock from

622
00:34:41,360 --> 00:34:45,719
Speaker 1: the sky. But after Mrs Jamison leaves, Doris the barmaid

623
00:34:46,000 --> 00:34:49,560
Speaker 1: surreptitiously turns the radio back on. It's like she has

624
00:34:49,600 --> 00:34:54,720
Speaker 1: a secret science news habit um. And the radio says, professor, Oh, okay,

625
00:34:54,719 --> 00:34:59,279
Speaker 1: it's not Henny Hennessy, it's Professor Arnold Hennessey. The radio says, uh,

626
00:34:59,320 --> 00:35:03,000
Speaker 1: the well known astrophysicist has traveled north today to investigate

627
00:35:03,000 --> 00:35:05,560
Speaker 1: the mysterious object, and we'll give a detailed report to

628
00:35:05,560 --> 00:35:08,080
Speaker 1: the Home Office. So we got the Jamisons and we

629
00:35:08,160 --> 00:35:10,760
Speaker 1: got the Hennessy's, and we know that their their paths

630
00:35:10,760 --> 00:35:13,160
Speaker 1: are going to collide. And you cut from here to

631
00:35:13,200 --> 00:35:15,480
Speaker 1: two guys in a car in the dark. One is

632
00:35:15,560 --> 00:35:19,480
Speaker 1: Professor Hennessy himself, and the other is a fast talking,

633
00:35:19,520 --> 00:35:24,000
Speaker 1: wise cracking journalist named Michael Carter played by Hugh McDermott.

634
00:35:24,239 --> 00:35:27,799
Speaker 1: Michael Carter is such an insufferable out I guess they've

635
00:35:27,800 --> 00:35:30,080
Speaker 1: been driving around all day to find the meteor, right,

636
00:35:30,200 --> 00:35:33,200
Speaker 1: But now they are lost in Scotland, in the land

637
00:35:33,239 --> 00:35:36,480
Speaker 1: of perpetual darkness, and they are unable to figure out

638
00:35:36,520 --> 00:35:39,319
Speaker 1: the map that they're consulting. And then there's some really

639
00:35:39,360 --> 00:35:43,480
Speaker 1: clunky expository dialogue where Carter says something like, you mean

640
00:35:43,520 --> 00:35:46,240
Speaker 1: to tell me you spend your whole career plotting stars

641
00:35:46,320 --> 00:35:48,600
Speaker 1: millions of miles apart, and yet you can't read a

642
00:35:48,680 --> 00:35:52,040
Speaker 1: road map of Scotland. I really think they should have

643
00:35:52,040 --> 00:35:54,319
Speaker 1: inserted a prize in there, like you should have said

644
00:35:54,480 --> 00:35:56,680
Speaker 1: you mean to tell me you won the Nobel Prize

645
00:35:56,680 --> 00:36:00,080
Speaker 1: for plotting stars millions of miles apart. But Professor or

646
00:36:00,120 --> 00:36:03,000
Speaker 1: Hennessey reveals that he believes the whole investigation is a

647
00:36:03,040 --> 00:36:06,440
Speaker 1: waste of time anyway. He says he doesn't believe it

648
00:36:06,480 --> 00:36:08,560
Speaker 1: will turn out to be a meteor. He thinks it

649
00:36:08,600 --> 00:36:11,280
Speaker 1: will be more probably turn out to be the engine

650
00:36:11,320 --> 00:36:14,160
Speaker 1: cowling of an airplane. Well, let's hope he's wrong, because

651
00:36:14,200 --> 00:36:16,279
Speaker 1: that sounds like that would that would be terrible for

652
00:36:16,320 --> 00:36:19,320
Speaker 1: this film. That would be boring. Yes, we we also

653
00:36:19,360 --> 00:36:22,919
Speaker 1: get more exposition via the radio. The radio announcer says

654
00:36:23,239 --> 00:36:27,440
Speaker 1: Robert Justin, who earlier today escaped from Sterling Prison, is

655
00:36:27,480 --> 00:36:31,360
Speaker 1: still at large. His description is as follows, height five

656
00:36:31,440 --> 00:36:34,880
Speaker 1: ft ten inches, fair hair. And then what do you know?

657
00:36:35,120 --> 00:36:38,520
Speaker 1: Next thing we see as a guy, presumably the escaped prisoner,

658
00:36:38,719 --> 00:36:41,600
Speaker 1: darting around between hiding places in the dark beside the

659
00:36:41,680 --> 00:36:44,600
Speaker 1: road as the Professor and the journalists pass in their car,

660
00:36:46,239 --> 00:36:49,480
Speaker 1: and he's so so unremarkable looking. Yeah, well when we

661
00:36:49,520 --> 00:36:51,359
Speaker 1: first see him, he's got kind of a wild look

662
00:36:51,360 --> 00:36:54,480
Speaker 1: in his eye. But he's also he's kind of blandly handsome,

663
00:36:54,560 --> 00:36:56,560
Speaker 1: so you can probably tell he's going to turn out

664
00:36:56,600 --> 00:36:59,160
Speaker 1: to be the hero. Yeah, he doesn't look he doesn't

665
00:36:59,200 --> 00:37:02,279
Speaker 1: look menacing. So that's the that's the key, That's what

666
00:37:02,600 --> 00:37:05,239
Speaker 1: that's that's that's the tell here. Uh do you do

667
00:37:05,280 --> 00:37:07,960
Speaker 1: you think it's possible all these characters will make their

668
00:37:07,960 --> 00:37:11,720
Speaker 1: way over to the Bonnie Charlie the end. Uh? Anyway,

669
00:37:11,760 --> 00:37:14,560
Speaker 1: next thing is we see Doris the barmaid, and then

670
00:37:14,680 --> 00:37:17,560
Speaker 1: Mr and Mrs Jamieson doing some chores around the house

671
00:37:17,920 --> 00:37:20,719
Speaker 1: while Mr. Jamison is trying to sneak off into the

672
00:37:20,760 --> 00:37:24,000
Speaker 1: other room and she's like, uh Ms Jamieson is like

673
00:37:24,000 --> 00:37:26,160
Speaker 1: where are you going? And he says, oh, I'm just

674
00:37:26,200 --> 00:37:29,319
Speaker 1: going into the lounge and she says into the lounge bar.

675
00:37:29,560 --> 00:37:32,839
Speaker 1: You mean, well, you'll stay here if you're thirsty. There's

676
00:37:32,880 --> 00:37:36,040
Speaker 1: plenty of water in the tap. So this is the

677
00:37:36,080 --> 00:37:39,400
Speaker 1: ongoing dynamic between Mr and Mrs Jamison. He is always

678
00:37:39,440 --> 00:37:41,799
Speaker 1: getting caught in an attempt to sneak away for a

679
00:37:41,880 --> 00:37:45,239
Speaker 1: draft of scotch, and Mrs Jamison forbids it. Though. I

680
00:37:45,239 --> 00:37:48,080
Speaker 1: will say, starting about halfway through the movie, he just

681
00:37:48,120 --> 00:37:51,040
Speaker 1: starts getting away with consuming scotch and she just sort

682
00:37:51,040 --> 00:37:53,560
Speaker 1: of like laughs about it, like oh there he goes again.

683
00:37:54,200 --> 00:37:57,680
Speaker 1: He sees the opportunity. It's like alien visitation. This is

684
00:37:57,680 --> 00:38:01,839
Speaker 1: my chance to just drink scotch and stop without being

685
00:38:01,840 --> 00:38:04,640
Speaker 1: fussed at. But Doris the barmaid instead goes off to

686
00:38:04,680 --> 00:38:07,640
Speaker 1: the lounge where she here's a strange rapping at the door,

687
00:38:08,000 --> 00:38:10,000
Speaker 1: and she opens it up and what do you know,

688
00:38:10,239 --> 00:38:13,400
Speaker 1: it's that escaped prisoner we saw earlier. And he comes

689
00:38:13,440 --> 00:38:16,399
Speaker 1: in and she says Robert, and he says, no, it's

690
00:38:16,400 --> 00:38:20,719
Speaker 1: not Robert anymore. It's Albert Albert Simpson. Okay, so he

691
00:38:20,920 --> 00:38:24,360
Speaker 1: was Robert justin but now he's going by Albert Simpson.

692
00:38:24,480 --> 00:38:27,799
Speaker 1: And confusingly, this is how everyone will refer to him

693
00:38:27,840 --> 00:38:29,759
Speaker 1: for the rest of the movie, even though they first

694
00:38:29,840 --> 00:38:33,480
Speaker 1: introduced him by a different name. Okay, so what happened, Well,

695
00:38:33,520 --> 00:38:38,000
Speaker 1: we find out quote Albert Simpson escaped from prison and

696
00:38:38,040 --> 00:38:41,600
Speaker 1: Doris and Albert already have a relationship, In fact, they

697
00:38:41,640 --> 00:38:44,480
Speaker 1: were in love, and while he was in prison, she

698
00:38:44,600 --> 00:38:46,640
Speaker 1: promised to wait for him to get out, and she

699
00:38:46,800 --> 00:38:49,720
Speaker 1: took the job in Invernesshire to be close I guess

700
00:38:49,760 --> 00:38:52,600
Speaker 1: to Sterling Prison where he was being held. But he

701
00:38:52,800 --> 00:38:55,720
Speaker 1: escaped and here he is. Why was he in prison?

702
00:38:55,840 --> 00:38:59,040
Speaker 1: We find out it is for murdering his wife, but

703
00:38:59,320 --> 00:39:02,240
Speaker 1: he maintained that it was not murder, it was an accident.

704
00:39:02,800 --> 00:39:05,279
Speaker 1: This is never really resolved. He just says it was

705
00:39:05,320 --> 00:39:07,560
Speaker 1: an accident, and that's as much as we ever find

706
00:39:07,560 --> 00:39:10,560
Speaker 1: out about it. That red flag just remains hanging there

707
00:39:10,600 --> 00:39:13,759
Speaker 1: the whole time, flying in the breeze. I think we're

708
00:39:13,840 --> 00:39:16,279
Speaker 1: meant to understand that he's telling the truth and he

709
00:39:16,320 --> 00:39:18,719
Speaker 1: didn't really murder her. I don't know, Yeah, if I

710
00:39:18,719 --> 00:39:20,040
Speaker 1: feel like the film should have put in a little

711
00:39:20,040 --> 00:39:22,600
Speaker 1: more legwork on that one, Yeah, at least explained, like

712
00:39:22,680 --> 00:39:25,440
Speaker 1: it doesn't go into how it was an accident or

713
00:39:25,520 --> 00:39:29,279
Speaker 1: like why it was he he was falsely accused. Maybe

714
00:39:29,280 --> 00:39:30,920
Speaker 1: that would sell it a little better. I don't know,

715
00:39:31,120 --> 00:39:33,600
Speaker 1: but anyway, Okay, So he's convicted of murdering his wife.

716
00:39:33,640 --> 00:39:36,480
Speaker 1: He escapes from prison. He finds his old girlfriend at

717
00:39:36,480 --> 00:39:39,080
Speaker 1: the end and he's like, hide me. But in the

718
00:39:39,120 --> 00:39:41,920
Speaker 1: middle of them talking about how she needs to hide him, oops,

719
00:39:41,960 --> 00:39:44,560
Speaker 1: here comes to Mrs Jamison, you know, Maggie Smith comes

720
00:39:44,600 --> 00:39:48,480
Speaker 1: in basically and uh. And they've got to come up

721
00:39:48,520 --> 00:39:52,440
Speaker 1: with a ruse really fast. So Doris is like, oh, um,

722
00:39:52,480 --> 00:39:54,960
Speaker 1: this is a hiker. His name's Albert Simpson. He was

723
00:39:55,000 --> 00:39:58,240
Speaker 1: out hiking, uh, you know, in Scotland, and he dropped

724
00:39:58,280 --> 00:40:00,360
Speaker 1: his wallet in a stream while he was trying to

725
00:40:00,400 --> 00:40:03,560
Speaker 1: look at a fish. They say, and now he has

726
00:40:03,680 --> 00:40:06,239
Speaker 1: lost and he needs to stay at the end and

727
00:40:06,360 --> 00:40:10,439
Speaker 1: he will work for his keep. And Mrs Jamison accepts this,

728
00:40:10,600 --> 00:40:14,040
Speaker 1: but she's very suspicious of him. She says, I'm counting

729
00:40:14,080 --> 00:40:18,840
Speaker 1: the spoons. Oh and you know what what does Doris do?

730
00:40:19,000 --> 00:40:21,120
Speaker 1: First thing? She's like, would you like a drop of something?

731
00:40:21,239 --> 00:40:24,040
Speaker 1: So she pours him a scotch uh, And she's got

732
00:40:24,080 --> 00:40:26,960
Speaker 1: all these questions about his time in prison. She just

733
00:40:27,040 --> 00:40:29,600
Speaker 1: keeps asking like did you read a lot? You used

734
00:40:29,640 --> 00:40:31,960
Speaker 1: to love to read what was it like inside? And

735
00:40:32,239 --> 00:40:34,680
Speaker 1: you can just see the pressure building up. He's like, stop,

736
00:40:34,719 --> 00:40:39,000
Speaker 1: stop asking and so, and then Albert Simpson's like, Okay, well,

737
00:40:39,000 --> 00:40:41,120
Speaker 1: I gotta know who all is here while I'm hiding out,

738
00:40:41,200 --> 00:40:44,239
Speaker 1: and Doris tells him this is confusing. She's like, the

739
00:40:44,239 --> 00:40:47,799
Speaker 1: only people here are Mr. And Mrs Jamison and their

740
00:40:47,800 --> 00:40:50,440
Speaker 1: nephew Tommy. But then the rest of the scene is

741
00:40:50,520 --> 00:40:53,960
Speaker 1: other people like coming in who she didn't list. So

742
00:40:54,000 --> 00:40:56,480
Speaker 1: the first guy is this guy David, who appears to

743
00:40:56,600 --> 00:40:58,560
Speaker 1: live and work at the end. He's kind of he's

744
00:40:58,560 --> 00:41:02,360
Speaker 1: the Torgo of the end, you know, he's carrying wood

745
00:41:02,360 --> 00:41:06,280
Speaker 1: around and stuff and and and Doris confides that David

746
00:41:06,320 --> 00:41:08,960
Speaker 1: gives her the creeps. But then she also says, oh yeah,

747
00:41:09,000 --> 00:41:11,880
Speaker 1: and there is somebody else here. It's miss Prestwick. She

748
00:41:12,120 --> 00:41:14,840
Speaker 1: is a gorgeous model from London. What she's doing in

749
00:41:14,840 --> 00:41:17,239
Speaker 1: a place like this, I don't know. This, of course

750
00:41:17,320 --> 00:41:20,520
Speaker 1: is Hazel Court playing Ellen Prestwick. And then we see

751
00:41:20,520 --> 00:41:23,360
Speaker 1: her come down to the lounge where where Jamie Jamison

752
00:41:23,440 --> 00:41:26,959
Speaker 1: tries to flirt with her. Uh, he's being very inappropriate.

753
00:41:27,080 --> 00:41:29,880
Speaker 1: He's like, oh, you're always pretty as a picture. And

754
00:41:30,239 --> 00:41:33,680
Speaker 1: she she's like doing a little fashion show for him

755
00:41:33,680 --> 00:41:35,480
Speaker 1: in the hall. I don't know, it's weird. She's like

756
00:41:36,440 --> 00:41:39,160
Speaker 1: she's like talking about the outfit she's wearing as if

757
00:41:39,160 --> 00:41:42,399
Speaker 1: it's in a fashion catalog. Yeah. Yeah, I mean it's

758
00:41:42,440 --> 00:41:44,359
Speaker 1: kind of fun like she's she's like, he says, he's

759
00:41:44,360 --> 00:41:47,640
Speaker 1: breathing a lot of life into this character. Yeah, fully

760
00:41:47,680 --> 00:41:52,160
Speaker 1: inflating the character here and then more hotel Hijinkson's Jamie

761
00:41:52,239 --> 00:41:55,680
Speaker 1: keeps sneaking booze and uh, he says, my wife has

762
00:41:55,760 --> 00:42:00,000
Speaker 1: the most unpatriotic contempt for her national beverage. And Miss James,

763
00:42:00,360 --> 00:42:02,319
Speaker 1: Mrs Jamison says you should see him when he has

764
00:42:02,320 --> 00:42:16,040
Speaker 1: a patriotic head in the morning. Uh. Meanwhile, the professor

765
00:42:16,080 --> 00:42:18,680
Speaker 1: and the journalist, they were the ones lost in the car. Well,

766
00:42:18,719 --> 00:42:20,480
Speaker 1: they're done being lost on the road. They see a

767
00:42:20,520 --> 00:42:22,319
Speaker 1: sign for a pub and they're like, let's go get

768
00:42:22,360 --> 00:42:24,719
Speaker 1: a drink. So they pull up outside and they run

769
00:42:24,760 --> 00:42:26,719
Speaker 1: in talking about how they're going to get quote, a

770
00:42:26,719 --> 00:42:30,239
Speaker 1: couple of big scotches. Uh. And then they come in

771
00:42:30,280 --> 00:42:33,640
Speaker 1: and there's more like can we accommodate them type hand

772
00:42:33,719 --> 00:42:38,000
Speaker 1: ringing like we got with Albert Simpson earlier, and eventually

773
00:42:38,320 --> 00:42:41,040
Speaker 1: Mrs Jamison informs them, was like, well, we're supposed to

774
00:42:41,080 --> 00:42:44,279
Speaker 1: be closed for the winter right now. The rooms aren't ready,

775
00:42:44,320 --> 00:42:46,560
Speaker 1: they're not in ship shape, but you can sleep there.

776
00:42:46,640 --> 00:42:50,200
Speaker 1: She says the beds are good, and Rachel and I

777
00:42:50,320 --> 00:42:53,520
Speaker 1: both reacted to that, like something about the Bonnie Charlie

778
00:42:53,960 --> 00:42:56,200
Speaker 1: does not seem like it would have good beds. My

779
00:42:56,280 --> 00:42:59,120
Speaker 1: impression is this place would have beds that are basically

780
00:42:59,200 --> 00:43:02,520
Speaker 1: a piece of flag stone wrapped in wool that feels

781
00:43:02,560 --> 00:43:06,479
Speaker 1: like barbed wire. And I don't know if you also

782
00:43:06,520 --> 00:43:10,440
Speaker 1: got the same just uncomfortable vibes from from the setting,

783
00:43:10,600 --> 00:43:13,920
Speaker 1: Like I think inside this building it's one of those

784
00:43:13,920 --> 00:43:17,000
Speaker 1: places that feels like it would be somehow cold and

785
00:43:17,120 --> 00:43:20,040
Speaker 1: stuffy at the same time, like it's too cold and

786
00:43:20,200 --> 00:43:24,480
Speaker 1: too hot simultaneously. Yeah, and one of those situations where

787
00:43:24,520 --> 00:43:26,640
Speaker 1: you know that wooden bar that it probably has that

788
00:43:26,680 --> 00:43:28,799
Speaker 1: situation going on where you have like the dust and

789
00:43:28,840 --> 00:43:32,040
Speaker 1: the grime have kind of they're kind of one thing. Now,

790
00:43:32,120 --> 00:43:36,040
Speaker 1: this kind of like sticky like black film over everything,

791
00:43:36,120 --> 00:43:37,600
Speaker 1: like you know, you know that has to be the

792
00:43:37,640 --> 00:43:40,920
Speaker 1: case here. Well, Mrs Jamison offers them something to eat,

793
00:43:41,040 --> 00:43:43,680
Speaker 1: but but Michael Carter says, what I need most is

794
00:43:43,719 --> 00:43:46,879
Speaker 1: a drink. So they go and they get drinks. Uh,

795
00:43:46,960 --> 00:43:49,480
Speaker 1: and Jamie is trying to serve them, and there's more

796
00:43:49,520 --> 00:43:52,000
Speaker 1: bickering about whether he will serve them drinks or not.

797
00:43:52,760 --> 00:43:56,239
Speaker 1: As they settle in, Michael Carter, the journalist, begins obnoxiously

798
00:43:56,320 --> 00:44:00,560
Speaker 1: hitting on miss Prestwick. Um. He's commenting on the fact

799
00:44:00,640 --> 00:44:03,600
Speaker 1: that she's drinking tomato juice and he's like, not many

800
00:44:03,640 --> 00:44:06,680
Speaker 1: girls drink tomato juice unless they're afraid of putting on weight.

801
00:44:07,600 --> 00:44:09,640
Speaker 1: So he's like trying to do some kind of nagging

802
00:44:09,760 --> 00:44:12,520
Speaker 1: pick up artist routine. And I was just thinking, when

803
00:44:12,600 --> 00:44:16,479
Speaker 1: will the Martians kill this man? Unfortunately never He turns

804
00:44:16,520 --> 00:44:18,840
Speaker 1: out to be one of the heroes of the movie.

805
00:44:19,520 --> 00:44:24,640
Speaker 1: But then Professor Hennessy introduces himself, uh, and they decide

806
00:44:24,680 --> 00:44:28,200
Speaker 1: to have another we Scotch and uh. I think this

807
00:44:28,280 --> 00:44:30,360
Speaker 1: is the scene where in the span of thirty seconds

808
00:44:30,400 --> 00:44:34,800
Speaker 1: they like, go get a drink three separate times. Yeah, gosh,

809
00:44:34,840 --> 00:44:37,760
Speaker 1: there's just so much Scotch drinking. And occasionally other liquids

810
00:44:37,800 --> 00:44:42,400
Speaker 1: are suggested as possible beverages, possible liquids that could be consumed,

811
00:44:42,440 --> 00:44:45,160
Speaker 1: but generally everyone seems to be of the opinion and

812
00:44:45,280 --> 00:44:48,719
Speaker 1: now scotch is the best. Yeah. They do sit down

813
00:44:48,800 --> 00:44:52,000
Speaker 1: to have some dinner, to have some supper, which for

814
00:44:52,080 --> 00:44:54,760
Speaker 1: which they're having scotch broth. And no, if you're not familiar,

815
00:44:54,800 --> 00:44:56,560
Speaker 1: that is actually a type of soup. It is not

816
00:44:56,600 --> 00:45:00,319
Speaker 1: just a term for hot scotch in a bowl. Uh.

817
00:45:00,320 --> 00:45:02,840
Speaker 1: And one of the things they talked about at dinner

818
00:45:02,920 --> 00:45:06,800
Speaker 1: is Jamie Jamison giving a passionate defense of the Lockness Monster.

819
00:45:07,000 --> 00:45:09,400
Speaker 1: He's like, I will not have anyone speak ill of

820
00:45:09,480 --> 00:45:13,680
Speaker 1: that fine creature. But can we explain the scene of

821
00:45:13,760 --> 00:45:18,080
Speaker 1: Michael Carter blowing Albert Simpson's cover so that the escaped

822
00:45:18,120 --> 00:45:21,520
Speaker 1: convict comes in. He's, you know, working for his stay,

823
00:45:21,560 --> 00:45:24,480
Speaker 1: so he's like serving bread at the table, and then

824
00:45:24,520 --> 00:45:28,839
Speaker 1: the journalist uh recognizes him. He's like, do you know

825
00:45:28,880 --> 00:45:33,080
Speaker 1: who that is? That's not Albert Simpson, that's this other guy.

826
00:45:33,200 --> 00:45:36,960
Speaker 1: And unless I was mistaken, I think we're supposed to

827
00:45:37,040 --> 00:45:41,480
Speaker 1: believe that he recognizes him based on the description that

828
00:45:41,640 --> 00:45:44,880
Speaker 1: was given on the radio earlier. I guess though that

829
00:45:44,960 --> 00:45:47,880
Speaker 1: is a very vague description. Yeah, so I guess what

830
00:45:48,040 --> 00:45:51,720
Speaker 1: Michael Carter is a journalist though, right, Yeah, so maybe

831
00:45:51,760 --> 00:45:54,920
Speaker 1: he's seen a picture through journalism. I don't know. Oh,

832
00:45:54,960 --> 00:45:58,560
Speaker 1: he just happened to cover this guy's trial or something. Maybe.

833
00:45:58,840 --> 00:46:02,000
Speaker 1: I mean, it's it's not explain anyway. The tension of

834
00:46:02,040 --> 00:46:05,440
Speaker 1: this confrontation, when it's at its peak, it's suddenly interrupted

835
00:46:05,520 --> 00:46:09,640
Speaker 1: by a cataclysmic event. There's like a shaking of the house.

836
00:46:10,280 --> 00:46:13,200
Speaker 1: And uh. The it is the approach and landing of

837
00:46:13,280 --> 00:46:16,680
Speaker 1: a flying saucer, which when they go outside they can't

838
00:46:16,719 --> 00:46:19,399
Speaker 1: even get close to it because it's too hot. And

839
00:46:19,480 --> 00:46:23,040
Speaker 1: this flying saucer, I'm gonna say the effect looks a

840
00:46:23,080 --> 00:46:26,479
Speaker 1: little too good for the movie that it's in. Yeah,

841
00:46:26,640 --> 00:46:29,440
Speaker 1: it is way better, UFO, way better flying saucer than

842
00:46:29,480 --> 00:46:31,959
Speaker 1: you might expect from this film a film that is

843
00:46:32,080 --> 00:46:33,880
Speaker 1: often One of the things that's often written about it

844
00:46:33,920 --> 00:46:35,439
Speaker 1: is that it, you know, had a low budget. It's

845
00:46:35,440 --> 00:46:38,600
Speaker 1: not a high budget affair. And uh and and also

846
00:46:38,800 --> 00:46:40,799
Speaker 1: you see enough films from this area, you see enough

847
00:46:40,840 --> 00:46:43,239
Speaker 1: films with flying saucers in it, you get used to

848
00:46:43,320 --> 00:46:46,480
Speaker 1: a certain level of of cheapness. You know, you can

849
00:46:46,520 --> 00:46:49,319
Speaker 1: have like some sort of a dinky model and some

850
00:46:49,480 --> 00:46:53,359
Speaker 1: large tripods for characters to stand around. That's essentially all

851
00:46:53,400 --> 00:46:55,560
Speaker 1: you need and and it can be fun. It can,

852
00:46:55,680 --> 00:46:59,319
Speaker 1: but there's sort of a standard level of quality that

853
00:46:59,400 --> 00:47:01,759
Speaker 1: you kind of set things to hover around, and I

854
00:47:01,800 --> 00:47:04,520
Speaker 1: feel like this flying saucer goes beyond that. It's it's

855
00:47:04,520 --> 00:47:07,400
Speaker 1: got this um uh, you know, it's got plenty of

856
00:47:07,440 --> 00:47:10,560
Speaker 1: the elements of the standards fifty standard fifties flying saucer

857
00:47:10,560 --> 00:47:13,600
Speaker 1: that you might come to to expect, but it also

858
00:47:13,640 --> 00:47:15,360
Speaker 1: has this kind of different energy to it. You know,

859
00:47:15,360 --> 00:47:19,719
Speaker 1: it's described as being hot, betrayed as being hot. It

860
00:47:19,719 --> 00:47:23,640
Speaker 1: has this kind of industrial atomic sensibility to it, and

861
00:47:23,719 --> 00:47:26,719
Speaker 1: it has these like telescopic legs that come out. Yeah,

862
00:47:26,760 --> 00:47:29,520
Speaker 1: it has moving parts and it seems to emit its

863
00:47:29,520 --> 00:47:32,720
Speaker 1: own light. Yeah. So it's this is a really cool

864
00:47:33,080 --> 00:47:35,400
Speaker 1: flying saucer model, I have to say. All right, So

865
00:47:35,440 --> 00:47:38,520
Speaker 1: they all react to that in various ways. Mr Carter,

866
00:47:38,840 --> 00:47:42,399
Speaker 1: the the journalist, runs to the telephone and I think,

867
00:47:42,480 --> 00:47:46,439
Speaker 1: quite hilariously, just keeps like screaming into it, Hello hello, Hello, Hello,

868
00:47:46,520 --> 00:47:51,080
Speaker 1: hello hello. And uh, meanwhile, Doris gets her convict boyfriend

869
00:47:51,080 --> 00:47:53,880
Speaker 1: to hide in the attic. Others scramble around trying to

870
00:47:53,920 --> 00:47:57,239
Speaker 1: get a car working or defined a functional telephone, all

871
00:47:57,320 --> 00:47:59,880
Speaker 1: to no avail. We get our first action scene, and

872
00:48:00,000 --> 00:48:05,400
Speaker 1: our first scene seeing Patricia lafaun is Nia when the

873
00:48:05,560 --> 00:48:09,799
Speaker 1: ship opens up and a ramp extends down out of

874
00:48:09,880 --> 00:48:12,840
Speaker 1: the hull and we see Nia come out. She hasn't

875
00:48:12,880 --> 00:48:15,759
Speaker 1: said anything yet. She's just silent and wearing all this

876
00:48:15,920 --> 00:48:19,799
Speaker 1: shiny black leather with the skull cap. She looks very dangerous.

877
00:48:20,160 --> 00:48:23,520
Speaker 1: And she comes down the ramp and oh, there's uh,

878
00:48:23,800 --> 00:48:28,200
Speaker 1: you know, there's David the the ends the Bonnie Charlie's

879
00:48:28,239 --> 00:48:32,160
Speaker 1: Torgo wandering around outside and he collapses outside the ship

880
00:48:32,640 --> 00:48:36,160
Speaker 1: and she just vaporizes him. Yeah he is he is

881
00:48:36,200 --> 00:48:39,680
Speaker 1: not a specimen that that she thinks is gonna help

882
00:48:39,800 --> 00:48:43,840
Speaker 1: Mars out at all. So instantly vaporized, leaves nothing but

883
00:48:43,920 --> 00:48:46,680
Speaker 1: smoke and a pair of spectacles. That's right, it's just

884
00:48:46,719 --> 00:48:50,600
Speaker 1: like a steaming patch of sod and and the major

885
00:48:50,640 --> 00:48:55,120
Speaker 1: tote glasses. But it's hard facts of life. She's looking

886
00:48:55,160 --> 00:48:57,799
Speaker 1: for hunks and uh and Torgo here does not make

887
00:48:57,840 --> 00:49:01,280
Speaker 1: the cut. This is in stark con Trust to Ship

888
00:49:01,320 --> 00:49:04,000
Speaker 1: of Monsters. Remember, because in that one, our females from

889
00:49:04,080 --> 00:49:07,839
Speaker 1: Venus arrive. They encounter our male hero and they're like, oh,

890
00:49:07,920 --> 00:49:09,839
Speaker 1: it's a male and they asked him. It's like, are

891
00:49:09,840 --> 00:49:12,360
Speaker 1: you the prime specimen? Are you like the peak specimen

892
00:49:12,400 --> 00:49:15,279
Speaker 1: for your species? And he's like, yeah, I am, and

893
00:49:15,320 --> 00:49:19,000
Speaker 1: they believe him. They may believe him in this. She's like, no,

894
00:49:19,000 --> 00:49:23,800
Speaker 1: now this isn't vaporized. What this is nineteen fifty four?

895
00:49:23,840 --> 00:49:26,279
Speaker 1: I guess she'd be like, where is Rock Hudson? Take

896
00:49:26,360 --> 00:49:29,040
Speaker 1: me to your Rock Hudson's so interesting in this film

897
00:49:29,040 --> 00:49:34,040
Speaker 1: has no Rock Hudson caliber actress in it. So no, so,

898
00:49:34,040 --> 00:49:38,000
Speaker 1: so that unfortunate thing happens to to David. And meanwhile,

899
00:49:38,120 --> 00:49:40,600
Speaker 1: the Professor and Michael Carter have been trying to fix

900
00:49:40,680 --> 00:49:42,800
Speaker 1: up the phone in the car, but to no avail.

901
00:49:42,880 --> 00:49:45,120
Speaker 1: It says if all of their Earth technology has been

902
00:49:45,160 --> 00:49:49,040
Speaker 1: magically disabled. Uh, And so they come back inside and

903
00:49:49,040 --> 00:49:50,919
Speaker 1: and they're like, hey, Doris, fix us up a couple

904
00:49:50,960 --> 00:49:53,760
Speaker 1: of big scotches, will you. That is a direct quote.

905
00:49:54,360 --> 00:49:57,120
Speaker 1: But Doris can't fix them big scotches because she has

906
00:49:57,120 --> 00:49:59,640
Speaker 1: been hypnotized. And this is something that will happen to

907
00:49:59,719 --> 00:50:04,040
Speaker 1: multip characters throughout the movie. Later the the escaped convict,

908
00:50:04,040 --> 00:50:06,919
Speaker 1: it gets hypnotized. The Martians appear to have some kind

909
00:50:06,920 --> 00:50:11,440
Speaker 1: of like mind control ray and when when somebody suggests,

910
00:50:11,480 --> 00:50:13,680
Speaker 1: do you think her catatonic state could have anything to

911
00:50:13,719 --> 00:50:17,600
Speaker 1: do with the flying saucer outside? The professor, for some reason,

912
00:50:17,719 --> 00:50:21,080
Speaker 1: is just categorically opposed to the idea that the flying

913
00:50:21,120 --> 00:50:23,040
Speaker 1: saucer could have anything to do with it. He goes,

914
00:50:23,200 --> 00:50:26,960
Speaker 1: I tell you that's absurd. But this is the scene

915
00:50:27,280 --> 00:50:30,840
Speaker 1: where we meet Patricia Lafon. She suddenly throws the doors

916
00:50:30,880 --> 00:50:34,960
Speaker 1: to the room open and comes inside. And here she is, folks.

917
00:50:34,960 --> 00:50:38,400
Speaker 1: The alien commander is standing between the French doors. Uh,

918
00:50:38,600 --> 00:50:41,720
Speaker 1: you know, cold and imperious. And this scene just rocks.

919
00:50:41,840 --> 00:50:47,920
Speaker 1: There is something so unusual in a simultaneously funny and

920
00:50:48,080 --> 00:50:51,359
Speaker 1: kind of spell binding way, about the rhythm of the

921
00:50:51,400 --> 00:50:54,560
Speaker 1: dialogue in the scene, the way it mostly consists of

922
00:50:54,640 --> 00:50:58,560
Speaker 1: fairly short questions and answers, like the Earthlings will ask

923
00:50:58,600 --> 00:51:03,160
Speaker 1: a question of of the Martian and then she will

924
00:51:03,200 --> 00:51:05,800
Speaker 1: answer in a short form, and the way she delivers

925
00:51:05,800 --> 00:51:08,160
Speaker 1: her lines. I don't know if you know what I'm

926
00:51:08,200 --> 00:51:11,400
Speaker 1: talking about, Rob, but it just establishes this this amazing

927
00:51:11,560 --> 00:51:16,680
Speaker 1: rhythm that's so consistently weird and funny. Oh yeah, yeah,

928
00:51:16,680 --> 00:51:19,759
Speaker 1: they're appoort here is pretty great. And I also have

929
00:51:19,840 --> 00:51:23,040
Speaker 1: to say this scene where suddenly she's there. Uh, nya

930
00:51:23,160 --> 00:51:27,400
Speaker 1: is they're emerging through these the French doors. There was

931
00:51:27,480 --> 00:51:29,759
Speaker 1: something about this that I mean, it's it's a it's

932
00:51:29,760 --> 00:51:33,399
Speaker 1: a visually captivating a scene, and but but it was

933
00:51:33,520 --> 00:51:36,520
Speaker 1: it was tingling something in my memory, and then I

934
00:51:36,560 --> 00:51:42,400
Speaker 1: realized what it was. It's h Jim Henson's film Labyrinth. Uh.

935
00:51:42,520 --> 00:51:45,799
Speaker 1: Pretty early on when we encountered Jeref the Goblin King,

936
00:51:46,200 --> 00:51:49,640
Speaker 1: he is standing. Uh. It's not exactly the same, but

937
00:51:49,640 --> 00:51:54,319
Speaker 1: but it's it's it's very similar like these terrestrial door

938
00:51:54,640 --> 00:51:57,480
Speaker 1: French doors or something, or windows that have been opened

939
00:51:57,760 --> 00:52:02,759
Speaker 1: and inside um, this opening, you have this this just

940
00:52:03,200 --> 00:52:07,919
Speaker 1: exquisite character from another world in this amazing costume that's

941
00:52:07,960 --> 00:52:11,200
Speaker 1: you know, bold and confident and sexy. I see exactly

942
00:52:11,239 --> 00:52:15,400
Speaker 1: what you're talking about. Yeah. So she comes in and uh,

943
00:52:15,440 --> 00:52:17,840
Speaker 1: and the guys in the room ask her who she is.

944
00:52:17,920 --> 00:52:20,279
Speaker 1: She says her name is Nia. They asked her where

945
00:52:20,360 --> 00:52:24,360
Speaker 1: she's from. She says, Mars. Professor Hennessy objects that it

946
00:52:24,480 --> 00:52:27,120
Speaker 1: is preposterous that she could be from Mars, no way,

947
00:52:27,920 --> 00:52:30,239
Speaker 1: and then she says, hu, men on Earth are not

948
00:52:30,360 --> 00:52:36,120
Speaker 1: as we expected. She's very disappointed. Uh and uh Professor

949
00:52:36,160 --> 00:52:39,839
Speaker 1: Hennessy says, we scientists were always skeptical about the possibility

950
00:52:39,880 --> 00:52:43,839
Speaker 1: of life on Mars, but certainly nothing so human. And

951
00:52:43,880 --> 00:52:47,520
Speaker 1: she she asks him you are a scientist. He says yes.

952
00:52:48,040 --> 00:52:54,120
Speaker 1: Then she says you're a very poor physical specimen, so cold,

953
00:52:54,280 --> 00:52:57,840
Speaker 1: so mean. Uh. But then she just sort of shoves

954
00:52:57,880 --> 00:53:00,520
Speaker 1: the professor out of the way. Presumed but because I

955
00:53:00,520 --> 00:53:02,359
Speaker 1: don't know, she's trying to get a look at Michael Carter.

956
00:53:02,480 --> 00:53:05,719
Speaker 1: I guess he's a better physical specimen. But Michael Carter

957
00:53:05,840 --> 00:53:08,320
Speaker 1: is like, you speak English, and she says, of course

958
00:53:08,520 --> 00:53:11,520
Speaker 1: you are English, aren't you? What other language should I speak?

959
00:53:11,800 --> 00:53:15,239
Speaker 1: And then she does this weird hand gesture. I don't

960
00:53:15,280 --> 00:53:16,839
Speaker 1: know what this is all about. I think maybe she's

961
00:53:16,880 --> 00:53:20,839
Speaker 1: like turning off the hypnosis mode on Doris. And then

962
00:53:20,880 --> 00:53:23,520
Speaker 1: she says that she in fact speaks all languages by

963
00:53:23,560 --> 00:53:26,520
Speaker 1: picking up Earth Radio. They asked her, is this the

964
00:53:26,560 --> 00:53:29,560
Speaker 1: first time Martians have landed on Earth? And she says yes.

965
00:53:30,040 --> 00:53:33,240
Speaker 1: They ask why did she land here? And she says

966
00:53:33,480 --> 00:53:35,960
Speaker 1: it's a miscalculation. You see, she was trying to get

967
00:53:35,960 --> 00:53:39,320
Speaker 1: to London, presumably to locate the stud district of London,

968
00:53:39,800 --> 00:53:42,960
Speaker 1: but Earth's atmosphere was thicker than expected and part of

969
00:53:42,960 --> 00:53:45,360
Speaker 1: the ship was torn off and they were forced to

970
00:53:45,480 --> 00:53:48,399
Speaker 1: land in Scotland. And the part of the ship being

971
00:53:48,440 --> 00:53:52,719
Speaker 1: torn off explains the meteor from earlier. She says repairs

972
00:53:52,719 --> 00:53:55,680
Speaker 1: are going to take about four earth hours and in

973
00:53:55,719 --> 00:53:58,120
Speaker 1: the meantime, I guess she's probably just going to toy

974
00:53:58,200 --> 00:54:01,200
Speaker 1: with them very cruelly. Now, they asked her is she

975
00:54:01,320 --> 00:54:04,759
Speaker 1: alone in the ship, and her answer is, according to

976
00:54:04,800 --> 00:54:07,200
Speaker 1: the version I was watching and the subtitles that came

977
00:54:07,239 --> 00:54:11,040
Speaker 1: with it, the answer is Johnny is with me. I

978
00:54:11,120 --> 00:54:14,000
Speaker 1: have read elsewhere that the character she's referring to is

979
00:54:14,040 --> 00:54:18,799
Speaker 1: actually named Johnny spelled C H A n I, but

980
00:54:18,960 --> 00:54:21,480
Speaker 1: it sounds like they're Every time she says it, it

981
00:54:21,560 --> 00:54:24,920
Speaker 1: sounds like Johnny, and the subtitle spelled at Johnny, So

982
00:54:24,960 --> 00:54:27,440
Speaker 1: I don't know what to believe. Yeah, I read it

983
00:54:27,520 --> 00:54:30,800
Speaker 1: somewhere as Johnny, but when she's saying it in the picture,

984
00:54:31,200 --> 00:54:34,200
Speaker 1: it's really hard to hear anything other than Johnny. But

985
00:54:34,320 --> 00:54:36,680
Speaker 1: Shawnny would be a more fitting name, I think for

986
00:54:37,239 --> 00:54:40,759
Speaker 1: an off world robot, right, because Johnny is a killbot.

987
00:54:40,880 --> 00:54:44,279
Speaker 1: She explains, Johnny is a mechanical man, a robot with

988
00:54:44,400 --> 00:54:47,600
Speaker 1: many of the characteristics of a human. This is hilarious

989
00:54:47,600 --> 00:54:50,080
Speaker 1: when you see him later, because he doesn't he's not

990
00:54:50,280 --> 00:54:55,280
Speaker 1: very much like a human. But yeah, he's a refrigerator

991
00:54:55,360 --> 00:54:59,480
Speaker 1: with arms and legs. Um. But they say, but she says, oh,

992
00:54:59,640 --> 00:55:02,960
Speaker 1: but he is improved by an electronic brain. And then

993
00:55:03,000 --> 00:55:06,280
Speaker 1: here we got a bunch of voluntary technobabble from Nia.

994
00:55:06,400 --> 00:55:10,799
Speaker 1: She just offers up explanations about how all of her

995
00:55:10,800 --> 00:55:14,040
Speaker 1: stuff works. She says, the metal from which her spaceship

996
00:55:14,160 --> 00:55:19,640
Speaker 1: is constructed can reproduce itself. Uh and uh. And then weirdly,

997
00:55:19,640 --> 00:55:21,759
Speaker 1: I don't know why this is, but we see miss

998
00:55:21,840 --> 00:55:25,720
Speaker 1: Prestwick outside the door, like listening in, like she's spying

999
00:55:25,760 --> 00:55:28,920
Speaker 1: on them. Um. But eventually she gets fomo and just

1000
00:55:28,920 --> 00:55:32,719
Speaker 1: sort of comes into the room. But the professor and

1001
00:55:32,719 --> 00:55:35,040
Speaker 1: everybody arguing about this, do you realize what you've said?

1002
00:55:35,120 --> 00:55:39,319
Speaker 1: They've turned the inorganic into the organic. Okay, well, we're

1003
00:55:39,320 --> 00:55:41,359
Speaker 1: about to get to the main premise. So they start

1004
00:55:41,440 --> 00:55:44,520
Speaker 1: questioning her why she's going to London. This is what

1005
00:55:44,640 --> 00:55:48,200
Speaker 1: Nia says. She says, many of your Earth years ago,

1006
00:55:48,840 --> 00:55:53,000
Speaker 1: our women were similar to yours today. Our emancipation took

1007
00:55:53,040 --> 00:55:56,719
Speaker 1: several hundred years and ended in a bitter, devastating war

1008
00:55:56,840 --> 00:56:01,240
Speaker 1: between the sexes, the last war we ever had. Uh,

1009
00:56:01,320 --> 00:56:04,600
Speaker 1: Henny here says, so you've had wars too. I was like,

1010
00:56:04,640 --> 00:56:06,919
Speaker 1: why would you ask the obviously she just said they've

1011
00:56:07,280 --> 00:56:11,719
Speaker 1: just said. She just said that. But Nia says, all

1012
00:56:11,800 --> 00:56:15,320
Speaker 1: inhabited planets have had wars. Some have ended by wiping

1013
00:56:15,360 --> 00:56:19,319
Speaker 1: themselves out. For every new weapon invented, a defense was

1014
00:56:19,400 --> 00:56:24,560
Speaker 1: perfected until the ultimate weapon was developed, A perpetual motion

1015
00:56:24,760 --> 00:56:30,000
Speaker 1: shame reactor beam. Oh god, that's this has got to

1016
00:56:30,040 --> 00:56:33,960
Speaker 1: be peak um techno babble, Like what what is that even?

1017
00:56:34,000 --> 00:56:37,560
Speaker 1: And then how even I'm failing to imagine what that

1018
00:56:37,600 --> 00:56:39,920
Speaker 1: could be? Much less hall it is than utilized in

1019
00:56:39,960 --> 00:56:45,200
Speaker 1: an on planet battle between two factions based on sex. Oh,

1020
00:56:45,280 --> 00:56:47,920
Speaker 1: I mean she explains a little bit that he's the

1021
00:56:47,920 --> 00:56:50,040
Speaker 1: Professor's like, tell me more. I want to know about

1022
00:56:50,080 --> 00:56:53,239
Speaker 1: the perpetual motion chain reactor beam, and she says, as

1023
00:56:53,280 --> 00:56:56,080
Speaker 1: fast as matter was created, it was changed by its

1024
00:56:56,080 --> 00:57:02,080
Speaker 1: molecular structure into the next dimension, and so destroy it itself. Okay, well,

1025
00:57:02,120 --> 00:57:04,439
Speaker 1: I don't know if that actually helps me. Annie, but

1026
00:57:04,440 --> 00:57:07,840
Speaker 1: that she's got more to say, and the professor his

1027
00:57:07,840 --> 00:57:11,000
Speaker 1: His comment on this is so there is a fourth dimension.

1028
00:57:13,280 --> 00:57:15,879
Speaker 1: But now I explains more. She says, you know, after

1029
00:57:15,920 --> 00:57:19,440
Speaker 1: the War of the Sexes, women became the rulers of Mars.

1030
00:57:19,480 --> 00:57:22,520
Speaker 1: But now the mail has fallen into a decline. The

1031
00:57:22,560 --> 00:57:27,200
Speaker 1: birthrate is dropping tremendously. For despite our advanced science, we

1032
00:57:27,320 --> 00:57:31,320
Speaker 1: still have found no way of creating life. I guess

1033
00:57:31,320 --> 00:57:34,400
Speaker 1: she means other than like standard sexual reproduction, which we

1034
00:57:34,440 --> 00:57:37,040
Speaker 1: assume is their method, though they're never explicit about that,

1035
00:57:37,080 --> 00:57:41,240
Speaker 1: so I don't know. But then Miss Prestwick she kind

1036
00:57:41,280 --> 00:57:44,959
Speaker 1: of challenges Nia on this. She goes, so, you've come

1037
00:57:45,000 --> 00:57:49,560
Speaker 1: here for new blood, and I love the way Hazel

1038
00:57:49,600 --> 00:57:54,080
Speaker 1: Court here has this like defiant tone, like Miss Prestwick

1039
00:57:54,240 --> 00:57:58,240
Speaker 1: is feeling territorial, and she's like, you're not gonna steal

1040
00:57:58,280 --> 00:58:01,960
Speaker 1: my beloved earth schlubs. Uh you know, they belong here

1041
00:58:02,000 --> 00:58:05,680
Speaker 1: with us. But Nia just uh, you know, she she's

1042
00:58:05,720 --> 00:58:08,600
Speaker 1: not having any any defiance. She's like, yes, we're here

1043
00:58:08,640 --> 00:58:11,360
Speaker 1: to to steal your males, We're going to kidnap your

1044
00:58:11,360 --> 00:58:14,280
Speaker 1: mails and breed with them. But also we are here

1045
00:58:14,320 --> 00:58:18,520
Speaker 1: to test a newly invented organic metal, uh quote of

1046
00:58:18,560 --> 00:58:21,640
Speaker 1: which my ship is built on. Mars. Some think I

1047
00:58:21,680 --> 00:58:25,200
Speaker 1: will not return, that the metal is too unstable. But

1048
00:58:25,320 --> 00:58:28,880
Speaker 1: when I get back, we will build more spaceships. Meanwhile,

1049
00:58:28,960 --> 00:58:31,560
Speaker 1: I will select some of your strongest men to return

1050
00:58:31,640 --> 00:58:34,440
Speaker 1: with me to Mars. Okay, so it's it's it's a

1051
00:58:34,560 --> 00:58:37,440
Speaker 1: it's a dual mission. Yeah, yeah, uh, it's you know,

1052
00:58:37,520 --> 00:58:40,800
Speaker 1: it's testing out the prototype metal and it's collecting earthmen.

1053
00:58:41,080 --> 00:58:44,080
Speaker 1: And Michael Carter of the Earthman says, and if I

1054
00:58:44,080 --> 00:58:47,040
Speaker 1: don't want to go with you, just assuming he's going

1055
00:58:47,080 --> 00:58:51,680
Speaker 1: to be picked um and Nia says there is no if.

1056
00:58:52,560 --> 00:58:55,280
Speaker 1: She says, she will take her pick of quote the

1057
00:58:55,320 --> 00:58:59,120
Speaker 1: Man and subdue London with the help of a nuclear

1058
00:58:59,280 --> 00:59:03,880
Speaker 1: paralyzer array. So like the humans start arguing about this

1059
00:59:03,920 --> 00:59:07,720
Speaker 1: with each other. Miss Prestwick says to the professor, don't

1060
00:59:07,760 --> 00:59:11,440
Speaker 1: you understand that this thing from Mars can destroy all life?

1061
00:59:12,000 --> 00:59:15,200
Speaker 1: And then very funny? So most of the earth males

1062
00:59:15,240 --> 00:59:17,080
Speaker 1: don't want to go to Mars, but I thought it

1063
00:59:17,120 --> 00:59:19,200
Speaker 1: was funny here how The professor is like, well, hold on,

1064
00:59:19,320 --> 00:59:24,120
Speaker 1: now we must think objectively about what is happening. Uh

1065
00:59:24,120 --> 00:59:26,200
Speaker 1: he's he says, this is the turning point in the

1066
00:59:26,280 --> 00:59:28,440
Speaker 1: history of the world. Maybe you know I think he's

1067
00:59:28,440 --> 00:59:30,520
Speaker 1: saying we need to hear her out. But it's also

1068
00:59:30,560 --> 00:59:33,440
Speaker 1: extra funny given how cold she was to him earlier.

1069
00:59:33,480 --> 00:59:36,840
Speaker 1: He's like, He's like, but but maybe it's me. Maybe

1070
00:59:36,880 --> 00:59:40,200
Speaker 1: I'm the one that should go no, you're a very

1071
00:59:40,200 --> 00:59:45,720
Speaker 1: poor male specimen. But then, oh, but then one of

1072
00:59:45,760 --> 00:59:49,200
Speaker 1: the funniest parts of the whole movie, Mrs Jamison comes

1073
00:59:49,200 --> 00:59:52,880
Speaker 1: into the room and she sees this lady here just

1074
00:59:52,960 --> 00:59:57,600
Speaker 1: dressed in this like crazy leather space suit, and uh,

1075
00:59:58,240 --> 01:00:01,800
Speaker 1: Michael Carter says, Mrs Jamison, may I introduce your newest guest,

1076
01:00:02,240 --> 01:00:06,760
Speaker 1: ms Nia. She comes from Mars. And then what does

1077
01:00:06,880 --> 01:00:11,439
Speaker 1: Mrs Jamison reply? She says, oh, well that'll mean another bed. Yeah,

1078
01:00:12,640 --> 01:00:14,320
Speaker 1: and it's it is one of the it's always kind

1079
01:00:14,320 --> 01:00:16,440
Speaker 1: of neat when in a film like this you have

1080
01:00:17,000 --> 01:00:20,480
Speaker 1: one or two lines that are legitimately intentionally funny. That

1081
01:00:20,560 --> 01:00:23,040
Speaker 1: was that some good writing there, Yeah, but then she

1082
01:00:23,120 --> 01:00:35,600
Speaker 1: does a double take. By the way, Joe, you included

1083
01:00:35,680 --> 01:00:37,440
Speaker 1: here from me a screenshot of the of the character

1084
01:00:37,520 --> 01:00:39,200
Speaker 1: standing in front of the bar. Do you think those

1085
01:00:39,200 --> 01:00:41,040
Speaker 1: are all scotch bottles? Back there on the wall, they

1086
01:00:41,040 --> 01:00:45,240
Speaker 1: have like four shelves of liquor bottles, and I'm just

1087
01:00:45,360 --> 01:00:47,680
Speaker 1: I'm suddenly wondering, what are we looking at here? It's

1088
01:00:47,720 --> 01:00:50,560
Speaker 1: a lot of bottles, and I don't I don't know.

1089
01:00:50,600 --> 01:00:52,520
Speaker 1: I'm not seeing a lot of gin back there. It

1090
01:00:52,560 --> 01:00:56,480
Speaker 1: all looks like a brown liquor of various sorts. Scotch

1091
01:00:56,560 --> 01:00:58,720
Speaker 1: enthusiasts will have to let us know. I really only

1092
01:00:58,760 --> 01:01:02,240
Speaker 1: know my way around a cup the Scotches. Yeah. Uh, though,

1093
01:01:02,280 --> 01:01:04,960
Speaker 1: it's funny. I just remembered something when Rachel and I

1094
01:01:05,000 --> 01:01:07,600
Speaker 1: were watching this, uh, you know, with all the characters

1095
01:01:07,600 --> 01:01:11,000
Speaker 1: that are named Hennessey and Jamison. When Um, when Nia

1096
01:01:11,120 --> 01:01:17,040
Speaker 1: first came in, Rachel said, my name is Campari. That's good.

1097
01:01:17,040 --> 01:01:19,280
Speaker 1: It's a good riff. Oh. Suddenly, at this point in

1098
01:01:19,320 --> 01:01:22,160
Speaker 1: the movie, everybody gets agitated that they can't find David,

1099
01:01:22,280 --> 01:01:25,360
Speaker 1: the guy that she vaporized out on the lawn. Um,

1100
01:01:25,560 --> 01:01:27,800
Speaker 1: and they're like he's missing. And then they all turned

1101
01:01:27,800 --> 01:01:31,320
Speaker 1: to her and they're like, miss Nia, have you and

1102
01:01:31,360 --> 01:01:34,480
Speaker 1: she says, of course he was no stud muffin, so

1103
01:01:34,560 --> 01:01:40,280
Speaker 1: I killed him. Uh. And Michael Michael Carter gets really

1104
01:01:40,320 --> 01:01:42,640
Speaker 1: mad about this. They have to like restrain him. He's

1105
01:01:42,680 --> 01:01:45,000
Speaker 1: like trying to punch her or something, and they're all

1106
01:01:45,000 --> 01:01:47,520
Speaker 1: holding him back. I don't know why they felt the

1107
01:01:47,560 --> 01:01:50,520
Speaker 1: need to establish that they found him creepy earlier, like

1108
01:01:50,560 --> 01:01:53,400
Speaker 1: that there was no payoff for that, Like he never

1109
01:01:53,440 --> 01:01:56,440
Speaker 1: did anything that was creepy, there was no So sometimes

1110
01:01:56,440 --> 01:02:00,680
Speaker 1: you introduced the the stereotypical creepy groundskeeper character because you

1111
01:02:00,720 --> 01:02:03,640
Speaker 1: want to have him be a suspect you know, you

1112
01:02:03,680 --> 01:02:06,400
Speaker 1: know or something or you know, or he's creeping around

1113
01:02:06,480 --> 01:02:09,560
Speaker 1: and happens to, uh, you know, run a foul of

1114
01:02:09,680 --> 01:02:13,400
Speaker 1: the Jason or whatever is running around on the on

1115
01:02:13,440 --> 01:02:16,440
Speaker 1: the grounds. But in this case, he's just not getting wood. Like,

1116
01:02:16,440 --> 01:02:18,760
Speaker 1: why did it matter that he was creepy. He didn't

1117
01:02:18,760 --> 01:02:21,800
Speaker 1: actually do anything wrong. Yeah, you kind of gotta feel

1118
01:02:21,800 --> 01:02:24,560
Speaker 1: bad for David, Like, for for all we know, he

1119
01:02:24,600 --> 01:02:27,080
Speaker 1: was a totally nice guy. He had no lines. Yeah,

1120
01:02:27,680 --> 01:02:31,640
Speaker 1: but anyway, here Naya leaves and she says, Okay, around

1121
01:02:31,680 --> 01:02:34,120
Speaker 1: this house, I've drawn an invisible wall. You can't get

1122
01:02:34,160 --> 01:02:36,360
Speaker 1: through it. So I don't even try to leave. I'm

1123
01:02:36,360 --> 01:02:38,880
Speaker 1: gonna do repairs on my ship and I'll be back

1124
01:02:38,920 --> 01:02:41,120
Speaker 1: to to kill you all and maybe take some of

1125
01:02:41,160 --> 01:02:44,520
Speaker 1: the strongest males. And then the rest of the movie

1126
01:02:44,600 --> 01:02:46,760
Speaker 1: is just people coming and going back and forth from

1127
01:02:46,760 --> 01:02:50,720
Speaker 1: the ship like fifteen times, uh naya in in a

1128
01:02:50,880 --> 01:02:54,640
Speaker 1: quite funny manner. In fact, keeps leaving and then coming

1129
01:02:54,680 --> 01:02:58,920
Speaker 1: back to the end um. And then there there are

1130
01:02:58,960 --> 01:03:01,360
Speaker 1: some more scenes between the humans that are I think

1131
01:03:01,400 --> 01:03:04,760
Speaker 1: trying to do character development, Like there is a scene

1132
01:03:04,760 --> 01:03:08,520
Speaker 1: where Michael Carter, the the really annoying journalist, and Miss

1133
01:03:08,560 --> 01:03:13,080
Speaker 1: Prestwick fall in love. Like he ostensibly he comes up

1134
01:03:13,080 --> 01:03:15,760
Speaker 1: to her room at the hotel, knocking on the door

1135
01:03:16,560 --> 01:03:19,120
Speaker 1: with the excuse that he has come to see if

1136
01:03:19,160 --> 01:03:25,560
Speaker 1: she has any scotch, Like, yeah, I know they're clearly not.

1137
01:03:25,760 --> 01:03:27,919
Speaker 1: It's like, hey, I was wondering if there's any air

1138
01:03:28,280 --> 01:03:30,480
Speaker 1: in your room that I could breathe. I couldn't find

1139
01:03:30,520 --> 01:03:33,560
Speaker 1: any anywhere else. But if she invites him in and

1140
01:03:33,600 --> 01:03:35,840
Speaker 1: she he's like, you got any Scotch And she says nope,

1141
01:03:35,840 --> 01:03:40,840
Speaker 1: but I've got some brandy okay, um and uh and so,

1142
01:03:40,960 --> 01:03:44,640
Speaker 1: and we get their backstories. Miss Prestwick talks about how

1143
01:03:44,680 --> 01:03:48,600
Speaker 1: she's in Scotland. Actually she doesn't volunteer this information. He

1144
01:03:48,720 --> 01:03:51,440
Speaker 1: does like a cold reading routine where he like tells

1145
01:03:51,440 --> 01:03:54,280
Speaker 1: her her whole backstory just by I don't know, by

1146
01:03:54,320 --> 01:03:58,080
Speaker 1: like like observing her and I guess it's all correct.

1147
01:03:58,560 --> 01:04:01,000
Speaker 1: You know. He figures out that she's in Scotland because

1148
01:04:01,000 --> 01:04:04,560
Speaker 1: she's she's hiding from a married man with whom she

1149
01:04:04,720 --> 01:04:07,520
Speaker 1: is having an affair. He I think he is the

1150
01:04:07,600 --> 01:04:11,600
Speaker 1: fashion designer and she is his muse. And then meanwhile,

1151
01:04:11,720 --> 01:04:15,800
Speaker 1: Michael Carter explains his backstory. Is like he's like, oh,

1152
01:04:15,840 --> 01:04:18,400
Speaker 1: I've seen all the terrible things in the war zones,

1153
01:04:18,720 --> 01:04:21,080
Speaker 1: but now I'm done with all that. And he says,

1154
01:04:21,200 --> 01:04:24,000
Speaker 1: now I'm letting my hair down, which was a laugh

1155
01:04:24,080 --> 01:04:26,520
Speaker 1: out loud moment because he does not have much hair

1156
01:04:26,640 --> 01:04:31,840
Speaker 1: to let down. Oh. But then there's also the invisible wall.

1157
01:04:32,040 --> 01:04:35,440
Speaker 1: This was a lot of fun because you have I

1158
01:04:35,680 --> 01:04:38,720
Speaker 1: established that she was going to set a parimeter, an

1159
01:04:38,720 --> 01:04:42,320
Speaker 1: invisible wall to keep people from leaving. And again, these

1160
01:04:42,400 --> 01:04:46,120
Speaker 1: characters have been drinking Scotch NonStop. And then and then

1161
01:04:46,120 --> 01:04:48,960
Speaker 1: you have the professor bumble in right, so they look

1162
01:04:49,000 --> 01:04:53,040
Speaker 1: out the window. Actually before this, sorry, before this, they um,

1163
01:04:53,080 --> 01:04:56,320
Speaker 1: Michael and Ms Prestwick have a dialogue exchange that is

1164
01:04:56,400 --> 01:05:00,840
Speaker 1: so funny. It means nothing. But at one point he's

1165
01:05:00,880 --> 01:05:03,600
Speaker 1: just I guess he's just frustrated. He just goes it's

1166
01:05:03,680 --> 01:05:07,240
Speaker 1: that thing out there, and then she says it is there. Michael,

1167
01:05:09,080 --> 01:05:13,160
Speaker 1: what's that mean? Thanks? Thanks movie? Yes said, oh yeah,

1168
01:05:13,200 --> 01:05:17,439
Speaker 1: I remember. Now there is a spaceship outside and also

1169
01:05:17,480 --> 01:05:20,480
Speaker 1: an invisible wall though, and that's right, maybe that's the

1170
01:05:20,520 --> 01:05:21,960
Speaker 1: thing they were talking about. I don't know, is that

1171
01:05:22,040 --> 01:05:25,360
Speaker 1: the spaceship or is it the robot or the spaceship.

1172
01:05:25,960 --> 01:05:29,200
Speaker 1: But so the professor comes back. He's got blood on

1173
01:05:29,280 --> 01:05:31,840
Speaker 1: his head now and they're like, Professor, what what happened?

1174
01:05:31,920 --> 01:05:34,360
Speaker 1: And he's like, well, I went out walking and then

1175
01:05:34,480 --> 01:05:37,560
Speaker 1: I crashed into the invisible wall. There really is an

1176
01:05:37,600 --> 01:05:40,440
Speaker 1: invisible wall. I thought it impossible by all that is

1177
01:05:40,480 --> 01:05:44,080
Speaker 1: known to science. Yeah, I don't know. I just found

1178
01:05:44,080 --> 01:05:47,760
Speaker 1: that also hilarious. I think this might be the scene

1179
01:05:47,760 --> 01:05:50,200
Speaker 1: with I believe what my brain tells me to believe

1180
01:05:51,320 --> 01:05:55,800
Speaker 1: in my brain ran into an invisible wall. Uh. Now

1181
01:05:55,880 --> 01:05:57,800
Speaker 1: here we get the first of a couple of times

1182
01:05:57,800 --> 01:05:59,640
Speaker 1: where the people at the end try to figure out

1183
01:05:59,640 --> 01:06:03,320
Speaker 1: how to out smart Naya. Like there. There's another scene

1184
01:06:03,400 --> 01:06:06,480
Speaker 1: later where they set literally literally set an electrical trap

1185
01:06:06,600 --> 01:06:08,919
Speaker 1: for her, like in the Thing from Another World, which

1186
01:06:08,960 --> 01:06:11,800
Speaker 1: doesn't work, but in this scene they try to. They

1187
01:06:11,800 --> 01:06:14,120
Speaker 1: find a gun and they're like, well, we can just

1188
01:06:14,120 --> 01:06:17,480
Speaker 1: shoot her when she comes in, and uh Nia makes

1189
01:06:17,480 --> 01:06:20,160
Speaker 1: a fabulous entrance. She like throws the doors open and

1190
01:06:20,240 --> 01:06:23,920
Speaker 1: steps in. And I wish I could like show you

1191
01:06:24,000 --> 01:06:27,080
Speaker 1: the listener out there a gift of this, because it's

1192
01:06:27,360 --> 01:06:32,320
Speaker 1: it's such a wonderful step in move from Labyrinth again.

1193
01:06:32,320 --> 01:06:35,880
Speaker 1: There's there's no owl, but it has that same energy. Yes,

1194
01:06:36,440 --> 01:06:38,920
Speaker 1: uh And they try shooting her with the revolver, but

1195
01:06:39,000 --> 01:06:42,560
Speaker 1: the bullets have no effect. The posture that Michael Carter

1196
01:06:43,280 --> 01:06:46,120
Speaker 1: does while he's shooting at her is so funny. He's

1197
01:06:46,160 --> 01:06:49,640
Speaker 1: got his non shooting hand tucked behind his back and

1198
01:06:49,680 --> 01:06:52,600
Speaker 1: he's just standing up straight with the gun sort of

1199
01:06:52,680 --> 01:06:56,160
Speaker 1: at stomach level, just going bang bang, And of course

1200
01:06:56,200 --> 01:06:58,960
Speaker 1: the bullets bounce off of Nia because you know, she's

1201
01:06:59,160 --> 01:07:05,520
Speaker 1: she's perfect, She's she's literally nothing could defeat her, absolutely right.

1202
01:07:05,640 --> 01:07:09,160
Speaker 1: She says, you poor demented humans to imagine you can

1203
01:07:09,200 --> 01:07:12,920
Speaker 1: destroy me with your old fashioned toy. What do you

1204
01:07:13,040 --> 01:07:16,400
Speaker 1: know of force? Force? As we use it on Mars,

1205
01:07:16,760 --> 01:07:20,680
Speaker 1: I could control power beyond your wildest dreams. Come and

1206
01:07:20,760 --> 01:07:24,360
Speaker 1: you shall see. So she's gonna give the demonstration. I

1207
01:07:24,440 --> 01:07:27,400
Speaker 1: love it when aliens give a demonstration of their power

1208
01:07:27,640 --> 01:07:30,840
Speaker 1: for a for a crowd of earth On lookers, and

1209
01:07:31,280 --> 01:07:33,920
Speaker 1: so they so she takes them out to the spaceship

1210
01:07:34,240 --> 01:07:37,480
Speaker 1: to show her robot Johnny, to show them what Johnny

1211
01:07:37,480 --> 01:07:41,320
Speaker 1: can do. So Johnny he comes out. Johnny is gigantic.

1212
01:07:41,440 --> 01:07:44,160
Speaker 1: He is a refrigerator with arms and legs. His arms

1213
01:07:44,160 --> 01:07:46,760
Speaker 1: are kind of like made out of a stack of

1214
01:07:46,800 --> 01:07:51,560
Speaker 1: solo cups. His head is a police siren, and he

1215
01:07:51,560 --> 01:07:54,840
Speaker 1: he walks around. He's he's slow moving, and he hates

1216
01:07:55,040 --> 01:07:59,200
Speaker 1: trees and he's going to incinerate them and he vaporizes

1217
01:07:59,240 --> 01:08:01,640
Speaker 1: a bunch of stuff with his death ray while people watch.

1218
01:08:01,680 --> 01:08:04,600
Speaker 1: He does the tree, he does a car, he does

1219
01:08:04,640 --> 01:08:08,160
Speaker 1: a barn. Uh yeah, he you don't want to mess

1220
01:08:08,200 --> 01:08:10,960
Speaker 1: with Johnny. I think it's a pretty good robot design.

1221
01:08:11,000 --> 01:08:12,120
Speaker 1: I mean it's one of the it's kind of like

1222
01:08:12,160 --> 01:08:14,560
Speaker 1: the the UFO, kind of like the flying Saucer in

1223
01:08:14,560 --> 01:08:17,240
Speaker 1: this film, where yes, it does match up with what

1224
01:08:17,320 --> 01:08:20,599
Speaker 1: you would expect from this time period. Boxy, you know,

1225
01:08:21,240 --> 01:08:26,800
Speaker 1: sort of lumbering around, but overall well executed. I like

1226
01:08:26,840 --> 01:08:29,519
Speaker 1: how it's it's arms though you just described him as

1227
01:08:29,560 --> 01:08:31,880
Speaker 1: been kind of like stack silo cups, but they kind

1228
01:08:31,880 --> 01:08:35,559
Speaker 1: of have that telescoping energy. Uh that matches up with

1229
01:08:35,600 --> 01:08:37,599
Speaker 1: the flying saucer. Well, like you feel like these are

1230
01:08:37,640 --> 01:08:40,760
Speaker 1: two things from the same design universe. Sure, yeah, I

1231
01:08:40,760 --> 01:08:43,320
Speaker 1: can see that. And again he's really tall, He's like

1232
01:08:43,720 --> 01:08:47,320
Speaker 1: fifteen feet tall. Maybe I don't know, he's powering. She's

1233
01:08:47,360 --> 01:08:49,559
Speaker 1: like he is like one of your Earth humans, but

1234
01:08:49,680 --> 01:08:54,160
Speaker 1: with an improved brain. Um. And then Nia, let's see,

1235
01:08:54,160 --> 01:08:57,920
Speaker 1: oh Albert Simpson, remember him the convict, he's been hiding

1236
01:08:57,920 --> 01:08:59,720
Speaker 1: in the attic. Well, he he sneaks out of the

1237
01:08:59,760 --> 01:09:02,599
Speaker 1: wind dough along with Tommy the kid. They both climbed

1238
01:09:02,640 --> 01:09:06,040
Speaker 1: down a tree and they're running around outside. Eventually Nia

1239
01:09:06,200 --> 01:09:10,160
Speaker 1: comes across them and she's like, ah, this this Earth, Tommy,

1240
01:09:10,280 --> 01:09:12,680
Speaker 1: I will take this boy back to Mars with me.

1241
01:09:12,760 --> 01:09:17,280
Speaker 1: And Tommy literally goes goody he wants to go to Mars.

1242
01:09:18,040 --> 01:09:20,840
Speaker 1: But as you might guess, this turns into uh. For

1243
01:09:20,880 --> 01:09:22,320
Speaker 1: the rest of the plot, a lot of it's like

1244
01:09:22,400 --> 01:09:25,440
Speaker 1: various adult men trying to find a way to rescue

1245
01:09:25,479 --> 01:09:28,920
Speaker 1: Tommy and destroy the spaceship. Again, there's the part where

1246
01:09:28,960 --> 01:09:32,439
Speaker 1: they try to set an electricity trap for Nia that

1247
01:09:32,479 --> 01:09:36,800
Speaker 1: does not work. At one point, Professor Hennessy tricks Nia

1248
01:09:37,000 --> 01:09:40,120
Speaker 1: into showing him the inside of her spaceship, and the

1249
01:09:40,160 --> 01:09:42,800
Speaker 1: way he does it by his by like appealing to

1250
01:09:42,880 --> 01:09:47,040
Speaker 1: her pride. He's like, we Earthlings also have powerful machines,

1251
01:09:47,600 --> 01:09:50,400
Speaker 1: and this makes her really mad. She's like, none equal

1252
01:09:50,439 --> 01:09:53,120
Speaker 1: to those of Mars. So she takes him to see

1253
01:09:53,160 --> 01:09:55,920
Speaker 1: the inside of the space ship and uh, and he's

1254
01:09:55,920 --> 01:09:57,639
Speaker 1: going to get a look at things to figure out

1255
01:09:57,720 --> 01:10:00,840
Speaker 1: what the weak point inside the ship biz. And you

1256
01:10:00,880 --> 01:10:04,360
Speaker 1: know what he finds out, Yeah, he's he he You

1257
01:10:04,360 --> 01:10:07,240
Speaker 1: can imagine him being like, uh, like you should you

1258
01:10:07,280 --> 01:10:10,360
Speaker 1: should see the self destruct mechanisms we have on earth ships,

1259
01:10:10,680 --> 01:10:13,200
Speaker 1: which she's like, those are nothing. Look at this self

1260
01:10:13,200 --> 01:10:18,200
Speaker 1: destruct button. Yeah, this mechanism is far superior. But the

1261
01:10:18,240 --> 01:10:21,080
Speaker 1: design of the inside of the spaceship is cool. Yeah.

1262
01:10:21,240 --> 01:10:22,960
Speaker 1: I really liked it as well. It has some some

1263
01:10:23,080 --> 01:10:25,080
Speaker 1: cool angles in in they do some nice things with

1264
01:10:25,240 --> 01:10:29,320
Speaker 1: shadow and light. And this leads me to another interesting

1265
01:10:29,920 --> 01:10:32,360
Speaker 1: visual connection. This is not one that I made. This

1266
01:10:32,439 --> 01:10:34,720
Speaker 1: is one that I ran across when I was looking

1267
01:10:34,760 --> 01:10:38,919
Speaker 1: at images from the film. Um Jane Voss of sci

1268
01:10:38,960 --> 01:10:42,080
Speaker 1: fi ast dot net. That's s C I F I

1269
01:10:42,280 --> 01:10:44,840
Speaker 1: S T. I guess it looks like sci fist uh

1270
01:10:44,960 --> 01:10:48,720
Speaker 1: not dot net anyway. This author made this particular comparison,

1271
01:10:48,840 --> 01:10:52,680
Speaker 1: pointing out that um that the the inside of the

1272
01:10:52,720 --> 01:10:56,640
Speaker 1: spaceship can matches up at least a bit with the

1273
01:10:56,680 --> 01:11:00,599
Speaker 1: meditation chamber of Darth Vader in The Empire's Tricks Back.

1274
01:11:00,680 --> 01:11:03,080
Speaker 1: They do a side by side comparison here, and UM,

1275
01:11:04,080 --> 01:11:07,200
Speaker 1: you know, I'm I'm not sure. I one am convinced.

1276
01:11:07,520 --> 01:11:10,000
Speaker 1: I think it's a nifty comparison. The The author points

1277
01:11:10,000 --> 01:11:13,559
Speaker 1: out that Lucas certainly was inspired by older genre films

1278
01:11:13,600 --> 01:11:15,880
Speaker 1: and the and in making the Star Wars films, they

1279
01:11:15,880 --> 01:11:19,960
Speaker 1: did look to older cinematic images. Uh so it's I

1280
01:11:19,960 --> 01:11:22,320
Speaker 1: don't know, it's any connection of nothing else. The author

1281
01:11:22,400 --> 01:11:27,639
Speaker 1: also points to the two possible connections between um Nia

1282
01:11:27,800 --> 01:11:32,000
Speaker 1: and Dr Frankenfurger from the Rocky Horror Picture Show. Again,

1283
01:11:32,040 --> 01:11:35,160
Speaker 1: I'm not so sure personally, but but maybe there's certainly

1284
01:11:35,200 --> 01:11:38,360
Speaker 1: some shared DNA between Nia and the likes of Jareth

1285
01:11:38,720 --> 01:11:41,960
Speaker 1: from Labyrinth through Frankenfurger from Rocky Horror. And I guess

1286
01:11:42,000 --> 01:11:44,639
Speaker 1: you could also make some comparisons in a different way

1287
01:11:44,640 --> 01:11:47,679
Speaker 1: between uh Nia and Darth Vader. I mean, they're both

1288
01:11:48,439 --> 01:11:52,640
Speaker 1: you know, stunning characters clad in black shiny uh you know,

1289
01:11:52,720 --> 01:11:55,559
Speaker 1: garments and armor. Yeah, well they both have the black

1290
01:11:56,160 --> 01:11:59,720
Speaker 1: like the shoulder pads and the and the smooth headpiece

1291
01:11:59,800 --> 01:12:03,240
Speaker 1: and the the floor length cape. Yeah yeah, so I

1292
01:12:03,280 --> 01:12:05,879
Speaker 1: don't know, maybe so at any rate, cool ship interior

1293
01:12:05,960 --> 01:12:09,599
Speaker 1: I like it. Yeah, yeah, So there's a bunch more intrigue.

1294
01:12:09,600 --> 01:12:11,800
Speaker 1: I'm not going to go into detail about everything else

1295
01:12:11,800 --> 01:12:14,160
Speaker 1: that happens, especially between the humans. There's one part where

1296
01:12:14,200 --> 01:12:17,200
Speaker 1: like the one of the humans gets hypnotized and then

1297
01:12:17,280 --> 01:12:19,120
Speaker 1: they gets into a fist fight with one of the

1298
01:12:19,160 --> 01:12:21,840
Speaker 1: other guys and they argue about how to defeat the

1299
01:12:21,880 --> 01:12:25,320
Speaker 1: alien in the end, but ultimately the movie ends with

1300
01:12:25,720 --> 01:12:30,240
Speaker 1: Albert Simpson, the convict of doing a brave act of

1301
01:12:30,320 --> 01:12:35,280
Speaker 1: heroic self sacrifice to use the information gained by the

1302
01:12:35,280 --> 01:12:38,040
Speaker 1: professor about the weak point on the ship and to

1303
01:12:38,200 --> 01:12:40,960
Speaker 1: save the day for Earth. It's it's a fun ending

1304
01:12:40,960 --> 01:12:43,240
Speaker 1: because on one level, I don't know, I guess we

1305
01:12:43,240 --> 01:12:45,960
Speaker 1: were supposed to think this as well, because we see

1306
01:12:46,000 --> 01:12:48,200
Speaker 1: him get on the ship. He boards the ship with

1307
01:12:48,280 --> 01:12:51,519
Speaker 1: Naya and the ship takes off and again wonderful flying

1308
01:12:51,560 --> 01:12:55,320
Speaker 1: saucer effect. It feels dangerous and and you know, almost

1309
01:12:55,479 --> 01:12:58,040
Speaker 1: almost explosive and it takes off and it's as sending

1310
01:12:58,120 --> 01:13:00,000
Speaker 1: up in the atmosphere. It's gonna leave or it's Atmos

1311
01:13:00,400 --> 01:13:03,360
Speaker 1: returned to Mars, and we know what he is supposed

1312
01:13:03,400 --> 01:13:06,360
Speaker 1: to do. He is supposed to hit that self destruct.

1313
01:13:06,560 --> 01:13:09,559
Speaker 1: He's supposed to make the the ship explode, and we

1314
01:13:09,600 --> 01:13:11,599
Speaker 1: already have a built in kind of they don't really

1315
01:13:12,320 --> 01:13:15,400
Speaker 1: dwell on this, but she established earlier that the other

1316
01:13:15,479 --> 01:13:17,760
Speaker 1: Martians think that the ship won't survive the trip, So

1317
01:13:17,800 --> 01:13:20,400
Speaker 1: there's almost like a guarantee if they can only blow

1318
01:13:20,400 --> 01:13:23,439
Speaker 1: the ship up. They're not expecting her back. But on

1319
01:13:23,479 --> 01:13:25,479
Speaker 1: the other hand, it's like this guy escaped from prison

1320
01:13:25,720 --> 01:13:29,040
Speaker 1: and his biggest his plan consisted of, well maybe we

1321
01:13:29,080 --> 01:13:32,760
Speaker 1: can I can flee to Ireland. But now like he's

1322
01:13:32,800 --> 01:13:35,679
Speaker 1: got a chance to flee the planet, he can flee

1323
01:13:35,720 --> 01:13:40,200
Speaker 1: the terrestrial legal system entirely and go to Mars. And yeah,

1324
01:13:40,200 --> 01:13:42,839
Speaker 1: maybe he's gonna end up in a breeding pod somewhere

1325
01:13:42,920 --> 01:13:44,760
Speaker 1: with a with a you know, some sort of a

1326
01:13:44,760 --> 01:13:47,240
Speaker 1: sensor stuck in his brain, but hey, at least he's

1327
01:13:47,240 --> 01:13:50,600
Speaker 1: not in prison or in Ireland doing whatever he was

1328
01:13:50,680 --> 01:13:53,240
Speaker 1: planning to do in Ireland. U. So there's kind of

1329
01:13:53,240 --> 01:13:55,680
Speaker 1: this tension building as you watch the ship go up,

1330
01:13:55,720 --> 01:13:59,160
Speaker 1: it's like, is he gonna betray uh everyone, out of

1331
01:13:59,200 --> 01:14:01,720
Speaker 1: his own self entry or is he going to sacrifice

1332
01:14:01,800 --> 01:14:06,280
Speaker 1: himself for Earth? And then suddenly the ship does explode.

1333
01:14:06,720 --> 01:14:10,920
Speaker 1: But this is great because again, watching a movie from

1334
01:14:10,920 --> 01:14:14,280
Speaker 1: this time period, you have certain expectations for that explosion.

1335
01:14:14,760 --> 01:14:16,439
Speaker 1: You kind of expect, you know, a sort of a

1336
01:14:16,479 --> 01:14:20,360
Speaker 1: dynamite explosion in the sky. But no, instead you get

1337
01:14:20,400 --> 01:14:25,479
Speaker 1: this really cool, kind of like underwater smoke explosion, which

1338
01:14:25,600 --> 01:14:28,800
Speaker 1: is extra nice here in black and white. Um, and

1339
01:14:28,880 --> 01:14:32,080
Speaker 1: it looks really super creepy, like a indeed, like a

1340
01:14:32,200 --> 01:14:35,439
Speaker 1: dangerous piece of advanced technology from another world just blew

1341
01:14:35,520 --> 01:14:39,120
Speaker 1: up in her atmosphere, ripped a whole. Perhaps in reality,

1342
01:14:39,479 --> 01:14:41,639
Speaker 1: uh you know, it looks like it's created a stain

1343
01:14:41,720 --> 01:14:44,240
Speaker 1: in the sky that's going to stick around for quite

1344
01:14:44,280 --> 01:14:49,280
Speaker 1: some time. But indeed he came through, He saved the Earth,

1345
01:14:49,720 --> 01:14:54,960
Speaker 1: and uh, the alien threat has been destroyed or or

1346
01:14:55,120 --> 01:14:58,759
Speaker 1: or maybe just avoided for a little while. The Martians

1347
01:14:58,760 --> 01:15:01,160
Speaker 1: maybe won't come back to Earth for uh, you know,

1348
01:15:01,200 --> 01:15:04,320
Speaker 1: a few decades. Anyway, I agree that explosion looks really

1349
01:15:04,360 --> 01:15:06,960
Speaker 1: cool and it and it actually I think the way

1350
01:15:07,000 --> 01:15:11,559
Speaker 1: the explosion looks kind of unusual, maybe relates to something

1351
01:15:11,560 --> 01:15:13,439
Speaker 1: a scene we didn't actually talk about, the one where

1352
01:15:13,479 --> 01:15:17,920
Speaker 1: Nia like folds herself into the fourth dimension and disappears.

1353
01:15:17,960 --> 01:15:21,200
Speaker 1: She becomes blurry and they're like, ah, the fourth dimension.

1354
01:15:21,360 --> 01:15:23,799
Speaker 1: This is another scene where she's like basically just showing

1355
01:15:23,840 --> 01:15:26,639
Speaker 1: off how great Martian technology is. Well, you know, i'd

1356
01:15:26,640 --> 01:15:29,040
Speaker 1: say in the in Devil Girl from Mars Is is

1357
01:15:29,160 --> 01:15:32,160
Speaker 1: great fun. I do recommend it. I would also say

1358
01:15:32,200 --> 01:15:35,040
Speaker 1: stick around at least until Nia shows up. It will

1359
01:15:35,160 --> 01:15:38,439
Speaker 1: drag for the first five minutes or so, but but

1360
01:15:38,600 --> 01:15:41,240
Speaker 1: once Nia is on screen, it's it's a hoot. Yeah,

1361
01:15:41,240 --> 01:15:43,120
Speaker 1: this is a lot of fun. Again, some great design

1362
01:15:43,160 --> 01:15:46,320
Speaker 1: work in here, some fun performances, uh some you know,

1363
01:15:46,400 --> 01:15:49,800
Speaker 1: some surprisingly good effects and costuming that in many ways,

1364
01:15:50,080 --> 01:15:52,720
Speaker 1: despite the budget, despite the time period, you know, I mean,

1365
01:15:52,720 --> 01:15:55,559
Speaker 1: it feels very ahead of its time. Um. The ending

1366
01:15:55,600 --> 01:15:58,479
Speaker 1: is pretty solid, though part of me still thinks that

1367
01:15:58,600 --> 01:16:01,679
Speaker 1: Scotland should have surrendered become a breeding colony from Mars.

1368
01:16:02,000 --> 01:16:05,080
Speaker 1: I think I think Nia ultimately she made a good

1369
01:16:05,080 --> 01:16:07,880
Speaker 1: show of force. She was busting out just a lot

1370
01:16:07,920 --> 01:16:12,519
Speaker 1: of just cold facts on these poor earthlings. Uh so, uh,

1371
01:16:13,520 --> 01:16:15,120
Speaker 1: maybe they should have gone in the other direction, but

1372
01:16:15,120 --> 01:16:17,439
Speaker 1: still it's hard to hard to argue with the solid ending.

1373
01:16:17,840 --> 01:16:20,760
Speaker 1: That scene where she explains about the negative condensity is

1374
01:16:20,840 --> 01:16:25,320
Speaker 1: just oh so much quality technobabble on this one. It's

1375
01:16:25,360 --> 01:16:29,320
Speaker 1: I I wonder is there's still techno babble of this

1376
01:16:29,479 --> 01:16:33,240
Speaker 1: quality in sci fi films today. I don't know. I mean,

1377
01:16:33,320 --> 01:16:36,679
Speaker 1: I feel like, unfortunately the direction has gone more into

1378
01:16:36,800 --> 01:16:40,200
Speaker 1: just like not saying as much, or trying to make

1379
01:16:40,240 --> 01:16:44,160
Speaker 1: it more at least semi realistic or plausible, or just

1380
01:16:44,280 --> 01:16:48,680
Speaker 1: referencing things that have no relationship to real words. You

1381
01:16:48,720 --> 01:16:51,120
Speaker 1: know that there might as well be magic, yeah, or

1382
01:16:51,200 --> 01:16:53,400
Speaker 1: you just I guess nowadays you can you see a

1383
01:16:53,400 --> 01:16:58,840
Speaker 1: lot of the the casual invocation of quantum mechanics or nanobots,

1384
01:16:59,200 --> 01:17:02,240
Speaker 1: and that explains that everything. They're like, yeah, Tony Stark's

1385
01:17:02,800 --> 01:17:06,240
Speaker 1: power armor, it's basically magic. It just melts away into nothing,

1386
01:17:06,360 --> 01:17:08,840
Speaker 1: It crawls inside of I guess, like a little pocket

1387
01:17:08,840 --> 01:17:11,080
Speaker 1: in his skin or something. It comes back out again

1388
01:17:11,439 --> 01:17:14,439
Speaker 1: and then it's everywhere and it's shooting rockets, like don't don't,

1389
01:17:14,479 --> 01:17:18,760
Speaker 1: don't worry about it. It's just it's quantum mechanics. It's nanobots.

1390
01:17:17,880 --> 01:17:22,400
Speaker 1: It all works out, don't worry. Carb. Yeah, it's just

1391
01:17:22,439 --> 01:17:24,760
Speaker 1: carbonano nanoitudes, so that's all you need to know. But

1392
01:17:24,880 --> 01:17:27,720
Speaker 1: they didn't have that excuse back in the old day.

1393
01:17:27,760 --> 01:17:29,639
Speaker 1: You had to work a lot more to create quality

1394
01:17:29,680 --> 01:17:32,439
Speaker 1: techno babble. You had to come up with phrases like

1395
01:17:32,479 --> 01:17:37,600
Speaker 1: a perpetual motion chain reactor beam or the negative condensity.

1396
01:17:38,520 --> 01:17:41,479
Speaker 1: So good, all right, we'll go and close it out here.

1397
01:17:41,520 --> 01:17:43,439
Speaker 1: But obviously we'd love to hear from everyone out there

1398
01:17:43,479 --> 01:17:46,360
Speaker 1: if you have thoughts on Devil Girl from Mars or

1399
01:17:46,400 --> 01:17:48,720
Speaker 1: any of the players in this in this film, or

1400
01:17:48,960 --> 01:17:52,320
Speaker 1: or films in a similar genre. Yeah, right in we'd

1401
01:17:52,360 --> 01:17:54,400
Speaker 1: love to hear from if you have memories of catching

1402
01:17:54,400 --> 01:17:58,040
Speaker 1: this film on TV back in the day. Uh yeah, yeah,

1403
01:17:58,240 --> 01:18:02,360
Speaker 1: We're always always interested to hear those stories. And in

1404
01:18:02,400 --> 01:18:06,120
Speaker 1: the meantime, yeah, we're primarily a science podcast with core

1405
01:18:06,160 --> 01:18:08,640
Speaker 1: episodes on two season Thursdays, but on Fridays we do

1406
01:18:08,720 --> 01:18:11,040
Speaker 1: weird house Cinema here. That's our time to set aside

1407
01:18:11,080 --> 01:18:13,439
Speaker 1: most serious concerns and just talk about a weird film.

1408
01:18:14,240 --> 01:18:17,240
Speaker 1: I do blog posts about these episodes at smut to

1409
01:18:17,320 --> 01:18:20,600
Speaker 1: music dot com and if you use letterbox that's l

1410
01:18:20,640 --> 01:18:23,960
Speaker 1: E T T E R B O x D dot com. Well,

1411
01:18:24,360 --> 01:18:26,080
Speaker 1: you can find us on there. Our user name is

1412
01:18:26,120 --> 01:18:28,840
Speaker 1: weird House. We maintain a list of all the movies

1413
01:18:28,880 --> 01:18:31,439
Speaker 1: we've covered so far, and sometimes we'll include a preview

1414
01:18:31,680 --> 01:18:34,280
Speaker 1: of what we're about to cover as well. Huge thanks

1415
01:18:34,280 --> 01:18:37,599
Speaker 1: as always to our excellent audio producer Seth Nicholas Johnson.

1416
01:18:37,920 --> 01:18:39,559
Speaker 1: If you would like to get in touch with us

1417
01:18:39,560 --> 01:18:42,320
Speaker 1: with feedback on this episode or any other, to suggest

1418
01:18:42,320 --> 01:18:44,439
Speaker 1: a topic for the future, or just to say hello,

1419
01:18:44,760 --> 01:18:47,439
Speaker 1: you can email us at contact at stuff to Blow

1420
01:18:47,479 --> 01:18:56,920
Speaker 1: your Mind dot com. Stuff to Blow your Mind. It's

1421
01:18:56,960 --> 01:18:59,760
Speaker 1: production of I Heart Radio. For more podcasts my heart

1422
01:18:59,840 --> 01:19:02,640
Speaker 1: rate Dio, visit the I heart Radio app, Apple Podcasts,

1423
01:19:02,680 --> 01:19:04,479
Speaker 1: or wherever you listen to your favorite shows.