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

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Speaker 1: As I announced last week, we're doing an experiment here.

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Speaker 1: We're switching things up a bit. Listener mail episodes are

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Speaker 1: no longer going to be occurring every week on Mondays. Instead,

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Speaker 1: they're going to appear every month or so in a

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Speaker 1: more robust format. So we're still reading listener mail. We're

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Speaker 1: still going to feature it on future episodes. It's just

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Speaker 1: going to be more or less like we used to do.

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Speaker 1: This is also to help quality listener mail accumulate, so

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Speaker 1: keep writing in contact at Stuff to Blow Yourmind dot com. Okay,

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Speaker 1: now onto the episode at hand.

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Speaker 2: Here.

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Speaker 1: Yes, this is a classic episode of Weird House Cinema.

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Speaker 1: This one originally published three ten twenty three. It is

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Speaker 1: the nineteen eighty one stop motion epic Clash of the Titans.

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Speaker 1: If you grew up watching a lot of TBS as

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Speaker 1: a kid, you probably watched this movie as many times

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Speaker 1: as I did. Let's dive right in.

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Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema.

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Speaker 2: This is Rob Lamb, and this is Joe McCormick. And

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Speaker 2: today Ooh, I got an itch for some stop motion animation.

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Speaker 2: That was what I was craving this week. Rob, I

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Speaker 2: don't know if you're the same way I am. I

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Speaker 2: think stop motion monsters are one of my most nostalgic

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Speaker 2: film elements. They remind me of when I was a kid.

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Speaker 2: I had a VHS tape I think recorded in EP modes,

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Speaker 2: a very grainy and low quality, but I had a

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Speaker 2: tape of the Ray Harry Howsen movie Sindbad and the

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Speaker 2: Eye of the Tiger, which featured battles with stop motion skeletons,

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Speaker 2: a stop motion robotic minotaur called the Minoton, all kinds

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Speaker 2: of great monsters in it. And so that's what I

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Speaker 2: was in the mood for this week, and that led

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Speaker 2: us to the selection of Clash of the Titans, another

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Speaker 2: Harry Housing classic, not directed by Ray Harry Housen, but

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Speaker 2: doing some excellent special effects. We got scorpions, we got

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Speaker 2: an all time say top three gorgon Medusa. Let's see

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Speaker 2: what else is in there. We got to crack in

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Speaker 2: all kinds of good stuff.

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Speaker 1: Yeah. I think it's like eight different stop motion creatures

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Speaker 1: in this, which is about tops for him. I think

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Speaker 1: one million years BC a film of his from nineteen

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Speaker 1: sixty six, or film that he did special effects on.

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Speaker 1: I think that one also had eight different stop motion creatures,

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Speaker 1: So it's a it's quite an onslought. This is a

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Speaker 1: special effects picture, certainly, and it is very interesting to

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Speaker 1: think about in terms of the history of stop motion,

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Speaker 1: the legacy of Ray Harry Housen, because this is we'll

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Speaker 1: discuss this was his last special effects picture. He retired

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Speaker 1: after this, so it's it's really his swan song. And

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Speaker 1: it's also very interesting to look at Clash of the

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Speaker 1: Titans as kind of the the perfection of a cinematic

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Speaker 1: style or technique that was also already going out of

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Speaker 1: fashion a little bit. I mean, this wouldn't be the

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Speaker 1: end of stop motion effects. We have some fabulous stop

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Speaker 1: motion effects that had come out in pictures after this,

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Speaker 1: and a lot of that has to do with the

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Speaker 1: legacy of Harry Howsen and how influential he was on

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Speaker 1: other effects folks. But but yeah, this was this was

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Speaker 1: his swan song. This is kind of this film, whatever

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Speaker 1: else it happens to be, it is kind of an

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Speaker 1: important effects historical marker.

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Speaker 2: I was trying to think before we started recording about

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Speaker 2: why I love stop motion effects so much for the

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Speaker 2: creation of monsters in particular, and I think it has

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Speaker 2: something to do with actual artifacts of like how the

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Speaker 2: the animation is produced, you know, adding in these still

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Speaker 2: frames in sequence to to create the illusion of motion,

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Speaker 2: the fact that it's not capturing something that was in

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Speaker 2: reality when being filmed in continuous motion, the way that

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Speaker 2: say people are when you film them, but was actually

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Speaker 2: holding still in each still frame, ends up creating this

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Speaker 2: kind of unnatural lack of smoothness in the motion, this

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Speaker 2: kind of jerkiness that I think some people have singled

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Speaker 2: out about stop motion effects, you know, in a detrimental

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Speaker 2: way and saying like, well, you know, it takes away

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Speaker 2: from the realism, Like there's always limitations to what you

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Speaker 2: can do with stop motion because of that kind of jerkiness.

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Speaker 2: But it's exactly that quality that I love about them

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Speaker 2: and why I think they make for uncanny creatures, especially

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Speaker 2: they're they're really great, especially for monsters and uncanny creatures.

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Speaker 1: Oh, absolutely, something about the way they're articulated. It worked

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Speaker 1: really well with It works really well with say giant

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Speaker 1: crabs and things like that, you know, in and a

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Speaker 1: racknets that have that kind of articulation works extremely well.

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Speaker 1: Like you said with inhuman monsters, reanimated the skeletons, of course,

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Speaker 1: was that Jason and the Argonauts that had the army

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Speaker 1: of reanimated skeletons.

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Speaker 2: Yes, I think that's in Jason, But there are also

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Speaker 2: some reanimated skeleton monsters in Sinbad and the Eye at

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Speaker 2: the Tiger. I remember there's a great battle with them

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Speaker 2: where I think Sindbad ends up killing them by like

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Speaker 2: kicking over a giant pile of timber of logs and

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Speaker 2: they like roll down and crush the skeletons.

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Speaker 1: Yeah. And at the same time, though, with Harry Housen especially,

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Speaker 1: I mean he and his crew were brave enough to

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Speaker 1: go after creatures that were far different from this, things

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Speaker 1: like as we'll see in this film, a pegasus, a

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Speaker 1: large vulture, things that don't adhere to these qualities and seem,

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Speaker 1: at least to my eye, far more ambitious, especially especially

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Speaker 1: that pegasus. Really ambitious effect that they went for there,

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Speaker 1: and I think they pulled it off well.

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Speaker 2: Yeah, I mean so exactly the same quality that I

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Speaker 2: think makes stop motion great for monsters, I think would

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Speaker 2: make it hard to do a really cute, cuddly character.

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Speaker 2: In stop motion it would be might be a little

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Speaker 2: off putting, but this movie manages it with Bubo, and

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Speaker 2: it maybe helps that Bubo is a robot.

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Speaker 1: Yeah, I mean, I don't know if I want to

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Speaker 1: cuddle him, but he's very cute. It has a lot

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Speaker 1: of personality.

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Speaker 2: Yeah, you might get some cuts and pinches that way.

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Speaker 1: He might be a little hot, I mean yeah, considering

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Speaker 1: where it came from too.

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Speaker 2: So nineteen eighty one Clash of the Titans. Why is

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Speaker 2: it called Clash of the Titans? Do you know the

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Speaker 2: answer to this? I don't.

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Speaker 1: I don't have the you know, the exact answer. A

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Speaker 1: lot of times, you know, it's like, well the producer

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Speaker 1: said it should be called this, or sometimes it's the

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Speaker 1: It is the original title that was dreampt up. But

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Speaker 1: it's always been kind of a perplexing title because if

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Speaker 1: you're going into this film with a pre existing, you know,

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Speaker 1: head full of Greek myth facts, you're probably gonna say,

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Speaker 1: WHOA hold on a minute, there are no Titans in

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Speaker 1: this picture. There are no Titans two clash, how is

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Speaker 1: it possibly going to deliver on the concept? And well, technically,

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Speaker 1: I guess titans do clash in the picture, as long

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Speaker 1: as you're willing to stretch the definition of titan and

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Speaker 1: really embrace everything the movie tells you.

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Speaker 2: I just watched it, and I don't know what you're

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Speaker 2: talking to. I only recall the one they called the

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Speaker 2: crack in a titan, But what's the other titan?

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Speaker 1: They decide that Medusa is a titan as well, oh,

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Speaker 1: which is also is also incorrect, equally incorrect, even though

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Speaker 1: at least Medusa is from Greek mythology while the Cracking

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Speaker 1: is Norse mythology. So if you take their word for it, okay,

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Speaker 1: technically these titans will sort of clash. But yeah, it's

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Speaker 1: a it's a strange title, but it's a dynamic title.

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Speaker 1: It inspires a lot of action, and we do see

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Speaker 1: a lot of action in the picture.

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Speaker 2: Well. To be fair, I recall when we did our

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Speaker 2: episodes on Medusa, there were different origins stories for Medusa.

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Speaker 2: So some say that she was, you know, the priestess

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Speaker 2: who was wronged by Poseidon and then and then doubly

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Speaker 2: wronged by Athena and cursed. Was it Athena? I think

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Speaker 2: it was Athena anyway, But then there's there's another story.

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Speaker 2: I think that says that she's just sort of one

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Speaker 2: of the primordial monsters that was given birth to by

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Speaker 2: some other combination of critters.

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Speaker 1: Yeah, I mean, as is always the case, And we've

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Speaker 1: discussed some unstuff toable your mind a lot. With myths,

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Speaker 1: I mean, there's there's there's Generally there may be famous

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Speaker 1: accounts and famous attempts to sort of create a canonical

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Speaker 1: version of a particular story, but generally there are lots

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Speaker 1: of different stories regarding these these beings and these these

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Speaker 1: stories and these gods and goddesses and heroes, and then

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Speaker 1: at some point somebody comes along and kind of cobbles

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Speaker 1: them together, and ultimately, I mean that's what a film

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Speaker 1: like Clash of the Titans does. It cobbles them together

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Speaker 1: and takes characters from other myth cycles, other traditions, and

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Speaker 1: other cultures and works them into the mix, which all

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Speaker 1: so is exactly what has been done in mythology and

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Speaker 1: folklore and religion since time out of mind.

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Speaker 2: Yes, And I guess that's one of the really fun

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Speaker 2: things about say Greek mythology, for instance, which is that

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Speaker 2: there is no canon of Greek mythology. You know, Greek

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Speaker 2: mythology never had like a pope that could say like, Okay,

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Speaker 2: this is the approved version of the story, and other

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Speaker 2: versions of the story are not authoritative, that didn't exist,

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Speaker 2: So you've just always had different versions of the stories,

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Speaker 2: different takes on these characters and themes, and so this

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Speaker 2: is another one.

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Speaker 1: Yeah. Yeah, Like we we mentioned in our episodes on

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Speaker 1: the Medusa several years back, and if you want a

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Speaker 1: deep dive into Medusa or a deeper dive into Medusa mythology,

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Speaker 1: like that's the place to go. We're not going to

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Speaker 1: spend as much time with it here. But you know,

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Speaker 1: in that we point out that it's you see literary

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Speaker 1: traditions regarding these these stories and these characters, and then

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Speaker 1: it's just like whatever ends up sticking in people's minds

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Speaker 1: the most. And interestingly enough, I remember one of the

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Speaker 1: authors we looked at for the Medusa episodes point out

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Speaker 1: doubt that Clash of the Titans presents a version of

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Speaker 1: the Perseus versus Medusa's story that has really stuck in

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Speaker 1: the modern film moviegoer's mind.

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Speaker 2: In some ways, it is a new authoritative version of

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Speaker 2: the myth because of how popular it is.

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Speaker 1: Yeah, or at least for a certain generation. I don't

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Speaker 1: know what. I don't know how people are watching or

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Speaker 1: how often they're watching Clash of the Titans today, But

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Speaker 1: growing up watching a lot of like TBS and TNT

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Speaker 1: on cable, I feel like they showed this movie every week.

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Speaker 1: It was just always on television. You could always watch

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Speaker 1: some part of Clash of the Titan. You might not

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Speaker 1: ever watch it beginning to end, but you know, you

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Speaker 1: spend a few years watching television, you're going to see

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Speaker 1: all of it at least two or three times, even

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Speaker 1: if you're just catching a little bits of it.

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Speaker 2: You know, I actually never saw the whole thing until

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Speaker 2: I was older.

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Speaker 1: Well, I say I didn't see all of it always,

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Speaker 1: or I thought I had, And then when I went

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Speaker 1: to watch it with my years back, I was like, Oh,

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Speaker 1: I didn't realize there was so much nudity in this

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Speaker 1: film because that was always cut from the Turner broadcast.

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Speaker 1: Oh yeah, I mean it's very tame nudity. It's like

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Speaker 1: PG rated nudity, but there is a little bit of

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Speaker 1: nudity in there. You know.

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Speaker 2: One thing I definitely would not have appreciated if I

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Speaker 2: had seen this movie when I was younger, is what

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Speaker 2: a treasure trove the cast is or I don't know

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Speaker 2: if it should even say that the full cast. I mean,

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Speaker 2: this movie is full of things you might call cameos

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Speaker 2: where a well known actor or actresses is brought in

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Speaker 2: to have like I don't know, like one or two lines,

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Speaker 2: or even no lines, just be on screen.

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Speaker 1: Yeah, there are actors who do get a fair amount

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Speaker 1: of screen time in this film and have some great lines,

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Speaker 1: and then the yeah, there are others that are just

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Speaker 1: kind of standing around or they have just just a

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Speaker 1: few moments on screen. So, yeah, this is gonna be

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Speaker 1: one where we might not spend as much time with

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Speaker 1: every member of the cast, but we'll try and mention

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Speaker 1: everybody of note as we move forward towards the plot section.

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Speaker 1: But before we get there, I guess we should make

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Speaker 1: up just a couple of notes here. Well, first, let's

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Speaker 1: go ahead and listen to the trailer so we can

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Speaker 1: get just a splash of the audio from Clash of

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Speaker 1: the Titans.

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Speaker 4: In an ancient age before recorded time, men were measured

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Speaker 4: by their courage and women by their beauty. Mighty gods

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Speaker 4: ruled the universe, and fear and destruction covered the world.

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Speaker 4: It was a time of darkness when only the force

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Speaker 4: of love could bring back the light. Now Metro Goldwyn

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Speaker 4: Mayer presents Clash of the Titans a sweeping ledger of

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Speaker 4: a golden age. Soon the motion picture epic of our time.

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Speaker 4: Enter into the wondrous world of Perseus and Andromeda. A

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Speaker 4: world of passion and power, beauty and bravery, mystery and magic,

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Speaker 4: a world that transcends fantasy and leaps into legend. One

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Speaker 4: courageous man rides between an angry heaven and the fury

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Speaker 4: of hell on Earth. He rides a winged stallion across

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Speaker 4: the sky. He rides to save the one who owns

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Speaker 4: his heart. He rides towards wonders no man has ever seen,

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Speaker 4: and terrors no man has ever faced. Clash of the Titans,

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Speaker 4: starring Laurence Olivier, Maggie Smith, Ursula andres Burgis, Meredith Claire

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Speaker 4: Bloom and introducing Harry Hamlin as Perseus and Judy Balker

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Speaker 4: as Andromeda. It will touch you, shock you, dazzle your senses,

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Speaker 4: and sweep you to the limits.

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Speaker 2: Of your imagination.

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Speaker 4: Clash of the Titans.

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Speaker 1: Very sweeping, very very mythic, very nineteen eighty one.

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Speaker 2: I think the trailer should have had Jefferson starship in it.

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Speaker 1: It's important to note, and this is I mean, you

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Speaker 1: can't approach this film without realizing that it of course

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Speaker 1: comes out in the wake of Star Wars, the massive

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Speaker 1: hit with Star Wars comes a few years later. There

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Speaker 1: are aspects of the picture that are clearly going after

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Speaker 1: that Star Wars money, kind of going after that Star

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Speaker 1: Wars vibe.

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Speaker 2: I had the same thought, and one of the things

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Speaker 2: that really jumped out at me was the character of Bubo,

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Speaker 2: the robotic owl created by Hephaistus, modeled on the organic

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Speaker 2: owl of Athena. This struck me as obviously R two

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Speaker 2: D two with wings. Did you have the same thought.

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Speaker 1: Oh, yeah, absolutely, It's clearly an attempt to cash in

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Speaker 1: on that droid magic. It even speaks like a droid.

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Speaker 1: It kind of speaks in its own kind of like

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Speaker 1: droid whirls and beeps and so forth. And we also

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Speaker 1: get to the point where Perseus can understand the owl

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Speaker 1: when it's speaking to him, and so we get these

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Speaker 1: kind of like human droid interactions like we see in

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Speaker 1: Star Wars.

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Speaker 2: Yes, and I also thought Perseus in this movie seemed

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Speaker 2: to me strongly influenced by Luke Skywalker.

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Speaker 1: Yeah, but without that sort of I don't know, definitely

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Speaker 1: some different Like it's kind of it's weird to go

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Speaker 1: back and look at at Luke in the first Star

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Speaker 1: Wars film and decide how you feel about him, because

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Speaker 1: he's more flawed and relatable, you know, he's like a

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Speaker 1: kind of yeah, a grumpy, he's a grumpy team and

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Speaker 1: Perseus is the son of a god who gets a

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Speaker 1: lot of stuff handed to him, and so Percus spends

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Speaker 1: a lot of the film not being particularly relatable, I think,

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Speaker 1: but we can discuss that as we move forward.

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Speaker 2: I mean, I think it's kind of a problem that

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Speaker 2: exists in the core myth like unlike Luke Skywalker, he

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Speaker 2: doesn't have that sense of lacking and yearning, you know,

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Speaker 2: he's just grated everything from the get go.

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Speaker 1: Yeah, all right, before we move forward, if you're wanting

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Speaker 1: to watch this film for yourself, well, where can you

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Speaker 1: find it? Well, first of all, make sure you put

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Speaker 1: that nineteen eighty one in there, because otherwise you can

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Speaker 1: end up watch and the remake. I think the remake

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Speaker 1: comes up first in search, but that's a crime.

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Speaker 2: I haven't even seen it. I don't know why I

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Speaker 2: judge that I just know without watching it that it's awful.

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Speaker 1: All I can say for it is that you have

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Speaker 1: computer animated monsters instead of stop motion monsters. You have

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Speaker 1: what a lemon Essen is in it, and so is

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Speaker 1: uh Ray Findes is in it as well. He plays Hades,

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Speaker 1: who isn't in the Hades doesn't factor into this one,

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Speaker 1: but he pops up in the remake, and so they're fine.

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Speaker 1: You have those are two great actors. Put them in

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Speaker 1: some shiny and weird armor and they're they're they're cool.

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Speaker 1: But then there's also like a scene where the new

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Speaker 1: Perseus finds a robotic owl in like a trash can

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Speaker 1: or something and he's like no, thank you and like

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Speaker 1: shuts it, and it's like, yeah, it's clearly it has

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Speaker 1: the the opinion that it doesn't need to be cute

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Speaker 1: and impressive and needs just to be like it just

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Speaker 1: needs to be like hard and an action packed.

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Speaker 2: So I don't know.

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Speaker 1: I I think I enjoyed it when I watched it,

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Speaker 1: and it's worth watching Dreguess for a couple of performances,

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Speaker 1: but it's not as fun and touchable as this film.

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Speaker 2: Love, a CGI laden remake that just gets in some

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Speaker 2: digs at the old movie.

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Speaker 1: Yeah, I think that was the main dig but it

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Speaker 1: was like, yeah, I didn't. It rubbed me the wrong

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Speaker 1: way for sure. Yeah. So where can you watch this

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Speaker 1: film if you want to watch it? Well, if what

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Speaker 1: I know for my own experience is still true, I

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Speaker 1: would say turn on TBS now, go ahead and flip

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Speaker 1: the TNT whichever channel it's on, go ahead and watch

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Speaker 1: it there. But if it's not available to you on

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Speaker 1: television right now, you can rent or buy this pretty

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Speaker 1: much anywhere in any way that you get your films.

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Speaker 2: This is not one of our more obscure choices. It's

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Speaker 2: out there.

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Speaker 1: All right. Well, let's jump into the humans involved. I'm

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Speaker 1: gonna do things a little different here and I'm just

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Speaker 1: going to hit all the behind the scenes folks right

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Speaker 1: at the top. So the director of this is Desmond Davis,

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Speaker 1: who lived nineteen twenty six through twenty twenty one, British

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Speaker 1: camera operator turned writer and director. His first directorial credit

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Speaker 1: was nineteen sixty four's Girl with Green Eyes, starring Peter

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Speaker 1: Finch and Rita Tushingham. One of his immediate follow ups

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Speaker 1: was nineteen sixty six Is Time Lost and Time Remembered

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Speaker 1: aka I Was Happy There and nineteen sixty seven Smashing Time.

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Speaker 1: The first two of these at least seemed to be

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Speaker 1: like really well remembered, at least within their own genre.

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Speaker 4: You know.

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Speaker 1: I think it's kind of maybe a snapshot of kind

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Speaker 1: of like, you know, really cool sixties London type of stuff.

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Speaker 1: He also directed the nineteen eighty four Donald Sutherland thriller

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Speaker 1: Ordeal by Innocence, and then an adaptation of the Sherlock

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Speaker 1: Holmes tale The Sign of Four starring Ian Richardson in

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Speaker 1: nineteen eighty three. He also did a lot of TV work.

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Speaker 2: I don't think I've seen any of that.

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Speaker 1: Yeah, I'm certainly haven't seen the older pictures. I might

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Speaker 1: have seen the Sign of Four. I'm not sure. I'd

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Speaker 1: have to go back and really look at some screenshots.

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Speaker 2: Who's Sherlock in that one? Is? Is that a Jeremy

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Speaker 2: Brett movie?

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Speaker 1: I believe it's an Ian Richardson. Oh you already said that.

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Speaker 1: I'm sorry, Yeah, Jeremy Brett. All of those were for TV,

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Speaker 1: and they did the Sign of Four at one point.

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Speaker 1: All right. The writer on this is Beverly Cross, who

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Speaker 1: have nineteen thirty one through nineteen ninety eight English playwright

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Speaker 1: and screenwriter longtime husband of actor Maggie Smith, who is

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Speaker 1: also in this picture. Until his death. His screenplays include

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Speaker 1: nineteen sixty three's Jason and the Argonauts, nineteen sixty five's

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Speaker 1: Genghis Khan starring Omar Sharif in nineteen seventy seven Sinbad

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Speaker 1: and the Eye of the Tiger or in the Eye

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Speaker 1: of the Tiger. I can't remember what his relationship to

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Speaker 1: the yet.

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Speaker 2: I don't think they could fit him in the Eye

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Speaker 2: of the Time. No, yeah, it's and of the Eye

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Speaker 2: of the Tiger again. That movie is incredibly dopey, some

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Speaker 2: very questionable casting decisions, but it's also a heck of

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Speaker 2: a lot of fun. It's got great monsters and all that.

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Speaker 1: Creator of visual effects on this and also a producer

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Speaker 1: of the film is Ray Harry Housen, who we mentioned

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Speaker 1: already lived nineteen twenty through twenty thirteen. You know, I

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Speaker 1: believe this is our first Harry Housen film.

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Speaker 2: I know he's come up on the show before, but

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Speaker 2: I don't remember what movie that was. In the context

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Speaker 2: of maybe we were just talking about something else that'd

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Speaker 2: stop motion in it. But oh man, I literally get

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Speaker 2: warm feelings inside just hearing the name Ray Harry Housen,

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Speaker 2: like it sends those kind of like those jets of

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Speaker 2: warm water through my chest.

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Speaker 1: Well, yeah, it even kind of sounds like it, right, Housen,

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Speaker 1: you're a you're at home and Harry, it's kind of

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Speaker 1: like rubbed the fur.

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Speaker 2: Right, yes, yes, yeah.

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Speaker 1: So if you have it, ever been into movie monsters

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Speaker 1: and special effects, then you know the name. He was

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Speaker 1: an American British Oscar winning animator and special effects creator

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Speaker 1: who is a major pioneer in the industry and created

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Speaker 1: the dynamation approach to stop motion. I remember talking with

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Speaker 1: Seth about this on one of the Weird Houses that

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Speaker 1: he appeared on, probably the probably the one we were

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Speaker 1: talking about Alice. But it seems like everybody that did

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Speaker 1: stop motion they had some sort of cool name for

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Speaker 1: it that wasn't stop motion. Almost like there was a

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Speaker 1: rejection of the term stop motion, like it sounded too

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Speaker 1: boring or something, or maybe they just, you know, just

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Speaker 1: needed something you can copyright to call it. I don't

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Speaker 1: know anyway. Harry Housen's credits, You know, I usually don't

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Speaker 1: list everything. I'm just going to go and list I

403
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Speaker 1: think all the major films that he did here forty nine,

404
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Speaker 1: Mighty Joe Young fifty three, The Beast from twenty thousand

405
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Speaker 1: fathoms fifty five It came from beneath the Sea fifty six,

406
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Speaker 1: The Animal World also in fifty six, Earth versus the

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Speaker 1: Flying Saucers fifty seven, twenty million Years to Earth fifty eight,

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Speaker 1: The Seventh Voyage of the Sinbad nineteen sixty, The Three

409
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Speaker 1: Worlds of Gulliver nineteen sixty one, Mysterious Island that has

410
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Speaker 1: got a Yeah, sixty three, Jason and the Argonaut sixty four,

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Speaker 1: First Men in the Moon one million years BC in

412
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Speaker 1: sixty six, The Valley of Guangy in sixty nine, The

413
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Speaker 1: Golden Voyage of Sinbad in seventy three, Sinbad and the

414
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Speaker 1: Eye of the Tiger in nineteen seventy seven, and then

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Speaker 1: wraps it all up in eighty one with Clash of

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Speaker 1: the Titans.

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Speaker 2: We may have to come back and do at least

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Speaker 2: one of these other ones at some point, because I

419
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Speaker 2: just love these monsters so much.

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Speaker 1: Oh yeah, yeah, there's so many just iconic monster designs.

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Speaker 1: They have so much character to them, and you've missed

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Speaker 1: that kind of thing when you're watching something like the

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Speaker 1: luf Riigno Hercules movie that we covered, which is a

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Speaker 1: very fine, very very exciting picture, but with the stop

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Speaker 1: motion and that doesn't hold a candle to this.

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Speaker 2: That one did have some great visual flare, but yeah,

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Speaker 2: not so much. In the Monsters. Yeah, who is that

428
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Speaker 2: character who is like, oh, I don't know, some kind

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Speaker 2: of like wizard who lived down on an asteroid or something.

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Speaker 1: Oh, it's what's like supposed to be datalist?

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Speaker 2: Right?

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Speaker 1: Oh? Yeah?

433
00:23:01,440 --> 00:23:01,639
Speaker 4: Is it?

434
00:23:01,880 --> 00:23:02,400
Speaker 2: Maybe?

435
00:23:02,760 --> 00:23:03,200
Speaker 1: Yeah?

436
00:23:03,240 --> 00:23:03,840
Speaker 2: That was great?

437
00:23:05,960 --> 00:23:08,520
Speaker 1: All right, real quickly. The music in this is by

438
00:23:08,600 --> 00:23:12,480
Speaker 1: Lawrence Rosenthal born nineteen twenty six, prolific Oscar nominated in

439
00:23:12,560 --> 00:23:15,680
Speaker 1: Any winning composer who worked in TV, film, and stage.

440
00:23:16,000 --> 00:23:18,040
Speaker 1: His film scores include A Raisin in the Sun, The

441
00:23:18,080 --> 00:23:21,520
Speaker 1: Miracle Worker Beckett, and the nineteen seventy seven adaptation of

442
00:23:21,600 --> 00:23:25,040
Speaker 1: the Island of Doctor Moreau. Father of noted stem cell

443
00:23:25,160 --> 00:23:30,320
Speaker 1: scientist Professor Nadia Rosenthal. The music in this is very

444
00:23:30,720 --> 00:23:33,359
Speaker 1: epic and sweeping, and you know, it does its shop.

445
00:23:33,440 --> 00:23:34,160
Speaker 1: What can you say?

446
00:23:34,560 --> 00:23:36,199
Speaker 2: All right now when it comes to the cast, this

447
00:23:36,280 --> 00:23:38,520
Speaker 2: is going to be the story of Perseus and Medusa.

448
00:23:39,160 --> 00:23:41,840
Speaker 2: So Perseus, you gotta have you a fresh hunk, right,

449
00:23:42,080 --> 00:23:44,800
Speaker 2: I mean, no, no, old hunks will do yep.

450
00:23:44,880 --> 00:23:47,880
Speaker 1: And the fresh one they had here was Harry Hamlin.

451
00:23:48,640 --> 00:23:50,720
Speaker 1: I believe the credits are the credits of the trailer

452
00:23:50,760 --> 00:23:53,800
Speaker 1: for get what jof Han say and introducing Harry Hamlin.

453
00:23:53,920 --> 00:23:55,800
Speaker 2: Just removed from his original packaging.

454
00:23:57,760 --> 00:23:59,399
Speaker 1: And you know, as is often the case, it kind

455
00:23:59,400 --> 00:24:01,480
Speaker 1: of feels that way. With the performance. I mean, he's

456
00:24:01,480 --> 00:24:05,159
Speaker 1: good in this, but and to be fair, he's playing Perseus,

457
00:24:06,520 --> 00:24:09,400
Speaker 1: a hero, a son of a god, so there are

458
00:24:09,920 --> 00:24:11,880
Speaker 1: how do you play that in a way that's relatable.

459
00:24:11,880 --> 00:24:15,439
Speaker 1: I mean, I think various shows where I've seen someone

460
00:24:15,480 --> 00:24:18,600
Speaker 1: portraying Perseus, and but Perseus is it's kind of a

461
00:24:18,600 --> 00:24:21,359
Speaker 1: big lift to make this feel like a real person.

462
00:24:22,000 --> 00:24:24,119
Speaker 1: So Harry Hamlin does as fine a job as you

463
00:24:24,200 --> 00:24:24,840
Speaker 1: might expect.

464
00:24:25,320 --> 00:24:28,560
Speaker 2: Yeah, I mean, I'm gonna be honest, and I'm gonna say,

465
00:24:28,800 --> 00:24:31,399
Speaker 2: especially because I can say good things about his later career,

466
00:24:31,480 --> 00:24:34,240
Speaker 2: I don't think his acting is stellar in this movie.

467
00:24:34,320 --> 00:24:37,200
Speaker 2: He's kind of a slab. He like, he stands there

468
00:24:37,240 --> 00:24:39,639
Speaker 2: and he's handsome and ooh, look at his shoulders and

469
00:24:39,680 --> 00:24:42,760
Speaker 2: all that. He does not really do a great job

470
00:24:42,800 --> 00:24:45,440
Speaker 2: of acting, I will say, but in his later career

471
00:24:45,480 --> 00:24:47,360
Speaker 2: he did lots of stuff where I thought he was great.

472
00:24:47,400 --> 00:24:50,360
Speaker 2: He was great in Madmen, he was great on Veronica Mars.

473
00:24:50,440 --> 00:24:54,280
Speaker 2: You know, I don't know what. I guess he was

474
00:24:54,320 --> 00:24:55,120
Speaker 2: just very young here.

475
00:24:55,560 --> 00:24:57,920
Speaker 1: Oh yeah, I mean, undoubtedly he was very young. I

476
00:24:57,960 --> 00:24:59,879
Speaker 1: think he'd only been I think he'd done some stage.

477
00:25:00,480 --> 00:25:05,760
Speaker 1: He'd had one movie appearance before this. But yeah, went

478
00:25:05,760 --> 00:25:08,840
Speaker 1: on to be known more for again mad Men. He

479
00:25:08,960 --> 00:25:11,640
Speaker 1: was in La Law for the first five seasons of that.

480
00:25:13,280 --> 00:25:16,040
Speaker 1: I would say that I'll come back to this, but

481
00:25:16,080 --> 00:25:18,879
Speaker 1: I think there's one sequence in the film where his

482
00:25:19,680 --> 00:25:23,679
Speaker 1: performance is definitely better than the rest of the picture,

483
00:25:24,800 --> 00:25:27,280
Speaker 1: and I think it's also the best sequence in the

484
00:25:27,359 --> 00:25:30,760
Speaker 1: entire film, So we'll discuss in a bit. But he

485
00:25:30,800 --> 00:25:33,280
Speaker 1: also has some interesting science connections as well. I didn't

486
00:25:33,320 --> 00:25:37,560
Speaker 1: know about this, but his grandfather, Chauncey Jerome Hamlin, founded

487
00:25:37,560 --> 00:25:42,000
Speaker 1: the Buffalo Museum of Science, and his father, Chauncey Jerome

488
00:25:42,000 --> 00:25:45,119
Speaker 1: Hamlin Junior, was an aeronautical engineer who helped design the

489
00:25:45,160 --> 00:25:49,720
Speaker 1: Saturn rocket with doctor Verner von Braun. And yeah, Harry

490
00:25:49,800 --> 00:25:53,520
Speaker 1: himself apparently co founded the Fusion Power Company or co

491
00:25:53,560 --> 00:25:57,920
Speaker 1: founded the Fusion Power Company TAE Technologies in nineteen ninety eight.

492
00:25:58,200 --> 00:26:02,840
Speaker 2: Wow, So yeah, not know he had fusion power connections.

493
00:26:02,960 --> 00:26:06,280
Speaker 1: I had no idea either, but it's listed in more

494
00:26:06,320 --> 00:26:07,760
Speaker 1: than one place, so I don't think I'm just being

495
00:26:07,760 --> 00:26:10,399
Speaker 1: scammed on that. All right, Let's see other mortals of

496
00:26:10,480 --> 00:26:14,360
Speaker 1: note in the picture. Well, Sean Phillips born nineteen thirty three,

497
00:26:14,440 --> 00:26:15,760
Speaker 1: isn't it as Cassiopeia?

498
00:26:16,040 --> 00:26:19,879
Speaker 2: Okay, so she's playing the queen of the City of Joppa,

499
00:26:20,000 --> 00:26:22,720
Speaker 2: the mother of Princess Andromeda.

500
00:26:22,680 --> 00:26:25,600
Speaker 1: Right right. And Sean Phillips is notable because well, I

501
00:26:25,640 --> 00:26:29,240
Speaker 1: mean she was Reverend Mother Gaya's Helen Mohiam and David

502
00:26:29,280 --> 00:26:32,040
Speaker 1: Lynch's Dune in nineteen eighty four, and she was also

503
00:26:32,200 --> 00:26:35,440
Speaker 1: the Witch of Indoor in Ewok's The Battle for Indoor

504
00:26:35,680 --> 00:26:38,920
Speaker 1: in nineteen eighty five. Terrific. In both of those, she's

505
00:26:39,080 --> 00:26:41,680
Speaker 1: a fun actor. Even if she doesn't she does get

506
00:26:41,680 --> 00:26:44,880
Speaker 1: to be a little like she does like a stern

507
00:26:47,000 --> 00:26:51,440
Speaker 1: sort of female mild villain role really well, you know,

508
00:26:51,560 --> 00:26:54,119
Speaker 1: like she has that definite sternness to it because in

509
00:26:54,160 --> 00:26:56,800
Speaker 1: this she's like, Okay, I will sacrifice my daughter to

510
00:26:56,840 --> 00:26:59,239
Speaker 1: the kraken. It's what the gods want, so I'm going

511
00:26:59,280 --> 00:26:59,640
Speaker 1: to do it.

512
00:27:00,040 --> 00:27:03,560
Speaker 2: And Before that, there's a scene where she earns the

513
00:27:03,600 --> 00:27:08,560
Speaker 2: wrath of Maggie Smith by just standing in front of

514
00:27:08,600 --> 00:27:12,479
Speaker 2: a statue of Maggie Smith of the Goddess Thetis, and

515
00:27:12,560 --> 00:27:15,320
Speaker 2: just being like, by the way, my daughter who's about

516
00:27:15,359 --> 00:27:18,000
Speaker 2: to have her wedding day is more beautiful than the

517
00:27:18,040 --> 00:27:20,439
Speaker 2: goddess I'm standing in front of right now. And of

518
00:27:20,480 --> 00:27:23,240
Speaker 2: course then the ground begins to shake and all that.

519
00:27:23,400 --> 00:27:25,200
Speaker 2: So bad call, bad call.

520
00:27:25,440 --> 00:27:27,480
Speaker 1: Yes, So she's a lot of fun in the picture.

521
00:27:28,000 --> 00:27:32,480
Speaker 1: Judy Bockner plays and drama. Born nineteen fifty four, English actor,

522
00:27:32,520 --> 00:27:34,440
Speaker 1: probably best known for this film, but she was also

523
00:27:34,440 --> 00:27:37,840
Speaker 1: in the nineteen seventy seven Luis Jardin Dracula movie and

524
00:27:37,960 --> 00:27:41,160
Speaker 1: Franco Zephyrelli's brother son Sister Moon in seventy two.

525
00:27:41,400 --> 00:27:44,960
Speaker 2: Okay, so she plays Andromeda, the princess of the City

526
00:27:45,000 --> 00:27:49,760
Speaker 2: of Jappa, who in the original story she's rescued by Perseus.

527
00:27:49,760 --> 00:27:52,000
Speaker 2: Though I like how in this version of the story

528
00:27:52,240 --> 00:27:55,119
Speaker 2: there's more of a complicated backstory with the whole you know,

529
00:27:55,160 --> 00:27:59,800
Speaker 2: her previous betrothal to what's his name, Calibos and all

530
00:27:59,840 --> 00:28:01,160
Speaker 2: that that we'll get to in a bit.

531
00:28:01,400 --> 00:28:03,880
Speaker 1: All right, one, Well, there are two more mortals of note,

532
00:28:03,920 --> 00:28:07,240
Speaker 1: but the most important mortal to discuss here is Amon,

533
00:28:07,720 --> 00:28:11,000
Speaker 1: who is what's supposed to be a like a Greek

534
00:28:11,080 --> 00:28:15,000
Speaker 1: dramatist turned sort of. I don't know. He's just up

535
00:28:15,000 --> 00:28:16,679
Speaker 1: for adventures, right, He's kind of a rogue.

536
00:28:16,720 --> 00:28:19,480
Speaker 2: I guess, I guess, yeah, yeah, yeah, I mean I

537
00:28:19,560 --> 00:28:23,000
Speaker 2: interpreted him as I guess, a fictionalized version of Escalus

538
00:28:23,160 --> 00:28:23,640
Speaker 2: or something.

539
00:28:23,880 --> 00:28:26,880
Speaker 1: Yeah. Yeah, I guess. He's kind of a bard, kind

540
00:28:26,880 --> 00:28:28,960
Speaker 1: of the bard of the party here. And he is

541
00:28:29,080 --> 00:28:33,080
Speaker 1: played by the terrific American actor of theater, film, and television,

542
00:28:33,160 --> 00:28:36,879
Speaker 1: Burgess Meredith of nineteen o seven through nineteen ninety seven.

543
00:28:37,119 --> 00:28:39,360
Speaker 2: You gotta fight the Gorgan Rock You gotta fight.

544
00:28:39,200 --> 00:28:43,240
Speaker 1: Out, that's right. Many people will know him best for

545
00:28:43,320 --> 00:28:46,240
Speaker 1: his role as the coach Mickey Goldmill in the Rocky franchise,

546
00:28:46,320 --> 00:28:49,600
Speaker 1: or at least the first three pictures, but he was

547
00:28:49,640 --> 00:28:52,000
Speaker 1: in so many things, like he played the penguin in

548
00:28:52,040 --> 00:28:56,960
Speaker 1: the nineteen sixties TV series Batman. One of his other

549
00:28:57,120 --> 00:29:01,000
Speaker 1: really iconic roles is playing the character Henry Demas in

550
00:29:01,040 --> 00:29:03,960
Speaker 1: the classic Twilight Zone episode Time Enough at Last. This

551
00:29:04,080 --> 00:29:06,920
Speaker 1: is the one about the guy who survives the apocalypse

552
00:29:07,320 --> 00:29:13,480
Speaker 1: and then he survives the destruction of humanity and all lenses,

553
00:29:14,960 --> 00:29:16,920
Speaker 1: and then he thinks he gets to read all the

554
00:29:16,920 --> 00:29:19,000
Speaker 1: books in the library, but then he breaks his glasses

555
00:29:19,000 --> 00:29:21,480
Speaker 1: and it's like, oh, the tragedy, and you know, it's great,

556
00:29:22,080 --> 00:29:25,560
Speaker 1: but it's a famous episode.

557
00:29:26,320 --> 00:29:28,440
Speaker 2: I was just trying to remember what happens to his

558
00:29:28,560 --> 00:29:31,120
Speaker 2: character at the end of his arc in the Rocky movies,

559
00:29:31,120 --> 00:29:35,040
Speaker 2: and I think, unless I'm remembering wrong, that in Rocky three,

560
00:29:35,280 --> 00:29:38,000
Speaker 2: mister t is so rude to him that he like

561
00:29:38,040 --> 00:29:39,640
Speaker 2: has a heart attack and dies.

562
00:29:40,040 --> 00:29:45,120
Speaker 1: Oh my god, really something like that. Well, like I said,

563
00:29:45,120 --> 00:29:46,920
Speaker 1: he was in tons of stuff. I'm not going to

564
00:29:46,960 --> 00:29:49,920
Speaker 1: try and list anywhere near all of it here, but

565
00:29:49,960 --> 00:29:52,440
Speaker 1: I will say he's in nineteen eighty five Santa Claus

566
00:29:52,480 --> 00:29:57,080
Speaker 1: the movie. On top of some other things. He's he's

567
00:29:57,080 --> 00:30:00,200
Speaker 1: a tremendous actor, and he's terrific in this film. So

568
00:30:00,280 --> 00:30:02,440
Speaker 1: this is a film that features a lot of exposition,

569
00:30:03,680 --> 00:30:06,440
Speaker 1: a young Hank who's very green, and then a lot

570
00:30:06,440 --> 00:30:10,560
Speaker 1: of stoic hero and god speak, you know, but Meredith

571
00:30:11,000 --> 00:30:14,200
Speaker 1: makes you believe virtually every line he delivers. It's kind

572
00:30:14,200 --> 00:30:17,520
Speaker 1: of a masterclass in breathing life into lines that could

573
00:30:17,520 --> 00:30:19,240
Speaker 1: otherwise fall completely flat.

574
00:30:19,600 --> 00:30:22,360
Speaker 2: I agree. Yes, this is a quality we often see

575
00:30:22,520 --> 00:30:27,320
Speaker 2: in older actors and actresses, who like, once you've been

576
00:30:27,480 --> 00:30:30,400
Speaker 2: doing it long enough, you kind of acquire a sort

577
00:30:30,440 --> 00:30:35,440
Speaker 2: of cumulative magic that allows you to transcend the written

578
00:30:35,440 --> 00:30:39,480
Speaker 2: material you're given. I rarely notice this quality in younger actors.

579
00:30:40,320 --> 00:30:42,760
Speaker 1: Yeah, I mean, this is exactly why you bring in

580
00:30:43,120 --> 00:30:46,440
Speaker 1: an older character actor like Burgess Meredith to play a

581
00:30:46,560 --> 00:30:49,160
Speaker 1: role like this and to work with the younger, more

582
00:30:49,440 --> 00:30:52,600
Speaker 1: inexperienced actors and sort of bring something out of them.

583
00:30:52,920 --> 00:30:56,400
Speaker 1: All right. One other mortal of note, and that is

584
00:30:56,640 --> 00:31:01,040
Speaker 1: Tim Pigott Smith who lived nineteen forty six through twenty seventeen.

585
00:31:01,080 --> 00:31:03,800
Speaker 1: He plays Thallow. This is kind of our He's kind

586
00:31:03,840 --> 00:31:07,120
Speaker 1: of like the miscellaneous guard dude that lasts the longest

587
00:31:07,640 --> 00:31:09,480
Speaker 1: in the picture. You know, he's just a member of

588
00:31:09,480 --> 00:31:11,680
Speaker 1: the party. Just he's like the fighter of the party.

589
00:31:12,280 --> 00:31:15,880
Speaker 2: He's a soldier in a big soldier's helmet wearing a

590
00:31:16,360 --> 00:31:18,040
Speaker 2: hilariously short skirt.

591
00:31:19,600 --> 00:31:21,640
Speaker 1: That's the thing I was, you know, I always love

592
00:31:21,720 --> 00:31:26,360
Speaker 1: checking out The IMDb user submitted parental warnings about the picture,

593
00:31:26,920 --> 00:31:29,280
Speaker 1: and one of them was that saying that the the

594
00:31:30,240 --> 00:31:32,880
Speaker 1: star of this film Harry hamlin Is. I think believe

595
00:31:32,880 --> 00:31:37,040
Speaker 1: they said mostly nude the entire picture, and it's likely

596
00:31:37,080 --> 00:31:39,080
Speaker 1: he's not really mostly. I don't know if i'd say

597
00:31:39,120 --> 00:31:41,680
Speaker 1: he's mostly nude, but yes, he, like a lot of

598
00:31:41,920 --> 00:31:43,720
Speaker 1: characters in the film, is you know, often wearing a

599
00:31:43,800 --> 00:31:48,360
Speaker 1: very short outfit. Anyway, Tim Pickott Smith here is the

600
00:31:48,440 --> 00:31:50,440
Speaker 1: kind of actor I'd probably spend more time talking about

601
00:31:50,480 --> 00:31:53,920
Speaker 1: in another picture that's not so loaded, but suffice to say,

602
00:31:53,920 --> 00:31:56,480
Speaker 1: accomplished English actor with a long career on stage, screen

603
00:31:56,520 --> 00:31:58,920
Speaker 1: and TV, and in the later stages of his career

604
00:31:58,920 --> 00:32:00,840
Speaker 1: he appeared in such big partout auctions as Gangs of

605
00:32:00,880 --> 00:32:03,479
Speaker 1: New York from two thousand and two, Alexander from two

606
00:32:03,520 --> 00:32:06,560
Speaker 1: thousand and four, v for Vendetta from two thousand and five,

607
00:32:06,640 --> 00:32:09,120
Speaker 1: and The Quantum of Solace from two thousand and eight.

608
00:32:09,520 --> 00:32:12,160
Speaker 1: All Right, moving on, let's get to some monsters. We

609
00:32:12,280 --> 00:32:17,080
Speaker 1: mentioned Calibos already. This is the tragic beast man villain

610
00:32:17,200 --> 00:32:21,240
Speaker 1: positioned as the son of Thedus instead of Achilles, who's

611
00:32:21,280 --> 00:32:25,680
Speaker 1: actually her son in various Greek myths. But instead this

612
00:32:25,800 --> 00:32:29,320
Speaker 1: character is actually based on Caliban from Shakespeare's The Tempest.

613
00:32:30,120 --> 00:32:34,440
Speaker 2: The Caliban connection makes sense because so while Calibos is

614
00:32:35,880 --> 00:32:37,920
Speaker 2: of course one of the villains of the movie, he

615
00:32:38,280 --> 00:32:41,120
Speaker 2: does a lot of evil and he lashes out for revenge,

616
00:32:42,120 --> 00:32:44,440
Speaker 2: he's also a character like you feel his pain.

617
00:32:45,200 --> 00:32:48,560
Speaker 1: Yeah, And I remember this from watching this movie as

618
00:32:48,560 --> 00:32:51,840
Speaker 1: a kid, even like, I sympathize with Calibos a lot,

619
00:32:51,880 --> 00:32:54,000
Speaker 1: and part of that was like, yeah, he's the monster

620
00:32:54,160 --> 00:32:57,160
Speaker 1: character in a movie full of a lot of humanoid characters.

621
00:32:57,560 --> 00:32:59,800
Speaker 1: But I think also it's just baked into the movie.

622
00:33:00,040 --> 00:33:03,720
Speaker 1: The movie stresses that, yeah, he did some terrible things,

623
00:33:03,720 --> 00:33:07,160
Speaker 1: but also the gods have been potentially unfair to him

624
00:33:07,200 --> 00:33:10,440
Speaker 1: and have punished him with this monstrous transformation.

625
00:33:10,960 --> 00:33:13,240
Speaker 2: There's like a whole scene on Mount Olympus where the

626
00:33:13,280 --> 00:33:15,719
Speaker 2: gods are talking about how, oh, if he'd been the

627
00:33:15,720 --> 00:33:17,800
Speaker 2: son of Zeus and he'd done all the same stuff,

628
00:33:17,800 --> 00:33:19,120
Speaker 2: he wouldn't have gotten punished.

629
00:33:19,720 --> 00:33:23,600
Speaker 1: Yeah, but Zeus is light, but he's not and yeah,

630
00:33:23,680 --> 00:33:26,360
Speaker 1: oh god, we'll get to Zeus in a minute. Yeah,

631
00:33:26,400 --> 00:33:30,080
Speaker 1: but yeah, anyway, Calibos is played by Neil McCarthy, who

632
00:33:30,080 --> 00:33:33,640
Speaker 1: lived nineteen thirty two through nineteen eighty five, And yeah,

633
00:33:33,640 --> 00:33:36,920
Speaker 1: had a very distinct face, so you'll recognize him from

634
00:33:36,920 --> 00:33:39,240
Speaker 1: a lot of pictures. He was in sixty eight's Where

635
00:33:39,280 --> 00:33:42,280
Speaker 1: Eagles Dare nineteen sixty four Zulu, and he was in

636
00:33:42,360 --> 00:33:45,960
Speaker 1: Terry Gilliam's Time Bandits from nineteen eighty one. Other monsters

637
00:33:45,960 --> 00:33:48,640
Speaker 1: in this picture that are played by human beings we

638
00:33:48,720 --> 00:33:52,120
Speaker 1: have the Stygian witches. So there are three witches. We

639
00:33:52,600 --> 00:33:55,880
Speaker 1: talk about these, these characters that they're based on a

640
00:33:55,920 --> 00:33:58,200
Speaker 1: good bit in the Medusa episode. But these are the

641
00:33:58,240 --> 00:34:00,440
Speaker 1: three blind witches that Percus has to go to in

642
00:34:00,520 --> 00:34:03,920
Speaker 1: order to find them a do so so essentially, and

643
00:34:04,000 --> 00:34:06,400
Speaker 1: they're played by Flora Robson who lived nineteen oh two

644
00:34:06,400 --> 00:34:09,239
Speaker 1: through nineteen eighty four, Anna Manahan who lived nineteen twenty

645
00:34:09,280 --> 00:34:11,440
Speaker 1: four through two thousand and nine, and Freda Jackson who

646
00:34:11,520 --> 00:34:15,279
Speaker 1: lived nineteen oh seven through nineteen ninety. Great witch performances

647
00:34:15,280 --> 00:34:17,520
Speaker 1: by all three, though I do not know which one

648
00:34:17,560 --> 00:34:20,160
Speaker 1: is which because they're all they all have a lot

649
00:34:20,160 --> 00:34:23,399
Speaker 1: of makeup on but and they all three have very

650
00:34:23,440 --> 00:34:26,360
Speaker 1: packed filmographies. So maybe in the future we'll hit on

651
00:34:26,400 --> 00:34:27,880
Speaker 1: a movie that has one of them in it and

652
00:34:27,920 --> 00:34:30,640
Speaker 1: we'll refer back to it. But suffice to say, great

653
00:34:30,640 --> 00:34:32,800
Speaker 1: witch scene. Three great witches here.

654
00:34:33,120 --> 00:34:35,480
Speaker 2: Very much agree that they are great, but they kind

655
00:34:35,480 --> 00:34:39,760
Speaker 2: of act as one. They're not very individually distinctive by design.

656
00:34:40,320 --> 00:34:42,520
Speaker 1: Yeah, and you know, I think we've said this before.

657
00:34:42,560 --> 00:34:43,920
Speaker 1: You know, it's like it is. There is a lot

658
00:34:43,960 --> 00:34:48,839
Speaker 1: of sexism in the whole Older female actors end up

659
00:34:48,840 --> 00:34:51,759
Speaker 1: playing witches in a lot of pictures, but when they

660
00:34:51,800 --> 00:34:54,960
Speaker 1: do it really well, you gotta give them credit. And

661
00:34:55,000 --> 00:34:57,759
Speaker 1: all three of these witches are great. All right, let's

662
00:34:57,800 --> 00:34:59,240
Speaker 1: move on to the gods.

663
00:34:59,520 --> 00:35:02,239
Speaker 2: Yeah, speaking of sexism, let's get to Zeus.

664
00:35:02,920 --> 00:35:05,000
Speaker 1: Well, you know, he is the king of the gods,

665
00:35:05,000 --> 00:35:08,080
Speaker 1: so we have to start with him, and yeah, he

666
00:35:08,160 --> 00:35:11,000
Speaker 1: is pretty sexist. But yeah, this is the great Lawrence

667
00:35:11,000 --> 00:35:15,360
Speaker 1: Olivier playing Zeus. Lawrence Olivia, of course, lived nineteen oh

668
00:35:15,400 --> 00:35:17,640
Speaker 1: seventh through nineteen eighty nine, one of the biggest British

669
00:35:17,680 --> 00:35:22,839
Speaker 1: acting names of the twentieth century, appearing in Clash as

670
00:35:22,880 --> 00:35:25,160
Speaker 1: the Greek king of the gods in What I'm to

671
00:35:25,200 --> 00:35:27,839
Speaker 1: Understand was largely a favor to co star Maggie Smith

672
00:35:27,880 --> 00:35:28,440
Speaker 1: and her husband.

673
00:35:28,640 --> 00:35:31,960
Speaker 2: Okay, so her husband wrote the movie and decided to

674
00:35:32,080 --> 00:35:36,439
Speaker 2: really play up the part of the goddess Thetis and

675
00:35:36,640 --> 00:35:39,279
Speaker 2: then have his wife cast in that role, and then

676
00:35:39,400 --> 00:35:43,040
Speaker 2: get their friend Lawrence Olivier to play Zeus, right.

677
00:35:42,920 --> 00:35:47,160
Speaker 1: Yes, what I've that's what I've read. That being said though,

678
00:35:47,160 --> 00:35:50,320
Speaker 1: and also taking into the fact that apparently Olivier was

679
00:35:50,360 --> 00:35:54,640
Speaker 1: sick during the filming, I think he's really good in this.

680
00:35:54,800 --> 00:35:57,839
Speaker 1: Like it's yes, he's playing he's playing a god, he's

681
00:35:57,840 --> 00:36:01,640
Speaker 1: playing Zeus, and he may he doesn't feel like he's

682
00:36:01,680 --> 00:36:04,360
Speaker 1: going through the motions. Maybe he was, and that's just

683
00:36:04,400 --> 00:36:06,640
Speaker 1: how good he was as an actor. But I feel

684
00:36:06,640 --> 00:36:10,600
Speaker 1: like there's some wonderful dimensions to this performance as this egotistical,

685
00:36:11,480 --> 00:36:15,160
Speaker 1: calmly threatening tyrant who is also not the villain of

686
00:36:15,200 --> 00:36:15,600
Speaker 1: the piece.

687
00:36:16,080 --> 00:36:18,720
Speaker 2: No, it's interesting. Yeah, you're right, he's not the villain,

688
00:36:18,760 --> 00:36:21,120
Speaker 2: even though a lot of what's happening in the movie

689
00:36:21,200 --> 00:36:27,120
Speaker 2: is a result of his capriciousness and hypocrisy. And there's

690
00:36:27,239 --> 00:36:30,239
Speaker 2: just just it's kind of accepted, sort of as a

691
00:36:30,320 --> 00:36:34,279
Speaker 2: law of nature that Zeus is just completely unfair and

692
00:36:34,360 --> 00:36:36,680
Speaker 2: that's just the reality. It's like the Yeah, it's just

693
00:36:36,760 --> 00:36:38,319
Speaker 2: the reality everybody has to deal with.

694
00:36:38,680 --> 00:36:40,960
Speaker 1: Yeah, kind of like the scene I think it's very pronouncing,

695
00:36:41,000 --> 00:36:43,200
Speaker 1: the scene where he asked Athena to give up her

696
00:36:43,239 --> 00:36:46,600
Speaker 1: owl to Perseus and she doesn't want to but he's like,

697
00:36:46,920 --> 00:36:48,759
Speaker 1: but it's my wish, and he does it in this

698
00:36:48,840 --> 00:36:51,600
Speaker 1: way where it's like it oh, it's just so good.

699
00:36:51,640 --> 00:36:53,319
Speaker 1: He hits it perfectly well.

700
00:36:53,600 --> 00:36:57,560
Speaker 2: Also the backstory is hilarious because Athena already gave Perseus

701
00:36:57,640 --> 00:37:01,040
Speaker 2: a helmet that would make him invisible. Good, right, that's

702
00:37:01,160 --> 00:37:05,000
Speaker 2: that's a good Christmas present, And Percys, He's like, well

703
00:37:05,080 --> 00:37:08,839
Speaker 2: I lost it, dropped it in the swamp. So Zeus

704
00:37:09,000 --> 00:37:11,880
Speaker 2: is like, you will get my little boy a new present.

705
00:37:11,920 --> 00:37:14,680
Speaker 1: Yes, give him your toy, give him your favorite thing.

706
00:37:14,840 --> 00:37:17,319
Speaker 1: And you know she has to do it, but she

707
00:37:17,360 --> 00:37:22,880
Speaker 1: finds a loophole anyway. Lawrence Olivier tons of pictures that

708
00:37:22,960 --> 00:37:25,320
Speaker 1: he was in. He was, of course a major Shakespearean

709
00:37:25,360 --> 00:37:27,600
Speaker 1: actor of stage and screen, and his credits and compass

710
00:37:27,600 --> 00:37:30,239
Speaker 1: everything from the likes of nineteen forties Rebecca directed by

711
00:37:30,280 --> 00:37:35,120
Speaker 1: Alfred Hitchcock, forty eight's Hamlet, and also such a later

712
00:37:35,200 --> 00:37:38,320
Speaker 1: day largely I guess genre hits such as nineteen seventy

713
00:37:38,320 --> 00:37:41,719
Speaker 1: eight's The Boys from Brazil. Nineteen seventy six is Marathon

714
00:37:41,760 --> 00:37:43,480
Speaker 1: Man in nineteen seventy two Sleuth.

715
00:37:44,040 --> 00:37:48,000
Speaker 2: He is the diabolical Nazi dentist in Marathon Man.

716
00:37:48,320 --> 00:37:51,160
Speaker 1: Right, and he's a Nazi hunter in The Boys from Brazil,

717
00:37:51,360 --> 00:37:53,720
Speaker 1: so I guess you know they bounce out Boys from Brazil.

718
00:37:53,760 --> 00:37:56,760
Speaker 1: Of course, is the they tried to clone Hitler movie.

719
00:37:57,200 --> 00:37:58,720
Speaker 2: Oh, I've never seen that one.

720
00:37:58,800 --> 00:38:01,840
Speaker 1: Yeah, it's oh, it's it's I haven't seen it in

721
00:38:01,880 --> 00:38:04,400
Speaker 1: a while, but I remember thinking it was good. It

722
00:38:04,400 --> 00:38:08,480
Speaker 1: has Gregory Peck in it. Gregory Peck plays doctor Mangela

723
00:38:09,239 --> 00:38:12,680
Speaker 1: on the run. Yeah, all right, other gods and try

724
00:38:12,680 --> 00:38:14,440
Speaker 1: and run through some of these quickly because okay, we

725
00:38:14,440 --> 00:38:17,319
Speaker 1: have hair Out played by Claire Bloom born nineteen thirty one,

726
00:38:17,640 --> 00:38:19,960
Speaker 1: known for such films as fifty two's Limelight, sixty three

727
00:38:20,040 --> 00:38:23,160
Speaker 1: is The Haunting, in twenty ten's The King's Speech, Still active,

728
00:38:23,239 --> 00:38:25,760
Speaker 1: still going at it. Doesn't do much in this picture.

729
00:38:26,400 --> 00:38:28,840
Speaker 2: She's got like three lines maybe yep.

730
00:38:29,719 --> 00:38:32,919
Speaker 1: But then we have Maggie Smith again playing Thedus born

731
00:38:33,040 --> 00:38:37,000
Speaker 1: nineteen thirty four. Yeah, legendary Maggie Smith, known probably more

732
00:38:37,040 --> 00:38:40,240
Speaker 1: to modern fans for her roles in Gosford Park, Dalton

733
00:38:40,320 --> 00:38:42,920
Speaker 1: Abbey and the Harry Potter franchise. But she's had a

734
00:38:43,000 --> 00:38:45,920
Speaker 1: very long career and is also still active. She has

735
00:38:46,000 --> 00:38:49,720
Speaker 1: upcoming pictures coming down the pipe, and she's been active

736
00:38:49,719 --> 00:38:51,600
Speaker 1: on TV and screen since nineteen fifty five.

737
00:38:52,080 --> 00:38:54,560
Speaker 2: Maggie Smith is great in this She's great in everything

738
00:38:54,600 --> 00:38:58,640
Speaker 2: I've ever seen her in. She's always excellent, and her

739
00:38:58,719 --> 00:39:02,839
Speaker 2: character is really interesting because you see her from two

740
00:39:02,920 --> 00:39:07,760
Speaker 2: completely different sides to the human characters. She's basically a villain,

741
00:39:07,880 --> 00:39:11,680
Speaker 2: like she imposes the need to sacrifice Princess Andromeda to

742
00:39:11,760 --> 00:39:14,799
Speaker 2: the Kraken as she speaks out of a statue to

743
00:39:15,200 --> 00:39:17,960
Speaker 2: lay a curse upon the city. But then you also

744
00:39:18,000 --> 00:39:20,480
Speaker 2: see the other side, which is that on Mount Olympus

745
00:39:20,600 --> 00:39:23,239
Speaker 2: she's the underdog. You feel for her, and you see

746
00:39:23,239 --> 00:39:26,680
Speaker 2: that Zeus mistreats her. So she appears both as a

747
00:39:26,760 --> 00:39:31,200
Speaker 2: kind of sympathetic hero and as an end as a cruel,

748
00:39:31,680 --> 00:39:34,759
Speaker 2: overbearing villain, depending on whether your point of view is

749
00:39:34,800 --> 00:39:35,760
Speaker 2: earthly or heavenly.

750
00:39:36,239 --> 00:39:38,720
Speaker 1: Yeah, yeah, So she definitely gets a lot of screen

751
00:39:38,760 --> 00:39:42,319
Speaker 1: time and has ultimately a really well defined character. And

752
00:39:42,320 --> 00:39:43,960
Speaker 1: then on the other end of the spectrum we have

753
00:39:44,200 --> 00:39:49,000
Speaker 1: Ursula Andres as Aphrodite born nineteen thirty six. She only

754
00:39:49,000 --> 00:39:52,480
Speaker 1: has like one line in this film, but the Swiss

755
00:39:52,480 --> 00:39:54,799
Speaker 1: model turned actor was a major sex symbol of her

756
00:39:54,840 --> 00:39:57,960
Speaker 1: time with a breakout role in nineteen sixty two's Doctor

757
00:39:58,040 --> 00:40:01,840
Speaker 1: No Bond film. Her other credits are kind of all

758
00:40:01,880 --> 00:40:04,359
Speaker 1: over the place, like, for instance, she's in Sergio Martino's

759
00:40:04,600 --> 00:40:06,960
Speaker 1: Slave of the Cannibal God from nineteen seventy eight.

760
00:40:07,400 --> 00:40:10,160
Speaker 2: I was not prepared for this. On rewatching, I was

761
00:40:10,200 --> 00:40:13,200
Speaker 2: like Ursula andres Oh. I guess she was excited to

762
00:40:13,239 --> 00:40:15,680
Speaker 2: see her in this movie. She says like one thing.

763
00:40:15,880 --> 00:40:17,600
Speaker 1: Yeah, yeah, just one line. And I think she was

764
00:40:17,640 --> 00:40:21,680
Speaker 1: pretty highly built in the picture too. Yeah, all right,

765
00:40:21,760 --> 00:40:24,600
Speaker 1: other gods, we've still got multiple guns to go here.

766
00:40:25,920 --> 00:40:29,280
Speaker 1: God packed this movie, but we have Poseidon, a severely

767
00:40:29,320 --> 00:40:33,839
Speaker 1: I think depowered Poseidon, played by Jack Gwillam, who lived

768
00:40:33,880 --> 00:40:36,399
Speaker 1: nineteen oh nine through two thousand and one. He had

769
00:40:36,440 --> 00:40:39,719
Speaker 1: parts in sixty twos Lawrence of Arabia, seventies Patent, He

770
00:40:39,760 --> 00:40:42,640
Speaker 1: played Van Helsing in nineteen eighty seven's The Monster Squad,

771
00:40:43,120 --> 00:40:45,440
Speaker 1: and he was also in such films as nineteen seventies

772
00:40:45,440 --> 00:40:48,280
Speaker 1: Cromwell nineteen sixty six is a Man for All Seasons

773
00:40:48,280 --> 00:40:50,560
Speaker 1: in nineteen sixty four, It's the Curse of the Mummies Tomb.

774
00:40:51,000 --> 00:40:53,399
Speaker 2: A Man for all Seasons is that the one that

775
00:40:53,560 --> 00:40:57,120
Speaker 2: has that has Robert Shaw as Henry the Eighth.

776
00:40:57,160 --> 00:41:00,040
Speaker 1: I believe that's right. I've seen this film before, but

777
00:41:00,080 --> 00:41:04,280
Speaker 1: it's been a while. Yeah, Robert Shaw and a pretty

778
00:41:04,440 --> 00:41:06,359
Speaker 1: stacked cast. I mean, you got people like John Hurt

779
00:41:06,400 --> 00:41:10,560
Speaker 1: and at Orson Wells, et cetera. A really good cast.

780
00:41:10,880 --> 00:41:14,239
Speaker 2: Okay, So they brought in another heavy hitter to play Poseidon.

781
00:41:14,480 --> 00:41:18,000
Speaker 2: And does Poseidon even have one line? I don't remember.

782
00:41:18,880 --> 00:41:21,279
Speaker 1: I think he speaks, but yeah, he's a very meek

783
00:41:21,360 --> 00:41:24,120
Speaker 1: Poseidon like basically his role is to go down in

784
00:41:24,160 --> 00:41:27,959
Speaker 1: the water and call up the kraken. Once Zeus has

785
00:41:28,040 --> 00:41:31,680
Speaker 1: said released the kraken, so's he's the one who actually

786
00:41:31,680 --> 00:41:36,000
Speaker 1: does the releasing. So, especially given how powerful Poseidon is

787
00:41:36,520 --> 00:41:40,040
Speaker 1: in many of the traditions of Greek mythology, he really

788
00:41:40,120 --> 00:41:41,640
Speaker 1: he really feels deepowered here.

789
00:41:41,760 --> 00:41:45,759
Speaker 2: But I would say, in this film, Maggie Smith as

790
00:41:45,920 --> 00:41:49,200
Speaker 2: they just fills the role that would have been played

791
00:41:49,200 --> 00:41:49,960
Speaker 2: by Poseidon.

792
00:41:50,640 --> 00:41:54,000
Speaker 1: Hmm, yeah, I think I think you're right. That role

793
00:41:54,080 --> 00:41:56,960
Speaker 1: ends up absorbing a lot of the power from various

794
00:41:56,960 --> 00:41:59,719
Speaker 1: other figures in it in the film. Oh yeah, because

795
00:41:59,760 --> 00:42:04,000
Speaker 1: another one, another major character from mythology, Athena, the goddess Athena,

796
00:42:04,480 --> 00:42:07,800
Speaker 1: is in this played by Susan Fleetwood who lived nineteen

797
00:42:07,840 --> 00:42:11,560
Speaker 1: forty four through nineteen ninety five. Her other credits include

798
00:42:11,600 --> 00:42:15,200
Speaker 1: nineteen nineties The Craze, This is the one about the Underworld,

799
00:42:15,600 --> 00:42:19,920
Speaker 1: The London Underworld Twins, nineteen eighty five's Young Sherlock Holmes,

800
00:42:19,960 --> 00:42:23,479
Speaker 1: and she's in apparently in Tarkovsky's nineteen eighty six film

801
00:42:23,520 --> 00:42:27,360
Speaker 1: The Sacrifice, which, as I remember, is very haunting and

802
00:42:27,440 --> 00:42:29,160
Speaker 1: heavy and also very long.

803
00:42:30,000 --> 00:42:31,960
Speaker 2: I love Tarkowski, but I haven't seen that one.

804
00:42:32,520 --> 00:42:37,200
Speaker 1: It's it's it's it's kind of a it's good, it's

805
00:42:37,239 --> 00:42:39,160
Speaker 1: a deep picture. I saw it in college. I got

806
00:42:39,160 --> 00:42:40,160
Speaker 1: to see it on the big screen.

807
00:42:40,760 --> 00:42:43,759
Speaker 2: But judging by this movie, Okay, Athena, what's she got

808
00:42:43,840 --> 00:42:47,480
Speaker 2: us of, you know, like wisdom, crafts, war or any

809
00:42:47,520 --> 00:42:49,319
Speaker 2: of that stuff. No, I think she's got us of

810
00:42:49,400 --> 00:42:50,600
Speaker 2: owls in this movie.

811
00:42:51,040 --> 00:42:54,040
Speaker 1: Yeah, Goddess of pet ownership, basically, that's all she does.

812
00:42:56,000 --> 00:42:58,120
Speaker 2: Goddess of veterinary practice.

813
00:42:58,280 --> 00:43:00,160
Speaker 1: Oh but we also have one more god, We have

814
00:43:00,160 --> 00:43:03,839
Speaker 1: a Festus in this played by Pat Roach Big Pat

815
00:43:03,920 --> 00:43:06,560
Speaker 1: Roach who lived nineteen thirty seven through two thousand and four.

816
00:43:06,920 --> 00:43:10,320
Speaker 2: He plays the robot owl repairman of the gods.

817
00:43:10,719 --> 00:43:12,719
Speaker 1: Yeah, yeah, I mean he is the one you would,

818
00:43:12,719 --> 00:43:14,319
Speaker 1: I guess, go to for this sort of thing if

819
00:43:14,719 --> 00:43:16,840
Speaker 1: if you can't get a hold of data lists, you know,

820
00:43:16,920 --> 00:43:19,759
Speaker 1: if you want to keep it in Mount Olympus, then

821
00:43:20,040 --> 00:43:22,360
Speaker 1: he's the one to go to. Well he didn't he

822
00:43:22,440 --> 00:43:25,000
Speaker 1: train datalists. I'll given some of the traditions.

823
00:43:25,000 --> 00:43:26,960
Speaker 2: Oh maybe anyway.

824
00:43:27,760 --> 00:43:31,560
Speaker 1: Pat Roach British wrestler turned actor who's really in tons

825
00:43:31,560 --> 00:43:34,480
Speaker 1: of nostalgic flicks from the eighties and nineties. I think

826
00:43:34,520 --> 00:43:36,880
Speaker 1: one of the big ones that most people are familiar

827
00:43:36,920 --> 00:43:39,160
Speaker 1: with is he of course plays that German mechanic that

828
00:43:39,239 --> 00:43:44,440
Speaker 1: Indiana Jones fistfights underneath the propeller driven airplane in Raiders

829
00:43:44,480 --> 00:43:46,359
Speaker 1: of the Last Lost Arc in nineteen eighty one.

830
00:43:46,560 --> 00:43:51,000
Speaker 2: Oh yeah, it gets turned into Nazi soup by the propeller.

831
00:43:52,160 --> 00:43:54,080
Speaker 1: He's I think he's actually in all three of the

832
00:43:54,120 --> 00:43:57,319
Speaker 1: original Indie movies, playing smaller roles, and I think he

833
00:43:57,320 --> 00:44:00,200
Speaker 1: plays another role in Raiders of the Lost Ark is

834
00:44:00,200 --> 00:44:03,080
Speaker 1: the big one. He plays the wizard that turns into

835
00:44:03,160 --> 00:44:05,759
Speaker 1: a monster in nineteen eighty fours Conan the Destroyer. So

836
00:44:05,840 --> 00:44:09,680
Speaker 1: he's one of many big, meaty men in a movie

837
00:44:09,880 --> 00:44:12,640
Speaker 1: that has like a full cast of big meaty men.

838
00:44:13,280 --> 00:44:15,879
Speaker 2: I like that. You'd make even your wizard big in meaty.

839
00:44:16,560 --> 00:44:21,000
Speaker 1: Yeah, I mean that's a very very meaty picture, that one.

840
00:44:21,040 --> 00:44:23,000
Speaker 1: It's weird. It's like I think if we were to

841
00:44:23,040 --> 00:44:25,600
Speaker 1: talk about a Conan film on Weird House, I think

842
00:44:25,600 --> 00:44:28,520
Speaker 1: it would need to be Conan the Destroyer, like the

843
00:44:28,560 --> 00:44:33,800
Speaker 1: Goofier went. But anyway, Pat Roach also played General Kale

844
00:44:33,880 --> 00:44:36,200
Speaker 1: or kl I can't remember how it's pronounced in nineteen

845
00:44:36,280 --> 00:44:38,960
Speaker 1: eighty eight's Willow. This is the dude with a big

846
00:44:39,320 --> 00:44:43,760
Speaker 1: guerrilla skull on his mask. And oh, and he also

847
00:44:43,760 --> 00:44:47,200
Speaker 1: played the Titan Atlas in Jim Henson's The Storyteller the

848
00:44:47,200 --> 00:44:50,400
Speaker 1: Greek Myths. So even though he's not a Titan in

849
00:44:50,440 --> 00:44:54,920
Speaker 1: this and there are very questionable titan classifications in this film,

850
00:44:55,040 --> 00:44:56,400
Speaker 1: he has played a Titan before.

851
00:44:56,760 --> 00:44:59,400
Speaker 2: That series of Jim Henson's Storyteller. By the way, I'd

852
00:44:59,400 --> 00:45:03,080
Speaker 2: say is probably my other favorite adaptation of this story

853
00:45:03,120 --> 00:45:05,440
Speaker 2: of like the Perseus and Medusa arc and has a

854
00:45:06,480 --> 00:45:09,200
Speaker 2: I would say, has a Medusa designed to rival this one?

855
00:45:10,000 --> 00:45:12,280
Speaker 1: Yeah, yeah, I remember that one did the wings, which

856
00:45:12,719 --> 00:45:16,080
Speaker 1: you do see in a number of the accounts of

857
00:45:16,200 --> 00:45:26,160
Speaker 1: old All right, we'll show we get into the plot

858
00:45:26,200 --> 00:45:28,840
Speaker 1: of Clash of the Titans. These Titans got a clash, baby,

859
00:45:28,960 --> 00:45:30,640
Speaker 1: so let's let's find out how they do it.

860
00:45:31,040 --> 00:45:33,200
Speaker 2: Okay, Well, one thing I wanted to note is it

861
00:45:33,280 --> 00:45:36,000
Speaker 2: is amazing how much plot they are able to cram

862
00:45:36,000 --> 00:45:39,160
Speaker 2: into two hours in this movie. We may focus in

863
00:45:39,200 --> 00:45:41,839
Speaker 2: more granular detail on the earlier parts of the movie

864
00:45:41,880 --> 00:45:44,160
Speaker 2: and then hop around for some of the later adventures.

865
00:45:45,080 --> 00:45:48,720
Speaker 2: But it has a great openings howling wind dust blowing

866
00:45:48,760 --> 00:45:50,919
Speaker 2: in the foreground, and then through a haze we see

867
00:45:50,960 --> 00:45:54,440
Speaker 2: a procession of Greek soldiers escorting like a coffin or

868
00:45:54,480 --> 00:45:57,200
Speaker 2: a litter. It's a it's a box. And then we

869
00:45:57,239 --> 00:46:00,839
Speaker 2: get the opening lines spoken by the wicked King Ecrazias,

870
00:46:01,239 --> 00:46:04,600
Speaker 2: who says, bear witness Zeus and all you gods on

871
00:46:04,680 --> 00:46:08,600
Speaker 2: high Olympus, I condemn my daughter Danae and her son

872
00:46:08,640 --> 00:46:12,160
Speaker 2: Perseus to the sea. Her guilt and sin have brought

873
00:46:12,239 --> 00:46:16,640
Speaker 2: shame to Argus. I Acrazias, the king, now purge her

874
00:46:16,680 --> 00:46:19,960
Speaker 2: crime and restore my honor. Their blood is not on

875
00:46:20,040 --> 00:46:23,960
Speaker 2: my hands. And then he has them put into the box.

876
00:46:24,239 --> 00:46:27,600
Speaker 2: Danny is clutching her baby boy and they put him

877
00:46:27,600 --> 00:46:29,440
Speaker 2: in the box, cast him into the ocean and we

878
00:46:29,480 --> 00:46:33,240
Speaker 2: see the box being tossed cruelly by the waves. Now

879
00:46:33,280 --> 00:46:37,319
Speaker 2: we know in the story that Acrasius does this to

880
00:46:37,560 --> 00:46:41,280
Speaker 2: avert a prophecy that Perseus will bring about his doom.

881
00:46:41,719 --> 00:46:44,680
Speaker 2: Does the movie tell us this? I don't think it does,

882
00:46:44,800 --> 00:46:46,200
Speaker 2: or if it does, I missed it.

883
00:46:47,200 --> 00:46:49,840
Speaker 1: No. What I got from it was just the basic like,

884
00:46:50,239 --> 00:46:53,279
Speaker 1: something's wrong. Zeus demands this, so I'm going to do it,

885
00:46:53,680 --> 00:46:55,360
Speaker 1: and that's all there is to it. Zeus said it,

886
00:46:55,400 --> 00:46:56,960
Speaker 1: I believe it. There you go.

887
00:46:58,040 --> 00:47:00,440
Speaker 2: But it turns out Zeus does not want this, because

888
00:47:00,560 --> 00:47:02,239
Speaker 2: we're going to go to Mount Olympus in a minute

889
00:47:02,239 --> 00:47:03,799
Speaker 2: and Zeus is going to be like, why did you

890
00:47:03,920 --> 00:47:05,080
Speaker 2: do that?

891
00:47:05,520 --> 00:47:05,640
Speaker 4: Uh?

892
00:47:05,920 --> 00:47:08,920
Speaker 2: So what I wanted to ask first, I couldn't tell

893
00:47:08,960 --> 00:47:11,360
Speaker 2: where a lot of the location shots in this movie

894
00:47:11,440 --> 00:47:14,520
Speaker 2: were coming from. There are parts right here at the

895
00:47:14,520 --> 00:47:17,040
Speaker 2: opening on this coastline, which I assume is supposed to

896
00:47:17,080 --> 00:47:19,160
Speaker 2: be in Greece, but they look like Scotland.

897
00:47:20,200 --> 00:47:22,680
Speaker 1: Yeah. I read that they filmed at Pinewood Studios, I

898
00:47:22,680 --> 00:47:25,080
Speaker 1: guess for you know, the interiors, and then they also

899
00:47:25,160 --> 00:47:29,680
Speaker 1: shot in various places in the Mediterranean, So I mean

900
00:47:29,680 --> 00:47:33,880
Speaker 1: that's ultimately I'm not sure where that they are in

901
00:47:33,880 --> 00:47:35,040
Speaker 1: this particular scene, though.

902
00:47:35,440 --> 00:47:37,360
Speaker 2: Well, from here we go to the opening credits and

903
00:47:37,400 --> 00:47:41,280
Speaker 2: we zoom over beautiful landscapes and you see the mountain peaks,

904
00:47:41,400 --> 00:47:44,760
Speaker 2: the spires, glacier pockets, and the crevices of the rocks.

905
00:47:45,239 --> 00:47:47,440
Speaker 2: And this is the kind of landscape stuff that always

906
00:47:47,520 --> 00:47:49,759
Speaker 2: works on me. You know, it puts me in the

907
00:47:49,840 --> 00:47:53,040
Speaker 2: right mood for an epic. I recall thinking that Krull

908
00:47:53,120 --> 00:47:56,040
Speaker 2: also got a lot of mileage out of just beautiful

909
00:47:56,080 --> 00:47:59,040
Speaker 2: landscape shots that weren't strictly related to the story. Just

910
00:47:59,080 --> 00:48:01,120
Speaker 2: put a camera up on top of the mountains, and

911
00:48:02,120 --> 00:48:04,680
Speaker 2: you know it works. They do it for a reason.

912
00:48:05,760 --> 00:48:07,799
Speaker 1: Well, Kral is the planet, so you got to see

913
00:48:08,040 --> 00:48:08,960
Speaker 1: a lot of it yet.

914
00:48:08,840 --> 00:48:13,279
Speaker 2: Right, Ladies and gentlemen meet Krol. But from here we

915
00:48:13,320 --> 00:48:16,680
Speaker 2: go to Mount Olympus, which this is not on a mountain,

916
00:48:16,719 --> 00:48:20,919
Speaker 2: it's an indoor studio set, and you know, a bunch

917
00:48:20,920 --> 00:48:24,600
Speaker 2: of gods in white robes are standing around on marble

918
00:48:24,600 --> 00:48:28,880
Speaker 2: floors with big columns in the background. I'd love Clash

919
00:48:28,920 --> 00:48:31,760
Speaker 2: of the Titans, but I feel like the Olympus set,

920
00:48:31,880 --> 00:48:33,400
Speaker 2: I don't know, it feels kind of boring to me.

921
00:48:33,440 --> 00:48:35,200
Speaker 2: I feel like they could have made the gods look

922
00:48:35,239 --> 00:48:35,960
Speaker 2: more interesting.

923
00:48:36,760 --> 00:48:39,399
Speaker 1: Yeah, it's like it basically looks like a bunch of

924
00:48:40,040 --> 00:48:42,799
Speaker 1: older people are about to be adult baptized, you know.

925
00:48:42,840 --> 00:48:46,480
Speaker 1: They have like baptismal gowns on, and they're standing around

926
00:48:46,560 --> 00:48:50,440
Speaker 1: in like the standing around a big mall somewhere with

927
00:48:50,480 --> 00:48:52,600
Speaker 1: a lot of white marble. Though I do love the

928
00:48:52,680 --> 00:48:55,280
Speaker 1: throne the throat. When we switch the scenes of the Throne,

929
00:48:55,320 --> 00:48:58,600
Speaker 1: it's pretty pretty great because there is Lawrence Olivier and

930
00:48:58,719 --> 00:49:03,680
Speaker 1: his big derling white robe with a gold lion on

931
00:49:03,680 --> 00:49:06,239
Speaker 1: one side, a gold snake wrapped around an egg on

932
00:49:06,280 --> 00:49:08,920
Speaker 1: the other. He is on a throne of white marble,

933
00:49:09,120 --> 00:49:12,000
Speaker 1: and behind his head is like a blue laser show.

934
00:49:12,360 --> 00:49:15,040
Speaker 2: Yes, I do like the laser show. And I guess

935
00:49:15,080 --> 00:49:18,600
Speaker 2: that's to show the power emanating from the throne of Zeus.

936
00:49:19,640 --> 00:49:22,760
Speaker 2: And he clearly he's more powerful than all the other gods.

937
00:49:22,800 --> 00:49:25,840
Speaker 2: They're not going to do anything without his approval. So

938
00:49:26,080 --> 00:49:28,279
Speaker 2: one of the gods brings the report of what he

939
00:49:28,480 --> 00:49:31,920
Speaker 2: just saw, which is King Ecrezius. Hey, he threw his

940
00:49:32,040 --> 00:49:34,960
Speaker 2: daughter and her baby son into the ocean in a box,

941
00:49:35,719 --> 00:49:37,680
Speaker 2: and some of the gods here. I think maybe this

942
00:49:37,840 --> 00:49:42,600
Speaker 2: is Thetis or Hera, maybe Thetis. They try to defend Ecrazias.

943
00:49:42,640 --> 00:49:44,880
Speaker 2: They say, hey, look, Zeus, he built a lot of

944
00:49:45,160 --> 00:49:49,040
Speaker 2: really solid temples. He dedicated them to you. Who really

945
00:49:49,080 --> 00:49:51,360
Speaker 2: cares if you throw a woman and a child in

946
00:49:51,400 --> 00:49:54,920
Speaker 2: the ocean. But Zeus is incensed by this. He says,

947
00:49:55,000 --> 00:49:58,120
Speaker 2: one hundred good deeds cannot atone for murder. I don't

948
00:49:58,160 --> 00:50:01,600
Speaker 2: care how many temples he dedicated to me. You can't.

949
00:50:01,640 --> 00:50:04,480
Speaker 2: You can't do this to people. And in this scene

950
00:50:04,480 --> 00:50:06,600
Speaker 2: we go around he kind of like addresses each of

951
00:50:06,640 --> 00:50:11,200
Speaker 2: the gods. We see Athena holding her owl. We see Aphrodite,

952
00:50:11,239 --> 00:50:15,560
Speaker 2: and again this is Ursula andras here and she It's interesting,

953
00:50:16,360 --> 00:50:18,840
Speaker 2: you know, Aphrodite is supposed to be the goddess of love,

954
00:50:19,000 --> 00:50:21,279
Speaker 2: but she is making a face like she has just

955
00:50:21,400 --> 00:50:24,680
Speaker 2: handed someone a goblet full of poisoned wine and is

956
00:50:24,719 --> 00:50:25,880
Speaker 2: watching them drink.

957
00:50:25,680 --> 00:50:27,680
Speaker 1: It, like she just found out that all of her

958
00:50:27,680 --> 00:50:29,040
Speaker 1: dialogue got cut from the floor.

959
00:50:30,400 --> 00:50:35,719
Speaker 2: Yeah, so Zeus Zeus's demand, He demands justice. He says

960
00:50:35,760 --> 00:50:40,600
Speaker 2: nothing can erase this horrible crime. And so he says

961
00:50:40,680 --> 00:50:43,879
Speaker 2: that King Ecrasias must be punished, but not just him,

962
00:50:44,120 --> 00:50:46,520
Speaker 2: him and his people too. By the way, let's let's

963
00:50:46,560 --> 00:50:49,600
Speaker 2: just do his whole city. Let's throw them in there.

964
00:50:49,800 --> 00:50:51,880
Speaker 2: So he calls up Posidon and he says, I command

965
00:50:51,920 --> 00:50:54,160
Speaker 2: you to raise the wind and the sea and then

966
00:50:54,320 --> 00:50:59,200
Speaker 2: let loose the kraken. Oh, and also protect Danny and

967
00:50:59,239 --> 00:51:01,759
Speaker 2: her son. He's like, make sure they get somewhere safe.

968
00:51:01,840 --> 00:51:04,239
Speaker 1: Yeah, because they I don't know if it's revealed yet,

969
00:51:04,239 --> 00:51:05,520
Speaker 1: but they reveal it shortly after this.

970
00:51:05,560 --> 00:51:05,640
Speaker 4: That.

971
00:51:05,680 --> 00:51:09,360
Speaker 1: Of course, as we know from the mythology, Perseus is

972
00:51:09,400 --> 00:51:12,440
Speaker 1: Zeus's son, so of course he's invested in this particular

973
00:51:12,800 --> 00:51:16,560
Speaker 1: individual and his mom because it's for Zeus. It's all

974
00:51:16,560 --> 00:51:19,520
Speaker 1: about him. Like that's and I guess he is the

975
00:51:19,600 --> 00:51:22,279
Speaker 1: king of the universe in this narrative, so maybe he

976
00:51:22,320 --> 00:51:24,680
Speaker 1: has a reason to feel so feel that way, but

977
00:51:25,320 --> 00:51:26,919
Speaker 1: that's how he approaches everything.

978
00:51:26,880 --> 00:51:29,040
Speaker 2: Right, that is what happened. And they go back to

979
00:51:29,080 --> 00:51:31,120
Speaker 2: sort of like all the gods gossiping about it. They're

980
00:51:31,120 --> 00:51:34,000
Speaker 2: all like, oh, you know what really happened. He Zeus

981
00:51:34,280 --> 00:51:38,000
Speaker 2: quote loved that girl, Danny, and then he got her

982
00:51:38,040 --> 00:51:40,880
Speaker 2: pregnant with Perseus, and so that's his own son. So

983
00:51:40,960 --> 00:51:44,560
Speaker 2: that's why he's protecting them, and that's why he's mad. Now,

984
00:51:45,200 --> 00:51:47,200
Speaker 2: Rob did you have any thoughts about the fact that

985
00:51:47,280 --> 00:51:49,920
Speaker 2: in this movie Zeus appears to have a miniature's hobby,

986
00:51:50,440 --> 00:51:54,400
Speaker 2: As I know you sometimes mess around with some miniatures yourself,

987
00:51:54,520 --> 00:51:56,600
Speaker 2: So yeah, what are your thoughts.

988
00:51:57,280 --> 00:51:58,840
Speaker 1: Well, I mean, I think this is one of the

989
00:51:58,880 --> 00:52:02,200
Speaker 1: great set pieces in the Pure because he has this

990
00:52:02,280 --> 00:52:04,880
Speaker 1: room with this these wonderful shelves. Each one has a

991
00:52:04,880 --> 00:52:08,279
Speaker 1: mini on it, a mini representing a different mortal in

992
00:52:08,320 --> 00:52:11,720
Speaker 1: the world. On one level, I've always liked this because

993
00:52:11,719 --> 00:52:14,040
Speaker 1: this is just prime, uh, this is a prime way

994
00:52:14,080 --> 00:52:17,520
Speaker 1: to display your miniature collection. But also it's a it's

995
00:52:17,560 --> 00:52:22,040
Speaker 1: a great set and it it really nicely displays this

996
00:52:22,200 --> 00:52:24,719
Speaker 1: idea that the mortals are, in this case, literally the

997
00:52:24,760 --> 00:52:28,440
Speaker 1: playthings of the gods. Like they're like that's that's literally

998
00:52:28,440 --> 00:52:31,040
Speaker 1: like he'll we see this time and time again. You know,

999
00:52:31,120 --> 00:52:32,960
Speaker 1: they'll pick one of these up and they'll do something

1000
00:52:33,000 --> 00:52:36,000
Speaker 1: to it. They'll break it or they'll repair it. And

1001
00:52:36,120 --> 00:52:39,440
Speaker 1: it has real world ramifications for the individual it represents,

1002
00:52:39,719 --> 00:52:41,879
Speaker 1: But to the gods, it's it's all a game. It's

1003
00:52:41,880 --> 00:52:44,200
Speaker 1: all ultimately about them. Well at least that's what the

1004
00:52:44,239 --> 00:52:47,279
Speaker 1: movie's saying. So Greek Pantheon, if you're listening. I'm just

1005
00:52:47,320 --> 00:52:50,440
Speaker 1: interpreting what the film is saying. It's not me. Don't

1006
00:52:50,480 --> 00:52:51,440
Speaker 1: turn me into a spider.

1007
00:52:53,400 --> 00:52:55,160
Speaker 2: We see Zeus kind of pulled it does He pull

1008
00:52:55,239 --> 00:52:59,200
Speaker 2: down the the craziest minifig here and he's like, oh,

1009
00:52:59,280 --> 00:53:01,239
Speaker 2: I'm done with you, and just crushes it.

1010
00:53:01,760 --> 00:53:04,120
Speaker 1: Yeah, and then we see like basically then we see

1011
00:53:04,120 --> 00:53:06,680
Speaker 1: the real life king just have a heart attack in

1012
00:53:06,719 --> 00:53:09,799
Speaker 1: the middle of the street while the winds and are

1013
00:53:09,880 --> 00:53:11,600
Speaker 1: rolling in and the earthquakes are beginning.

1014
00:53:11,760 --> 00:53:14,319
Speaker 2: Yeah, he just goes ah, blood starts coming out of

1015
00:53:14,320 --> 00:53:18,880
Speaker 2: his mouth and and also yes, argos the city is doomed.

1016
00:53:19,000 --> 00:53:23,799
Speaker 2: So we see Poseidon. He's underwater and he raises up

1017
00:53:23,800 --> 00:53:26,000
Speaker 2: the waters and causes like a tidal wave to wash

1018
00:53:26,040 --> 00:53:28,560
Speaker 2: over the city, destroy all the buildings, kill the people.

1019
00:53:28,600 --> 00:53:30,960
Speaker 2: And then the cracking attacks. Yeah.

1020
00:53:31,000 --> 00:53:34,200
Speaker 1: So the effects here, you know, by modern standards, are

1021
00:53:34,200 --> 00:53:37,480
Speaker 1: maybe a little a little rougher around the edges, but

1022
00:53:37,719 --> 00:53:39,719
Speaker 1: there's no denying the cracking when he shows up. This

1023
00:53:39,800 --> 00:53:44,560
Speaker 1: is our first glimpse at the big stop motion beast here.

1024
00:53:44,920 --> 00:53:47,080
Speaker 1: I've always loved this design. It's you know, there's a

1025
00:53:47,120 --> 00:53:50,680
Speaker 1: certain amount of creature from the Black Lagoon wound up

1026
00:53:50,680 --> 00:53:52,960
Speaker 1: in him, but you know, he also has these these

1027
00:53:52,960 --> 00:53:55,120
Speaker 1: four long arms that are kind of squid like. He's

1028
00:53:55,160 --> 00:53:59,040
Speaker 1: also very reminiscent of some sort of great, gigantic mirv beast.

1029
00:54:00,040 --> 00:54:00,239
Speaker 4: Yeah.

1030
00:54:00,239 --> 00:54:02,280
Speaker 2: I was gonna say, cross between creature from the Black

1031
00:54:02,360 --> 00:54:04,720
Speaker 2: Lagoon and kind of a capuchin monkey.

1032
00:54:05,400 --> 00:54:06,160
Speaker 1: Yeah.

1033
00:54:06,239 --> 00:54:08,080
Speaker 2: All right, So we get a report about that in

1034
00:54:08,120 --> 00:54:11,560
Speaker 2: ment Olympus, that city's been destroyed and Danny and her

1035
00:54:11,600 --> 00:54:15,120
Speaker 2: child have been brought to safety on the island of Saraphos,

1036
00:54:15,160 --> 00:54:17,920
Speaker 2: where they will be allowed to live in peace and security.

1037
00:54:18,719 --> 00:54:18,839
Speaker 1: Uh.

1038
00:54:18,960 --> 00:54:21,200
Speaker 2: And then we get some scenes indicating that Perseus has

1039
00:54:21,239 --> 00:54:23,239
Speaker 2: really grown up fast, because we see him do like

1040
00:54:23,320 --> 00:54:25,160
Speaker 2: trick riding on ponies on the beach.

1041
00:54:25,760 --> 00:54:28,000
Speaker 1: Yeah. Yeah, he's a strapping young lad.

1042
00:54:28,480 --> 00:54:32,120
Speaker 2: And Zeus is commenting on this, He's like, the advantage

1043
00:54:32,120 --> 00:54:35,000
Speaker 2: of a strong body and a handsome face. What could

1044
00:54:35,040 --> 00:54:37,399
Speaker 2: any mortal desire or deserve more?

1045
00:54:40,280 --> 00:54:42,160
Speaker 1: He puts him up there on the shelf. Forget it's great,

1046
00:54:42,160 --> 00:54:45,040
Speaker 1: because he's like, he's like, it's it's all all these

1047
00:54:45,120 --> 00:54:49,160
Speaker 1: these mortals are to him, are just like fancy beautiful playthings. Yeah,

1048
00:54:49,560 --> 00:54:50,960
Speaker 1: this one he's personally invested in.

1049
00:54:51,440 --> 00:54:56,479
Speaker 2: Yeah, He's like, Harora, tell me my son is handsome. Oh.

1050
00:54:56,480 --> 00:54:58,719
Speaker 2: But then so Maggie Smith comes in and she she

1051
00:54:59,040 --> 00:55:00,919
Speaker 2: you know, he's talking about his son, and she goes,

1052
00:55:00,960 --> 00:55:03,680
Speaker 2: what of my son Calibos. This is the first we've

1053
00:55:03,680 --> 00:55:07,480
Speaker 2: heard of him, but Zeus essentially is like, well, it

1054
00:55:07,520 --> 00:55:11,520
Speaker 2: sucks to be him. We get the impression that Calibos

1055
00:55:11,719 --> 00:55:14,319
Speaker 2: was sort of a Taz like figure, just sort of

1056
00:55:14,400 --> 00:55:18,040
Speaker 2: like going around destroying everything he touched. He even killed

1057
00:55:18,080 --> 00:55:23,520
Speaker 2: all of Zeus's flying horses except for the one Pegasus.

1058
00:55:23,560 --> 00:55:26,319
Speaker 2: And for his crimes, Calibos has been sent to live

1059
00:55:26,360 --> 00:55:29,960
Speaker 2: in a soggy marsh where he is transformed into a monster,

1060
00:55:30,120 --> 00:55:33,080
Speaker 2: a mockery of the human form. And we don't see

1061
00:55:33,080 --> 00:55:37,040
Speaker 2: Calibos yet, but we do see a mini fig of him.

1062
00:55:37,520 --> 00:55:40,360
Speaker 1: Yeah, I think this is kind of the transformation sequence,

1063
00:55:40,440 --> 00:55:45,000
Speaker 1: right where he puts he puts the figurine of human

1064
00:55:45,040 --> 00:55:48,640
Speaker 1: Calibos in the middle of this arena they have there,

1065
00:55:48,800 --> 00:55:51,680
Speaker 1: and then we cut to the shadow of the mini

1066
00:55:51,920 --> 00:55:56,000
Speaker 1: and we see it twist and mutate into this beast man.

1067
00:55:56,360 --> 00:55:58,880
Speaker 1: And so I always love this scene because yeah, we

1068
00:55:58,880 --> 00:56:01,200
Speaker 1: don't actually see a man turn into a monster. We

1069
00:56:01,320 --> 00:56:04,080
Speaker 1: just see the shadow of a minifigure of that man.

1070
00:56:04,120 --> 00:56:07,200
Speaker 1: Turn into a monster and it's still highly effective.

1071
00:56:07,800 --> 00:56:12,200
Speaker 2: I agree. But then, of course Maggie Smith, she's she's suffering.

1072
00:56:12,239 --> 00:56:13,879
Speaker 2: She's like, how could you do this to my son?

1073
00:56:14,000 --> 00:56:17,560
Speaker 2: He's to marry the princess Andromeda, and Zeus says, let

1074
00:56:17,560 --> 00:56:22,640
Speaker 2: the princess look upon him. Now. Now, of course, Thetis

1075
00:56:23,000 --> 00:56:26,719
Speaker 2: points out Zeus's hypocrisy here. She's like, you know, if

1076
00:56:27,080 --> 00:56:30,080
Speaker 2: if that were your son, you wouldn't do this to him.

1077
00:56:30,760 --> 00:56:33,520
Speaker 2: So eventually, when Zeus is gone, she's like, I'm gonna

1078
00:56:33,520 --> 00:56:37,440
Speaker 2: get revenge. If my son is not to marry Princess Andromeda,

1079
00:56:37,560 --> 00:56:40,760
Speaker 2: then no man will I will speak to the priests

1080
00:56:40,800 --> 00:56:44,279
Speaker 2: of Jappa and dreams and omens. And as my son

1081
00:56:44,360 --> 00:56:48,200
Speaker 2: Calibas suffers, so will Andromeda. So she's gonna send some

1082
00:56:48,400 --> 00:56:52,840
Speaker 2: send some people some revelations that will interfere with with

1083
00:56:52,960 --> 00:56:56,080
Speaker 2: Andromeda's ability to live a happy life and and with

1084
00:56:56,200 --> 00:56:59,279
Speaker 2: the general well being of the city of japa Ah.

1085
00:56:59,320 --> 00:57:01,719
Speaker 2: But what if person Oh yeah, she's got to get

1086
00:57:01,719 --> 00:57:05,360
Speaker 2: revenge against Zeus's son as well. So here's where she

1087
00:57:05,760 --> 00:57:09,320
Speaker 2: I didn't quite get this. It's like, why is this vengeance?

1088
00:57:09,320 --> 00:57:12,399
Speaker 2: But her vengeance is Perseus. Now he's grown up, now

1089
00:57:12,400 --> 00:57:15,160
Speaker 2: he's Harry Hamlin and he's just laying out on the

1090
00:57:15,160 --> 00:57:18,480
Speaker 2: beach one night, you know, just laying there, and the

1091
00:57:18,520 --> 00:57:20,840
Speaker 2: saying looking at the stars, I guess, And she says,

1092
00:57:20,880 --> 00:57:23,520
Speaker 2: time to know the terrors of the dark and look

1093
00:57:23,560 --> 00:57:27,120
Speaker 2: on death. Time your eyes were open to grim reality.

1094
00:57:27,480 --> 00:57:29,960
Speaker 2: And she picks up the mini fig of him and

1095
00:57:30,080 --> 00:57:35,080
Speaker 2: moves it to an amphitheater setting, and somehow Harry Hamlin

1096
00:57:35,360 --> 00:57:41,040
Speaker 2: is transported from the island of Saraphas to the Amphitheater

1097
00:57:41,240 --> 00:57:42,120
Speaker 2: of Joppa.

1098
00:57:42,120 --> 00:57:43,040
Speaker 1: And there he wakes up.

1099
00:57:43,440 --> 00:57:48,040
Speaker 2: Yep, did you understand why this was revenge? You just said, Well,

1100
00:57:48,040 --> 00:57:50,520
Speaker 2: I'm going to take you to a random different place.

1101
00:57:51,360 --> 00:57:53,720
Speaker 1: I yeah. I mean, you know, she has the forethought

1102
00:57:53,880 --> 00:57:56,200
Speaker 1: of a goddess, so maybe she knows more about it.

1103
00:57:56,240 --> 00:57:57,960
Speaker 1: But at the very least, I guess it's like, I'm

1104
00:57:57,960 --> 00:58:00,880
Speaker 1: going to take you away from your seclude to beach home,

1105
00:58:01,080 --> 00:58:02,640
Speaker 1: and I'm going to drop you into the middle of

1106
00:58:02,680 --> 00:58:05,400
Speaker 1: a very complex and dangerous city and we'll see, we'll

1107
00:58:05,400 --> 00:58:06,520
Speaker 1: see how fancy you are.

1108
00:58:08,160 --> 00:58:11,280
Speaker 2: But when he wakes up here he meets a mysterious

1109
00:58:11,280 --> 00:58:15,280
Speaker 2: figure wearing a grotesque theater mask and shouting at him,

1110
00:58:15,320 --> 00:58:18,440
Speaker 2: who are you walking among all this smoke. But it

1111
00:58:18,520 --> 00:58:21,600
Speaker 2: turns out to be Burgess Meredith, who is perfectly friendly

1112
00:58:21,720 --> 00:58:25,919
Speaker 2: as this character Ammon. Once they get to know each other,

1113
00:58:26,000 --> 00:58:29,720
Speaker 2: and he explains, Oh yeah, yeah, I see. I pretend

1114
00:58:29,920 --> 00:58:33,040
Speaker 2: that this amphitheater is haunted to keep people away. This

1115
00:58:33,080 --> 00:58:35,400
Speaker 2: is the Amphitheater of Jappa. Here's where you are now,

1116
00:58:35,920 --> 00:58:38,400
Speaker 2: and you must have made the gods angry somehow to

1117
00:58:38,440 --> 00:58:39,520
Speaker 2: get transported here.

1118
00:58:40,960 --> 00:58:43,200
Speaker 1: I'm not sure what the business model for this amphitheater.

1119
00:58:43,840 --> 00:58:47,240
Speaker 2: Yeah, I wonder about that. But they share some backstory.

1120
00:58:47,280 --> 00:58:51,080
Speaker 2: It turns out Ammon already knows Perseus's backstory because he

1121
00:58:51,320 --> 00:58:53,960
Speaker 2: even wrote a poem about it. It turns out Perseus

1122
00:58:54,040 --> 00:58:55,600
Speaker 2: is famous and he didn't even know it.

1123
00:58:56,200 --> 00:58:59,320
Speaker 1: Yeah, but every moment with Amon, it's just a lot

1124
00:58:59,400 --> 00:59:03,400
Speaker 1: of fun because again it's a light hearted character, and

1125
00:59:03,520 --> 00:59:07,400
Speaker 1: Bert's Meretith just brings so much to this performance, just

1126
00:59:07,440 --> 00:59:09,400
Speaker 1: breathes life into every little line.

1127
00:59:09,680 --> 00:59:11,439
Speaker 2: I like how he's got a lot of kitty cats

1128
00:59:11,440 --> 00:59:12,200
Speaker 2: around his house.

1129
00:59:12,480 --> 00:59:14,760
Speaker 1: Yeah, yep, a whole bunch of Like you just can't

1130
00:59:14,760 --> 00:59:17,680
Speaker 1: even get to important paperwork because they're just kitty cats everywhere.

1131
00:59:19,080 --> 00:59:23,400
Speaker 2: He gives Perseus a prince costume. So he's like, you know,

1132
00:59:23,480 --> 00:59:26,920
Speaker 2: welcome to Joppa. You know this is more befitting of

1133
00:59:26,960 --> 00:59:29,040
Speaker 2: your role as a prince because you are the son

1134
00:59:29,080 --> 00:59:33,600
Speaker 2: of Zeus. And then Zeus finds out that Thedus transported

1135
00:59:33,640 --> 00:59:37,360
Speaker 2: Perseus from Saraphas to Jappa, and he's mad about this.

1136
00:59:37,880 --> 00:59:40,120
Speaker 2: So what's he going to do about it. He's like, well, yea,

1137
00:59:40,200 --> 00:59:43,360
Speaker 2: Perseus is naked. That's no good. We've got to equip

1138
00:59:43,440 --> 00:59:47,080
Speaker 2: some items with him. He says, we need weapons of

1139
00:59:47,160 --> 00:59:50,120
Speaker 2: divine temper. So what are the weapons he gets? It

1140
00:59:50,120 --> 00:59:52,880
Speaker 2: seems like only two of the three things are actually weapons,

1141
00:59:52,920 --> 00:59:56,440
Speaker 2: but let's describe them all. So he gets a magical

1142
00:59:56,600 --> 01:00:01,600
Speaker 2: helmet from Athena, he gets a sword from Aphrodite and

1143
01:00:01,640 --> 01:00:04,080
Speaker 2: a shield from Hera. And what's the deal with all

1144
01:00:04,120 --> 01:00:05,960
Speaker 2: three of these things?

1145
01:00:05,600 --> 01:00:08,240
Speaker 1: Well, let's see what them. The magical helmet makes them invisible,

1146
01:00:08,280 --> 01:00:11,840
Speaker 1: the sword is just really good. And the shield Zeus

1147
01:00:11,840 --> 01:00:13,480
Speaker 1: can talk to him through the shield. I think that's

1148
01:00:13,520 --> 01:00:14,360
Speaker 1: the main power.

1149
01:00:14,600 --> 01:00:16,800
Speaker 2: I think he only does one time though. Well, no,

1150
01:00:16,960 --> 01:00:18,960
Speaker 2: the shield is reflective, that's.

1151
01:00:18,840 --> 01:00:21,080
Speaker 1: What it is. Oh yeah, it has a nice mirror one.

1152
01:00:21,440 --> 01:00:24,080
Speaker 2: It's a mirrored shield which will come in with Medusa.

1153
01:00:25,120 --> 01:00:27,919
Speaker 2: But the sword from Aphrodite. I don't know why Aphrodite

1154
01:00:27,960 --> 01:00:30,240
Speaker 2: has the strongest sword in the world, but it's a

1155
01:00:30,280 --> 01:00:32,040
Speaker 2: sword that can cut through stone.

1156
01:00:32,400 --> 01:00:34,240
Speaker 1: Oh yes, yeah, we see a scene where it cuts

1157
01:00:34,240 --> 01:00:37,080
Speaker 1: through the stone. That's right. But all of it's really shiny.

1158
01:00:37,120 --> 01:00:40,280
Speaker 1: All of it looks really good. And this is also

1159
01:00:40,360 --> 01:00:42,040
Speaker 1: really It also kind of feels at this point in

1160
01:00:42,080 --> 01:00:45,840
Speaker 1: the picture it's kind of like lazy dungeon mastering because

1161
01:00:46,120 --> 01:00:48,840
Speaker 1: our character has just been moved by the gods, dropped

1162
01:00:48,840 --> 01:00:54,080
Speaker 1: into a new location, and instantly given three legendary strength

1163
01:00:54,120 --> 01:00:57,400
Speaker 1: magical items which he doesn't have to do anything in

1164
01:00:57,520 --> 01:00:59,720
Speaker 1: order to get them. They're just laying around when he

1165
01:01:00,160 --> 01:01:00,520
Speaker 1: comes too.

1166
01:01:01,120 --> 01:01:04,920
Speaker 2: But I'm imagining Perseus here having to do wisdom saving

1167
01:01:05,000 --> 01:01:07,280
Speaker 2: throws and I don't know about that.

1168
01:01:08,200 --> 01:01:10,960
Speaker 1: Yeah, kind of have a disadvantage there because I don't,

1169
01:01:11,000 --> 01:01:12,720
Speaker 1: you know, he hasn't done any real adventuring. He's done

1170
01:01:12,720 --> 01:01:14,920
Speaker 1: some horse tricks on a beach somewhere, but we have

1171
01:01:15,000 --> 01:01:20,760
Speaker 1: nothing to indicate that he's he's ready from an experienced standpoint,

1172
01:01:21,040 --> 01:01:23,360
Speaker 1: to do with a lot of adventuring. But again, he

1173
01:01:23,440 --> 01:01:25,280
Speaker 1: is the son of a god, so ideally I guess

1174
01:01:25,280 --> 01:01:26,880
Speaker 1: there's a lot of this. It's just sort of built

1175
01:01:26,880 --> 01:01:29,560
Speaker 1: into his godlike DNA, I guess so.

1176
01:01:29,720 --> 01:01:32,360
Speaker 2: But as soon as Perseus figures out that the helmet

1177
01:01:32,400 --> 01:01:34,640
Speaker 2: makes him invisible, he puts it on and runs off

1178
01:01:34,640 --> 01:01:48,000
Speaker 2: to Joppa. So in Djappa, Perseus is amazed by the culture.

1179
01:01:48,360 --> 01:01:50,440
Speaker 2: He's a small town boy, after all, he's from the

1180
01:01:51,040 --> 01:01:53,439
Speaker 2: sleepy island of Saraphas, so I think he's never seen

1181
01:01:53,520 --> 01:01:56,160
Speaker 2: the big city before. And he goes around marveling at

1182
01:01:56,200 --> 01:01:58,680
Speaker 2: all the sights and sounds in the marketplace, the most

1183
01:01:58,720 --> 01:02:02,200
Speaker 2: impressive of which, in my opinion, is the man with

1184
01:02:02,240 --> 01:02:05,600
Speaker 2: the iron mustache, a guy who is lifting up this

1185
01:02:05,840 --> 01:02:10,120
Speaker 2: like it's got this lady getting into a harness, and

1186
01:02:10,440 --> 01:02:13,640
Speaker 2: this dude uses it to lift her entire body off

1187
01:02:13,640 --> 01:02:15,200
Speaker 2: the ground with his mustache.

1188
01:02:15,880 --> 01:02:18,920
Speaker 1: It is most impressive. Yeah, and this is all. I

1189
01:02:18,960 --> 01:02:21,800
Speaker 1: love this whole sequence here, because it's like lepers, strong men,

1190
01:02:22,640 --> 01:02:27,440
Speaker 1: you know, a fancy ladies, seductive ladies, people selling things.

1191
01:02:27,480 --> 01:02:30,520
Speaker 1: It's just it's a neat scene.

1192
01:02:30,760 --> 01:02:34,000
Speaker 2: But then Perseus comes across a horrible sight a body

1193
01:02:34,200 --> 01:02:37,680
Speaker 2: burning on a steak, and he meets a guard. Is

1194
01:02:37,760 --> 01:02:40,520
Speaker 2: this thallow is that this would be him? Yeah, okay, yeah.

1195
01:02:40,520 --> 01:02:43,040
Speaker 2: He meets Thalo and he gets some exposition. So we

1196
01:02:43,160 --> 01:02:45,680
Speaker 2: learned that this guy burning over here, this was a

1197
01:02:45,760 --> 01:02:50,400
Speaker 2: suitor to the beautiful Princess Andromeda. And Rabina's mother Cassiopeia,

1198
01:02:50,560 --> 01:02:55,680
Speaker 2: originally pledged Andromeda's hand in marriage to Calibos. But Calibos

1199
01:02:55,760 --> 01:02:58,000
Speaker 2: was cruel and he did some bad stuff. He was

1200
01:02:58,080 --> 01:03:00,920
Speaker 2: kind of a taz and then he got transformed into

1201
01:03:00,960 --> 01:03:04,720
Speaker 2: a horrible monster. So now he's very ugly. And Andromeda

1202
01:03:04,800 --> 01:03:07,680
Speaker 2: refused to marry him, and as a result, the city

1203
01:03:07,760 --> 01:03:11,760
Speaker 2: is cursed. It's swarmed with stinging marsh flies. And also

1204
01:03:11,880 --> 01:03:14,720
Speaker 2: now any man can propose to Andromeda. I guess they've

1205
01:03:14,720 --> 01:03:18,240
Speaker 2: lowered their standards. But he's got to answer a riddle first,

1206
01:03:18,520 --> 01:03:20,400
Speaker 2: and those who fail the riddle die.

1207
01:03:20,840 --> 01:03:24,000
Speaker 1: Perseus, however, is up for a challenge. He seems interested

1208
01:03:24,040 --> 01:03:25,840
Speaker 1: in this. He's like, well, maybe this is where I

1209
01:03:25,840 --> 01:03:26,880
Speaker 1: should apply myself.

1210
01:03:27,360 --> 01:03:30,720
Speaker 2: Right, So he puts on the invisible helmet sneaks up

1211
01:03:30,760 --> 01:03:33,919
Speaker 2: to Andromeda's room at night, and I was thinking, what's

1212
01:03:33,960 --> 01:03:36,240
Speaker 2: the plan here? Does he be like, Hi, you don't

1213
01:03:36,240 --> 01:03:38,280
Speaker 2: know me, but I can turn invisible. What do you say?

1214
01:03:38,320 --> 01:03:39,960
Speaker 2: We get married? And I skip the riddle.

1215
01:03:40,640 --> 01:03:42,760
Speaker 1: Yeah, like what Denny just sort of like he just

1216
01:03:42,840 --> 01:03:45,200
Speaker 1: looks at her while she's sleeping like a creep for

1217
01:03:45,240 --> 01:03:45,720
Speaker 1: a little bit.

1218
01:03:45,880 --> 01:03:47,040
Speaker 2: Yeah, come on, Perseus.

1219
01:03:47,720 --> 01:03:49,800
Speaker 1: But I guess the idea is he confirms, like he's

1220
01:03:49,800 --> 01:03:52,240
Speaker 1: sleted first sight, he like realizes, I am now in

1221
01:03:52,280 --> 01:03:54,680
Speaker 1: love with her. I will do whatever it takes to

1222
01:03:55,480 --> 01:03:57,600
Speaker 1: get a shot at this riddle and answer it right.

1223
01:03:57,680 --> 01:04:00,920
Speaker 2: And he sees that every night to her rooms, it

1224
01:04:01,000 --> 01:04:04,320
Speaker 2: flies a giant vulture like that settles on her balcony

1225
01:04:04,640 --> 01:04:08,480
Speaker 2: and brings a cage, and I think her soul leaves

1226
01:04:08,520 --> 01:04:11,480
Speaker 2: her body and it gets into the cage and then

1227
01:04:11,520 --> 01:04:12,880
Speaker 2: the vulture carries it off.

1228
01:04:13,800 --> 01:04:17,080
Speaker 1: Yeah, and this is another great harry House in effect,

1229
01:04:17,120 --> 01:04:18,080
Speaker 1: this giant vulture.

1230
01:04:18,320 --> 01:04:21,560
Speaker 2: The vulture takes it to the swampy stronghold of Calibos

1231
01:04:21,800 --> 01:04:24,760
Speaker 2: every night to receive the new riddle for her suitors.

1232
01:04:25,640 --> 01:04:28,040
Speaker 2: And so Perseus figures, hey, I can follow her to

1233
01:04:28,040 --> 01:04:30,560
Speaker 2: the enemy encampment and there I could learn the riddle

1234
01:04:30,600 --> 01:04:33,600
Speaker 2: in advance, so I can cheat the moral of the story.

1235
01:04:33,640 --> 01:04:34,720
Speaker 2: Real heroes cheat.

1236
01:04:35,160 --> 01:04:37,160
Speaker 1: I mean, I guess he realizes as a rig system.

1237
01:04:37,240 --> 01:04:39,240
Speaker 1: So he's gonna try and get Dan Tally needs.

1238
01:04:39,720 --> 01:04:42,120
Speaker 2: But in order to follow the flying vulture, he has

1239
01:04:42,120 --> 01:04:43,920
Speaker 2: to be able to fly himself. So first there's a

1240
01:04:43,920 --> 01:04:46,680
Speaker 2: scene where he has to capture Pegasus, the winged horse.

1241
01:04:47,960 --> 01:04:50,560
Speaker 2: You know, I liked Pegasus, but I don't really love

1242
01:04:50,640 --> 01:04:53,400
Speaker 2: this sequence. It feels kind of nasty when he's catching

1243
01:04:53,440 --> 01:04:56,640
Speaker 2: the horse by throwing a rope around its neck. It's like, oh,

1244
01:04:56,640 --> 01:04:58,040
Speaker 2: the poor, poor Pegasus.

1245
01:04:58,640 --> 01:05:00,720
Speaker 1: Oh yeah, I didn't think about that's much of I

1246
01:05:01,040 --> 01:05:03,840
Speaker 1: was just so blown away by how good this, uh,

1247
01:05:03,920 --> 01:05:06,240
Speaker 1: this effect looks. He kept thinking about, how like you're

1248
01:05:06,240 --> 01:05:10,760
Speaker 1: having to animate a realistic horse, which is a very

1249
01:05:10,840 --> 01:05:13,840
Speaker 1: dynamic animal. I mean, this isn't like an articulated crab

1250
01:05:13,960 --> 01:05:16,240
Speaker 1: or a scorpion, Like this is a horse. There's a lot,

1251
01:05:16,400 --> 01:05:18,480
Speaker 1: there's a lot of animal, and then on top of that,

1252
01:05:18,520 --> 01:05:22,160
Speaker 1: you've added these beautiful wings to it. And so yeah,

1253
01:05:22,160 --> 01:05:24,280
Speaker 1: it seems like quite a challenge. But yeah, Harry howis

1254
01:05:24,320 --> 01:05:25,000
Speaker 1: and pulls it off.

1255
01:05:25,440 --> 01:05:28,920
Speaker 2: But the taming process works. He tames and rides the Pegasus.

1256
01:05:28,960 --> 01:05:31,840
Speaker 2: So now he's got one, uh, and the next night

1257
01:05:31,920 --> 01:05:35,760
Speaker 2: he he he's got one. Like there's multiple Pegasus. There's

1258
01:05:35,840 --> 01:05:38,480
Speaker 2: just one Pegasus. I guess the last one, right, Yeah.

1259
01:05:38,400 --> 01:05:40,600
Speaker 1: He tells us like grilled up the other ones.

1260
01:05:41,560 --> 01:05:46,240
Speaker 2: I turned him into barbecue and so, uh yeah, he

1261
01:05:46,440 --> 01:05:50,520
Speaker 2: rides Pegasus to the swamp, follows the the vulture at

1262
01:05:50,560 --> 01:05:53,120
Speaker 2: the night and they go to the swamp of Kelbos,

1263
01:05:53,160 --> 01:05:55,840
Speaker 2: you know where the bullgaters beller and the panther squall

1264
01:05:56,680 --> 01:05:59,280
Speaker 2: and they they land there. And I love this set.

1265
01:05:59,560 --> 01:06:02,760
Speaker 2: It's a you know, a classic misty indoor for outdoor

1266
01:06:03,040 --> 01:06:08,040
Speaker 2: swamp that's got skeletons hanging from trees and little alligators

1267
01:06:08,080 --> 01:06:12,480
Speaker 2: and all that stuff. General thoughts about the Calibas sequence, Rob.

1268
01:06:13,080 --> 01:06:15,760
Speaker 1: Well, I think if memory serves, the part of the

1269
01:06:15,760 --> 01:06:18,240
Speaker 1: situation of the Calibus character is that originally it was

1270
01:06:18,280 --> 01:06:21,160
Speaker 1: going to be entirely stop motion, and then at some

1271
01:06:21,240 --> 01:06:23,880
Speaker 1: point in creating the script, they realized they wanted they

1272
01:06:23,920 --> 01:06:25,840
Speaker 1: were going to need a human to play the character

1273
01:06:25,880 --> 01:06:27,520
Speaker 1: as well. So we do a lot of cutting back

1274
01:06:27,560 --> 01:06:33,040
Speaker 1: and forth between stop motion Calibus and the actual actual

1275
01:06:33,120 --> 01:06:36,200
Speaker 1: human actor and makeup and and so I guess it

1276
01:06:36,240 --> 01:06:38,600
Speaker 1: can still be a little jarring even in a picture

1277
01:06:38,680 --> 01:06:40,760
Speaker 1: like this that kind of that has a lot of

1278
01:06:40,760 --> 01:06:44,080
Speaker 1: cutting back and forth between and integration between live action

1279
01:06:44,160 --> 01:06:47,320
Speaker 1: and stop motion. But of course that being said, like

1280
01:06:47,360 --> 01:06:50,200
Speaker 1: the stop motion, Calabus looks amazing. You get that tail

1281
01:06:50,400 --> 01:06:55,600
Speaker 1: sweeping around and so forth looks really good. And then,

1282
01:06:55,640 --> 01:06:58,160
Speaker 1: like I said earlier, the character of Calabus as we

1283
01:06:58,200 --> 01:07:00,080
Speaker 1: get to know him here, you know, he's he's a

1284
01:07:00,120 --> 01:07:04,360
Speaker 1: tragic villain. He's seated on this throne of sadness in

1285
01:07:04,400 --> 01:07:08,680
Speaker 1: his swamp. It's so there's a this is this is

1286
01:07:08,800 --> 01:07:09,680
Speaker 1: a fun sequence.

1287
01:07:10,200 --> 01:07:13,040
Speaker 2: Yeah. So Andromeda is there and she begs him, you know,

1288
01:07:13,120 --> 01:07:16,800
Speaker 2: lift the curse from Joppa, release my soul. He's like, no,

1289
01:07:17,160 --> 01:07:19,520
Speaker 2: I'm going to give you a new riddle, so you know,

1290
01:07:19,760 --> 01:07:22,720
Speaker 2: use this to to doom yet another suitor, another would

1291
01:07:22,760 --> 01:07:26,680
Speaker 2: be hero. And you can see also but there's like

1292
01:07:26,760 --> 01:07:29,360
Speaker 2: a scene where she touches his face I think when

1293
01:07:29,360 --> 01:07:32,800
Speaker 2: she's asking him to lift the curse, and I don't know,

1294
01:07:32,920 --> 01:07:35,240
Speaker 2: it is very sad like you see him, you know,

1295
01:07:35,400 --> 01:07:37,240
Speaker 2: like wishing he could have had a better life.

1296
01:07:37,680 --> 01:07:38,320
Speaker 1: Yeah.

1297
01:07:38,760 --> 01:07:42,400
Speaker 2: But oh she walks away and then Calibos he looks

1298
01:07:42,440 --> 01:07:44,720
Speaker 2: in the sand and sees what is that is that

1299
01:07:44,800 --> 01:07:50,120
Speaker 2: invisible the footsteps of an invisible Harry Hamlin. And then

1300
01:07:50,120 --> 01:07:53,320
Speaker 2: he's mad, So Harry Hamblin We see him walking off

1301
01:07:53,320 --> 01:07:57,120
Speaker 2: into the into the swamp, and then Calibos ambushes him

1302
01:07:57,160 --> 01:08:00,000
Speaker 2: and they fight for a bit. The helmet of invisible

1303
01:08:00,000 --> 01:08:03,760
Speaker 2: Ability gets knocked off of Perseus's belt and falls into

1304
01:08:03,760 --> 01:08:05,760
Speaker 2: the swamp waters. Bye bye.

1305
01:08:06,200 --> 01:08:09,800
Speaker 1: Yeah, one legendary magical item completely gone, just lost it.

1306
01:08:10,120 --> 01:08:13,000
Speaker 2: Yeah, And we don't know exactly how the fight resolves.

1307
01:08:13,000 --> 01:08:15,080
Speaker 2: We see Percy has like land some kind of blow

1308
01:08:15,120 --> 01:08:16,800
Speaker 2: with his sword, and then it just cuts to the

1309
01:08:16,840 --> 01:08:21,000
Speaker 2: next day where Andromeda is. They are gathered, I guess

1310
01:08:21,000 --> 01:08:25,240
Speaker 2: in the temple of Thetis and Jappa, and you know,

1311
01:08:25,280 --> 01:08:27,559
Speaker 2: they're like, hey, is anybody gonna step up and propose

1312
01:08:27,640 --> 01:08:31,000
Speaker 2: marriage to her? Perseus does, and so they ask him

1313
01:08:31,120 --> 01:08:33,679
Speaker 2: the riddle and I was like, this is not a riddle.

1314
01:08:33,800 --> 01:08:36,840
Speaker 2: She just describes a strange image and then says what

1315
01:08:36,920 --> 01:08:40,200
Speaker 2: can it be? And the answer does not really rely

1316
01:08:40,320 --> 01:08:44,559
Speaker 2: on any cleverness. The answer is the ring on Calibos's hand,

1317
01:08:44,600 --> 01:08:47,840
Speaker 2: which Harry Hamlin has because he cut Calabos's hand off.

1318
01:08:48,439 --> 01:08:51,000
Speaker 2: Oh yeah, so he fills this in. He says, hey, yeah,

1319
01:08:51,040 --> 01:08:53,559
Speaker 2: I defeated Calibos in battle. I cut off his hand

1320
01:08:54,240 --> 01:08:56,280
Speaker 2: and I spared his life on the condition that he

1321
01:08:56,400 --> 01:08:59,519
Speaker 2: lift the curse from the city. So he correctly answered

1322
01:08:59,520 --> 01:09:02,960
Speaker 2: the riddle and the curse it seems at least has

1323
01:09:03,000 --> 01:09:05,760
Speaker 2: been lifted. So are we happily ever after now? But

1324
01:09:05,800 --> 01:09:07,840
Speaker 2: that wouldn't make sense. We're only like forty five minutes

1325
01:09:07,880 --> 01:09:08,639
Speaker 2: into the movie.

1326
01:09:08,840 --> 01:09:10,439
Speaker 1: I know, it seems like things are going well. The

1327
01:09:10,520 --> 01:09:11,719
Speaker 1: labyrinth is a piece of cake.

1328
01:09:12,120 --> 01:09:16,320
Speaker 2: But so while they're off partying and you know, Perseus

1329
01:09:16,360 --> 01:09:18,400
Speaker 2: and Andromeda are kind of getting to know each other,

1330
01:09:18,439 --> 01:09:20,400
Speaker 2: They're like, oh, yes, I guess we are in love now.

1331
01:09:21,360 --> 01:09:24,800
Speaker 2: Calibos comes into the temple. He kneels before the statue

1332
01:09:25,400 --> 01:09:27,519
Speaker 2: of Thetis and he prays for a way to get

1333
01:09:27,560 --> 01:09:30,240
Speaker 2: revenge on Perseus. He says, show me how to punish

1334
01:09:30,280 --> 01:09:34,679
Speaker 2: Perseus for this blasphemy, and Theda says, damn, well, can't

1335
01:09:34,720 --> 01:09:38,960
Speaker 2: hurt Perseus because Zeus protects him. So Calibos instead is like, well,

1336
01:09:39,000 --> 01:09:41,439
Speaker 2: then let me get revenge on the people Perseus loves

1337
01:09:41,479 --> 01:09:44,840
Speaker 2: Andromeda and the people of Joppa. He begs her to

1338
01:09:44,920 --> 01:09:47,920
Speaker 2: send the kraken. So I think it's the next day

1339
01:09:47,960 --> 01:09:51,360
Speaker 2: there's the marriage ceremony. They're about to be joined together forever.

1340
01:09:52,520 --> 01:09:55,840
Speaker 2: And then it's at the marriage ceremony that the Queen

1341
01:09:55,960 --> 01:10:00,400
Speaker 2: Cassiopia is like, good thing my daughter is even more

1342
01:10:00,439 --> 01:10:03,360
Speaker 2: beautiful than the goddess in this statue here and then

1343
01:10:04,200 --> 01:10:07,160
Speaker 2: the statue is like raw and its head falls off.

1344
01:10:07,800 --> 01:10:09,799
Speaker 1: And then we get that scene where suddenly it's Maggie

1345
01:10:09,840 --> 01:10:13,760
Speaker 1: Smith's face like superimposed onto the statue speaking to them.

1346
01:10:14,040 --> 01:10:16,720
Speaker 2: I'm gonna say, this effect looks funny, and I don't

1347
01:10:16,720 --> 01:10:18,680
Speaker 2: think it was supposed to. Most of the effects in

1348
01:10:18,720 --> 01:10:21,400
Speaker 2: this movie I think are beautiful, but this one is

1349
01:10:21,760 --> 01:10:22,479
Speaker 2: a bit comic.

1350
01:10:23,600 --> 01:10:25,400
Speaker 1: I like that. I mean, I'm on one level, I

1351
01:10:25,439 --> 01:10:27,960
Speaker 1: like the effect of it. It's like you really nested up,

1352
01:10:28,000 --> 01:10:31,760
Speaker 1: you went too far, you mocked the gods, and so

1353
01:10:31,840 --> 01:10:34,799
Speaker 1: now the goddess is appearing to you through this crumpled

1354
01:10:34,840 --> 01:10:39,920
Speaker 1: statue and pronouncing doom. That's right, she does lay out

1355
01:10:39,960 --> 01:10:40,479
Speaker 1: some doom.

1356
01:10:40,600 --> 01:10:42,800
Speaker 2: Yes for the insults to me and my son, I

1357
01:10:42,880 --> 01:10:46,519
Speaker 2: demand the sacrifice of Andromeda in thirty days. We're going

1358
01:10:46,600 --> 01:10:47,839
Speaker 2: to feed her to the kraken.

1359
01:10:48,560 --> 01:10:51,280
Speaker 1: So now Percius has a new riddle to solve, and

1360
01:10:51,400 --> 01:10:53,400
Speaker 1: that is what are we gonna do about this cracking?

1361
01:10:53,520 --> 01:10:56,880
Speaker 2: Yeah, how do you kill a kraken? Emmon originally says,

1362
01:10:57,400 --> 01:11:00,080
Speaker 2: no man knows how to kill a kraken, and so

1363
01:11:00,160 --> 01:11:04,120
Speaker 2: Perseus says, oh, that's no good. But Emmon says, but

1364
01:11:04,280 --> 01:11:07,519
Speaker 2: there may be a woman who does, actually three women.

1365
01:11:07,920 --> 01:11:11,360
Speaker 2: We must consult the Stygian witches. They may know away,

1366
01:11:11,560 --> 01:11:15,680
Speaker 2: but there's a problem. They tend to eat people. But

1367
01:11:15,800 --> 01:11:18,400
Speaker 2: the heroes are not deterred. So all of our friends

1368
01:11:18,439 --> 01:11:22,800
Speaker 2: now get together Harry Hamlin, Burgess, Meredith, Andromeda what's his name,

1369
01:11:22,840 --> 01:11:25,439
Speaker 2: the soldier that Thallo or whatever it is, and then

1370
01:11:25,479 --> 01:11:29,240
Speaker 2: a bunch of other unnamed soldiers who were might as

1371
01:11:29,280 --> 01:11:31,639
Speaker 2: well be wearing you know, red Starfleet shirts.

1372
01:11:31,960 --> 01:11:34,080
Speaker 1: Right, yeah, they're damned do you know that? They're just

1373
01:11:34,160 --> 01:11:35,160
Speaker 1: pure monster fodder.

1374
01:11:35,720 --> 01:11:38,160
Speaker 2: So they're going to head off to find the witches.

1375
01:11:38,240 --> 01:11:41,120
Speaker 2: Now I think they don't initially know how to find

1376
01:11:41,120 --> 01:11:44,800
Speaker 2: the witches, but the Zeus has a way to help

1377
01:11:44,840 --> 01:11:47,200
Speaker 2: with this. We go back to the gods and Zeus

1378
01:11:47,280 --> 01:11:49,320
Speaker 2: is like, this is the part where he goes up

1379
01:11:49,320 --> 01:11:52,360
Speaker 2: to Athena. He's like, hey, that helmet you gave my son,

1380
01:11:52,479 --> 01:11:54,680
Speaker 2: well he dropped it in a swamp. He needs a

1381
01:11:54,720 --> 01:11:58,280
Speaker 2: new gift. Give him your owl, your friend the boobo here.

1382
01:11:59,000 --> 01:12:01,719
Speaker 2: You know it is all seeming all knowing you shouldn't

1383
01:12:01,720 --> 01:12:03,920
Speaker 2: be a problem for you to give it to my son,

1384
01:12:04,439 --> 01:12:07,120
Speaker 2: and she's like, ew, let a mortal have my owl.

1385
01:12:07,200 --> 01:12:11,320
Speaker 2: That's gross. So she's not gonna do that. Instead, she

1386
01:12:11,360 --> 01:12:14,559
Speaker 2: gets pat Roach to make him a robot owl, and

1387
01:12:14,600 --> 01:12:17,240
Speaker 2: we briefly see a scene in the Forge of effaced

1388
01:12:17,320 --> 01:12:19,840
Speaker 2: Us where he's kneeling over a table and he's like

1389
01:12:19,880 --> 01:12:22,759
Speaker 2: a watchmaker. He's messing with all little gears and stuff.

1390
01:12:23,120 --> 01:12:25,120
Speaker 1: Yeah, it's a fun sleepence. I don't know. It's a

1391
01:12:25,120 --> 01:12:28,559
Speaker 1: different type of role for pat Roach here. And also

1392
01:12:28,720 --> 01:12:32,360
Speaker 1: it's kind of like we've talked about the tactile nature

1393
01:12:32,920 --> 01:12:37,280
Speaker 1: of the stop motion effects, and Boobo really has that

1394
01:12:37,360 --> 01:12:40,400
Speaker 1: tactile feel and it really begins here watching him physically

1395
01:12:40,400 --> 01:12:42,040
Speaker 1: assembled by Avestus.

1396
01:12:42,600 --> 01:12:45,280
Speaker 2: Now he flies up to our heroes and settles down

1397
01:12:45,320 --> 01:12:47,760
Speaker 2: on a tree branch. But Boobo was also played for

1398
01:12:47,800 --> 01:12:50,400
Speaker 2: comic relief, much like the Droids and Star Wars. He

1399
01:12:50,479 --> 01:12:52,760
Speaker 2: kind of like beepy Boop and then he falls off

1400
01:12:52,800 --> 01:12:54,960
Speaker 2: the branch and land's head first on the ground and

1401
01:12:55,000 --> 01:12:56,599
Speaker 2: goes whoo woo, you.

1402
01:12:56,560 --> 01:12:59,120
Speaker 1: Know, m Yeah, And this is again, every time Boobo

1403
01:12:59,200 --> 01:13:01,320
Speaker 1: does something, there are a lot of movements to it,

1404
01:13:01,360 --> 01:13:03,960
Speaker 1: like a lot of love went into creating this effect.

1405
01:13:04,400 --> 01:13:07,000
Speaker 2: I do love Boobo, and I bet little kids especially

1406
01:13:07,040 --> 01:13:07,599
Speaker 2: love Boobo.

1407
01:13:08,360 --> 01:13:11,080
Speaker 1: Oh yeah, I remember showing this to my son a

1408
01:13:11,160 --> 01:13:13,080
Speaker 1: couple of years, but he loved He wasn't not for

1409
01:13:13,200 --> 01:13:15,320
Speaker 1: rewatching it. He wasn't interested in rewatching it with me

1410
01:13:15,360 --> 01:13:17,040
Speaker 1: for this episode. But he's watched it a couple of

1411
01:13:17,040 --> 01:13:19,880
Speaker 1: times in the past and loved all the monsters in it,

1412
01:13:19,920 --> 01:13:21,320
Speaker 1: of course, and loved Bubo.

1413
01:13:21,400 --> 01:13:23,600
Speaker 2: The ancient Greek astromecterroid.

1414
01:13:24,160 --> 01:13:26,799
Speaker 1: Yeah, which does it does sort of a navigational function,

1415
01:13:26,920 --> 01:13:28,400
Speaker 1: guides them to the three witches.

1416
01:13:28,920 --> 01:13:31,719
Speaker 2: That's exactly right. Bubo can lead them to the shrine

1417
01:13:31,880 --> 01:13:34,640
Speaker 2: of the Stygian Witches, and so they go there. They

1418
01:13:34,640 --> 01:13:36,200
Speaker 2: have to climb a mountain to get up to the

1419
01:13:36,240 --> 01:13:39,000
Speaker 2: shrine the three witches, just as in the myth. The

1420
01:13:39,040 --> 01:13:41,439
Speaker 2: three of them share one eye between them, though it's

1421
01:13:41,479 --> 01:13:43,759
Speaker 2: not an eye here. Really, it's like a crystal ball,

1422
01:13:44,720 --> 01:13:44,880
Speaker 2: you know.

1423
01:13:44,880 --> 01:13:46,920
Speaker 1: They hold it up to their forehead into their like

1424
01:13:47,120 --> 01:13:50,439
Speaker 1: fleshed over eye sockets, and there's a certain amount of

1425
01:13:50,439 --> 01:13:53,080
Speaker 1: squabbling among them about who gets to use it next.

1426
01:13:53,840 --> 01:13:55,600
Speaker 1: And oh but yeah, this sequence is a lot of

1427
01:13:55,640 --> 01:13:57,800
Speaker 1: fun because there's a lot of cackling, there's a lot

1428
01:13:57,800 --> 01:14:00,600
Speaker 1: of like, oh, of course, I'll tell you about the

1429
01:14:01,320 --> 01:14:04,840
Speaker 1: about where you can find I guess they reveal that

1430
01:14:05,040 --> 01:14:07,120
Speaker 1: they're not even looking for Medusa at this point, right,

1431
01:14:07,120 --> 01:14:10,439
Speaker 1: but they revealed that Medusa's way. But well, but I'm

1432
01:14:10,479 --> 01:14:13,320
Speaker 1: getting ahead of myself, Like, in order to get the advantage,

1433
01:14:13,360 --> 01:14:18,160
Speaker 1: of course, Perseus has Bubou fly in and steal the eye,

1434
01:14:18,280 --> 01:14:20,280
Speaker 1: so now he has something to bargain with.

1435
01:14:20,680 --> 01:14:22,880
Speaker 2: Yeah, so they're like, give us back the eye, and

1436
01:14:22,920 --> 01:14:24,840
Speaker 2: he says, no, first, you got to tell me how

1437
01:14:24,880 --> 01:14:27,519
Speaker 2: I can defeat a kraken, and they they do tell

1438
01:14:27,600 --> 01:14:28,520
Speaker 2: him an idea.

1439
01:14:28,880 --> 01:14:31,000
Speaker 1: Yeah, and it's you should go get the head of

1440
01:14:31,000 --> 01:14:33,800
Speaker 1: the Medusa. It works even if she's been slain. Of course,

1441
01:14:33,840 --> 01:14:36,479
Speaker 1: the only problem is she's more dangerous than the kracking,

1442
01:14:36,920 --> 01:14:39,200
Speaker 1: so you're you're gonna have a really hard time pulling

1443
01:14:39,200 --> 01:14:42,240
Speaker 1: this off. And in the midst there's all sorts of

1444
01:14:42,280 --> 01:14:43,920
Speaker 1: fun stuff going on in here. They have a big

1445
01:14:43,960 --> 01:14:47,160
Speaker 1: cannibal stew going they have to like push a squirming

1446
01:14:47,240 --> 01:14:50,400
Speaker 1: hand back into it. And I really love the one

1447
01:14:50,479 --> 01:14:53,439
Speaker 1: witch who's she's like talking about how, yes, you'll be

1448
01:14:53,439 --> 01:14:56,840
Speaker 1: able to use the Medusa's head against against the krake

1449
01:14:56,880 --> 01:15:00,000
Speaker 1: in a titan against a titan and she's all excited

1450
01:15:00,200 --> 01:15:04,400
Speaker 1: about it. It really excited to deliver on the film's title.

1451
01:15:04,680 --> 01:15:08,040
Speaker 2: Oh yes, and I do love their disgusting cauldron of slop.

1452
01:15:08,160 --> 01:15:11,120
Speaker 2: There is very funny sound effects and when like a

1453
01:15:11,200 --> 01:15:13,680
Speaker 2: human hand reaches out of it, going like eh, and

1454
01:15:13,720 --> 01:15:15,559
Speaker 2: they just kind of like tuck it back in the shit.

1455
01:15:15,680 --> 01:15:20,000
Speaker 2: You quiet get down in there, all right. So next

1456
01:15:20,000 --> 01:15:21,280
Speaker 2: thing is they got to get the head of the

1457
01:15:21,280 --> 01:15:24,240
Speaker 2: Gorgon Medusa, so they crossed the river sticks to get

1458
01:15:24,240 --> 01:15:27,920
Speaker 2: to the island of the Gorgon. There is, of course

1459
01:15:27,920 --> 01:15:30,160
Speaker 2: a big battle. I'm not going to go into detail

1460
01:15:30,160 --> 01:15:33,240
Speaker 2: about everything about this bottle. You just need to watch

1461
01:15:33,280 --> 01:15:35,960
Speaker 2: it for yourself. But it is wonderfully atmospheric. It's very

1462
01:15:35,960 --> 01:15:38,240
Speaker 2: well paced. Like the lead up to it, a little

1463
01:15:38,640 --> 01:15:45,000
Speaker 2: things they see approaching her layer, the human shaped stone statues,

1464
01:15:45,080 --> 01:15:48,479
Speaker 2: the kind of crumble. Oh, and that, of course, we

1465
01:15:48,800 --> 01:15:50,960
Speaker 2: find out the Medusa has been working in the Kremlin

1466
01:15:51,040 --> 01:15:52,040
Speaker 2: with the two headed dog.

1467
01:15:52,680 --> 01:15:55,200
Speaker 1: Oh yeah, the two headed dog. I think may have

1468
01:15:55,280 --> 01:15:57,439
Speaker 1: been cut from the Turner broadcast. They've probably cut it

1469
01:15:57,560 --> 01:16:00,800
Speaker 1: cut the movie for length, So I don't remember ever

1470
01:16:00,800 --> 01:16:02,559
Speaker 1: seeing the two headed dog when I watched it. Maybe

1471
01:16:02,600 --> 01:16:07,559
Speaker 1: I'm wrong on that. But it's a two headed dog

1472
01:16:07,600 --> 01:16:11,920
Speaker 1: instead of a three headed dog. It's not it's not Cerberus,

1473
01:16:11,960 --> 01:16:13,760
Speaker 1: but I think it's because it was too much work

1474
01:16:13,800 --> 01:16:15,840
Speaker 1: to do a three headed dog. That's what I've always read,

1475
01:16:16,240 --> 01:16:18,160
Speaker 1: so they went with two. They scaled it back a bit.

1476
01:16:19,320 --> 01:16:21,960
Speaker 2: I don't love the two headed dog fight because I

1477
01:16:22,000 --> 01:16:24,519
Speaker 2: don't know, I just always seeing somebody fight a dog,

1478
01:16:24,640 --> 01:16:26,920
Speaker 2: even a vicious one with the sword, always just makes

1479
01:16:26,960 --> 01:16:27,519
Speaker 2: me be like.

1480
01:16:27,439 --> 01:16:31,400
Speaker 1: Oh no, yeah, Like the movie doesn't lose anything to

1481
01:16:31,479 --> 01:16:35,400
Speaker 1: have that whole sequence cut, in my opinion. But setting

1482
01:16:35,439 --> 01:16:37,679
Speaker 1: aside the battle with the two headed dog, I would

1483
01:16:37,680 --> 01:16:39,840
Speaker 1: say the Island of the Dead sequence here where they

1484
01:16:40,000 --> 01:16:44,479
Speaker 1: find Medusa's layer, go in fight Medusa. Multiple soldiers get

1485
01:16:44,560 --> 01:16:47,879
Speaker 1: killed by Medusa. We have this fabulous stop motion Medusa.

1486
01:16:48,360 --> 01:16:52,360
Speaker 1: This whole sequence is just absolutely perfect. No matter what

1487
01:16:52,520 --> 01:16:54,400
Speaker 1: problems you know you might have with the rest of

1488
01:16:54,439 --> 01:16:57,519
Speaker 1: the picture and its tone and the lazy dming and

1489
01:16:57,840 --> 01:17:00,679
Speaker 1: Harry Hamlin's performance and being a bit green, I feel

1490
01:17:00,720 --> 01:17:04,479
Speaker 1: like everything's firing on all cylinders in this sequence. Even

1491
01:17:04,520 --> 01:17:07,679
Speaker 1: Harry Hamlin, I think is really good because he's he's

1492
01:17:07,840 --> 01:17:11,920
Speaker 1: he embodies this like hero sphere rather well. I think

1493
01:17:11,960 --> 01:17:15,040
Speaker 1: in this sequence, like it feels like there are actual stakes,

1494
01:17:15,120 --> 01:17:16,759
Speaker 1: even for the son of a god.

1495
01:17:17,160 --> 01:17:20,919
Speaker 2: Completely agree. Pretty much everything in this scene is pitch perfect.

1496
01:17:22,120 --> 01:17:24,320
Speaker 2: There are so many little details I love. I like

1497
01:17:24,400 --> 01:17:27,519
Speaker 2: how quiet it is. Actually. You would have expected the

1498
01:17:27,560 --> 01:17:31,479
Speaker 2: whole thing to be, you know, ramping up with like loud,

1499
01:17:31,560 --> 01:17:34,400
Speaker 2: intense music, but there are parts of it that are

1500
01:17:34,400 --> 01:17:37,640
Speaker 2: actually very quiet, and I love that it contributes to

1501
01:17:37,680 --> 01:17:40,639
Speaker 2: the creepy atmosphere, like the part before you see the gorgon,

1502
01:17:41,160 --> 01:17:44,200
Speaker 2: when they're looking for her and they're walking between the columns,

1503
01:17:44,600 --> 01:17:49,120
Speaker 2: and then suddenly you see her shadow go move into

1504
01:17:49,120 --> 01:17:52,360
Speaker 2: the move onto the wall, and there's this soft, almost

1505
01:17:52,400 --> 01:17:55,720
Speaker 2: silent slithering sound, just the sound of a snake, you know,

1506
01:17:55,800 --> 01:17:59,439
Speaker 2: moving over a stone and not even hissing yet, just

1507
01:17:59,439 --> 01:18:02,840
Speaker 2: just that little gliding, and you see the shadow with

1508
01:18:02,880 --> 01:18:06,080
Speaker 2: the snakes writhing in her hair, and oh it's so good.

1509
01:18:06,479 --> 01:18:08,800
Speaker 1: Oh yeah. The lighting is brilliant in all of this

1510
01:18:09,520 --> 01:18:12,639
Speaker 1: as well, so so many Harry Hamlin, not Herry Hamlin,

1511
01:18:12,680 --> 01:18:16,960
Speaker 1: Harry Housen scenes. You often have things going on in

1512
01:18:17,080 --> 01:18:20,200
Speaker 1: very like stark lighting, but in this sequence it's you know,

1513
01:18:20,200 --> 01:18:25,040
Speaker 1: it's a dark cavern with with fires lighting everything deep

1514
01:18:25,120 --> 01:18:26,720
Speaker 1: shadows and so forth. It's so good.

1515
01:18:27,000 --> 01:18:30,880
Speaker 2: Also, the moment when you see Medusa kind of activate

1516
01:18:30,960 --> 01:18:35,120
Speaker 2: her powers to turn one of the other soldiers to stone,

1517
01:18:35,160 --> 01:18:38,520
Speaker 2: where we zoom in on her face, which is horrifying,

1518
01:18:38,880 --> 01:18:42,720
Speaker 2: and her eyes glow green and the power emanates from

1519
01:18:42,720 --> 01:18:47,400
Speaker 2: her and then he's calcified. That is just It's a

1520
01:18:47,439 --> 01:18:48,280
Speaker 2: scene for the ages.

1521
01:18:48,920 --> 01:18:51,360
Speaker 1: Absolutely. I've also read, I don't know if this is

1522
01:18:51,360 --> 01:18:54,160
Speaker 1: true or not, but I've read that Harry Hamlin himself

1523
01:18:54,520 --> 01:18:57,960
Speaker 1: had to argue for the traditional beheading of the monster.

1524
01:18:58,520 --> 01:19:01,200
Speaker 1: I think there I had read read like some version

1525
01:19:01,240 --> 01:19:02,920
Speaker 1: of the script or the way they were going to

1526
01:19:02,960 --> 01:19:06,000
Speaker 1: shoot it was him throwing the shield and using it

1527
01:19:06,040 --> 01:19:08,760
Speaker 1: as a weapon. Supposedly it's like to have it be

1528
01:19:08,800 --> 01:19:13,000
Speaker 1: a little less gory for censors. And I don't know

1529
01:19:13,080 --> 01:19:15,000
Speaker 1: if this is true, but it said that Harry Hamlin

1530
01:19:15,160 --> 01:19:16,639
Speaker 1: was one of the ones was like, no, we should

1531
01:19:16,640 --> 01:19:18,640
Speaker 1: stick to the myth on this. I don't know, but

1532
01:19:18,800 --> 01:19:20,439
Speaker 1: at any rate, and if that is the case, I'm

1533
01:19:20,439 --> 01:19:24,040
Speaker 1: glad they did because it I can't imagine this sequence

1534
01:19:24,040 --> 01:19:25,080
Speaker 1: playing out any other way.

1535
01:19:25,520 --> 01:19:27,919
Speaker 2: Yeah, and then he and you can feel the danger

1536
01:19:27,960 --> 01:19:31,240
Speaker 2: in the scene even after he has beheaded her he's afraid.

1537
01:19:31,320 --> 01:19:34,559
Speaker 2: He's being very cautious because her blood is running out,

1538
01:19:34,600 --> 01:19:36,680
Speaker 2: and her blood, her blood is like it's like the

1539
01:19:36,720 --> 01:19:39,759
Speaker 2: blood of the Xenomorph and Alien. It's just this burning

1540
01:19:39,920 --> 01:19:43,519
Speaker 2: acid that melts his shield and he takes her head,

1541
01:19:43,520 --> 01:19:47,120
Speaker 2: but he's afraid. He's like careful not to accidentally even

1542
01:19:47,160 --> 01:19:49,280
Speaker 2: look at it. He's like holding it out of his view.

1543
01:19:50,320 --> 01:19:52,920
Speaker 1: I'm glad you mentioned Alien because Alien came out a

1544
01:19:52,920 --> 01:19:55,679
Speaker 1: few years earlier. And I feel like this sequence has

1545
01:19:55,720 --> 01:20:00,599
Speaker 1: some similarities to that final showdown on the Life vest

1546
01:20:00,600 --> 01:20:03,320
Speaker 1: Soul between Ripley and the xeno Morph. You know, the

1547
01:20:04,080 --> 01:20:07,400
Speaker 1: sense of intense danger, like the monster is so dangerous

1548
01:20:07,800 --> 01:20:10,479
Speaker 1: that the wrong move will just be absolutely lethal.

1549
01:20:10,960 --> 01:20:13,560
Speaker 2: I can see exactly what you mean. Yeah, that similarity

1550
01:20:13,640 --> 01:20:14,920
Speaker 2: is there, And they.

1551
01:20:14,920 --> 01:20:18,639
Speaker 1: Also both take it yes, fairly dressed.

1552
01:20:19,000 --> 01:20:22,240
Speaker 2: Yes, And the posture with which the hero is oriented

1553
01:20:22,240 --> 01:20:25,000
Speaker 2: to the monster with like with the back to it,

1554
01:20:25,080 --> 01:20:28,840
Speaker 2: but against you know, hiding behind an obstruction.

1555
01:20:29,360 --> 01:20:31,679
Speaker 1: And so when we finally finish up the Medusa secrets,

1556
01:20:31,680 --> 01:20:33,320
Speaker 1: it almost feels like we've done it. This is the

1557
01:20:33,400 --> 01:20:36,160
Speaker 1: end of the movie, right, Like it's just so satisfying,

1558
01:20:36,320 --> 01:20:38,120
Speaker 1: but we still have like a large chunk of the

1559
01:20:38,160 --> 01:20:39,840
Speaker 1: film to go at that point because they have to.

1560
01:20:40,200 --> 01:20:42,720
Speaker 1: This was just a side quest to get something to

1561
01:20:42,840 --> 01:20:45,160
Speaker 1: defeat the ultimate threat in the picture.

1562
01:20:45,240 --> 01:20:47,280
Speaker 2: Though I do think it is the highlight. But we yeah,

1563
01:20:47,360 --> 01:20:49,599
Speaker 2: we do get several other battles. There's a great battle.

1564
01:20:49,840 --> 01:20:54,280
Speaker 2: Calibos shows back up and attacks Perseus and his friends

1565
01:20:54,280 --> 01:20:58,360
Speaker 2: with scorpions, giant scorpions. This is your you know, this

1566
01:20:58,400 --> 01:21:00,600
Speaker 2: is about his classic Harry Housen is he get you know,

1567
01:21:00,640 --> 01:21:03,840
Speaker 2: stop motion scorpions come into your heroes and they have

1568
01:21:03,880 --> 01:21:06,680
Speaker 2: a big fight, and then Calibos comes in himself and

1569
01:21:06,720 --> 01:21:09,679
Speaker 2: they fight him. And Calabos is going he's bringing a whip,

1570
01:21:09,760 --> 01:21:11,520
Speaker 2: which is that's great.

1571
01:21:12,200 --> 01:21:14,040
Speaker 1: Yeah, as the whip, and he also he's replaced his

1572
01:21:14,120 --> 01:21:17,120
Speaker 1: hand with like a stabby tool which he used to

1573
01:21:17,200 --> 01:21:19,640
Speaker 1: like stab the medusa head, get it bleeding and the

1574
01:21:19,680 --> 01:21:21,559
Speaker 1: blood turned into scorpions on the ground.

1575
01:21:23,000 --> 01:21:26,839
Speaker 2: Yeah, but Calibos is defeated in the end. And then finally,

1576
01:21:27,120 --> 01:21:29,960
Speaker 2: how is Perseus going to defeat the Kraken? While we

1577
01:21:30,000 --> 01:21:32,200
Speaker 2: see Andromeda, you know, they take her down to the shore.

1578
01:21:32,240 --> 01:21:34,559
Speaker 2: It's like, yep, too bad, We're gonna have to give

1579
01:21:34,560 --> 01:21:37,400
Speaker 2: you to the sea monster. And he pops up. Perseus

1580
01:21:37,400 --> 01:21:40,040
Speaker 2: at the last minute is able to unveil that gorgon

1581
01:21:40,160 --> 01:21:42,439
Speaker 2: head to show it right to the monster and just

1582
01:21:42,680 --> 01:21:43,320
Speaker 2: stone him.

1583
01:21:43,280 --> 01:21:46,200
Speaker 1: Up yeap, and then he crumbles, which is something I

1584
01:21:46,200 --> 01:21:48,080
Speaker 1: always liked and I reckon as a kid. I was

1585
01:21:48,120 --> 01:21:51,800
Speaker 1: thinking about. It's kind of like, Okay, the creature, its

1586
01:21:51,840 --> 01:21:54,439
Speaker 1: body can physically hold itself together while it's flesh, but

1587
01:21:54,479 --> 01:21:58,240
Speaker 1: once it becomes stone, like, it just begins to crumble,

1588
01:21:58,280 --> 01:22:01,000
Speaker 1: like it can no longer stand. I don't know. I

1589
01:22:01,040 --> 01:22:02,599
Speaker 1: always like that that detail.

1590
01:22:03,439 --> 01:22:05,960
Speaker 2: Yeah, but it introduces the brittleness.

1591
01:22:06,160 --> 01:22:09,240
Speaker 1: Yeah, and it's very dramatic too. It's like, not only

1592
01:22:09,280 --> 01:22:12,040
Speaker 1: is the monster petrified, but now it crumbles into pieces.

1593
01:22:12,080 --> 01:22:15,400
Speaker 1: It's completely destroyed. And then we get like we do

1594
01:22:15,439 --> 01:22:17,679
Speaker 1: get a little sort of outro with the gods, which

1595
01:22:17,720 --> 01:22:20,519
Speaker 1: felt kind of weird because we've we've seen how how

1596
01:22:20,600 --> 01:22:23,479
Speaker 1: petty and cruel they are, and they just have this

1597
01:22:23,560 --> 01:22:25,559
Speaker 1: kind of bit where the other gods are like, well,

1598
01:22:25,800 --> 01:22:28,639
Speaker 1: you know, these human these mortals really showed how heroic

1599
01:22:28,720 --> 01:22:31,280
Speaker 1: and brave they can be. It's I hope there aren't

1600
01:22:31,280 --> 01:22:33,479
Speaker 1: too many brave ones, otherwise we're going to be out

1601
01:22:33,479 --> 01:22:35,559
Speaker 1: of a job and they're just They kind of have

1602
01:22:35,720 --> 01:22:37,720
Speaker 1: like a bemused laugh at all of this, but are

1603
01:22:37,760 --> 01:22:40,200
Speaker 1: also kind of like, yeah, humans are all right after all.

1604
01:22:42,200 --> 01:22:45,600
Speaker 2: And they all live happily ever after. Yeah, so I

1605
01:22:45,680 --> 01:22:47,000
Speaker 2: love Clash of the Titans.

1606
01:22:47,680 --> 01:22:50,080
Speaker 1: Oh absolutely, Yeah. This is a This one's near and

1607
01:22:50,080 --> 01:22:53,479
Speaker 1: dear to me. So it's great to finally discuss it

1608
01:22:53,479 --> 01:22:56,320
Speaker 1: here on Weird House Cinema. And like you say, maybe

1609
01:22:56,320 --> 01:22:58,040
Speaker 1: in the future will come back and look at another

1610
01:22:58,479 --> 01:23:01,040
Speaker 1: Harry hows and picture. We are good ones to choose

1611
01:23:01,080 --> 01:23:03,800
Speaker 1: from there. All right, we're gonna go ahead and wrap

1612
01:23:03,840 --> 01:23:05,760
Speaker 1: this one up, but yeah, we'd love to hear from

1613
01:23:05,760 --> 01:23:08,040
Speaker 1: everyone out there. Do you have memories of seeing Clash

1614
01:23:08,080 --> 01:23:11,840
Speaker 1: of the Titans on Turner Networks growing up like I do?

1615
01:23:12,280 --> 01:23:13,840
Speaker 1: Or did you see it in the theater? What was

1616
01:23:13,880 --> 01:23:17,360
Speaker 1: that like back in eighty one? Let us know. We'd

1617
01:23:17,360 --> 01:23:19,240
Speaker 1: love to hear from you. If you have suggestions for

1618
01:23:19,320 --> 01:23:21,479
Speaker 1: other films to cover in the future. Do you have

1619
01:23:21,520 --> 01:23:24,200
Speaker 1: favorite Harry hows and effects or monsters or favorite Hairy

1620
01:23:24,200 --> 01:23:27,559
Speaker 1: hous and movies? Yeah, write in we'll discuss it on

1621
01:23:27,600 --> 01:23:31,200
Speaker 1: listener mails, which publish on Mondays. We're primarily a science podcast,

1622
01:23:31,200 --> 01:23:33,760
Speaker 1: with core episodes on Tuesdays and Thursdays. On Wednesdays we

1623
01:23:33,800 --> 01:23:36,080
Speaker 1: do a short form artifact or monster fact, and then

1624
01:23:36,120 --> 01:23:38,559
Speaker 1: on Fridays we set aside most serious concerns to just

1625
01:23:38,560 --> 01:23:41,439
Speaker 1: talk about a weird film here on Weird House Cinema.

1626
01:23:41,760 --> 01:23:43,200
Speaker 1: And if you want to see a list of the

1627
01:23:43,240 --> 01:23:44,600
Speaker 1: films we've covered in the past, you can go to

1628
01:23:44,600 --> 01:23:47,080
Speaker 1: a couple of different places. I blog about these episodes

1629
01:23:47,120 --> 01:23:49,600
Speaker 1: at immutamusic dot com and also if you go to

1630
01:23:49,600 --> 01:23:51,960
Speaker 1: a letterbox that's l E T T E r box

1631
01:23:52,040 --> 01:23:55,040
Speaker 1: d dot com, well, we have a user account there

1632
01:23:55,160 --> 01:23:57,280
Speaker 1: weird House and we have a list of all the

1633
01:23:57,280 --> 01:23:59,599
Speaker 1: films we've covered and sometimes a peek ahead at what's

1634
01:23:59,600 --> 01:24:00,880
Speaker 1: coming up been the week to follow.

1635
01:24:01,160 --> 01:24:04,439
Speaker 2: Huge thanks to our audio producer JJ Posway. If you

1636
01:24:04,479 --> 01:24:06,599
Speaker 2: would like to get in touch with us with feedback

1637
01:24:06,600 --> 01:24:09,000
Speaker 2: on this episode or any other, to suggest a topic

1638
01:24:09,040 --> 01:24:11,400
Speaker 2: for the future, or just to say hi, you can

1639
01:24:11,479 --> 01:24:14,280
Speaker 2: email us at contact at stuff to Blow your Mind

1640
01:24:14,439 --> 01:24:21,760
Speaker 2: dot com.

1641
01:24:21,880 --> 01:24:24,840
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1642
01:24:24,920 --> 01:24:27,719
Speaker 3: more podcasts from my Heart Radio, visit the iHeartRadio app,

1643
01:24:27,880 --> 01:24:31,160
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.