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Speaker 1: Welcome to Stuff to Blow your Mind, a production of

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Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and look who it is. Look who's back.

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Speaker 1: It's none other than Joe McCormick. Oh, it feels good

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Speaker 1: to be back, man. Yeah, great to have you back.

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Speaker 1: What is what is life like now? Can you? Can

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Speaker 1: you want to share anything with the viewers? You were

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Speaker 1: you're now Joe McCormick, the dad. It's true, I've I

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Speaker 1: have entered dad dum. Uh. My wife and I had

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Speaker 1: a baby girl back in October. So I've been on

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Speaker 1: parental leave for I don't even know how long. At

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Speaker 1: this point, it just seems like, you know, a lifetime

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Speaker 1: in the blink of an eye at once. Uh. And yeah,

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Speaker 1: so so our our daughter is uh a wonderful little creature.

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Speaker 1: She's she's chirping and she's making goblin noises. It's beautiful.

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Speaker 1: But duty calls after my hiatus. Here I am back

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Speaker 1: on Mike. Well again, congrats, was so glad? Uh? Everything

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Speaker 1: is that working out so well? And uh And certainly

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Speaker 1: we've heard from a number of listeners who were in

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Speaker 1: very much cheering you on. But also we're excited for

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Speaker 1: you coming back. And and one thing that Seth and

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Speaker 1: I talked about too while you were out. We're like, well,

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Speaker 1: some people might have started listening to the show just

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Speaker 1: uh five weeks ago, and if that is the case, uh,

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Speaker 1: they have just been told about the coming of Joe,

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Speaker 1: that the Joe is coming, Joe shall return to us,

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Speaker 1: and lo and behold, Joe has returned here. On an

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Speaker 1: episode of Weird House Cinema, I come covered and spit

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Speaker 1: up and bearing really boring stories. If you, I don't

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Speaker 1: know if you noticed this about becoming a parent that uh,

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Speaker 1: you know, you spend all your day taking care of

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Speaker 1: this child and it's incredibly meaningful to you, but it

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Speaker 1: really does not amount too much that you can tell

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Speaker 1: anyone else. There aren't There aren't really especially notable anecdotes

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Speaker 1: or occurrences. It's just like, well she looked at me

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Speaker 1: or like you know, oh yeah, I was holding her

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Speaker 1: and then she spit up, and then I don't know,

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Speaker 1: I mean, it's it's it's the most wonderful thing ever,

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Speaker 1: but it just doesn't really make for a good story. Yeah,

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Speaker 1: there's a lot of stuff like that, but but uh yeah,

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Speaker 1: I mean, but in a way. It's it's amazing you

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Speaker 1: have such self awareness about it, because I certainly remember

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Speaker 1: just being amazed by all these little things and then

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Speaker 1: talking about them, but also being sort of a crazy person,

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Speaker 1: uh in the new days of parenthood, and therefore not

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Speaker 1: really being able to tell or read the room about

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Speaker 1: how much anyone wants to hear about all of this.

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Speaker 1: Oh no, I've already done that. I think now I've

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Speaker 1: sort of reached a point of clarity of like, Okay,

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Speaker 1: I'm gonna stop boring people telling stories about how she

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Speaker 1: looked at me. But I am excited to see where

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Speaker 1: this takes future episodes of especially stuff to blow your

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Speaker 1: mind core episodes, because it does bring new insights. It

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Speaker 1: makes you rethink things about human nature, about certainly about

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Speaker 1: learning and development of the human being. It really turns

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Speaker 1: a lot of our preconceived notions and expectations of humanity

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Speaker 1: on its head in a in an often delightful way. Absolutely, listeners,

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Speaker 1: you may expect years to come of Baby Looked at

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Speaker 1: You themed episodes. Well, I don't know how sleep deprived

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Speaker 1: you are at the moment, Joe, but are are you

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Speaker 1: ready to discuss a cinematic classic from nineteen fifty four

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Speaker 1: titled Tobor the Great. Oh am I Boy, Tobor is

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Speaker 1: just running through my veins right now. To Boor the

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Speaker 1: Great nineteen fifty four science fiction thrill ride, a film

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Speaker 1: about an emotionally volatile, psychic robot and the boy who

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Speaker 1: became his friend. Uh So, this movie got me thinking

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Speaker 1: about how a lot of science fiction movies have a

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Speaker 1: robot in them, but tob Or the Great comes from

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Speaker 1: an era when the fact that there is a robot

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Speaker 1: is plot enough in itself. And by the way, if

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Speaker 1: you have any concerns that the characters in this movie

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Speaker 1: will not say Tobor enough, let us put your fears

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Speaker 1: to rest. You will hear talk of Tobor, you will

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Speaker 1: see Tobor with your eyes, and by the end, you

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Speaker 1: will believe in Tobor. One of the interesting things about

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Speaker 1: this is, uh when you think about classic nineteen fifties robots,

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Speaker 1: you often think about Robbie the Robot from nineteen fifty

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Speaker 1: six is Forbidden Planet, which we were actually talking about

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Speaker 1: covering on Weird House at some point. But this this

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Speaker 1: predates Robbie the Robot. Um so, or, at least it

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Speaker 1: predates Robbie the Robot's appearance and Forbidden Planet. We have

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Speaker 1: to remember that Robbie the Robot is essentially a robot actor.

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Speaker 1: On Internet movie database, Robbie the Robot has his own

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Speaker 1: profile as if he is like a dog actor or

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Speaker 1: a human actor. I gotta say, as much as I

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Speaker 1: love Tobor, if I'm being serious, Toboar does not really

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Speaker 1: achieve the heights of Robbie the Robot in terms of

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Speaker 1: feeling and dramatic intensity. At the same time, I feel

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Speaker 1: like Tobar is a pretty good robot design. He has

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Speaker 1: an interesting face that that that reads a little differently

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Speaker 1: compared to some of the cheaper, big robot costumes of

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Speaker 1: this time period in the decade to follow. I watched

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Speaker 1: it with Rachel and she kept reading Tobar's eyes as

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Speaker 1: a light up nineteen fifties bullet bra It does kind

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Speaker 1: of look like, um, like the front of a buick

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Speaker 1: or something in ways. But Yeah, there's a lot of

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Speaker 1: a lot of interesting chrome in this film. There's a

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Speaker 1: lot of gadgetry. I was really admiring the the use

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Speaker 1: of of of clear plastic or acrylic panels. There's a

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Speaker 1: lot of custom metal work in this film, so um,

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Speaker 1: I'd say, in general, when we were first looking into

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Speaker 1: this film, I'm noticing some people talking about it kind

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Speaker 1: of kind of putting it down as if this this

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Speaker 1: is just kind of a cheap affair, And yeah, this

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Speaker 1: is this is not a huge budget film. This is

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Speaker 1: this is not a classic of fifty sci fi perhaps,

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Speaker 1: but I feel like it's really well and I feel

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Speaker 1: like it holds up pretty well. And uh, more thought

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Speaker 1: went into it, and more work went into it than

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Speaker 1: you might think would be required for a film of

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Speaker 1: this caliber. Yes, it is by no mean it's not

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Speaker 1: Forbidden Planet. But it is a rolic and good time. Yeah,

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Speaker 1: and it's essentially a kids movie. So Rob, were you

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Speaker 1: saying we I didn't even realize this was the case,

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Speaker 1: But were you saying, we have a tradition of doing

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Speaker 1: robot movies around the holidays? It is December now, I

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Speaker 1: guess essentially, I mean, this is only the third Christmas

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Speaker 1: of Weird House Cinema. But yeah, we've done We did

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Speaker 1: robot Jocks around Christmas. Yeah, we did the Super informn

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Speaker 1: around Christmas one year. And I would say that sort

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Speaker 1: accounts because any sufficiently advanced technology is indistinguishable from inframan. Yes,

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Speaker 1: great point, and we also kind of steer towards doing

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Speaker 1: films that feel like something you'd find under the Christmas tree. Yes,

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Speaker 1: and you know, Rob, when I pitched this movie to

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Speaker 1: you for my return episode of Weird House, I promised

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Speaker 1: that there would be a very subtle holiday tie in,

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Speaker 1: seeing as we have in December now. And while I'm

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Speaker 1: sad to report that to Boar the Great is not

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Speaker 1: in itself a Christmas robot. Before I found out about

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Speaker 1: this movie, I already had an association with the word Toboor,

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Speaker 1: which was this is Tobar Toborg the telesonic robot. Batteries

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Speaker 1: not included. He's under your control with a click from

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Speaker 1: the tele usonic commander two circle to proceed forward two circles,

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Speaker 1: or to pick up the support module and return all

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Speaker 1: on your command to Boars robot spelled backwards. Tobar the

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Speaker 1: telesonic robot from Shopper, Rob, did you know this commercial before?

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Speaker 1: I love the eerie music and it it sounds almost

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Speaker 1: like it's a little bit h it's a little bit menacing. Yeah, yeah,

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Speaker 1: this is this is really cool. I I certainly didn't

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Speaker 1: watch this one as a kid. I would have It's

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Speaker 1: a little too old for me to have any genuine

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Speaker 1: nostalgia for well, the original place I encountered this commercial

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Speaker 1: was within one of the breaks in the copy I

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Speaker 1: saw of the Star Wars Holiday Special. Uh gotta love

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Speaker 1: the commercials in whatever tape you've seen of the holiday special,

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Speaker 1: you know, alongside the classics like the Ladies Garment Workers Union,

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Speaker 1: and they're awesome theme song, which I every time I

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Speaker 1: watched the holiday special, I'm singing the Garment Workers song

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Speaker 1: for days afterwards. Um like it's even catchier than the

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Speaker 1: Starship song. But as far as I can tell, Tobor

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Speaker 1: the tell usnic Robot is unrelated to Tobor the Great.

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Speaker 1: It's just evidence that, uh, you know, spectacular minds think alike,

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Speaker 1: and at least two different creative geniuses across the past

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Speaker 1: century noticed that Tobars Robots spelled backwards. That's gold. Now

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Speaker 1: I have another question before we start talking about castor

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Speaker 1: plot or anything, which is, why do you think it

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Speaker 1: was called Tobe Or the Great. It's a name that

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Speaker 1: it invites comparisons, like I've been walking around calling him

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Speaker 1: tobor Magnus or tobor Augustus. The Great is an epithet

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Speaker 1: often describing a military conqueror or a supposedly beloved autocratic despot.

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Speaker 1: But at least within the run time of the film,

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Speaker 1: Tobor neither conquers territory nor become becomes a king or emperor.

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Speaker 1: So in what sense is he the Great? I mean,

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Speaker 1: he's a great friend, and I guess, but to Boor

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Speaker 1: the Great Friend, that doesn't That makes it sound like

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Speaker 1: it's a movie about a dog. Um And maybe Tobor

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Speaker 1: itself kind of sounds like a movie about a dog.

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Speaker 1: Maybe Tobor the Great, I don't know. That could be

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Speaker 1: a movie about a dog too, could be like a

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Speaker 1: uh some sort of a great breed of dog. Right. Well, yeah,

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Speaker 1: maybe it's recasting the idea of greatness, like it's better

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Speaker 1: to be a good friend than it is to be

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Speaker 1: a military conqueror, I think. But yeah, I don't know.

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Speaker 1: Strange choice because Tobar's range of action in this movie

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Speaker 1: is actually rather limited. He mostly hangs out in one

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Speaker 1: house and then goes to a different building at the end. Yeah,

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Speaker 1: his movements are difficult to watch. I kept expecting there's

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Speaker 1: a terrifying scene where Tobar the Great climbs a spiral

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Speaker 1: wrought iron staircase, and um, I was legitimately on the

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Speaker 1: edge of my seat because of all this poor actor

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Speaker 1: is gonna fall. I like, this just looks very dangerous.

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Speaker 1: They are close ups on his feet. Yeah, the feet

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Speaker 1: of this costumer also like weird stilts of some sort,

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Speaker 1: so it looks extra extra shaky. It's like it's like

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Speaker 1: a movie with a close up where somebody's like eating

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Speaker 1: off of a knife and they're showing you close ups

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Speaker 1: of their mouth. Yes, I I can't wait to discuss

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Speaker 1: some of the action scenes with Tobar that occurred later

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Speaker 1: in the film. So I guess we should do an

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Speaker 1: elevator pitch, which is a doddering old professor creates an emotional,

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Speaker 1: telepathic robot in order to violt dangerous space missions. This

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Speaker 1: robot is named Tobor and he's a friend to all children,

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Speaker 1: But nefarious Soviet spies want to steal the secret of

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Speaker 1: Tobor in order to unleash evil and destruction upon the

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Speaker 1: human race. Will the Red Menace seize control of Tobar's mind?

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Speaker 1: Or will the love of a child keep Tobor on

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Speaker 1: the path of righteousness? All right, let's hear that audio

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Speaker 1: from the trailer Tobar the most amazing, the most fantastic

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Speaker 1: creation of man's mind. Oh he looks alone, or Tobor

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Speaker 1: can live where no human can breathe, and the airless

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Speaker 1: atmosphere of outer space and the nation first to Cocker

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Speaker 1: space controls the world. Electronic scientists have designed a practical

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Speaker 1: space ship. Atomic power makes space travel possible, needing only

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Speaker 1: the most valuable of all secret scientific achievements, space conquering

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Speaker 1: giants that man can control to war is alive or

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Speaker 1: even though much work remains before he's completed, he has

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Speaker 1: already a sentient being, a necessary adjunct to the recording

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Speaker 1: of all experiences human space crews made later encounter. Since

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Speaker 1: we cannot get into see Nordstrom's secrets for ourselves, we

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Speaker 1: must induce him to come out and tell them to us.

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Speaker 1: They have no news of Professor Oster motor Boy, not

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Speaker 1: as they Lost Angeles Police Department or the FBI. I

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Speaker 1: take as you want the formy life of my extra

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Speaker 1: century transmission method. Green, Don't you do you do it? Please?

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Speaker 1: Talking to Green stalk alright, you win to bar, bringing

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Speaker 1: you chills you've never known before. Tobor, the lost human

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Speaker 1: houter space man ever seen on Earth be sure to

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Speaker 1: see tow boar. Alright, sounds exciting, sounds pretty great. Uh. Now,

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Speaker 1: if you're wanting to watch this film as well, and

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Speaker 1: you're wondering where you can get it, uh, basically the

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Speaker 1: main place to find it is is if you want

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Speaker 1: to physical media. There's a seen Keno Lorbert Studio Classics

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Speaker 1: Blu ray released to the film. This is remastered. You

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Speaker 1: can also find various uh versions of it online. Is

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Speaker 1: an older film, Um, there's one in particular we're looking

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Speaker 1: at that had some some unofficial remastering and colorization of

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Speaker 1: the film, which is normally not the sort of thing

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Speaker 1: I'd go for, But I don't know, with a film

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Speaker 1: like this, I feel like it kind of benefits from

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Speaker 1: that sort of treatment. I agree. I I don't know

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Speaker 1: who did this colorization, and I'm not gonna say that

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Speaker 1: it looks amazing, but it's the right way to watch it. Yeah,

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Speaker 1: it's it's weird, it's uncanny at times, which I like

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Speaker 1: an uncanny sheen and a film like this. All right, Well,

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Speaker 1: let's start talking about who was involved in the creation

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Speaker 1: of this picture. So let's start at the top. The

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Speaker 1: director was Lee Sholom, also known as Lee Rolem Sholm

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Speaker 1: for cranking him out, and he did. He did really

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Speaker 1: crank him out. He directed various adventures shows and series

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Speaker 1: in the nineteen fifties, including episodes of The of Tarzan

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Speaker 1: and Superman Adventures. He actually did fourteen episodes of the

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Speaker 1: early nineteen fifties Adventures of Superman. He's credited as a

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Speaker 1: director on the TV series chriswell Predicts. Oh yeah, from

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Speaker 1: that connecting to Plan nine from Outer Space, you may

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Speaker 1: recall the opening of that film is a Criswell Predicts

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Speaker 1: segment where they had this TV psychic on talking about

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Speaker 1: how future events such as these will affect you in

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Speaker 1: the future. Yeah, so uh shole them seems to have

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Speaker 1: been involved in that. He did a lot of TV

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Speaker 1: late in his career. Two other films of note include

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Speaker 1: the nineteen seven movie Pharaoh's Curse, which is gonna imagine

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Speaker 1: is some sort of an Egyptian curse film. But he

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Speaker 1: also did nineteen sixty seven's Catalina Caper, which was an

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Speaker 1: MST three K selection. Oh I remember that One Man

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Speaker 1: to Board the Great would have made a fantastic Mystery

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Speaker 1: Science Theater episode. I wish that had happened. Oh yeah,

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Speaker 1: there's a there's a lot, a lot of riff on

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Speaker 1: in this one. So and yeah, if anyone out there

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Speaker 1: connected with MST or riff tracks is listening, by any chance,

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Speaker 1: put this one on your radar if it's not already

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Speaker 1: all right. The screenplay for this one, uh. Screenplay credit

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Speaker 1: goes to Philip McDonald, who lived nineteen o one through eight,

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Speaker 1: Scottish screenwriter and detective novelists, probably best known for adapting

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Speaker 1: the novel Rebecca for Alfred Hitchcock's film adaptation int He

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Speaker 1: also was one of multiple uncredited adaptation writers on James

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Speaker 1: Whales The Bride of Frankenstein from thirty five. So I'm

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Speaker 1: not really sure. I'm not not I'm not super clear

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Speaker 1: on exactly like what the the chain of custody happens

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Speaker 1: to be with that particular screenplay. Huh. He was also

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Speaker 1: one of the screenwriters on The Body Snatcher starring Boris

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Speaker 1: Karloff and Bella Lagosi, and he also wrote for Alfred

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Speaker 1: Hitchcock Presents and Thriller. I have mixed feelings about the

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Speaker 1: screenplay in this movie. I mean, on one hand, I

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Speaker 1: would say it's uh. I mean, it's very of its

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Speaker 1: time and it doesn't really like wow you in terms

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Speaker 1: of character depth or anything, but it has a certain

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Speaker 1: kind of, uh, kind of I don't know, sparky efficiency

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Speaker 1: to it. Yeah. I mean if especially if I'm thinking

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Speaker 1: about this film and comparing it to some of those

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Speaker 1: various serials that came out back in the day in

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Speaker 1: the nineteen fifties action of inter cereals, some of those

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Speaker 1: are really dreadful and it's a real bore to watch,

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Speaker 1: even if they have fascinating elements to it. I feel

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Speaker 1: like this movie it moves along and it has its

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Speaker 1: techno babble as you might expect, but for the most

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Speaker 1: part it's techno babble that you can and your head too. Yeah,

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Speaker 1: Like it didn't feel as us as much of a

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Speaker 1: skull scratcher as some technobabble tends to be. And I

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Speaker 1: don't know, I had had kind of a sense of

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Speaker 1: humor at times. So I feel like the script is

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Speaker 1: um is better than you might expect and better than

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Speaker 1: would be required. Yeah, I agree, it is. I mean,

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Speaker 1: it does have lots of unintentionally funny stuff in it,

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Speaker 1: but it also it works, It works on its own terms. Also,

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Speaker 1: A story credit goes to Carl Dudley, who was also

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Speaker 1: the executive producer who lived nineteen ten through ye producer

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Speaker 1: and director of a lot of documentary shorts mostly so

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Speaker 1: maybe this is where we get the title. Maybe Dudley

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Speaker 1: was like, Hey, I've got an idea for a film.

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Speaker 1: You spell Robot backwards, you got to bar Let's call

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Speaker 1: it Tobar the Great, give me a script. I mean,

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Speaker 1: I think this was also the era of people blowing

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Speaker 1: your mind with a vampire named Alucard and stuff like that. Yep, yep, alright,

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Speaker 1: let's get into the human cast here. Our star is

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Speaker 1: the actor Charles Drake playing Dr Ralph Harrison, one of

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Speaker 1: one of our classic fifties rectangles just just love him. Yeah,

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Speaker 1: this is Dr Harrison. Is tall, he's loud, he smokes,

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Speaker 1: and he can land a punch. So pretty much just

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Speaker 1: your standard hero stuff for a picture like this. This

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Speaker 1: is all that was required of of of a male

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Speaker 1: hero during this time period. So Charles Drake was active

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Speaker 1: from the late nineteen thirties through the early nineteen eighties.

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Speaker 1: His biggest films were probably Conflict starring Humphrey Bogart, nineteen

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Speaker 1: fifties Harvey starring Jimmy Stewart, in Night the Swimmers starring

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Speaker 1: Burt Lancaster. Oh in also N seven The Valley of

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Speaker 1: the Dolls. Oh okay. He also popped up in an

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Speaker 1: episode of the original Star Trek. I haven't seen the

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Speaker 1: episode in question, I don't think, but you can find

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Speaker 1: images of him in like a Star Trek captain's uniform. Uh,

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Speaker 1: you know, slouched shot style in the captain's chair and uh.

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Speaker 1: And he was also in nineteen fifty threes that Came

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Speaker 1: from Outer Space. Now, this one is weird because the

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Speaker 1: main two characters I would say that two adult characters

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Speaker 1: are Harrison here played by Drake, and uh, this other guy, Dr.

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Speaker 1: Nordstrom or Professor Nordstrom, who will get to in a second.

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Speaker 1: And I would think the normal dynamic you would do

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Speaker 1: in this movie is you'd have Nordstrom as the egghead professor,

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Speaker 1: and then you'd have a sort of square military man

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Speaker 1: to be his his younger man of action counterpart. But

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Speaker 1: instead of making a military man, they make him another scientist.

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Speaker 1: And I don't know if he really reads as a scientist.

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Speaker 1: His scientific credentials almost seem like an afterthought here. Yeah, yeah,

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Speaker 1: he reads far more like a military man. Again, he's

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Speaker 1: he's tall, loud, smokes in again Lanta punch. That's and

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Speaker 1: that those are his main skill sets. We don't see

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Speaker 1: him really doing much in the way of research. Okay,

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Speaker 1: but we should get to the real egg head of

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Speaker 1: the movie, Professor Nordstrom, played by Taylor Holmes, who lived

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Speaker 1: eighteen seventy eight to nineteen fifty nine. Taylor home Was was

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Speaker 1: was an actor of stage and screen who appeared in

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Speaker 1: a ton of Broadway plays. Had a film career that

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Speaker 1: began in the silent era and in the realm of talkies.

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Speaker 1: Uh it looks like he did a bunch of crime

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Speaker 1: and war films, but also some romantic and screwball comedies.

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Speaker 1: The main titles that jumped out at me from his

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Speaker 1: sound era list were Let's See. He was in Gentleman

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Speaker 1: Prefer Blonds in nineteen fifty three, which is a classic

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Speaker 1: Howard Hawks comedy starring Jane Russell and Marilyn Monroe. He

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Speaker 1: also did some small voice roles in a couple of

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Speaker 1: Disney animated films of the fifties, including Lady in the

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Speaker 1: Tramp and Sleeping Beauty. He was also in a film

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Speaker 1: noir I've never seen called Quicksand, but it caught my

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Speaker 1: eye because of the synopsis. It apparently stars Mickey Rooney

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Speaker 1: as an innocent auto mechanic who falls for a film

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Speaker 1: fatale played by Gene Cagney, and as a result, he

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Speaker 1: must turn to a life of crime and he ends

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Speaker 1: up embroiled in a blackmail scheme with Peter Laurie who

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Speaker 1: plays a penny arcade proprietor named Drama Shag, and Taylor

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Speaker 1: Holmes is in there somewhere. I think he plays a lawyer.

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Speaker 1: Oh well, this sounds great. I don't know if I'm

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Speaker 1: a Mickey Rooney lover, but I am a Peter Laurie lover,

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Speaker 1: and seeing Mickey Rooney at turned to a life of

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Speaker 1: crime does sound hilarious. Yeah, yeah, I'm I'm I'm on board.

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Speaker 1: I would. I was looking into this actor a little bit.

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Speaker 1: I think this maybe his only performance in a sci

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Speaker 1: fi or horror film. It's possibly I'm I'm missing something there,

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Speaker 1: but yeah, it seems like he's he's more of the

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Speaker 1: comedy comedy noir sort of a area. But yeah, he

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Speaker 1: plays uh Grandpa Nordstrom in this uh Grandpa the Scientist,

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Speaker 1: and he's pretty delightful. It's that kind of kind of

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Speaker 1: role that I think could otherwise be very dry and uninteresting,

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Speaker 1: but he gives a little peppt old Grandpa here. Well,

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Speaker 1: he brings a very stagy energy to the role. You

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Speaker 1: like you can tell this is a guy who did

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Speaker 1: not begin on screen, but begin on stage, So he

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Speaker 1: like rejects and he does a very uh, he does

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Speaker 1: a very stagy kind of voice. And this relates actually

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Speaker 1: to a second unexpected holiday tie in for me personally

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Speaker 1: with Toebor the Great. So the whole time I was

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Speaker 1: watching this movie, I kept thinking that the actor playing

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Speaker 1: Professor Nordstrom seemed oddly familiar, particularly his voice, which is

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Speaker 1: strange in a way that I associate with some actors

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Speaker 1: who began on stage or in silent film and made

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Speaker 1: the transition to talkies later in their career. And I

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00:22:32,400 --> 00:22:35,960
Speaker 1: was thinking, where did I recognize him from, and beyond that,

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Speaker 1: why am I weirdly associating Taylor Holmes voice with Vincent Price,

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Speaker 1: even though he sounds nothing like Vincent Price. Well, the

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00:22:45,480 --> 00:22:48,760
Speaker 1: answer came to me when echoing through my mind, I

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Speaker 1: began to hear Professor Nordstrom saying chrish mash bam bag

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Speaker 1: and bingo, I give you the nineteen forty nine, made

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00:22:57,119 --> 00:23:01,359
Speaker 1: for TV Charles Dickens adaptation The Christmas Carol. Yes you

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00:23:01,440 --> 00:23:04,200
Speaker 1: heard me right, not a Christmas Carol like the novel

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00:23:04,320 --> 00:23:07,840
Speaker 1: is called, but the Christmas Carol for some reason. Sponsored

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Speaker 1: by the Magnavox company, it stars Taylor Holmes in a

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Speaker 1: world historically hammy performance as Ebeneezer Scrooge. They also spell

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Speaker 1: Ebeneezer wrong in this version with two ease, unlike the novel,

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Speaker 1: and it has Vincent Price as the narrator, so it

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Speaker 1: like opens on Vincent Price sitting on a couch reading

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Speaker 1: a book, and he's like everyone loves Chiles Dickens and

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Speaker 1: then starts to tell the story. And uh, I don't

401
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Speaker 1: know if we maybe we can get a little sample

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00:23:35,080 --> 00:23:39,760
Speaker 1: of what Taylor Holmes as Scrooge sounds like. Humbug watch

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Speaker 1: Chrishmas to you, but a time for finding yourself a

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00:23:42,960 --> 00:23:47,439
Speaker 1: year older, but not an hour richer. Every idiot that

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00:23:47,520 --> 00:23:53,119
Speaker 1: goes about with Merry Christmas should be boiled in Jon pudding.

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00:23:53,480 --> 00:23:56,080
Speaker 1: That's pretty great. And you're you're you're missing the visual

407
00:23:56,200 --> 00:23:58,439
Speaker 1: here of him and some of these things like you know,

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00:23:58,520 --> 00:24:03,159
Speaker 1: squirming on his his his lounge chair as he witnesses

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00:24:03,240 --> 00:24:08,760
Speaker 1: Marley's ghost before him. Yeah, it's good. This adaptation, by

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00:24:08,760 --> 00:24:10,960
Speaker 1: the way, is less than thirty minutes long, so they've

411
00:24:11,080 --> 00:24:14,400
Speaker 1: really packed the story and it does not take a look.

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00:24:14,560 --> 00:24:17,200
Speaker 1: Maybe we should feature this for like a holiday special

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00:24:17,240 --> 00:24:19,359
Speaker 1: on Weird House or something that's great. I mean that

414
00:24:19,440 --> 00:24:22,240
Speaker 1: may be beating out Disney Christmas Carroll, which I've long

415
00:24:22,280 --> 00:24:27,399
Speaker 1: admired for nicely compressing a Christmas Carroll into a short

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00:24:28,359 --> 00:24:30,560
Speaker 1: show that can be watched in one setting. I mean,

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Speaker 1: I i gotta say, I'm a sucker for a Christmas Carol.

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00:24:33,200 --> 00:24:36,280
Speaker 1: I love it. It's a classic. It it still gets me.

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Speaker 1: I love hmupp at Christmas Carroll. You know, I don't

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Speaker 1: care if you judge me for that. I'm I'm I'm

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00:24:41,359 --> 00:24:44,920
Speaker 1: all on board. But this version is uh, it's not

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00:24:45,000 --> 00:24:47,600
Speaker 1: the best, but it is worth seeing for its own charms.

423
00:24:48,920 --> 00:24:52,600
Speaker 1: But anyway, this Ebeneezer Scrooge here is also our professor

424
00:24:52,720 --> 00:25:04,960
Speaker 1: for the film. He is the creator of Tobor all right. Now,

425
00:25:04,960 --> 00:25:07,840
Speaker 1: we also have the character of Janice Roberts played by

426
00:25:07,920 --> 00:25:10,720
Speaker 1: Karen Booth, who of nineteen sixteen through two thousand and

427
00:25:10,760 --> 00:25:14,399
Speaker 1: three an American actor who also appeared in the Unfinished Dance,

428
00:25:14,800 --> 00:25:18,240
Speaker 1: as well as various action western and our films of

429
00:25:18,240 --> 00:25:21,200
Speaker 1: the day. How would you describe this character? She's she's there,

430
00:25:21,359 --> 00:25:25,560
Speaker 1: she asked questions. Yes. With a lot of nineteen fifties

431
00:25:25,560 --> 00:25:28,480
Speaker 1: sci fi movies, the female characters kind of get a

432
00:25:28,520 --> 00:25:33,919
Speaker 1: raw deal and uh. Janice Roberts plays Professor Nordstrom's daughter,

433
00:25:34,520 --> 00:25:38,920
Speaker 1: who is the beautiful mother of our annoying child character Gade,

434
00:25:38,960 --> 00:25:42,720
Speaker 1: who will get two in a minute. But she I

435
00:25:42,760 --> 00:25:45,120
Speaker 1: don't know. I mean she she gets introduced and she

436
00:25:45,119 --> 00:25:49,080
Speaker 1: she mostly kind of asks questions. She's she's like, oh,

437
00:25:49,240 --> 00:25:52,879
Speaker 1: you know, could Tobor hurt someone? Or she's like, you know,

438
00:25:53,000 --> 00:25:55,640
Speaker 1: why would anyone want to steal the secret of Tobor?

439
00:25:56,040 --> 00:25:59,879
Speaker 1: Or At one point, uh, the child gets invited to

440
00:26:00,359 --> 00:26:03,320
Speaker 1: a show at a science museum, I think, and he

441
00:26:03,359 --> 00:26:05,880
Speaker 1: can bring anybody with him, and it's and he's like, well,

442
00:26:05,920 --> 00:26:08,320
Speaker 1: I would take you, mom, but you probably wouldn't understand it.

443
00:26:08,359 --> 00:26:11,200
Speaker 1: And she's like, oh yeah, there's a lot of stuff

444
00:26:11,240 --> 00:26:13,640
Speaker 1: like that, or or she's asking like, well, how do

445
00:26:13,760 --> 00:26:17,040
Speaker 1: the security systems at Grandpa's housework? Or something that. Like,

446
00:26:17,200 --> 00:26:18,919
Speaker 1: she asked a lot of questions where you would have

447
00:26:18,920 --> 00:26:20,399
Speaker 1: think this would have come up at some point in

448
00:26:20,400 --> 00:26:23,800
Speaker 1: the past. Um. So, yeah, she doesn't have a tremendous

449
00:26:23,800 --> 00:26:26,199
Speaker 1: amount of agency in this film. She does have a

450
00:26:26,240 --> 00:26:29,439
Speaker 1: tremendous scene of shaking hands with toe Boar, which is

451
00:26:29,520 --> 00:26:32,080
Speaker 1: especially funny when you see what toe bars hands look like.

452
00:26:32,200 --> 00:26:35,399
Speaker 1: Oh yeah, I'm glad she wasn't mangled by this. All right,

453
00:26:35,440 --> 00:26:37,919
Speaker 1: Well you meant we mentioned that she was. She's the

454
00:26:37,920 --> 00:26:43,800
Speaker 1: mother of Gadge Gadges, the nickname Gadgetes and gadget right right, yes, yeah,

455
00:26:43,880 --> 00:26:48,399
Speaker 1: the nickname for the character Brian Roberts. Brian Roberts is

456
00:26:48,440 --> 00:26:54,280
Speaker 1: played by Billy Chapin, who lived nine through child actor,

457
00:26:54,359 --> 00:26:57,399
Speaker 1: probably best known for his role as young John Harper

458
00:26:57,440 --> 00:27:01,320
Speaker 1: in the nine thriller than Night of the Hunter starring

459
00:27:01,440 --> 00:27:04,960
Speaker 1: Robert Mitchum. Oh man, what a classic A love Knight

460
00:27:05,000 --> 00:27:08,120
Speaker 1: of the Hunter? That is that is a like the

461
00:27:08,240 --> 00:27:12,240
Speaker 1: pinnacle of cinematic menace. Robert Mitcham in that movie is

462
00:27:12,320 --> 00:27:15,240
Speaker 1: evil incarnate love it. Yeah. Yeah, Even if you haven't

463
00:27:15,320 --> 00:27:17,680
Speaker 1: seen the film in full, there's a very good chance

464
00:27:17,680 --> 00:27:22,159
Speaker 1: you've seen stills or clips with Robert Mitchum's a villainous character,

465
00:27:22,320 --> 00:27:27,119
Speaker 1: kind of stalking and intimidating this that these two children

466
00:27:27,160 --> 00:27:29,960
Speaker 1: as this young boy and this younger girl. And yeah,

467
00:27:30,119 --> 00:27:33,440
Speaker 1: that's that's Billy. That's our that's our actor. He's most

468
00:27:33,480 --> 00:27:36,000
Speaker 1: well known for that. But then we also have to borh.

469
00:27:36,240 --> 00:27:40,480
Speaker 1: I think I recall Billy Chapin being good in Night

470
00:27:40,520 --> 00:27:43,720
Speaker 1: of the Hunter, so I I think, uh he, I'm

471
00:27:43,720 --> 00:27:46,040
Speaker 1: gonna say, I think he's very annoying and tobor, but

472
00:27:46,080 --> 00:27:48,040
Speaker 1: I think it's not his fault. I mean, that's that's

473
00:27:48,040 --> 00:27:50,440
Speaker 1: how the character has written. He's just saying he's thrown

474
00:27:50,440 --> 00:27:54,639
Speaker 1: out ge willakers all all over the place. Yeah. He

475
00:27:54,800 --> 00:27:57,960
Speaker 1: was one of three child actors. His siblings were child

476
00:27:58,000 --> 00:28:02,240
Speaker 1: actors as well, Michael and also Lauren Lauren of Father

477
00:28:02,320 --> 00:28:07,119
Speaker 1: Knows Best. Um, Yeah, they they all were actors. Billy

478
00:28:07,280 --> 00:28:09,879
Speaker 1: did a lot of TV works and film work and

479
00:28:09,960 --> 00:28:13,440
Speaker 1: stage work up into the late nineteen fifties, including Dragnet

480
00:28:13,560 --> 00:28:16,159
Speaker 1: and Leave It to Beaver, and he apparently started acting

481
00:28:16,160 --> 00:28:18,920
Speaker 1: as a toddler and appeared on Broadway as a toddler.

482
00:28:19,000 --> 00:28:23,280
Speaker 1: So pretty impressive. Wow, all right, we we do have

483
00:28:23,320 --> 00:28:26,280
Speaker 1: our villains in this film, and our villains are of course,

484
00:28:26,480 --> 00:28:30,440
Speaker 1: Uh do they ever actually say their soviets or Russians,

485
00:28:30,520 --> 00:28:32,280
Speaker 1: or it's just so. I don't think they ever say

486
00:28:32,520 --> 00:28:36,960
Speaker 1: Russian or Soviet, but it's that's obviously implied. It's clearly

487
00:28:36,960 --> 00:28:40,160
Speaker 1: what they're going. It's the fifties, and they have Russian

488
00:28:40,240 --> 00:28:43,760
Speaker 1: sounding accents, or at least Eastern European sounding accents, and

489
00:28:44,200 --> 00:28:48,080
Speaker 1: they they're implied to represent a quote different form of

490
00:28:48,120 --> 00:28:51,760
Speaker 1: government and so forth. When you look at films room

491
00:28:51,880 --> 00:28:54,880
Speaker 1: from this time period, especially if you have an actor

492
00:28:55,000 --> 00:29:00,920
Speaker 1: who either is of Eastern European origins or can can

493
00:29:01,560 --> 00:29:04,520
Speaker 1: can can use the such an accent, inevitably they're going

494
00:29:04,560 --> 00:29:08,040
Speaker 1: to be playing villains. They're playing uh uh some sort

495
00:29:08,080 --> 00:29:11,560
Speaker 1: of a menace or a threat. Uh. With some rare

496
00:29:11,600 --> 00:29:15,239
Speaker 1: exceptions here and there, but yes, our villain here is

497
00:29:15,520 --> 00:29:17,640
Speaker 1: the man with rimless glasses. I don't think he has

498
00:29:17,680 --> 00:29:20,840
Speaker 1: any other name. That's how he's credited, played by the

499
00:29:20,880 --> 00:29:24,440
Speaker 1: actor Stephen Gary, who of nineteen o four through nineteen

500
00:29:24,480 --> 00:29:28,520
Speaker 1: seventy three. Uh. This is our our lead enemy agent

501
00:29:28,600 --> 00:29:31,520
Speaker 1: who's trying to get his hands on some towbar technology.

502
00:29:31,840 --> 00:29:35,000
Speaker 1: UM I thought, I thought this was a very fun performance.

503
00:29:35,320 --> 00:29:39,000
Speaker 1: Gary was born in Austria, Hungary, though his birth city

504
00:29:39,400 --> 00:29:43,240
Speaker 1: um z Hoorld is now part of Ukraine um but

505
00:29:43,560 --> 00:29:45,880
Speaker 1: he was a prolific actor who played a lot of

506
00:29:45,960 --> 00:29:49,400
Speaker 1: European villains, though sometimes he played more of a comic role.

507
00:29:49,440 --> 00:29:51,520
Speaker 1: He did they did a number of comic roles as well.

508
00:29:52,120 --> 00:29:56,320
Speaker 1: He appeared in All About a Eve, Gentleman, Preferred Bonds, Spellbound,

509
00:29:56,680 --> 00:29:59,240
Speaker 1: as well as nineteen forty three's Phantom of the Opera,

510
00:29:59,320 --> 00:30:01,520
Speaker 1: just to name a few you and to a much

511
00:30:01,600 --> 00:30:05,360
Speaker 1: lesser extent, he also appears in Jesse James Meets Frankenstein's

512
00:30:05,400 --> 00:30:08,640
Speaker 1: Daughter from nineteen sixty six. He also starred in the

513
00:30:08,680 --> 00:30:13,040
Speaker 1: noir film So Dark the Night, from which I haven't seen,

514
00:30:13,080 --> 00:30:15,760
Speaker 1: but apparently he's the lead in that. So, like I said,

515
00:30:15,760 --> 00:30:19,200
Speaker 1: there are some exceptions here and there um of for

516
00:30:19,320 --> 00:30:22,600
Speaker 1: fractors of like gear Ay, So I'm kind of interested.

517
00:30:22,600 --> 00:30:25,200
Speaker 1: After seeing him in this, which is surely not the

518
00:30:25,280 --> 00:30:28,240
Speaker 1: ultimate showcase of his skills, I'm very interested to see

519
00:30:28,280 --> 00:30:30,920
Speaker 1: his some of his other work. I mean, his performance

520
00:30:30,960 --> 00:30:34,600
Speaker 1: in this is for most of the film is limited

521
00:30:34,640 --> 00:30:38,240
Speaker 1: to like sneaking around in the background, kind of looking

522
00:30:38,280 --> 00:30:42,320
Speaker 1: sketchy and and peering over things at people. But then

523
00:30:42,360 --> 00:30:44,080
Speaker 1: at the end when he when he has to be

524
00:30:44,280 --> 00:30:49,320
Speaker 1: truly menacing, like he he captures some hostages. He's good. Yeah, yeah,

525
00:30:49,360 --> 00:30:52,120
Speaker 1: I was a little afraid of him, he reminded. I mean,

526
00:30:52,280 --> 00:30:55,320
Speaker 1: this is I'm being reminded in the wrong direction here.

527
00:30:55,680 --> 00:31:00,800
Speaker 1: But while the villainous uh s S agent in rages

528
00:31:00,840 --> 00:31:04,440
Speaker 1: the Lost Arc played by Ronald Lacey, for the most part,

529
00:31:04,520 --> 00:31:06,560
Speaker 1: we tend to associate that character as being a Peter

530
00:31:06,720 --> 00:31:11,120
Speaker 1: laure S character. But I was reminded of of of

531
00:31:11,400 --> 00:31:16,040
Speaker 1: ron Lacey's performance watching Stephen Gary in this film. Absolutely

532
00:31:16,080 --> 00:31:21,680
Speaker 1: me too, same thing. It's similar glasses and similar mannerisms. Yeah. Now, um,

533
00:31:22,120 --> 00:31:25,280
Speaker 1: there's another actor worth mentioning here, and that's Peter Brocko

534
00:31:25,600 --> 00:31:29,840
Speaker 1: who lived three through and he plays this is uncredited,

535
00:31:29,840 --> 00:31:34,000
Speaker 1: but he plays Dr Gustaff, who is the the doctor

536
00:31:34,040 --> 00:31:36,080
Speaker 1: that's hanging out with the enemy agents. So he's like

537
00:31:36,120 --> 00:31:38,880
Speaker 1: a foreign scientist who can't wait to get his hands

538
00:31:39,400 --> 00:31:43,520
Speaker 1: on this advanced American robot technology. Yeah, he's there too,

539
00:31:43,720 --> 00:31:46,520
Speaker 1: I think do due diligence on the ground. They're there

540
00:31:46,560 --> 00:31:49,560
Speaker 1: to try to steal the secrets of Tobor, and he

541
00:31:49,720 --> 00:31:52,160
Speaker 1: is there to check and make sure that they're getting

542
00:31:52,160 --> 00:31:56,520
Speaker 1: the secrets of Tobor. Correct. Yeah, and uh Broco here

543
00:31:56,960 --> 00:31:59,920
Speaker 1: is interesting because he's he has a very distinctive look

544
00:32:00,400 --> 00:32:05,160
Speaker 1: um character actor, very gaunt looking face, so you can

545
00:32:05,160 --> 00:32:07,320
Speaker 1: easily imagine he's the sort of guy that maybe got

546
00:32:07,320 --> 00:32:09,840
Speaker 1: picked out of the lineup uh to get thrown into

547
00:32:09,840 --> 00:32:12,600
Speaker 1: films and bit parts here and there, but ultimately ends

548
00:32:12,680 --> 00:32:14,440
Speaker 1: up popping up in quite a few films. He was

549
00:32:14,520 --> 00:32:17,280
Speaker 1: very active from the early nineteen thirties through the early

550
00:32:17,360 --> 00:32:20,720
Speaker 1: nineteen nineties, did a lot of smaller roles in TV work,

551
00:32:21,040 --> 00:32:25,920
Speaker 1: including spots in the original Twilight Zone, the original Outer Limits, Thriller,

552
00:32:26,000 --> 00:32:29,000
Speaker 1: Star trek Night, Gallery, and more, but he also pops

553
00:32:29,080 --> 00:32:32,360
Speaker 1: up in some pretty well known films. He plays character

554
00:32:32,360 --> 00:32:36,120
Speaker 1: in nineteen sixties Spartacus, He's in seventy ones Johnny Got

555
00:32:36,120 --> 00:32:39,880
Speaker 1: His Gun, He's in seventy threes Papion, and he has

556
00:32:39,920 --> 00:32:43,320
Speaker 1: a fairly memorable performance in ninety one Flew Over the

557
00:32:43,360 --> 00:32:46,040
Speaker 1: Cuckoo's Nest. Is he a guy who like never talked

558
00:32:46,160 --> 00:32:48,880
Speaker 1: or like only said one thing or something? Yeah, I

559
00:32:48,880 --> 00:32:50,480
Speaker 1: believe so. I think he may be in a wheelch

560
00:32:50,520 --> 00:32:53,120
Speaker 1: He's an older guy by that at that point, as

561
00:32:53,120 --> 00:32:54,760
Speaker 1: a as a beard, but you can still see that

562
00:32:54,880 --> 00:32:56,920
Speaker 1: the gaunt face he always had this kind of gaunt,

563
00:32:56,960 --> 00:33:00,680
Speaker 1: kind of skeletal appearance. That again, uh, a great touch

564
00:33:00,720 --> 00:33:03,720
Speaker 1: for a character actor to have, because whether it's a

565
00:33:03,800 --> 00:33:06,600
Speaker 1: bigger part or a smaller part, your labat to wind

566
00:33:06,680 --> 00:33:10,320
Speaker 1: up on screen. Finally, the music on this one. There's

567
00:33:10,400 --> 00:33:12,480
Speaker 1: not much to say about the music here, but it

568
00:33:12,560 --> 00:33:15,400
Speaker 1: is by Howard Jackson, who lived nine hundred through nineteen

569
00:33:15,480 --> 00:33:18,120
Speaker 1: sixty six, a composer credited with some four hundred and

570
00:33:18,120 --> 00:33:22,080
Speaker 1: seventy seven works on IMDb, including nineteen thirty six is Mr.

571
00:33:22,200 --> 00:33:25,800
Speaker 1: Deeds Goes to Town? Okay, all right, well let's get

572
00:33:25,840 --> 00:33:28,920
Speaker 1: into the plot of tob Or. The Great begins with

573
00:33:28,960 --> 00:33:33,080
Speaker 1: some nice flash Gordon style titles. You know, it's like, uh,

574
00:33:33,160 --> 00:33:35,120
Speaker 1: I don't know what you call this thing where it

575
00:33:35,160 --> 00:33:38,720
Speaker 1: looks like paintbrush strokes. It's got the little jagged edges. Yeah,

576
00:33:38,760 --> 00:33:42,120
Speaker 1: like it's painted on the side of a circus tent. Yes, yes,

577
00:33:42,720 --> 00:33:45,880
Speaker 1: roadside attraction, that's what I would call it. But then

578
00:33:46,400 --> 00:33:48,880
Speaker 1: when you go into a movie, Okay, it's nineteen fifty four,

579
00:33:48,920 --> 00:33:50,720
Speaker 1: how are you going to start this thrill ride? We

580
00:33:50,800 --> 00:33:53,920
Speaker 1: gotta get lectured while being shown a bunch of stock footage.

581
00:33:54,160 --> 00:33:57,400
Speaker 1: Oh yeah, robust stock footage intro in this one, lots

582
00:33:57,400 --> 00:34:00,520
Speaker 1: of shots of science and war going on. Uh. So

583
00:34:00,640 --> 00:34:03,680
Speaker 1: it begins it says, this is a story of the future,

584
00:34:03,960 --> 00:34:06,720
Speaker 1: but not the very distant future. And then it shows

585
00:34:06,760 --> 00:34:11,200
Speaker 1: a nuclear explosion. They were really always really quick to

586
00:34:11,239 --> 00:34:15,400
Speaker 1: bust out on an atomic explosion in films like this. Yeah. Um,

587
00:34:15,480 --> 00:34:18,240
Speaker 1: so it is a story that might have taken place

588
00:34:18,400 --> 00:34:22,160
Speaker 1: the day after tomorrow, like all stories of the future. However,

589
00:34:22,400 --> 00:34:26,040
Speaker 1: it's beginnings lie far back in the past. Uh. And

590
00:34:26,080 --> 00:34:28,399
Speaker 1: then it shows some clouds that look like they are

591
00:34:28,440 --> 00:34:31,520
Speaker 1: ready to start speaking to Moses. It's just shafts of

592
00:34:31,640 --> 00:34:34,680
Speaker 1: light punching through the cloud tops. And then the narration

593
00:34:34,719 --> 00:34:37,000
Speaker 1: goes on as far back as the first man on

594
00:34:37,080 --> 00:34:40,600
Speaker 1: Earth to gaze at the stars and wonder someday how

595
00:34:40,680 --> 00:34:44,960
Speaker 1: he might travel to them, travel through space. And then

596
00:34:44,960 --> 00:34:48,160
Speaker 1: of course we see space. They love that, just some

597
00:34:48,280 --> 00:34:51,839
Speaker 1: stars on a black background. So it would seem immediately

598
00:34:51,880 --> 00:34:53,880
Speaker 1: like this is gonna be a movie that's taking place

599
00:34:54,000 --> 00:34:56,760
Speaker 1: in space. But no. Back to a shot of the

600
00:34:56,800 --> 00:35:00,560
Speaker 1: earth ball. You see like Earth suspended in the voy aid,

601
00:35:00,719 --> 00:35:04,040
Speaker 1: and then the narration goes on in the years after

602
00:35:04,080 --> 00:35:07,640
Speaker 1: the Second World War. Two basic patterns began to influence

603
00:35:07,680 --> 00:35:11,920
Speaker 1: the growing science of space travel. Rockets or guided missiles

604
00:35:11,960 --> 00:35:14,800
Speaker 1: grew larger and larger, and then we see a rocket takeoff.

605
00:35:15,200 --> 00:35:19,000
Speaker 1: And then atomic power plants grew smaller and smaller. And

606
00:35:19,080 --> 00:35:22,160
Speaker 1: here we are treated to some obvious stock footage of

607
00:35:22,160 --> 00:35:25,279
Speaker 1: a of a submarine being launched. I guess this isn't

608
00:35:25,320 --> 00:35:28,759
Speaker 1: supposed to be a nuclear submarine being launched, like down

609
00:35:28,760 --> 00:35:30,759
Speaker 1: a jetty into the water. You can see in the

610
00:35:30,800 --> 00:35:34,520
Speaker 1: foreground there's a there's a general dynamics plaque. But I

611
00:35:34,600 --> 00:35:38,520
Speaker 1: wonder what this what event this is actually from? Yeah? This? Um,

612
00:35:39,920 --> 00:35:43,040
Speaker 1: I feel like you shouldn't You shouldn't depend on this

613
00:35:43,120 --> 00:35:46,239
Speaker 1: film even in the nineteen fifties to learn about like

614
00:35:46,280 --> 00:35:49,239
Speaker 1: the history of technology in the twentieth century. But you

615
00:35:49,360 --> 00:35:51,960
Speaker 1: might accidentally learn something if you were watching this, I

616
00:35:52,000 --> 00:35:53,680
Speaker 1: don't know, at the theater back in the day as

617
00:35:53,680 --> 00:35:57,479
Speaker 1: a child. Uh, none of this feels completely off the ball. Sure,

618
00:35:57,600 --> 00:36:00,480
Speaker 1: so they're saying, yeah, atomic power plants are getting smaller, smaller,

619
00:36:00,520 --> 00:36:03,800
Speaker 1: compact enough to be contained in a submarine and finally

620
00:36:04,200 --> 00:36:08,120
Speaker 1: in a rocket ship. Immediately, by special order of the President,

621
00:36:08,200 --> 00:36:11,640
Speaker 1: a new agency was formed, the c I f C

622
00:36:11,640 --> 00:36:16,520
Speaker 1: Civil Interplanetary Flight Commission. So with almost unlimited funds voted

623
00:36:16,520 --> 00:36:18,399
Speaker 1: by Congress, and then what are you going to get?

624
00:36:18,440 --> 00:36:20,960
Speaker 1: Of course a shot of the Capitol Building? And why not?

625
00:36:21,760 --> 00:36:26,440
Speaker 1: This commission began its task research in new fissionable materials,

626
00:36:26,719 --> 00:36:30,440
Speaker 1: more research and non fissionable metallic alloys to make rocket

627
00:36:30,480 --> 00:36:32,879
Speaker 1: tubes that would not be melted like wax by their

628
00:36:32,880 --> 00:36:38,120
Speaker 1: own atomic blasts. Sometimes mishaps occurred, men paid for them

629
00:36:38,239 --> 00:36:40,760
Speaker 1: with their lives, and then we see a rocket crash.

630
00:36:41,280 --> 00:36:46,760
Speaker 1: But the work went on, experiments in celestial navigation, astrophysics, aerodynamics,

631
00:36:46,880 --> 00:36:51,399
Speaker 1: until finally only one obstacle remained that, it turned out,

632
00:36:51,520 --> 00:36:55,640
Speaker 1: was the oldest obstacle in the history of mankind, the

633
00:36:55,719 --> 00:37:00,480
Speaker 1: human factor. The human factor. Uh so we begin the

634
00:37:00,520 --> 00:37:04,120
Speaker 1: action of the film concentrating on the human factor. What's

635
00:37:04,160 --> 00:37:07,120
Speaker 1: so bad about the human factor? Well, we're observing a

636
00:37:07,120 --> 00:37:11,040
Speaker 1: bunch of scientists performing a centerfuge test on a guy

637
00:37:11,200 --> 00:37:14,560
Speaker 1: in a flight suit, subjecting him to t G forces

638
00:37:14,640 --> 00:37:19,200
Speaker 1: that make his face into a profound deputy droopy, while

639
00:37:19,440 --> 00:37:23,560
Speaker 1: various cold hearted pipe smoking scientists look on. And this

640
00:37:23,719 --> 00:37:28,239
Speaker 1: this experiment continues in its cruelty until our hero Dr.

641
00:37:28,360 --> 00:37:31,040
Speaker 1: Ralph Harrison this is Charles Drake. He barges into the

642
00:37:31,080 --> 00:37:34,560
Speaker 1: room and he orders the experiment halted at once. And

643
00:37:34,600 --> 00:37:37,680
Speaker 1: by the way, I thought this was interesting choice. The

644
00:37:37,719 --> 00:37:40,040
Speaker 1: guy they have picked out to be the astronaut in

645
00:37:40,120 --> 00:37:43,440
Speaker 1: the the G forces test here is not like a

646
00:37:43,480 --> 00:37:46,759
Speaker 1: young test pilot in peak physical condition. I'd say he

647
00:37:46,800 --> 00:37:50,439
Speaker 1: looks like a roughly fifty eight year old Maleman. Yeah,

648
00:37:50,560 --> 00:37:55,400
Speaker 1: he reminds me very strongly of my grandfather, my childhood

649
00:37:55,440 --> 00:37:57,800
Speaker 1: memories of my grandfather. Does not look like this guy

650
00:37:58,000 --> 00:38:00,720
Speaker 1: needs to be in a centrifuge, and also is probably

651
00:38:00,719 --> 00:38:04,640
Speaker 1: not best the best candidate for making rash decisions about

652
00:38:04,719 --> 00:38:07,759
Speaker 1: whether humans should be involved in space travel at all.

653
00:38:09,680 --> 00:38:11,400
Speaker 1: At the same time, though, this whole thing about the

654
00:38:11,480 --> 00:38:14,279
Speaker 1: human factor, I mean, this is kind of insightful, and

655
00:38:14,280 --> 00:38:16,360
Speaker 1: this is something we've come Yeah, we come back to

656
00:38:16,400 --> 00:38:18,160
Speaker 1: on the show, but on it's unsuffable in your mind

657
00:38:18,200 --> 00:38:21,040
Speaker 1: before discussing space travel, is that. Yeah, in a lot

658
00:38:21,120 --> 00:38:23,640
Speaker 1: of cases you wind up with the question is this

659
00:38:23,760 --> 00:38:27,640
Speaker 1: worth trying to send a human being uh out into

660
00:38:27,640 --> 00:38:31,000
Speaker 1: the void with the You know, our bodies are have

661
00:38:31,120 --> 00:38:33,680
Speaker 1: evolved to thrive not only on Earth, but within a

662
00:38:33,760 --> 00:38:36,840
Speaker 1: very specific layer of the Earth's uh surface, within a

663
00:38:36,920 --> 00:38:40,960
Speaker 1: very specific layer of the Earth's atmosphere, and um, sometimes

664
00:38:40,960 --> 00:38:43,239
Speaker 1: it just makes more sense to send something that is

665
00:38:43,239 --> 00:38:46,480
Speaker 1: not human out there to do our work amid the stars.

666
00:38:46,840 --> 00:38:48,960
Speaker 1: And this is sort of one of the discoveries of

667
00:38:49,000 --> 00:38:51,000
Speaker 1: the movie, like we haven't gotten there yet. At the

668
00:38:51,120 --> 00:38:54,160
Speaker 1: at the outset, it's basically like, well, you're either going

669
00:38:54,200 --> 00:38:56,440
Speaker 1: to have humans going into space or you're not going

670
00:38:56,480 --> 00:39:00,680
Speaker 1: to explore space at all. Yeah, now, Harrison, uh come.

671
00:39:00,800 --> 00:39:03,040
Speaker 1: So after he stops the experiment, he gets up in

672
00:39:03,080 --> 00:39:06,439
Speaker 1: the face of these these white lab coats uh, and

673
00:39:06,520 --> 00:39:09,000
Speaker 1: he says, under other forms of government, men are killed

674
00:39:09,040 --> 00:39:11,480
Speaker 1: or crippled every day in experiments like this. Well, I

675
00:39:11,520 --> 00:39:14,680
Speaker 1: won't stand by and see men slaughter become policy. Here

676
00:39:15,320 --> 00:39:17,480
Speaker 1: and then this guy with a pipe hanging out his

677
00:39:17,520 --> 00:39:20,200
Speaker 1: mouth says, I resent that these men are volunteers. They

678
00:39:20,239 --> 00:39:23,360
Speaker 1: know what they signed up for. Uh. So begins the

679
00:39:23,400 --> 00:39:30,040
Speaker 1: philosophical conflict. And it seems the situation of this film

680
00:39:30,239 --> 00:39:33,480
Speaker 1: is that the consensus of scientists is that we must

681
00:39:33,520 --> 00:39:37,280
Speaker 1: liquefy all astronauts in the name of progress, and Dr

682
00:39:37,320 --> 00:39:41,120
Speaker 1: Harrison challenges the status quo with a bold new agenda

683
00:39:41,680 --> 00:39:45,520
Speaker 1: proclaiming that astronauts should not be slaughtered. But in so

684
00:39:45,600 --> 00:39:48,239
Speaker 1: doing he he fiercely butts heads with a bunch of

685
00:39:48,239 --> 00:39:51,759
Speaker 1: sadistic pipe guys. And and that's where we are when

686
00:39:51,760 --> 00:39:54,960
Speaker 1: the movie begins. So Dr Harrison tries to run his

687
00:39:55,040 --> 00:39:56,880
Speaker 1: gripe up the chain. He tries to go to the

688
00:39:56,920 --> 00:39:59,960
Speaker 1: commissioner of the agency, and he's like, I won't stay

689
00:40:00,000 --> 00:40:02,520
Speaker 1: and by while we do these cruel experiments and and

690
00:40:02,520 --> 00:40:05,399
Speaker 1: and punish men's bodies in this way. Uh So he's

691
00:40:05,400 --> 00:40:08,319
Speaker 1: going to tender his resignation. But while he is doing that,

692
00:40:08,719 --> 00:40:12,200
Speaker 1: he is overheard by a shadowy figure behind a frosted

693
00:40:12,200 --> 00:40:16,840
Speaker 1: glass doorway. And later this guy who's listening in comes

694
00:40:16,840 --> 00:40:19,479
Speaker 1: to find Harrison at his home, and when he does,

695
00:40:19,600 --> 00:40:22,600
Speaker 1: he is dressed like the judge from who framed Roger Rabbit.

696
00:40:24,120 --> 00:40:27,360
Speaker 1: I was really this was a scene too, very early

697
00:40:27,400 --> 00:40:29,640
Speaker 1: in the film where I was kind of taken aback

698
00:40:29,680 --> 00:40:31,920
Speaker 1: by just how old most of the actors I was

699
00:40:31,920 --> 00:40:34,399
Speaker 1: saying on screen. Where because not only the the test

700
00:40:34,400 --> 00:40:37,480
Speaker 1: pilot guy, but yeah, the uh the guy he goes

701
00:40:37,560 --> 00:40:40,719
Speaker 1: to the boss is pretty old looking. And then here

702
00:40:40,719 --> 00:40:43,920
Speaker 1: comes Grandpa, who of course is has rather aged himself,

703
00:40:44,080 --> 00:40:45,880
Speaker 1: but it's true. Yeah, but I guess you know, the

704
00:40:46,239 --> 00:40:49,319
Speaker 1: fifties we were we're hard on the body. Um, so

705
00:40:49,640 --> 00:40:51,719
Speaker 1: some of these people may look older than they actually were.

706
00:40:51,840 --> 00:40:55,200
Speaker 1: I don't know. But anyway, Yeah, So he's visited by

707
00:40:55,440 --> 00:41:00,080
Speaker 1: Professor Nordstrom here, who introduces himself, and it turned is

708
00:41:00,120 --> 00:41:03,200
Speaker 1: out they share a common dissident belief that astronauts should

709
00:41:03,280 --> 00:41:06,080
Speaker 1: not be killed. And Nordstrom says, you know, before we

710
00:41:06,160 --> 00:41:09,279
Speaker 1: prepare the men for the conditions in extraterrestrial space, we've

711
00:41:09,280 --> 00:41:12,200
Speaker 1: got to know what those conditions are. No, not guess,

712
00:41:12,719 --> 00:41:15,759
Speaker 1: and Harrison agrees, but unfortunately, there's just no way to

713
00:41:15,760 --> 00:41:17,719
Speaker 1: do it right. In order to find out what the

714
00:41:17,760 --> 00:41:20,560
Speaker 1: conditions in space are, you've got to send human pilots

715
00:41:20,600 --> 00:41:24,360
Speaker 1: up there in spacecraft to check. And Nordstrom is like, nope,

716
00:41:24,480 --> 00:41:27,040
Speaker 1: I have a better solution. Join me and we can

717
00:41:27,080 --> 00:41:29,959
Speaker 1: work on this together. So it seems like they're gonna

718
00:41:30,000 --> 00:41:31,840
Speaker 1: team up there, they're going to figure out how to

719
00:41:31,880 --> 00:41:34,360
Speaker 1: do it. And after this, we see a scene in

720
00:41:34,640 --> 00:41:37,600
Speaker 1: what appears to be an airport restaurant, but it is

721
00:41:37,640 --> 00:41:42,840
Speaker 1: incredibly swanky and spacious. I've never seen an airport restaurant

722
00:41:42,920 --> 00:41:45,960
Speaker 1: like this. Yeah, not like this. This is a different

723
00:41:45,960 --> 00:41:48,600
Speaker 1: age of air travel. Um, this is where but this

724
00:41:48,640 --> 00:41:50,279
Speaker 1: looks yeah, that's kind of place where you'd go to

725
00:41:50,320 --> 00:41:53,759
Speaker 1: get your your steak dinner. You're half a dozen oysters

726
00:41:53,760 --> 00:41:58,160
Speaker 1: and a few martinis before boarding your rickety flight. But

727
00:41:58,160 --> 00:42:02,520
Speaker 1: but already, this whole, this whole business with the explaining

728
00:42:02,520 --> 00:42:05,440
Speaker 1: why we need to have humanoid robots, I feel like

729
00:42:05,520 --> 00:42:07,160
Speaker 1: I've got to I've got to go back to the

730
00:42:07,200 --> 00:42:10,200
Speaker 1: screenwriter on this one. I gotta go back to uh uh,

731
00:42:10,239 --> 00:42:13,200
Speaker 1: to Philip McDonald, because this really feels like the producer

732
00:42:13,360 --> 00:42:15,520
Speaker 1: Dudley coming and say it, all right, I need a

733
00:42:15,520 --> 00:42:18,719
Speaker 1: picture in which we have a robot befriending a child. Um,

734
00:42:18,880 --> 00:42:23,440
Speaker 1: and he comes up with a rather entertaining and almost

735
00:42:23,440 --> 00:42:25,960
Speaker 1: really thought provoking way of getting there, instead of just

736
00:42:26,239 --> 00:42:30,920
Speaker 1: having something like traditionally stupid and action serial happening like

737
00:42:31,160 --> 00:42:34,200
Speaker 1: oh Grandpa's just Grandpa's a scientist and oh he happens

738
00:42:34,239 --> 00:42:35,840
Speaker 1: to have a robot. Well, no, why does he have

739
00:42:35,880 --> 00:42:40,200
Speaker 1: a robot? Uh? This film bothers to answer those questions. Yeah,

740
00:42:40,200 --> 00:42:42,840
Speaker 1: he could have invented him as a robot butler. Yeah,

741
00:42:42,920 --> 00:42:45,040
Speaker 1: like a lot that would be more in keeping with

742
00:42:45,360 --> 00:42:48,560
Speaker 1: with certainly the action serial motif like in The Phantom

743
00:42:48,600 --> 00:42:52,320
Speaker 1: Creeps for example, starring Belle's Leghosie, the mad scientist, and

744
00:42:52,440 --> 00:42:56,080
Speaker 1: that has an evil humanoid robot. But just because it

745
00:42:56,080 --> 00:42:58,120
Speaker 1: seems like just because like that's just what you do.

746
00:42:58,280 --> 00:43:01,080
Speaker 1: If you're a sci fi man scientists, you're gonna have

747
00:43:01,120 --> 00:43:05,239
Speaker 1: a various gadgets laying around the house, including the humanoid robot. Yeah,

748
00:43:05,239 --> 00:43:08,040
Speaker 1: why not? But instead this addresses a real issue. And

749
00:43:08,080 --> 00:43:11,240
Speaker 1: of course, you know, almost all of our space missions

750
00:43:11,280 --> 00:43:15,840
Speaker 1: now are in fact uncrewed. They are performed by robots,

751
00:43:15,880 --> 00:43:18,560
Speaker 1: though in a different way than this movie imagines. This

752
00:43:18,600 --> 00:43:23,640
Speaker 1: movie imagines uh spacecraft with like cockpits that are piloted

753
00:43:23,640 --> 00:43:26,839
Speaker 1: by humans and have steering wheels basically, and you would

754
00:43:26,840 --> 00:43:29,640
Speaker 1: get a humanoid robot to sit in the cockpit and

755
00:43:29,640 --> 00:43:32,880
Speaker 1: and guide the spacecraft instead of just the spacecraft itself

756
00:43:32,960 --> 00:43:36,080
Speaker 1: being a robot. Yeah, though, you could imagine an update

757
00:43:36,120 --> 00:43:38,360
Speaker 1: of this where if you had something that was I

758
00:43:38,360 --> 00:43:42,440
Speaker 1: guess less like a metallic human and more like essentially

759
00:43:42,440 --> 00:43:45,799
Speaker 1: more like some sort of a cloned bio androids, sort

760
00:43:45,840 --> 00:43:49,120
Speaker 1: of a situation where you could have something that could

761
00:43:49,160 --> 00:43:52,759
Speaker 1: be in the place of a human space traveler not

762
00:43:52,800 --> 00:43:55,440
Speaker 1: only to handle the equipment, but also to test like

763
00:43:55,480 --> 00:43:59,040
Speaker 1: how dangerous the environment is to the human body or something. Yeah,

764
00:43:59,080 --> 00:44:00,840
Speaker 1: and in a way, I think that's sort of what

765
00:44:00,960 --> 00:44:03,520
Speaker 1: they're getting at. I mean it sounds like the purpose

766
00:44:03,600 --> 00:44:05,520
Speaker 1: of TOBAR. I mean, we haven't even gotten to this

767
00:44:05,600 --> 00:44:07,560
Speaker 1: reveal in the plot yet. We're getting ahead of the plot.

768
00:44:07,640 --> 00:44:09,920
Speaker 1: But the purpose of TOBAR, I think is supposed to

769
00:44:09,920 --> 00:44:13,560
Speaker 1: be to fly missions to test what space is like

770
00:44:13,719 --> 00:44:16,480
Speaker 1: and figure out what the hazards are so that we

771
00:44:16,520 --> 00:44:28,640
Speaker 1: can know that in advance of sending humans. But okay,

772
00:44:28,760 --> 00:44:31,319
Speaker 1: we gotta get back into the do things more in

773
00:44:31,400 --> 00:44:34,600
Speaker 1: order here? Okay, So Nord s Truman Harrison. They're sitting

774
00:44:34,600 --> 00:44:37,480
Speaker 1: in the swanky airport restaurant. They're discussing their plans, and

775
00:44:37,520 --> 00:44:40,320
Speaker 1: the big thing is that this project is top secret.

776
00:44:40,719 --> 00:44:46,800
Speaker 1: Nobody can know about it until it is perfected. Uh. Meanwhile,

777
00:44:46,840 --> 00:44:49,120
Speaker 1: we've got a sketchy looking guy in a fedora and

778
00:44:49,239 --> 00:44:53,520
Speaker 1: rimless glasses watching on from the table behind them. And

779
00:44:53,560 --> 00:44:56,600
Speaker 1: then they are joined at their table by Gilligan, the

780
00:44:56,760 --> 00:45:01,080
Speaker 1: science editor of Transglobal News Services. And I appreciate that

781
00:45:01,120 --> 00:45:04,160
Speaker 1: this film takes a firm and consistent stand against the

782
00:45:04,200 --> 00:45:10,920
Speaker 1: free press. The journalists in this movie are represented as nasty, opportunistic,

783
00:45:11,040 --> 00:45:15,040
Speaker 1: and disloyal to their country, just just rats to the core.

784
00:45:15,680 --> 00:45:19,360
Speaker 1: And Harrison, when Gillian sits down to talk to them,

785
00:45:19,400 --> 00:45:21,000
Speaker 1: you know, he wants the scoop. Of course, He's like,

786
00:45:21,000 --> 00:45:24,000
Speaker 1: what have you been working on? And Harrison just reems

787
00:45:24,040 --> 00:45:29,040
Speaker 1: Gilligan because journalists reported publicly on secret atomic tests and

788
00:45:29,080 --> 00:45:32,080
Speaker 1: things like that. Uh, and so I think it's supposed

789
00:45:32,120 --> 00:45:34,080
Speaker 1: to be a great relief. Later when we see a

790
00:45:34,160 --> 00:45:38,719
Speaker 1: journalist gets smacked by Tobor during a demonstration. But but Giligan,

791
00:45:39,120 --> 00:45:41,720
Speaker 1: he's just like, hey, you're in the business of smashing Adams.

792
00:45:41,760 --> 00:45:44,440
Speaker 1: I'm in the business of selling newspapers. If Uncle Sam

793
00:45:44,440 --> 00:45:46,600
Speaker 1: doesn't know how to keep his secrets, that's his own

794
00:45:46,640 --> 00:45:50,640
Speaker 1: tough luck. And Harrison to be to be clear, uncle

795
00:45:50,719 --> 00:45:53,520
Speaker 1: Sam here in there and the form of these two

796
00:45:53,640 --> 00:45:57,560
Speaker 1: characters are discussing top secret materials at just a random

797
00:45:57,680 --> 00:46:03,320
Speaker 1: airport restaurant within earshot of enemy agents and and the press,

798
00:46:03,640 --> 00:46:06,800
Speaker 1: which uh you know is is is one of the

799
00:46:06,840 --> 00:46:12,399
Speaker 1: more realistic things about this film. I guess, oh yeah, so.

800
00:46:12,520 --> 00:46:15,600
Speaker 1: But Harrison of course doesn't like him at all. He's like, uh,

801
00:46:15,680 --> 00:46:17,520
Speaker 1: He's like, I guess it doesn't matter how much aid

802
00:46:17,520 --> 00:46:19,680
Speaker 1: and comfort you give our enemies or how many of

803
00:46:19,680 --> 00:46:22,719
Speaker 1: our side get killed. Uh. So I think we get

804
00:46:22,760 --> 00:46:27,160
Speaker 1: some pretty firmly conservative politics going on in in this film.

805
00:46:27,200 --> 00:46:30,719
Speaker 1: It is not happy about journalists reporting on on on

806
00:46:30,800 --> 00:46:35,400
Speaker 1: top secret research. But anyway, so Gilligan gets invited to

807
00:46:35,600 --> 00:46:40,880
Speaker 1: a demonstration of nord Nordstrom's new project, of course, along

808
00:46:40,880 --> 00:46:43,439
Speaker 1: with all the other science journalists, which he's not happy about.

809
00:46:43,480 --> 00:46:46,759
Speaker 1: He's like, I wanted an exclusive and Nordstrom's like, nope,

810
00:46:46,760 --> 00:46:49,160
Speaker 1: we're gonna show you all at the same time. Uh.

811
00:46:49,160 --> 00:46:51,799
Speaker 1: And meanwhile, the man in rimless glasses is looking on

812
00:46:51,920 --> 00:46:56,680
Speaker 1: with keen interest. Oh yeah, yeah, Stephen Gary here so good.

813
00:46:56,760 --> 00:46:59,080
Speaker 1: This is This is the first scene where I'm like,

814
00:46:59,080 --> 00:47:01,680
Speaker 1: oh man, this is is totally though. This is totally

815
00:47:01,760 --> 00:47:06,560
Speaker 1: the bad guy from Raiders. Give me that intrigue, all right.

816
00:47:06,600 --> 00:47:09,200
Speaker 1: So then we move on to the Nordstrom estate, where

817
00:47:09,719 --> 00:47:12,280
Speaker 1: frankly most of the rest of the movie will take place.

818
00:47:12,640 --> 00:47:17,319
Speaker 1: It's like a compound that's surrounded by an electric fence. Uh.

819
00:47:17,320 --> 00:47:20,080
Speaker 1: And it's got all these gadgets for defense that we

820
00:47:20,120 --> 00:47:23,520
Speaker 1: see in action later. But when everybody's coming in there.

821
00:47:23,560 --> 00:47:27,440
Speaker 1: Harrison arrives and Professor Grandpa here introduces Dr. Harrison to

822
00:47:27,520 --> 00:47:30,799
Speaker 1: his daughter Janice, who he says runs this household with

823
00:47:30,840 --> 00:47:33,920
Speaker 1: a rod of iron. But it doesn't seem like it.

824
00:47:34,000 --> 00:47:35,919
Speaker 1: When do we see her running anything with a rod

825
00:47:35,960 --> 00:47:39,680
Speaker 1: of iron? Yeah, she's very polite, very very pleasant. It's

826
00:47:39,680 --> 00:47:41,840
Speaker 1: almost like and then we see them, you know, Harrison

827
00:47:41,880 --> 00:47:45,040
Speaker 1: and Janis standing together in a frame. And while it's

828
00:47:45,080 --> 00:47:47,319
Speaker 1: basically like Grandpa is like, all right, now you two

829
00:47:47,360 --> 00:47:51,960
Speaker 1: go fall in love? Uh, that never happens, as I

830
00:47:52,000 --> 00:47:54,279
Speaker 1: recall in the film, but it seems like it's it's

831
00:47:54,280 --> 00:47:57,080
Speaker 1: almost like you have to at least imply it, right, Like,

832
00:47:57,160 --> 00:48:00,920
Speaker 1: how else would you shoot this scene unless you're going

833
00:48:00,960 --> 00:48:03,040
Speaker 1: to imply that they were falling in love with each other?

834
00:48:03,239 --> 00:48:05,160
Speaker 1: Why would you have a have a male character and

835
00:48:05,200 --> 00:48:07,640
Speaker 1: a female character on the screen at the same time

836
00:48:07,680 --> 00:48:12,600
Speaker 1: otherwise Yeah? Uh. But then we also meet the grandson, Brian,

837
00:48:12,719 --> 00:48:16,480
Speaker 1: a gadge who is a sort of Wesley Crusher esque

838
00:48:16,520 --> 00:48:20,960
Speaker 1: boy genius who knows everything about everything. He's just a

839
00:48:21,040 --> 00:48:25,000
Speaker 1: g whiz g wilkers with science and machines. Oh and

840
00:48:25,040 --> 00:48:27,880
Speaker 1: they also have I think a German butler named Carl,

841
00:48:28,200 --> 00:48:32,760
Speaker 1: and Carl is a real Debbie downer when when Carl

842
00:48:32,840 --> 00:48:35,440
Speaker 1: meets Harrison, he's talking about Gadget and he goes, the

843
00:48:35,600 --> 00:48:38,440
Speaker 1: boy is an imp of Satan, but what a brain.

844
00:48:38,920 --> 00:48:43,399
Speaker 1: He'll be greater than his grandfather. But inside we see

845
00:48:43,400 --> 00:48:46,440
Speaker 1: gadgets genius. He he shows off by demonstrating that he

846
00:48:46,520 --> 00:48:49,760
Speaker 1: has figured out how to open Professor Nordstrom's bat cave,

847
00:48:50,320 --> 00:48:52,919
Speaker 1: which is a very involved process that goes on way

848
00:48:52,920 --> 00:48:56,040
Speaker 1: too long, involving a bookcase and like touching different parts

849
00:48:56,040 --> 00:48:58,960
Speaker 1: of it. Yeah. Yeah, though that they did put in

850
00:48:59,000 --> 00:49:01,080
Speaker 1: a lot of work to create something that was a

851
00:49:01,080 --> 00:49:04,240
Speaker 1: little different than the standard uh tip a book open

852
00:49:04,280 --> 00:49:07,719
Speaker 1: a secret chamber sort of scenario. Yeah yeah. Instead it's

853
00:49:07,760 --> 00:49:09,640
Speaker 1: like you've got three different things and you got to

854
00:49:09,680 --> 00:49:13,200
Speaker 1: do them in different orders and all that. Uh. And

855
00:49:13,280 --> 00:49:16,680
Speaker 1: so Gadge is congratulated on his his cleverness for opening

856
00:49:16,719 --> 00:49:19,160
Speaker 1: up the laboratory, but he is not allowed to come

857
00:49:19,200 --> 00:49:22,160
Speaker 1: down and see it, and he's he's honors that he's

858
00:49:22,200 --> 00:49:24,520
Speaker 1: a good boy and that he will not just go

859
00:49:24,640 --> 00:49:29,520
Speaker 1: down the strange spiral staircase to Grandpa's dungeon. But as

860
00:49:29,520 --> 00:49:32,800
Speaker 1: we find out, he's not above spying on Grandpa's dungeon

861
00:49:33,400 --> 00:49:36,200
Speaker 1: right with a listening device that he like ropes through

862
00:49:36,239 --> 00:49:39,520
Speaker 1: the floor. Uh. And then for some reason, there's a

863
00:49:39,520 --> 00:49:42,480
Speaker 1: scene where Gedge talks to a grandfather clock like they've

864
00:49:42,480 --> 00:49:46,359
Speaker 1: got an Alexa basically, Yeah, that was interesting. Yeah, it's

865
00:49:46,400 --> 00:49:49,840
Speaker 1: basically an alexis sort of situation. He like the clock

866
00:49:49,960 --> 00:49:52,279
Speaker 1: still has a clock face, so he could look at

867
00:49:52,320 --> 00:49:53,799
Speaker 1: it and it would tell him what time it is,

868
00:49:53,840 --> 00:49:56,399
Speaker 1: but instead he says, like, clock, tell me what time

869
00:49:56,440 --> 00:49:59,319
Speaker 1: it is, and it replies with an automated voice which

870
00:49:59,320 --> 00:50:01,360
Speaker 1: sounds like Taylor Homes, by the way. So it's like,

871
00:50:01,400 --> 00:50:04,319
Speaker 1: you know, there's one thar day. This is great, I mean,

872
00:50:04,360 --> 00:50:06,759
Speaker 1: this is this is prophetic. This is exactly where we

873
00:50:06,800 --> 00:50:10,560
Speaker 1: are now. So anyway, we're heading up to the big demonstration,

874
00:50:10,600 --> 00:50:13,480
Speaker 1: the big reveal what is it Professor Nordstrom has been

875
00:50:13,480 --> 00:50:15,840
Speaker 1: working on, by the way, So we've been talking about Tobar,

876
00:50:15,920 --> 00:50:18,080
Speaker 1: but the movie has given no hint of Tobar or

877
00:50:18,160 --> 00:50:22,080
Speaker 1: robots at all so far. Uh. So cars start arriving,

878
00:50:22,120 --> 00:50:24,719
Speaker 1: the journalists are showing up to see this demonstration at

879
00:50:24,760 --> 00:50:28,520
Speaker 1: Nordstrom's compound, and Carl stands guard at the gate with

880
00:50:28,600 --> 00:50:32,719
Speaker 1: a shotgun. Uh. Seems kind of extreme, and he does

881
00:50:32,760 --> 00:50:35,799
Speaker 1: it kind of papers please routine for all the approaching vehicles,

882
00:50:36,480 --> 00:50:39,520
Speaker 1: and then we see one of the vehicles. Hey, wait

883
00:50:39,520 --> 00:50:42,479
Speaker 1: a second, that's not a journalist. That's that creepy guy

884
00:50:42,520 --> 00:50:46,760
Speaker 1: from the airport with the roomless glasses, and he's smoking

885
00:50:46,760 --> 00:50:49,799
Speaker 1: a pipe. And now here I wanted to do a

886
00:50:49,800 --> 00:50:54,640
Speaker 1: brief pipe digression. I think it's interesting that several characters

887
00:50:54,680 --> 00:50:58,799
Speaker 1: in this movie smoke pipes, and they are all villains

888
00:50:58,840 --> 00:51:01,919
Speaker 1: of one sort or another. Got the creepy communist spy,

889
00:51:02,000 --> 00:51:04,400
Speaker 1: and then you've got the cold hearted scientists from earlier

890
00:51:04,440 --> 00:51:08,000
Speaker 1: who wanted to murder the mailman with g forces. So

891
00:51:08,280 --> 00:51:11,279
Speaker 1: is there a reason for this? Was pipe smoking associated

892
00:51:11,320 --> 00:51:15,200
Speaker 1: with cold hearted treachery in nineteen fifty four? I don't know.

893
00:51:15,280 --> 00:51:17,960
Speaker 1: I mean, nowadays I think of pipe smoking, I think

894
00:51:17,960 --> 00:51:21,960
Speaker 1: of like Sherlock Holmes or something yum. But at the time, Yeah,

895
00:51:22,000 --> 00:51:24,160
Speaker 1: you think back on our various heroes. A lot of

896
00:51:24,160 --> 00:51:28,319
Speaker 1: the times they're they're smoking, certainly, but they're smoking cigarettes. Um,

897
00:51:29,360 --> 00:51:31,680
Speaker 1: I guess, And maybe I guess you have characters smoking

898
00:51:31,719 --> 00:51:34,840
Speaker 1: cigars as well. But yeah, it would be interesting to

899
00:51:34,840 --> 00:51:38,400
Speaker 1: read like a breakdown of like the cinematic language of

900
00:51:38,760 --> 00:51:43,520
Speaker 1: tobacco choices in nineteen fifties cinema, like, because there does

901
00:51:43,520 --> 00:51:46,800
Speaker 1: seem to be a division here. You got your pipe smokers,

902
00:51:46,840 --> 00:51:49,839
Speaker 1: your your your cigarette smokers, and I guess that's all

903
00:51:49,880 --> 00:51:52,000
Speaker 1: we really see. We don't see anybody trooping around with

904
00:51:52,040 --> 00:51:55,080
Speaker 1: cigars or a hookah or anything. Yeah, it almost seems like,

905
00:51:55,120 --> 00:51:58,759
Speaker 1: you know, the the cigarettes are I got this cigarette

906
00:51:58,760 --> 00:52:00,640
Speaker 1: habit when I was in the war, and you know,

907
00:52:00,719 --> 00:52:03,360
Speaker 1: that's like a that's like an honorable, manly kind of

908
00:52:03,360 --> 00:52:06,520
Speaker 1: way to smoke. But the pipe smokers are these kind

909
00:52:06,520 --> 00:52:10,920
Speaker 1: of untrustworthy intellectuals, and I think that maybe there's an

910
00:52:11,000 --> 00:52:14,719
Speaker 1: intellectual air to it, which despite our our hero being

911
00:52:14,840 --> 00:52:18,640
Speaker 1: a scientist, uh, he has more of that that Machies

912
00:52:18,760 --> 00:52:21,040
Speaker 1: mo to him, more of that soldier mentality. So it

913
00:52:21,080 --> 00:52:25,520
Speaker 1: makes sense that he's just he's smokingting cigarettes. Yeah. Well, anyway,

914
00:52:25,640 --> 00:52:27,759
Speaker 1: so we move on to the demonstration where we're down

915
00:52:27,840 --> 00:52:31,320
Speaker 1: in Nordstrom's secret layer and all the journalists are gathered

916
00:52:31,360 --> 00:52:35,120
Speaker 1: in attendance. Again, just a dreadful flock of rectangular men

917
00:52:35,200 --> 00:52:39,040
Speaker 1: in gray suits, including Gilligan, the unpatriotic journalists from earlier

918
00:52:39,600 --> 00:52:42,359
Speaker 1: uh and the suspicious man in glasses. They're all down here,

919
00:52:43,040 --> 00:52:45,960
Speaker 1: and Nordstrom explains that they are in a wine cellar,

920
00:52:46,120 --> 00:52:48,160
Speaker 1: but it looks more like one of the sets from

921
00:52:48,239 --> 00:52:51,120
Speaker 1: Prince Prospero's Castle and The Mask of the Red Death.

922
00:52:51,239 --> 00:52:55,000
Speaker 1: It's like a giant room with stonework walls and twenty

923
00:52:55,040 --> 00:52:58,440
Speaker 1: ft high ceilings. Yeah, like it was maybe once an

924
00:52:58,440 --> 00:53:01,960
Speaker 1: actual dungeon and then was repurposed into a wine cellar

925
00:53:02,080 --> 00:53:05,759
Speaker 1: and then repurposed into a secret laboratory. It was not

926
00:53:05,840 --> 00:53:09,040
Speaker 1: secret anymore because you just invited the Free Press and

927
00:53:09,200 --> 00:53:11,959
Speaker 1: some in the agents there. But I guess, I guess

928
00:53:12,040 --> 00:53:15,600
Speaker 1: Gadge already kind of spoiled it for everyone, so why not. Yeah,

929
00:53:15,680 --> 00:53:18,080
Speaker 1: So anyway, they say it's chosen because it is ideal

930
00:53:18,200 --> 00:53:22,640
Speaker 1: for security and to protect our delicate equipment from surface vibrations. Uh.

931
00:53:22,719 --> 00:53:24,680
Speaker 1: And it's also got a stage and a bunch of

932
00:53:24,760 --> 00:53:29,680
Speaker 1: light up gizmos. And Nordstrom's presentation restates the problem we've

933
00:53:29,719 --> 00:53:32,600
Speaker 1: become acquainted with already, So we need to send spaceships

934
00:53:32,600 --> 00:53:35,480
Speaker 1: into space. But space may well kill the pilots. But

935
00:53:35,600 --> 00:53:37,839
Speaker 1: in order for us to find out how space will

936
00:53:37,880 --> 00:53:40,080
Speaker 1: kill the pilots, we've got to send pilots up there

937
00:53:40,160 --> 00:53:43,320
Speaker 1: in spaceships. So it's a catch twenty two. So is

938
00:53:43,360 --> 00:53:46,080
Speaker 1: there any way we can beat this? Well, Nordstrom says

939
00:53:46,480 --> 00:53:48,400
Speaker 1: he's going to prove all the critics wrong, and in

940
00:53:48,600 --> 00:53:52,080
Speaker 1: order to do so, he unveils a large electronic device

941
00:53:52,200 --> 00:53:55,120
Speaker 1: with a pistol grip, and he presses a button on

942
00:53:55,239 --> 00:53:58,319
Speaker 1: the on this device to unveil his creation, and out

943
00:53:58,360 --> 00:54:02,200
Speaker 1: of a gigantic tube comes what is this? Why? Why?

944
00:54:02,280 --> 00:54:05,359
Speaker 1: It's like a man with arms and legs and a head,

945
00:54:05,680 --> 00:54:09,040
Speaker 1: but it's made of metal. It's a mechanical man, a

946
00:54:09,120 --> 00:54:12,600
Speaker 1: mechanical man with an ornate head so large that he

947
00:54:12,640 --> 00:54:16,959
Speaker 1: will surely topple over. Yeah. Yeah, Tobor is top heavy.

948
00:54:17,000 --> 00:54:20,080
Speaker 1: I gotta say, yeah, way too top heavy for a

949
00:54:20,239 --> 00:54:22,959
Speaker 1: bipedal machine. It seems like he should be. It should

950
00:54:23,000 --> 00:54:24,440
Speaker 1: have played it more like a gorilla suit. But then

951
00:54:24,480 --> 00:54:27,800
Speaker 1: again they would just the actor would fall over. The

952
00:54:28,120 --> 00:54:30,239
Speaker 1: spy by the way, the creep and the glasses is

953
00:54:30,320 --> 00:54:33,680
Speaker 1: positively drooling while he watches. He's like biting his pipe.

954
00:54:33,760 --> 00:54:36,920
Speaker 1: And again, this guy should have been played by Peter Laurie.

955
00:54:36,960 --> 00:54:39,200
Speaker 1: I mean, I like the guy they have, but that

956
00:54:39,239 --> 00:54:41,200
Speaker 1: would have pushed it over the edge. Well, it would

957
00:54:41,200 --> 00:54:42,640
Speaker 1: have pushed the budget over the edge. I bet they

958
00:54:42,640 --> 00:54:47,160
Speaker 1: couldn't get Laurie at this time. So anyway, Nordstrom says, well, gentlemen,

959
00:54:47,360 --> 00:54:53,600
Speaker 1: meet Tobor. Then he explains that Tobor is robot spelt backwards. Yeah,

960
00:54:53,760 --> 00:54:55,600
Speaker 1: but it's but it is the cheeky way of doing it.

961
00:54:55,760 --> 00:54:58,200
Speaker 1: He's he's not. He's a little like, yeah, I know

962
00:54:58,360 --> 00:55:01,520
Speaker 1: this is lame, but hey, it's it's robot spelled backage. Which, again,

963
00:55:01,600 --> 00:55:06,280
Speaker 1: it really feels like the screenwriter making his his EPs

964
00:55:06,360 --> 00:55:09,600
Speaker 1: idea work in the film. Yeah, the boss said it's

965
00:55:09,640 --> 00:55:11,840
Speaker 1: got to be called Tobar, so this is it's he

966
00:55:12,000 --> 00:55:14,600
Speaker 1: like lamp shades the idea that he named it Tobar.

967
00:55:15,760 --> 00:55:18,160
Speaker 1: By the way, the remote control we get to, I

968
00:55:18,480 --> 00:55:21,400
Speaker 1: just I love this is the film that loves its gadgets,

969
00:55:21,920 --> 00:55:24,640
Speaker 1: and I love how the the cool little like gun

970
00:55:24,960 --> 00:55:29,600
Speaker 1: remote control for Tobor itself is contained within like a

971
00:55:29,800 --> 00:55:33,880
Speaker 1: clear like acrylic or plastic bread box. And then that

972
00:55:34,000 --> 00:55:38,320
Speaker 1: bread box on a pedestal has its own specifically tailored

973
00:55:38,719 --> 00:55:41,640
Speaker 1: dust cover that goes over it when it's not They

974
00:55:41,680 --> 00:55:45,759
Speaker 1: spared no expense. Yeah, so Gil again, the journalist is like, hey,

975
00:55:45,880 --> 00:55:48,919
Speaker 1: is this just another movie Frankenstein, That's what he says,

976
00:55:49,080 --> 00:55:52,320
Speaker 1: and Nordstrom says no. And in fact, Tobor is not

977
00:55:52,560 --> 00:55:57,879
Speaker 1: even a robot. He's an quote electronic simulacrum of a man.

978
00:55:58,840 --> 00:56:00,360
Speaker 1: And I was thinking, how does that make it not

979
00:56:00,520 --> 00:56:05,160
Speaker 1: a robot? Doesn't that just describe a particular type of robot? Again,

980
00:56:05,239 --> 00:56:07,600
Speaker 1: this feels maybe like the screenwriter rebelling a little go

981
00:56:10,280 --> 00:56:12,640
Speaker 1: By the way, if we go by Baudriard's definition of

982
00:56:12,840 --> 00:56:15,239
Speaker 1: of simulachrome, it would be a copy or imitation of

983
00:56:15,280 --> 00:56:18,160
Speaker 1: a thing that no longer exists or never existed in

984
00:56:18,239 --> 00:56:22,239
Speaker 1: the first place. So too on that. Maybe Tobor is

985
00:56:22,320 --> 00:56:25,520
Speaker 1: designed to stand in for man once man no longer exists.

986
00:56:26,440 --> 00:56:28,320
Speaker 1: I like it. I like it, okay, But here's the

987
00:56:28,560 --> 00:56:31,640
Speaker 1: rundown on Tobor. So he's an electronic simulacrum of a

988
00:56:31,719 --> 00:56:34,279
Speaker 1: man who will be able to safely pilot ships into

989
00:56:34,320 --> 00:56:38,719
Speaker 1: outer space to document the spine tingling cosmic hazards that

990
00:56:38,840 --> 00:56:42,040
Speaker 1: dwell there without putting a human being at risk. And

991
00:56:42,120 --> 00:56:45,240
Speaker 1: he is currently controlled by this little ray gun device

992
00:56:45,320 --> 00:56:48,280
Speaker 1: with the pistol grip, but that's only a temporary measure.

993
00:56:48,760 --> 00:56:50,839
Speaker 1: The range will not be good enough with this thing

994
00:56:50,920 --> 00:56:53,920
Speaker 1: to control him once he goes to space. Eventually, Tobor

995
00:56:54,120 --> 00:56:56,920
Speaker 1: is going to be controlled entirely by means of a

996
00:56:57,000 --> 00:57:01,839
Speaker 1: system with longer range, which is eat SP. That's right,

997
00:57:02,360 --> 00:57:05,680
Speaker 1: You narrow minded journalists might not even believe in psychic

998
00:57:05,760 --> 00:57:09,719
Speaker 1: powers to lepid the extrasensory perception. But not only are

999
00:57:09,800 --> 00:57:13,000
Speaker 1: they real, they are the protocol for interfacing with my

1000
00:57:13,120 --> 00:57:18,720
Speaker 1: new mechanical superman. Take that I did not know. I

1001
00:57:18,840 --> 00:57:22,200
Speaker 1: was not prepared for the psychic robot part. No, especially

1002
00:57:22,280 --> 00:57:25,200
Speaker 1: after they had initially whipped out the control mechanism. You're

1003
00:57:25,240 --> 00:57:27,760
Speaker 1: just imagining this sort of your typical kind of clunky

1004
00:57:28,160 --> 00:57:31,600
Speaker 1: commanding the robot with buttons and maybe some vocal commands.

1005
00:57:31,920 --> 00:57:35,920
Speaker 1: But no, this machine will be powered. We're not powered,

1006
00:57:35,960 --> 00:57:39,120
Speaker 1: but controlled by the human brain. You think it, and

1007
00:57:39,200 --> 00:57:41,960
Speaker 1: Tobar does it. In fact, they say that Tobor is

1008
00:57:42,080 --> 00:57:45,040
Speaker 1: already a sentient being, and they say he can feel

1009
00:57:45,080 --> 00:57:48,720
Speaker 1: emotions and he will react by psychically sensing the emotions

1010
00:57:48,760 --> 00:57:53,080
Speaker 1: of others. Uh. And there's a hilarious couple of demonstrations

1011
00:57:53,160 --> 00:57:54,920
Speaker 1: they do of this. The first one is they called

1012
00:57:55,000 --> 00:57:59,560
Speaker 1: Janison to demonstrate to War's powers. Basically, the Professor is like,

1013
00:57:59,680 --> 00:58:03,680
Speaker 1: I come end you to love Tobar, and you know

1014
00:58:03,840 --> 00:58:07,560
Speaker 1: she's they're like approached Tobar and feel friendliness to him,

1015
00:58:07,680 --> 00:58:10,240
Speaker 1: feel it in your heart. And she says, I'll try,

1016
00:58:11,280 --> 00:58:13,320
Speaker 1: but what do you know? She does seem to start

1017
00:58:13,360 --> 00:58:16,280
Speaker 1: falling for Tobar, Like she comes up, she feels the friendliness,

1018
00:58:16,360 --> 00:58:19,920
Speaker 1: and she says, why he does seem almost kind, doesn't he?

1019
00:58:20,400 --> 00:58:22,720
Speaker 1: And we get a close up of Tobor's face lighting

1020
00:58:22,840 --> 00:58:25,920
Speaker 1: up with his his like conical bright light you know,

1021
00:58:26,040 --> 00:58:29,040
Speaker 1: high beam eyes, and then he's kind of mouth is

1022
00:58:29,120 --> 00:58:31,360
Speaker 1: his mouth is supposed to look kind of smiley. It's

1023
00:58:31,360 --> 00:58:34,760
Speaker 1: like a V shaped and in an upturned way. Um,

1024
00:58:35,160 --> 00:58:37,240
Speaker 1: I don't know. I got more of a skull out

1025
00:58:37,280 --> 00:58:39,600
Speaker 1: of looking at his face, but there there is an

1026
00:58:39,600 --> 00:58:43,880
Speaker 1: abstraction to it, for sure. Yum. Speaking of of which,

1027
00:58:44,640 --> 00:58:47,120
Speaker 1: the eyes glow and I forget that the quote, but

1028
00:58:47,160 --> 00:58:49,400
Speaker 1: there's even a little bit of techno babble in there

1029
00:58:49,680 --> 00:58:54,960
Speaker 1: where the screenwriter basically off handedly explains why the eyes glow,

1030
00:58:55,840 --> 00:58:57,920
Speaker 1: which I thought was a nice touch, Like he really

1031
00:58:58,360 --> 00:59:00,520
Speaker 1: did everything he could to make this work, even though

1032
00:59:00,960 --> 00:59:05,920
Speaker 1: the the mate intended audience seems to be children. Yeah yeah, um,

1033
00:59:06,200 --> 00:59:11,360
Speaker 1: so Toboor telepathically senses Janesis feelings, the feelings of fake

1034
00:59:11,440 --> 00:59:14,040
Speaker 1: friendship that she has just conjured up and reacts by

1035
00:59:14,280 --> 00:59:18,000
Speaker 1: shaking hands with her. Except Toboar does not have a

1036
00:59:18,080 --> 00:59:21,480
Speaker 1: hand so much as a plate with three wiggling steel

1037
00:59:21,520 --> 00:59:25,439
Speaker 1: tipped meat spikes on it, So he shakes her hand

1038
00:59:25,520 --> 00:59:30,680
Speaker 1: with his meat spikes, and luckily she was not crushed. Yes, uh,

1039
00:59:30,840 --> 00:59:33,760
Speaker 1: then we let's do another experiment. So the journalists are

1040
00:59:33,800 --> 00:59:36,120
Speaker 1: still skeptical. I think Gilligan's like, hey, could you do

1041
00:59:36,200 --> 00:59:38,160
Speaker 1: that with somebody who's not, you know, a member of

1042
00:59:38,200 --> 00:59:41,720
Speaker 1: your family. This could be a pre arranged trick. Uh.

1043
00:59:41,840 --> 00:59:44,840
Speaker 1: So Professor Grandpa is like, hey, Gilligan, do you suppose

1044
00:59:44,960 --> 00:59:50,040
Speaker 1: you could contrive to feel enmity towards Tobor? And Gilligan

1045
00:59:50,080 --> 00:59:53,400
Speaker 1: can absolutely contrive this, He's an expert at contriving, so

1046
00:59:53,920 --> 00:59:56,920
Speaker 1: so for good measure, the Professor has the journalist grab

1047
00:59:57,000 --> 01:00:01,000
Speaker 1: a fire axe and walk around behind in Tobar's back,

1048
01:00:01,520 --> 01:00:03,320
Speaker 1: and then he tells him, you know, really get those

1049
01:00:03,440 --> 01:00:08,040
Speaker 1: enmity juices flowing feel hatred for Tobar, and I guess

1050
01:00:08,200 --> 01:00:10,000
Speaker 1: he's just He gets so into the part that the

1051
01:00:10,120 --> 01:00:13,200
Speaker 1: journalist starts to like Rear back with the acts almost

1052
01:00:13,240 --> 01:00:15,880
Speaker 1: like he's gonna hit to a war. But Tobar Ah,

1053
01:00:16,000 --> 01:00:18,440
Speaker 1: he lays the SmackDown, lays down the law with a

1054
01:00:18,640 --> 01:00:22,160
Speaker 1: righteous backhand and knocks the journalist on his Uh, I

1055
01:00:22,240 --> 01:00:23,600
Speaker 1: was gonna say, on his butt, you know. He kind

1056
01:00:23,600 --> 01:00:26,400
Speaker 1: of knocks him over forward. Yeah, and he he seems

1057
01:00:26,560 --> 01:00:28,919
Speaker 1: more like his ego is bruised by this. He's not hurt.

1058
01:00:29,280 --> 01:00:32,440
Speaker 1: If this were RoboCop, things would have gone at a

1059
01:00:32,520 --> 01:00:35,400
Speaker 1: little bit differently, but but now he's he's mostly just

1060
01:00:35,480 --> 01:00:37,880
Speaker 1: put in his place, and everyone kind of snickers at

1061
01:00:37,920 --> 01:00:41,240
Speaker 1: the at the journalist who who now has to to

1062
01:00:41,360 --> 01:00:44,720
Speaker 1: sit down and kind of maybe rub his his back

1063
01:00:44,760 --> 01:00:47,800
Speaker 1: a little bit. Oh my god, I did not realize it,

1064
01:00:47,880 --> 01:00:50,080
Speaker 1: but you're right. This is the precedent for the ED

1065
01:00:50,240 --> 01:00:52,959
Speaker 1: two oh nine scene in the boardroom. It's like point

1066
01:00:53,040 --> 01:00:59,520
Speaker 1: the gun at tobar. It's just a glitch. I'm very

1067
01:00:59,560 --> 01:01:02,320
Speaker 1: disappoin inted Tonu dick y. No one has to run

1068
01:01:02,360 --> 01:01:05,880
Speaker 1: out in the scene and yell for them to behave yourselves. Yeah.

1069
01:01:07,560 --> 01:01:12,280
Speaker 1: Uh So, Anyway, Nordstrom explains that Tobor feels all human emotions,

1070
01:01:12,320 --> 01:01:15,120
Speaker 1: so he's got friendliness. But then they specify he also

1071
01:01:15,240 --> 01:01:18,320
Speaker 1: feels fear and anger and will act out of self

1072
01:01:18,400 --> 01:01:21,920
Speaker 1: preservation instinct. So good design. That exactly what you want

1073
01:01:22,000 --> 01:01:25,080
Speaker 1: in a robot. Yeah, I hope this is what they're

1074
01:01:25,080 --> 01:01:27,880
Speaker 1: working on in those you know, the Google labs right

1075
01:01:27,920 --> 01:01:32,440
Speaker 1: now or whatever, making robots feel genuine anger. Well, you know,

1076
01:01:32,520 --> 01:01:35,240
Speaker 1: coming back to the basic principle behind Tobor is if

1077
01:01:35,280 --> 01:01:37,760
Speaker 1: you if you are sending a similacrum of a human

1078
01:01:37,800 --> 01:01:41,640
Speaker 1: being into space to test what humans can to see

1079
01:01:41,680 --> 01:01:44,360
Speaker 1: what humans can actually take. I mean, a part of

1080
01:01:44,480 --> 01:01:48,120
Speaker 1: the risks are going to be certainly physical, but there's

1081
01:01:48,120 --> 01:01:51,680
Speaker 1: also going to be the emotional ramifications of long term

1082
01:01:51,720 --> 01:01:54,000
Speaker 1: space travel, especially, so it makes sense that you would

1083
01:01:54,040 --> 01:01:58,080
Speaker 1: want your tobar capable of feeling uh these emotions as well,

1084
01:01:58,320 --> 01:02:02,080
Speaker 1: I suppose. So who am I to question um? And

1085
01:02:02,560 --> 01:02:04,280
Speaker 1: by the way, I think I should mention this happens

1086
01:02:04,280 --> 01:02:06,360
Speaker 1: a couple of times throughout the movie when people are like,

1087
01:02:06,560 --> 01:02:09,280
Speaker 1: so this robot of yours, the professor will cut them

1088
01:02:09,360 --> 01:02:12,000
Speaker 1: off and insist that they call him Tobor, for if

1089
01:02:12,040 --> 01:02:25,200
Speaker 1: they do not, Tobor may become resentful. But so okay,

1090
01:02:26,160 --> 01:02:29,120
Speaker 1: everybody's impressed, obviously, but his Toebo are ready for action.

1091
01:02:29,200 --> 01:02:31,360
Speaker 1: Will not quite yet because they're there are a couple

1092
01:02:31,360 --> 01:02:33,280
Speaker 1: of last things they need to finish. One of them

1093
01:02:33,400 --> 01:02:37,160
Speaker 1: is the long range transmitting device to control him with

1094
01:02:37,320 --> 01:02:40,800
Speaker 1: your psychic powers. Oh and then Gilligan he's like, hey,

1095
01:02:40,840 --> 01:02:43,240
Speaker 1: can we look inside Tobar and see his innards? And

1096
01:02:43,360 --> 01:02:46,480
Speaker 1: the professor says, I don't mind if Tobar doesn't. And

1097
01:02:46,600 --> 01:02:49,120
Speaker 1: then there's actually, I thought a rather good shot where

1098
01:02:49,120 --> 01:02:52,320
Speaker 1: they like flip open the shutters on Tobor's chest and

1099
01:02:52,400 --> 01:02:55,040
Speaker 1: you can see the machinery inside him. And then you're

1100
01:02:55,080 --> 01:02:58,640
Speaker 1: peering through Tobor seeing between the slats and you see

1101
01:02:58,680 --> 01:03:00,840
Speaker 1: the man in rimless glass us is on the other

1102
01:03:00,960 --> 01:03:04,160
Speaker 1: side of Tobar peering inside. Oh yeah, this is a great,

1103
01:03:04,280 --> 01:03:07,120
Speaker 1: great scene and again just shows the love and attention

1104
01:03:07,200 --> 01:03:10,280
Speaker 1: that went into creating all the various gadgets and gizmos

1105
01:03:10,320 --> 01:03:13,480
Speaker 1: in this film. Yeah. Oh, and we mentioned so Gadge

1106
01:03:13,560 --> 01:03:15,880
Speaker 1: has been by the way, the kid Gadge has been

1107
01:03:15,960 --> 01:03:18,000
Speaker 1: listening in this whole time with a some kind of

1108
01:03:18,160 --> 01:03:21,120
Speaker 1: spying device that he dropped through a vent in the floor.

1109
01:03:21,720 --> 01:03:24,200
Speaker 1: And he's he's like, I gotta see Tobar. I just

1110
01:03:24,360 --> 01:03:28,120
Speaker 1: gotta so all the all the journalists leave. Oh and

1111
01:03:28,280 --> 01:03:31,520
Speaker 1: keeping with the theme. While the reporters are leaving, Harrison

1112
01:03:31,640 --> 01:03:34,640
Speaker 1: corners gill again and he's he's basically like, hey, when

1113
01:03:34,640 --> 01:03:36,760
Speaker 1: you publish your article about this, I want to ask

1114
01:03:36,880 --> 01:03:38,840
Speaker 1: that you report only the facts, not a bunch of

1115
01:03:38,920 --> 01:03:42,920
Speaker 1: lies and wild speculation. And Gilligan says, he's like, no,

1116
01:03:43,120 --> 01:03:46,200
Speaker 1: can do uh. You know, I don't tell you how

1117
01:03:46,280 --> 01:03:48,520
Speaker 1: to do your job. It's such just such a stark

1118
01:03:48,640 --> 01:03:52,440
Speaker 1: contrast to various pictures where the journalists are portrayed as

1119
01:03:52,520 --> 01:03:54,840
Speaker 1: as if not the heroes, at least in a more

1120
01:03:54,920 --> 01:03:58,800
Speaker 1: neutral line. Yeah. Yeah, uh So. Meanwhile, of course we

1121
01:03:58,880 --> 01:04:00,880
Speaker 1: get Gadge. He's going to he's got a sea Tobar,

1122
01:04:00,960 --> 01:04:02,720
Speaker 1: So he goes down to the lab, gets up to

1123
01:04:02,800 --> 01:04:07,240
Speaker 1: some lab mischief, and he ends up activating and controlling

1124
01:04:07,360 --> 01:04:10,280
Speaker 1: Tobar and whoops, he doesn't exactly know how to do

1125
01:04:10,360 --> 01:04:13,560
Speaker 1: it at first, because he accidentally drives Tobor up the

1126
01:04:13,680 --> 01:04:17,280
Speaker 1: stairs out of the lab into the house. That's not

1127
01:04:17,440 --> 01:04:19,280
Speaker 1: good to boy is not supposed to be up on

1128
01:04:19,360 --> 01:04:24,480
Speaker 1: the furniture, but Tobar is. He's rolling all around, he's

1129
01:04:24,560 --> 01:04:27,600
Speaker 1: knocking over lamps, he punches a harp at one point

1130
01:04:28,160 --> 01:04:31,240
Speaker 1: and causes a whole ruckus but then I think eventually

1131
01:04:31,280 --> 01:04:33,520
Speaker 1: Gadge sort of gets the hang of the control device

1132
01:04:33,840 --> 01:04:36,440
Speaker 1: and then walks Tobar back downstairs and puts him back

1133
01:04:36,480 --> 01:04:39,439
Speaker 1: in his tube. And at the end of this, after

1134
01:04:39,560 --> 01:04:42,600
Speaker 1: all the destruction, Janice is like, my son, Gadge, he

1135
01:04:42,800 --> 01:04:46,240
Speaker 1: is bad, bad, bad. But the professor says, no, no,

1136
01:04:46,440 --> 01:04:49,080
Speaker 1: don't you see he has an intuitive grasp of Tobor.

1137
01:04:49,320 --> 01:04:52,520
Speaker 1: Look how quickly he mastered Tobar. So we already see

1138
01:04:52,760 --> 01:04:55,880
Speaker 1: the seeds beginning of of a of a deep connection

1139
01:04:56,040 --> 01:04:59,800
Speaker 1: between Tobar and his friend, this child, Gadge. But anyway,

1140
01:05:00,160 --> 01:05:02,560
Speaker 1: Harrison and Nordstrom figure out, wait a minute, there was

1141
01:05:02,640 --> 01:05:05,120
Speaker 1: somebody extra here. There was a spy because there were

1142
01:05:05,160 --> 01:05:08,760
Speaker 1: too many chairs in the room. And they get upset

1143
01:05:08,800 --> 01:05:11,439
Speaker 1: about this obviously, And but then Janice is like, what's

1144
01:05:11,480 --> 01:05:15,040
Speaker 1: the big deal? Who were regarding against? And Harrison says, well,

1145
01:05:15,280 --> 01:05:18,640
Speaker 1: we built the basic emotional patterns for a constructive mission

1146
01:05:18,680 --> 01:05:21,480
Speaker 1: into Tobor. Just think what would happen if someone else,

1147
01:05:21,640 --> 01:05:25,800
Speaker 1: a potential enemy, built destructive patterns into a few thousand

1148
01:05:25,920 --> 01:05:28,320
Speaker 1: like him. I mean, in a way, this is rather brilliant.

1149
01:05:28,400 --> 01:05:32,160
Speaker 1: It's like Tobor is a machine and his disposition is

1150
01:05:32,200 --> 01:05:35,320
Speaker 1: a reflection of the disposition of those around him. Uh.

1151
01:05:35,520 --> 01:05:39,040
Speaker 1: So it's kind of like technology itself. Um, he's as

1152
01:05:39,160 --> 01:05:41,360
Speaker 1: much of a weapon as the as the wills of

1153
01:05:41,480 --> 01:05:43,880
Speaker 1: those in his presence. And perhaps this kind of comes

1154
01:05:43,920 --> 01:05:48,000
Speaker 1: back to why a small boy has the strongest connection

1155
01:05:48,080 --> 01:05:51,440
Speaker 1: with Tobor, because his connection is pure. He's not this

1156
01:05:51,920 --> 01:05:57,360
Speaker 1: complex array of false emotions and false pretenses pretending to

1157
01:05:57,440 --> 01:06:00,760
Speaker 1: be angry or pretending to love like this is a

1158
01:06:00,840 --> 01:06:03,200
Speaker 1: young boy. He feels all of these things with a

1159
01:06:03,360 --> 01:06:06,960
Speaker 1: with an absolute purity. Uh, and that that impulse goes

1160
01:06:07,200 --> 01:06:10,920
Speaker 1: right into the brain of of of the robot here. Yes,

1161
01:06:11,080 --> 01:06:14,680
Speaker 1: his innocence is a benediction on the soul of Tobor. Yeah.

1162
01:06:15,280 --> 01:06:17,960
Speaker 1: But anyway, so we got these spies, and so we're

1163
01:06:17,960 --> 01:06:21,040
Speaker 1: gonna follow the creepy man in rimless glasses. He drives off,

1164
01:06:21,200 --> 01:06:25,280
Speaker 1: he switches out his license plate just like James Bond uh,

1165
01:06:25,400 --> 01:06:28,160
Speaker 1: and he goes to rendezvous with his co conspirators, which

1166
01:06:28,200 --> 01:06:30,400
Speaker 1: include a couple of kind of Doughey guys like this

1167
01:06:30,640 --> 01:06:34,040
Speaker 1: Doughey auto mechanic who uh looks sort of like a

1168
01:06:34,120 --> 01:06:37,320
Speaker 1: cross between the Skipper from Gilligan's Island and Buddy Hackett

1169
01:06:38,120 --> 01:06:41,080
Speaker 1: and uh. They they hang out at a place called

1170
01:06:41,120 --> 01:06:44,160
Speaker 1: the Last Chance Garage, so it is an auto garage

1171
01:06:44,320 --> 01:06:48,440
Speaker 1: that is the headquarters of the communist infiltration unit in

1172
01:06:48,520 --> 01:06:52,880
Speaker 1: the United States. Meanwhile, Harrison and Nordstrom keep working on Toboor.

1173
01:06:52,960 --> 01:06:56,080
Speaker 1: They're trying to perfect things like his manual dexterity and

1174
01:06:56,200 --> 01:06:59,360
Speaker 1: his long range transmitter. Uh oh. And one of the

1175
01:06:59,440 --> 01:07:02,880
Speaker 1: items on our list is quote reaction to space hazard.

1176
01:07:03,480 --> 01:07:06,320
Speaker 1: But in one scene I thought was very funny was

1177
01:07:06,440 --> 01:07:09,600
Speaker 1: the scene where they get Tobor to improve his manual

1178
01:07:09,680 --> 01:07:14,160
Speaker 1: dexterity by typing on a typewriter and they like it's impossible.

1179
01:07:14,200 --> 01:07:18,200
Speaker 1: They show his hands doing it, and his hands, they're like,

1180
01:07:18,400 --> 01:07:21,360
Speaker 1: he could not press an individual key. They're way too big.

1181
01:07:21,920 --> 01:07:25,440
Speaker 1: But somehow he's managing to type anyway. Uh And and

1182
01:07:25,640 --> 01:07:27,760
Speaker 1: he produces a kind of all work and no play

1183
01:07:27,840 --> 01:07:30,720
Speaker 1: makes Toboor dull boy type sheet. It's just a repeated

1184
01:07:30,840 --> 01:07:34,000
Speaker 1: line over and over in all caps that says Tobor

1185
01:07:34,160 --> 01:07:39,000
Speaker 1: is robot spelled backwards. They also tried to train Tobor

1186
01:07:39,120 --> 01:07:42,960
Speaker 1: to fly a spaceship, so he's doing a pilot simulator

1187
01:07:43,040 --> 01:07:47,880
Speaker 1: program dodging white hot meteorites, and this test proves too

1188
01:07:47,960 --> 01:07:51,320
Speaker 1: much for Tobor. It's it's too stressful and the and

1189
01:07:51,440 --> 01:07:54,160
Speaker 1: it makes Tobor go berserk and he starts roaming around

1190
01:07:54,200 --> 01:07:57,560
Speaker 1: trying to hurt everyone until Harrison disarms him by lowering

1191
01:07:57,680 --> 01:08:00,960
Speaker 1: his antenna. And you can tell Gadge feel is very betrayed.

1192
01:08:01,120 --> 01:08:04,240
Speaker 1: But uh, they assure him. They say, easy, Gadge, Tobar

1193
01:08:04,320 --> 01:08:07,760
Speaker 1: can't hurt us now. Uh. And the professor concludes that

1194
01:08:07,840 --> 01:08:11,280
Speaker 1: Tobar suffered what in humans we would call a nervous breakdown,

1195
01:08:11,920 --> 01:08:14,120
Speaker 1: but they say now that his circuits have cooled off.

1196
01:08:14,200 --> 01:08:17,760
Speaker 1: When Tobor wakes back up, he feels terrible remorse for

1197
01:08:17,880 --> 01:08:20,439
Speaker 1: his actions and he goes to give Gadge a big

1198
01:08:20,600 --> 01:08:23,439
Speaker 1: hug and we can see the bonds of friendship forming

1199
01:08:23,479 --> 01:08:27,200
Speaker 1: already from this. The adults deduced that Tobor has concerned

1200
01:08:27,240 --> 01:08:29,439
Speaker 1: for the young, and they say that he has mastered

1201
01:08:29,560 --> 01:08:32,880
Speaker 1: quote human love. Oh and at some point in here,

1202
01:08:32,920 --> 01:08:36,640
Speaker 1: they also create a miniature controller for Tobar, designed to

1203
01:08:36,680 --> 01:08:39,200
Speaker 1: look like a pen. I don't recall why they do this,

1204
01:08:39,360 --> 01:08:42,200
Speaker 1: but it proves pivotal in the in the climax, Yeah,

1205
01:08:42,280 --> 01:08:46,080
Speaker 1: it does become important later. All the no gadget introduced

1206
01:08:46,120 --> 01:08:49,240
Speaker 1: in the film uh, fails to have payoff later on.

1207
01:08:49,840 --> 01:08:53,840
Speaker 1: But then later this night the communist saboteurs attack the

1208
01:08:53,960 --> 01:08:57,880
Speaker 1: Grandpa compound. How would you describe the sequence? This is

1209
01:08:58,160 --> 01:09:02,120
Speaker 1: a strange action sequence in the middle of the movie. Yeah,

1210
01:09:02,640 --> 01:09:06,240
Speaker 1: this is another sequence where a lesser film would have

1211
01:09:06,320 --> 01:09:08,519
Speaker 1: just had them like cut through the fence or do

1212
01:09:08,680 --> 01:09:11,560
Speaker 1: something like that, even though it's an electrified fence. But no,

1213
01:09:11,920 --> 01:09:15,320
Speaker 1: they basically come with siege equipment that they've customed built

1214
01:09:15,600 --> 01:09:18,040
Speaker 1: out of a what it looks like it maybe a

1215
01:09:18,120 --> 01:09:22,360
Speaker 1: tow truck and and some some ladders and so forth.

1216
01:09:22,439 --> 01:09:25,439
Speaker 1: Like it looks it doesn't look cheap. It looks like

1217
01:09:25,520 --> 01:09:28,639
Speaker 1: they really thought this out. And whoever the loving minds

1218
01:09:28,720 --> 01:09:31,320
Speaker 1: behind all the the gadgets in this film happened to

1219
01:09:31,360 --> 01:09:34,479
Speaker 1: be they came up with something believable, something that uh, no,

1220
01:09:34,760 --> 01:09:37,519
Speaker 1: petty criminals were putting together. No, this is a crew

1221
01:09:38,080 --> 01:09:42,800
Speaker 1: with international expertise and international funding. They've got growne to

1222
01:09:42,880 --> 01:09:46,120
Speaker 1: the wolf's head. It's like, uh, you know, they're they're

1223
01:09:46,160 --> 01:09:48,040
Speaker 1: coming up with like a truck and that's got a

1224
01:09:48,080 --> 01:09:51,760
Speaker 1: whole thing. Yeah, but of course they are thwarted by

1225
01:09:51,880 --> 01:09:55,360
Speaker 1: all kinds of high tech traps and guns like I

1226
01:09:55,439 --> 01:09:58,400
Speaker 1: think Gadge runs out with a gadget is armed. By

1227
01:09:58,439 --> 01:10:00,960
Speaker 1: the way, this is a child with a gun, uh,

1228
01:10:01,120 --> 01:10:03,360
Speaker 1: And he goes out with a gun and other people

1229
01:10:03,439 --> 01:10:05,720
Speaker 1: get guns. But also I think they scare them off

1230
01:10:05,840 --> 01:10:08,920
Speaker 1: with sound effects from a movie. They say, like this

1231
01:10:09,080 --> 01:10:11,960
Speaker 1: from the Sands of Ebo Jima. They're playing like gunfire

1232
01:10:12,040 --> 01:10:16,000
Speaker 1: sound effects, and the spies get spooked and they run

1233
01:10:16,040 --> 01:10:18,320
Speaker 1: away back over the fence. By the way, the main

1234
01:10:18,560 --> 01:10:21,599
Speaker 1: heavy on the bad guy side is played by an

1235
01:10:21,600 --> 01:10:24,040
Speaker 1: actor by the name of Henry Kolke who lived nineteen

1236
01:10:24,080 --> 01:10:29,240
Speaker 1: eleven through uh. Apparently a former professional wrestler, which totally

1237
01:10:29,320 --> 01:10:31,000
Speaker 1: makes sense when you see him. He's a real like

1238
01:10:31,120 --> 01:10:34,080
Speaker 1: stocky plug of a guy, and I think it becomes

1239
01:10:34,200 --> 01:10:38,240
Speaker 1: very obvious later on when the fight scenes start happening. Yeah, totally.

1240
01:10:38,560 --> 01:10:41,160
Speaker 1: And he has a great fight scene with Tobor Yeah

1241
01:10:41,320 --> 01:10:43,760
Speaker 1: because I'll describe it when we get to it. But

1242
01:10:43,800 --> 01:10:47,200
Speaker 1: it's great. Okay, Okay. So back at the hideout, the

1243
01:10:47,800 --> 01:10:50,599
Speaker 1: spies are are not happy the main guy, the guy

1244
01:10:50,680 --> 01:10:53,920
Speaker 1: in the rimless glasses. Our employers will not tolerate any

1245
01:10:53,960 --> 01:10:57,360
Speaker 1: more failures on your part or mine, so they come

1246
01:10:57,439 --> 01:11:01,080
Speaker 1: up with a plan. They're gonna kidnap Professor Nordstrman Gadge.

1247
01:11:01,120 --> 01:11:03,400
Speaker 1: And the way they do this is by tricking them

1248
01:11:03,479 --> 01:11:07,720
Speaker 1: into attending a fake event at a science museum, like

1249
01:11:07,880 --> 01:11:11,360
Speaker 1: send out invitations like come to come to this science thing,

1250
01:11:11,520 --> 01:11:14,000
Speaker 1: and when they show up, it's just spies there to

1251
01:11:14,080 --> 01:11:16,800
Speaker 1: kidnap them. I felt personally threatened by this as someone

1252
01:11:16,840 --> 01:11:22,519
Speaker 1: who has responded to invites from science museums before. Yeah, yeah, yeah,

1253
01:11:22,600 --> 01:11:26,320
Speaker 1: and then the and it's weird how mostly this movie

1254
01:11:26,479 --> 01:11:30,080
Speaker 1: is very tame. It's you know, it's not getting really gritty,

1255
01:11:30,240 --> 01:11:33,760
Speaker 1: except in the weird part where they when they've got

1256
01:11:34,280 --> 01:11:37,280
Speaker 1: the professor and Gadge held hostage and they start threatening

1257
01:11:37,360 --> 01:11:41,440
Speaker 1: the professor by saying they're gonna burn Gadge with a blowtorch,

1258
01:11:42,560 --> 01:11:45,639
Speaker 1: and we see the blowtorch and yes, and you totally

1259
01:11:45,760 --> 01:11:50,120
Speaker 1: buy the threat, uh that is of these individuals like

1260
01:11:50,200 --> 01:11:52,320
Speaker 1: this is it gets a little little creepy and scary

1261
01:11:52,360 --> 01:11:53,920
Speaker 1: and you're like, yeah, Grandpa, I think you just need

1262
01:11:53,960 --> 01:11:56,120
Speaker 1: to tell them how the robot works, because these guys

1263
01:11:56,160 --> 01:12:00,599
Speaker 1: are not playing around. Got to divulge the secret of Gadge. Meanwhile,

1264
01:12:00,640 --> 01:12:03,880
Speaker 1: back at the house, they've got all these Oh at first,

1265
01:12:03,920 --> 01:12:06,280
Speaker 1: I thought they had. They're like all these generals at

1266
01:12:06,320 --> 01:12:08,960
Speaker 1: the house. Uh, And I thought what they called in

1267
01:12:09,040 --> 01:12:12,479
Speaker 1: the Joint chiefs of Staff to like find Gadge after

1268
01:12:12,560 --> 01:12:15,680
Speaker 1: he was kidnapped. But no, they're here for a demonstration

1269
01:12:15,720 --> 01:12:18,400
Speaker 1: of Tobar, not because of the kidnapping. But it just

1270
01:12:18,479 --> 01:12:21,640
Speaker 1: so happens now that they're here and h. Harrison and

1271
01:12:21,680 --> 01:12:24,599
Speaker 1: everybody finds out about the kidnapping, now they and their

1272
01:12:24,720 --> 01:12:27,679
Speaker 1: military police escorts can help out with the rescue efforts.

1273
01:12:27,800 --> 01:12:31,519
Speaker 1: They initiate a search. Meanwhile, the professor pulls a smart

1274
01:12:31,600 --> 01:12:35,000
Speaker 1: trick to summon help. So so what's his trick? Well,

1275
01:12:35,320 --> 01:12:38,479
Speaker 1: he claims that in order to divulge the secrets of Tobar,

1276
01:12:38,560 --> 01:12:43,479
Speaker 1: he needs both his hearing aid and his pencil. The pencil,

1277
01:12:43,520 --> 01:12:47,040
Speaker 1: as we established, this is a pen or pencil shaped

1278
01:12:47,120 --> 01:12:50,040
Speaker 1: device that allows him to somehow control Tobar. I was

1279
01:12:50,080 --> 01:12:53,639
Speaker 1: a little um fogging exactly how this is working. Yeah,

1280
01:12:53,840 --> 01:12:56,000
Speaker 1: they're not super clear on that. But also his quote

1281
01:12:56,080 --> 01:12:58,760
Speaker 1: hearing aid is like a headset that is able to

1282
01:12:58,920 --> 01:13:02,840
Speaker 1: transmit his psy kick, his his esp to Toebar. I think, yeah,

1283
01:13:02,880 --> 01:13:06,120
Speaker 1: it's like a psychic amplifier so that he can beam

1284
01:13:06,240 --> 01:13:09,280
Speaker 1: his thoughts directly into Tobar and control him. And I

1285
01:13:09,320 --> 01:13:13,080
Speaker 1: guess nobody on this crew of villains has seen a

1286
01:13:13,200 --> 01:13:16,240
Speaker 1: hearing aid or hearing apparatus before, so they're just like, yeah,

1287
01:13:16,600 --> 01:13:20,120
Speaker 1: this magneto looking X man gadget is totally the sort

1288
01:13:20,120 --> 01:13:22,120
Speaker 1: of thing you put on your head to h to

1289
01:13:22,280 --> 01:13:28,120
Speaker 1: hear better. Okay, Cerebro, Yes, so this works. It's Summon's towboard.

1290
01:13:28,160 --> 01:13:30,519
Speaker 1: Toeboar breaks free in front of all the generals. He

1291
01:13:30,640 --> 01:13:35,200
Speaker 1: walks right through a window. Everybody is extremely alarmed by this.

1292
01:13:35,640 --> 01:13:39,599
Speaker 1: Tobar clatters out through the front lawn. He walks through

1293
01:13:39,640 --> 01:13:42,320
Speaker 1: the gate. I think he like electrifies the gate with

1294
01:13:42,479 --> 01:13:45,680
Speaker 1: his hands and then it falls over. He smacks a

1295
01:13:45,840 --> 01:13:50,400
Speaker 1: military police guard. Nice and man, things really start popping

1296
01:13:50,439 --> 01:13:54,280
Speaker 1: off here because Tobar gets into an army jeep and

1297
01:13:54,479 --> 01:13:58,040
Speaker 1: drives it. Yes, I can't tell you how many times

1298
01:13:58,160 --> 01:14:02,160
Speaker 1: we rewound the toboard riving scenes. This This is the

1299
01:14:02,240 --> 01:14:05,080
Speaker 1: highlight of the film. Oh yeah, yeah, Tobar is on

1300
01:14:05,479 --> 01:14:08,439
Speaker 1: on full rampage at this point, and it's a delight

1301
01:14:08,520 --> 01:14:13,320
Speaker 1: to watch. Oh, it's so good. So Toebar is nearly there,

1302
01:14:13,560 --> 01:14:15,720
Speaker 1: you know, he's he's going for the rescue. But then oh,

1303
01:14:15,840 --> 01:14:18,000
Speaker 1: at the last minute, the spy figures out the game.

1304
01:14:18,320 --> 01:14:21,840
Speaker 1: He realizes what's going on, and he takes the Professor's

1305
01:14:21,880 --> 01:14:24,839
Speaker 1: pencil and he breaks it, and then we see Tobar.

1306
01:14:24,920 --> 01:14:28,160
Speaker 1: He's walking towards the place where where he's walking toward

1307
01:14:28,200 --> 01:14:30,200
Speaker 1: the garage, but then he just stops and he falls

1308
01:14:30,280 --> 01:14:34,080
Speaker 1: limp because the control device is broken. And then they're

1309
01:14:34,160 --> 01:14:37,439
Speaker 1: threatening Gadge with the blowtorch and it's like, what's gonna

1310
01:14:37,479 --> 01:14:40,960
Speaker 1: happen now? Maybe only the power of love can revive Tobar.

1311
01:14:41,720 --> 01:14:44,720
Speaker 1: And then there's a scene where I don't know how

1312
01:14:44,800 --> 01:14:48,479
Speaker 1: to explain it other than the Gadge praised to Tobor. Yes,

1313
01:14:48,760 --> 01:14:52,040
Speaker 1: he praised the Tobar. Like again, he has this connection

1314
01:14:52,080 --> 01:14:55,479
Speaker 1: with the robot. His purity of thought, his his mind

1315
01:14:55,640 --> 01:14:58,800
Speaker 1: is unclouded like all the grown up brains around him.

1316
01:14:59,040 --> 01:15:02,040
Speaker 1: So he alone, none but the pure of heart can

1317
01:15:02,080 --> 01:15:07,040
Speaker 1: actually connect mind to mind with Tobor and reanimate him

1318
01:15:07,240 --> 01:15:09,680
Speaker 1: and bring him the rest of the way in for

1319
01:15:10,280 --> 01:15:13,280
Speaker 1: the the victory and the rescue. And he does it.

1320
01:15:13,439 --> 01:15:17,240
Speaker 1: It works. A child's love brings Tobar back to back

1321
01:15:17,280 --> 01:15:21,320
Speaker 1: to life. It reanimates tobar circuits even without the amplification devices.

1322
01:15:21,400 --> 01:15:25,720
Speaker 1: Just pure love, energy, straight from the child's skull. And

1323
01:15:26,040 --> 01:15:28,920
Speaker 1: so then Tobor arrives on scene and he is ready

1324
01:15:29,040 --> 01:15:31,839
Speaker 1: to fight. Fight. Fight. Now the fight scene is interesting

1325
01:15:31,840 --> 01:15:34,920
Speaker 1: because now um O, our main hero, human hero shows

1326
01:15:35,000 --> 01:15:37,479
Speaker 1: up as well. Right for the Harrison shows up and

1327
01:15:37,520 --> 01:15:40,040
Speaker 1: throws some punches too. Yeah, and you this is where

1328
01:15:40,080 --> 01:15:43,240
Speaker 1: you begin to see why, because again, this robot costume

1329
01:15:43,280 --> 01:15:46,200
Speaker 1: looks amazing, and they did so much more with it

1330
01:15:46,320 --> 01:15:47,960
Speaker 1: than you would expect them to be able to do.

1331
01:15:48,520 --> 01:15:52,519
Speaker 1: But asking for a scene of fisticuffs with this thing,

1332
01:15:53,000 --> 01:15:55,280
Speaker 1: it really you can tell they were asking too much.

1333
01:15:55,560 --> 01:15:57,640
Speaker 1: So they're like, Okay, we gotta bring our hero in

1334
01:15:58,080 --> 01:16:01,800
Speaker 1: for just some normal human on human combat. And then

1335
01:16:01,920 --> 01:16:05,240
Speaker 1: when it comes to making it look like Tobar can

1336
01:16:05,320 --> 01:16:08,799
Speaker 1: actually fight, well, they have to turn to Henry Kolki,

1337
01:16:09,120 --> 01:16:12,760
Speaker 1: a k a. Bomber Kolkovich, the former pro wrestler who's

1338
01:16:12,760 --> 01:16:15,200
Speaker 1: playing the main heavy. He gets the main fight scene

1339
01:16:15,200 --> 01:16:19,120
Speaker 1: with Tobar, and it's very very evident that Tobor, the

1340
01:16:19,200 --> 01:16:22,080
Speaker 1: actor in the Tobar suit, is barely able to move,

1341
01:16:22,439 --> 01:16:25,400
Speaker 1: barely able to sort of throw his limbs around. But Kolki,

1342
01:16:25,880 --> 01:16:28,519
Speaker 1: with his wrestling background, he knows how to bump. So

1343
01:16:28,680 --> 01:16:31,080
Speaker 1: he now he knows how to make every little like

1344
01:16:31,640 --> 01:16:34,880
Speaker 1: bare movement of Tobar look like it's really connecting and

1345
01:16:35,320 --> 01:16:37,960
Speaker 1: connecting with him and knocking him on his rump. So

1346
01:16:38,280 --> 01:16:42,280
Speaker 1: great job here by Kolki making making the robot looks strong, fantastic.

1347
01:16:42,360 --> 01:16:45,200
Speaker 1: There's one part with a really brutal crotch two head

1348
01:16:45,320 --> 01:16:48,840
Speaker 1: strike on the Soviet buddy Hackett. And then they go

1349
01:16:48,960 --> 01:16:52,320
Speaker 1: outside and it's Toboar versus the spy in a car

1350
01:16:52,680 --> 01:16:56,000
Speaker 1: and oh it's fantastic, and Toboard defeats the Red Menace.

1351
01:16:56,360 --> 01:17:00,800
Speaker 1: Now is this the wonderful strongman cliche scene where he's

1352
01:17:00,800 --> 01:17:03,160
Speaker 1: picking up part of the car and keeping the bad

1353
01:17:03,160 --> 01:17:05,720
Speaker 1: guy from driving off? I love that? Yeah? Yeah? Or

1354
01:17:05,760 --> 01:17:08,000
Speaker 1: I think he like lifts the hood off the car,

1355
01:17:08,160 --> 01:17:11,200
Speaker 1: I think, and he's carrying up the engine too. Yes, yeah,

1356
01:17:11,560 --> 01:17:13,439
Speaker 1: Tobor rips the hood off and he pulls out the

1357
01:17:13,479 --> 01:17:17,519
Speaker 1: spark plugs or something. And then so after all the

1358
01:17:17,640 --> 01:17:19,759
Speaker 1: all the bad guys have been defeated, we see Tobar.

1359
01:17:19,880 --> 01:17:22,280
Speaker 1: He picks up Gadge and he like carries him off

1360
01:17:22,320 --> 01:17:25,200
Speaker 1: into the sunset. They're going to be friends forever. It's

1361
01:17:25,320 --> 01:17:29,120
Speaker 1: it's very touching, uh, but it's also an interesting contrast

1362
01:17:29,200 --> 01:17:31,639
Speaker 1: to the movie posters, or many of the movie posters

1363
01:17:31,880 --> 01:17:35,200
Speaker 1: for Toeboar are the great which show Tobar carrying a

1364
01:17:35,240 --> 01:17:38,600
Speaker 1: beautiful woman, which of course is the standard monster or

1365
01:17:38,680 --> 01:17:43,240
Speaker 1: monster costume guerrilla costume trope of the day. They just

1366
01:17:43,400 --> 01:17:46,160
Speaker 1: that that's how you sold pictures, is you want to

1367
01:17:46,720 --> 01:17:48,800
Speaker 1: make people think that a woman will be carried by

1368
01:17:48,880 --> 01:17:51,320
Speaker 1: your monster or robot at some point, and so that's

1369
01:17:51,360 --> 01:17:53,920
Speaker 1: what they do on the poster. Yes, monster must always

1370
01:17:53,960 --> 01:17:57,800
Speaker 1: have an unconscious woman in his arms, but no, that's

1371
01:17:57,840 --> 01:18:01,400
Speaker 1: a complete lie. Never happens in the movie, not even close. Yeah.

1372
01:18:01,800 --> 01:18:04,439
Speaker 1: Uh So, with the enemies defeated, to board can now

1373
01:18:04,560 --> 01:18:07,519
Speaker 1: resume his function of being shot up in a rocket

1374
01:18:07,640 --> 01:18:10,920
Speaker 1: to die in space. That's right. He apparently boards a

1375
01:18:11,000 --> 01:18:15,280
Speaker 1: V two and uh and via stock footage, takes off,

1376
01:18:15,400 --> 01:18:18,120
Speaker 1: goes right up into space and we see we see

1377
01:18:18,200 --> 01:18:21,800
Speaker 1: Professor Grandpa and Gadge standing there looking up as the

1378
01:18:21,920 --> 01:18:25,800
Speaker 1: rocket ascends through the atmosphere. And then we we zoom

1379
01:18:25,880 --> 01:18:29,479
Speaker 1: in on Gadget's face and Gadge says goodbye Tobar and

1380
01:18:29,680 --> 01:18:32,120
Speaker 1: good luck, And that's a it's a solid ending to

1381
01:18:32,400 --> 01:18:34,560
Speaker 1: what I thought was a really solid adventure film. I

1382
01:18:34,760 --> 01:18:38,280
Speaker 1: was again thinking of this is kind of a film

1383
01:18:38,439 --> 01:18:41,000
Speaker 1: version of an action cereal from the day. I was

1384
01:18:41,080 --> 01:18:44,439
Speaker 1: prepared for any level of tedium here, but it moves

1385
01:18:44,520 --> 01:18:47,840
Speaker 1: right along the The acting is pretty solid though, the

1386
01:18:47,920 --> 01:18:50,680
Speaker 1: writing is is far better than it needs to be,

1387
01:18:51,080 --> 01:18:53,439
Speaker 1: and all the gadgets look great. Yeah. And you know,

1388
01:18:53,600 --> 01:18:56,080
Speaker 1: every time they're talking about Tobar, I just I couldn't

1389
01:18:56,120 --> 01:19:00,360
Speaker 1: get enough. Yeah, Tobor is great in this well done, Tobar.

1390
01:19:00,920 --> 01:19:03,160
Speaker 1: I take back what I said earlier. Now Toeboard the

1391
01:19:03,240 --> 01:19:06,559
Speaker 1: Great makes complete sense now that we've talked it through. Yeah,

1392
01:19:06,920 --> 01:19:10,600
Speaker 1: Tobar the Great, Toboor the the Savior, Toboar the Ascendant,

1393
01:19:10,880 --> 01:19:18,040
Speaker 1: Tobor Magnus, Tobar Augustus, Toboor the Magnificent. All right, well, Joe,

1394
01:19:18,200 --> 01:19:20,280
Speaker 1: it's been great to have you back back in the

1395
01:19:20,320 --> 01:19:23,640
Speaker 1: weird House again. Uh so glad you're able to uh

1396
01:19:23,840 --> 01:19:26,400
Speaker 1: to talk about Toboar the Great with me here and

1397
01:19:26,600 --> 01:19:29,960
Speaker 1: wonderful pick. Yeah, man, it's fun to be back. All right. Well,

1398
01:19:29,960 --> 01:19:31,400
Speaker 1: we'll go ahead and close this one out, but we'd

1399
01:19:31,400 --> 01:19:33,559
Speaker 1: love to hear from everyone out there. Were you familiar

1400
01:19:33,600 --> 01:19:37,240
Speaker 1: with Tobor the Great previously? Do you have a history

1401
01:19:37,280 --> 01:19:39,559
Speaker 1: with Toboor the Great, well, right in, we would love

1402
01:19:39,600 --> 01:19:42,160
Speaker 1: to hear from you, or if you're exploring this movie

1403
01:19:42,200 --> 01:19:44,400
Speaker 1: for the first time, like like we did. Uh we

1404
01:19:44,560 --> 01:19:46,559
Speaker 1: we would also love to hear from you, like again,

1405
01:19:46,600 --> 01:19:49,040
Speaker 1: there's a lot to discuss in this picture. Uh far

1406
01:19:49,200 --> 01:19:52,000
Speaker 1: far better than I think some have have given it

1407
01:19:52,080 --> 01:19:55,160
Speaker 1: credit for. So yeah, right in, we'd love to hear

1408
01:19:55,200 --> 01:19:59,080
Speaker 1: from you. Reminder that Weird House Cinema is our Friday

1409
01:19:59,120 --> 01:20:01,120
Speaker 1: episode and the Stuff to Blow your Mind podcast feed

1410
01:20:01,160 --> 01:20:03,880
Speaker 1: were primarily a science podcast with core episodes that published

1411
01:20:03,920 --> 01:20:07,000
Speaker 1: on Tuesdays and Thursdays, but on Friday's we set aside

1412
01:20:07,040 --> 01:20:09,639
Speaker 1: most serious concerns and just talk about a weird film.

1413
01:20:10,280 --> 01:20:12,400
Speaker 1: If you want to see all the films we've discussed

1414
01:20:12,439 --> 01:20:14,439
Speaker 1: on the show thus far and sometimes got a peek

1415
01:20:14,479 --> 01:20:17,800
Speaker 1: ahead into the future, go on over to letterbox dot com.

1416
01:20:18,000 --> 01:20:19,800
Speaker 1: That's l E T T E R B o x

1417
01:20:19,960 --> 01:20:24,200
Speaker 1: D dot com. That's a fun movie website where folks

1418
01:20:24,280 --> 01:20:27,479
Speaker 1: chronicle the films they're they're viewed or planned to view,

1419
01:20:27,760 --> 01:20:30,720
Speaker 1: and create various lists. But we have an account there

1420
01:20:31,120 --> 01:20:33,080
Speaker 1: called weird House, and we have a list of all

1421
01:20:33,120 --> 01:20:35,200
Speaker 1: the films we've discussed, so you can check them out.

1422
01:20:35,560 --> 01:20:38,360
Speaker 1: Huge things as always to our excellent audio producer Seth

1423
01:20:38,479 --> 01:20:40,920
Speaker 1: Nicholas Johnson. If you would like to get in touch

1424
01:20:40,960 --> 01:20:43,320
Speaker 1: with us with feedback on this episode or any other,

1425
01:20:43,439 --> 01:20:45,519
Speaker 1: to suggest a topic for the future, or just to

1426
01:20:45,600 --> 01:20:48,479
Speaker 1: say hello, you can email us at contact at stuff

1427
01:20:48,520 --> 01:20:58,080
Speaker 1: to Blow Your Mind dot com. Stuff to Blow Your Mind.

1428
01:20:58,120 --> 01:21:00,880
Speaker 1: It's production of I Heart Radio. For more podcasts for

1429
01:21:00,920 --> 01:21:03,960
Speaker 1: My heart Radio, visit the iHeart Radio app, Apple Podcasts,

1430
01:21:04,040 --> 01:21:05,800
Speaker 1: or wherever you listen to your favorite shows.