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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema.

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

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Speaker 2: today on Weird House Cinema we're going to be talking

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Speaker 2: about the nineteen fifty three creature film The Beast from

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Speaker 2: twenty thousand Fathoms, a very interesting precursor to movies that

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Speaker 2: would come later, like Godzilla, and you might say one

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Speaker 2: that follows in the footsteps of King Kong. I had

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Speaker 2: never seen this before today. I watched it for the

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Speaker 2: first time this morning, and yeah, this one was a

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Speaker 2: lot of fun. I was noticing how even though there

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Speaker 2: are silly things about it, it really does fit more

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Speaker 2: in that first half of the fifties monster movie bucket

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Speaker 2: than the second half of the fifties monster movie bucket.

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Speaker 2: It got me thinking about this division and where like

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Speaker 2: these early fifties movies are the monsters are a thing

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Speaker 2: of seriousness. They're more kind of adult oriented creature films,

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Speaker 2: usually made or at least distributed by these major studios,

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Speaker 2: and they deal with serious themes, very often about the

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Speaker 2: Cold War in one way or another, thing from another

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Speaker 2: world and them and this movie too, and then sometime

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Speaker 2: you get sometime in the mid fifties, you get this

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Speaker 2: handover where things start getting silly, where your monster movies

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Speaker 2: are like lower budgets, more independent features that are kind

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Speaker 2: of focused on the teenage audiences. This is your time

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Speaker 2: of the AIP takeover and Roger Korman and all that

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Speaker 2: attack of the crab monsters that sort of thing. And

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Speaker 2: there are exceptions, of course. I remember when we did

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Speaker 2: our episode on Robot Monster, we were noticing that, like, man,

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Speaker 2: that's this really feels like a movie from like five

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Speaker 2: years later. That one is from nineteen fifty three as well,

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Speaker 2: same year as Beast from twenty thousand fathoms, but it

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Speaker 2: fits in more with that drive in era. But generally

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Speaker 2: the trend really does hold, and I would say Beast

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Speaker 2: tightly conforms to the trend. This is a relatively serious

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Speaker 2: early fifties creature feature, and I would especially single out

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Speaker 2: the grim imagery of the conclusion right at the end

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Speaker 2: of the movie. It's one of the weirdest, spookiest looking things,

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Speaker 2: I think, especially because of the imagery we get to

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Speaker 2: of the roller coaster on fire with the main characters

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Speaker 2: wearing these deathly looking radiation suits. Yeah, interesting movie.

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Speaker 1: Yeah is It definitely has that serious tone, but to

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Speaker 1: be clear, early fifties serious tones, not a sixty serious tone,

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Speaker 1: not a seventies or eighties. So don't feel like this

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Speaker 1: is a monster movie that is going to necessarily demand

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Speaker 1: a lot off you. You can definitely give it a

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Speaker 1: casual viewing. You can definitely just check in for the

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Speaker 1: monster scenes. But I do think it's worth watching in full.

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Speaker 1: I really enjoyed it. I get to watch this one

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Speaker 1: at Atlanta's own Plaza Theater as part of the Silver

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Speaker 1: Screams spook Show series and the Beast in question, I think,

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Speaker 1: to nobody surprise if you're familiar with it at all,

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Speaker 1: this is a Ray Harry Howsend creation. Looks absolutely terrific

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Speaker 1: on the big screen, big screen, black and white. You

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Speaker 1: can really imagine what it was like back in the days,

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Speaker 1: back in the early fifties to see this thing up

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Speaker 1: on the screen. Yeah. I think most people agree that

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Speaker 1: the monster absolutely holds up here, and the monster is

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Speaker 1: primarily the reason people come back to it with a

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Speaker 1: few other bits of interest as well. Some have said

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Speaker 1: that they find the rest of the movie a bit

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Speaker 1: slow at times, and I agree somewhat when it comes

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Speaker 1: to the research the research portion of the film, but

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Speaker 1: absolutely worth sticking out, especially for the ending. The ending

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Speaker 1: is just bonkers and I love it.

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Speaker 2: I don't know. I was kind of going in for

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Speaker 2: the flirty dinosaur identification scene.

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Speaker 1: No, no, that was good, and of course the lighthouse

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Speaker 1: scene is terrific. I mean, all the scenes with the

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Speaker 1: monster are terrific, and the humans are very likable as well.

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Speaker 2: I'll take your modification on this. I don't want to

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Speaker 2: oversell the seriousness of it. It is also, I think,

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Speaker 2: in some ways unintentionally funny. I think, especially to audiences today,

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Speaker 2: some of the dialogue scenes and its treatment of scientific

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Speaker 2: skepticism is pretty funny, but not nearly the level of

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Speaker 2: seriousness and darkness you would get when treating the same themes,

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Speaker 2: or at least similar themes in Godzilla a year later.

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Speaker 1: Yeah. To be clear, this was the first time I'd

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Speaker 1: seen the film as well, and I knew that I

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Speaker 1: needed to be excited about a giant lizard rampaging down

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Speaker 1: Broadway in New York City, but I didn't know that

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Speaker 1: we're going to kick things off in the Arctic. That

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Speaker 1: was a real treat.

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Speaker 2: Yeah, I was actually thinking about this, like these fifties

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Speaker 2: creature movies that take place in the Arctic, or at

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Speaker 2: least have parts that do. First, I don't know, fifteen

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Speaker 2: minutes or so of this movie is in the Arctic,

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Speaker 2: and it was making me think about Howard Hawks, the

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Speaker 2: Thing from Another World that also has a setting in

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Speaker 2: the Arctic. Of course, that movie was the inspiration for

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Speaker 2: the Thing which moves from the Arctic to the Antarctic.

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Speaker 2: And I was kind of thinking about, like, why do

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Speaker 2: we get all of these sci fi creature movies set

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Speaker 2: in the far North and you know, these icy environments

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Speaker 2: in the early fifties. I think that's probably no coincidence

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Speaker 2: because when I started thinking about it, that probably has

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Speaker 2: to do with what was actually happening geopolitically at the time,

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Speaker 2: because in the early fifties, nuclear war was very much

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Speaker 2: on everybody's mind. You know, the Cold War is kicking up,

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Speaker 2: and we have these new weapons, this horrible technology. But

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Speaker 2: because of the state of the delivery systems for nuclear

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Speaker 2: weapons at the time, the Arctic was a major strategic

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Speaker 2: theater for the Cold War in the early fifties. ICBMs

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Speaker 2: wouldn't be operationalized until later like around nineteen fifty seven

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Speaker 2: or fifty eight. So in the first half of the fifties,

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Speaker 2: people generally understood that if nuclear war ever broke out,

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Speaker 2: it would begin with long range bomber planes, and the

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Speaker 2: shortest route between available airfields and targets in the Soviet

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Speaker 2: Union in the United States would involve flights over the Arctic.

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Speaker 2: So as a result, the Arctic was a major zone

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Speaker 2: of strategic anxiety. So during this time there was a

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Speaker 2: lot of building, building and staffing of these far northern

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Speaker 2: bases and airfields, and trying to establish radar lines and

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Speaker 2: early warning systems that could detect a first strike coming

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Speaker 2: across the North Pole or through Arctic attack routes. So

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Speaker 2: I think it very much makes sense that the Arctic

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Speaker 2: would be on people's minds when they thought about nuclear war.

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Speaker 2: And in one way or another, most of these big

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Speaker 2: monster movies from the fifties have something to do with

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Speaker 2: nuclear war, either direct or indirectly.

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Speaker 1: Yeah, yeah, yeah, obviously a key thing going on in

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Speaker 1: the zeitgeist and our fears take the form of these monsters. Well,

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Speaker 1: let's see my elevator pitch for this one would probably

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Speaker 1: just be giant lyzard goes crazy on Broadway because that

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Speaker 1: is what will happen, and that's the most iconic sequence

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Speaker 1: in the picture. But as far as just promotional materials go,

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Speaker 1: I love this The original poster for the film, which

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Speaker 1: says the Sea's master beast of the ages raging up

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Speaker 1: from the bottom of time pretty grand.

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Speaker 2: You know. I don't really recall a scene where they

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Speaker 2: describe much of anything about the palaeoecology of the Redosaurus

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Speaker 2: or the Raydosaurus. I forget how they pronounce it is that,

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Speaker 2: but they come up with a fictional dinosaur species in

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Speaker 2: this movie, which is what the monster is. It is

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Speaker 2: an unfrozen, unfrozen caveman lawyer, except it's a you know,

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Speaker 2: rampaging dinosaur monster coming out of the ice and it's

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Speaker 2: r h Edosaurus. However you say that, and yeah, do

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Speaker 2: they say. Was it supposed to be an aquatic dinosaur

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Speaker 2: or a terrestrial dinosaur? It does both, And it really

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Speaker 2: is shaped more like a terrestrial animal would be. It

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Speaker 2: looks like a big iguana sort of, but with like

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Speaker 2: a really gnarly nasty head. But we see it, really,

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Speaker 2: we see it moving around beneath the water, much like Godzilla.

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Speaker 2: So I don't know. Is this thing supposed to be

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Speaker 2: a master of the seas or the sea's master? I guess.

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Speaker 1: I mean it can eat a bathosphere, which speaks to

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Speaker 1: some mastery of the sea, and it is the beast

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Speaker 1: from twenty thousand fathoms. But yeah, it seems as comfortable

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Speaker 1: on land as it is in the water. That poster,

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Speaker 1: by the way, also in all caps, lets you know

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Speaker 1: that it is not suitable for children, which it's always

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Speaker 1: fun to reflect on that because by today's standards, this

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Speaker 1: is very suitable for children. It might bore some children

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Speaker 1: for some set for some segments, but I mean, there's

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Speaker 1: nothing out of line here at all, even within the

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Speaker 1: nineteen fifties.

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Speaker 2: I would say. We were discussing this poster before we

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Speaker 2: started recording, and one of the things that confused me

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Speaker 2: was what's this white stuff hanging out of the beast's mouth.

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Speaker 2: It doesn't. The only thing that would make sense is

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Speaker 2: it's supposed to be drool, but it doesn't look like that.

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Speaker 1: It looks like it ate a white wig, yeah, or

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Speaker 1: it almost looks like it is supposed to be like

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Speaker 1: beard material, like they as if they added some motifs

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Speaker 1: of like Eastern dragons to it or something.

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Speaker 2: Because it is a very dragon like organism. But yeah,

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Speaker 2: I could see yeah, like a like a Chinese dragon.

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Speaker 2: It's got the trailing kind of wind swept thing, beard

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Speaker 2: like stuff coming from the mouth. Also, we have one

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Speaker 2: person down in the crowd that's running in terror away

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Speaker 2: from the dinosaur. One person gets a speech bubble and

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Speaker 2: they're saying it's alive. Yes, Well, what did they expect?

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Speaker 1: It's very much alive. All right, If you were curious

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Speaker 1: about this film and you would like to watch The

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Speaker 1: Beast from twenty thousand fathoms before we really get into

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Speaker 1: the spoilers here and all, well, it is widely available.

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Speaker 1: It's a whole lot of fun on the big screen,

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Speaker 1: but you can very much enjoy it on the small

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Speaker 1: screen no matter however small screen you desire. You can

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Speaker 1: get it in all digital formats, and there's some nice

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Speaker 1: DVD and Blu ray editions as well. All right, let's

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Speaker 1: get into the people behind this film, starting with the director.

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Speaker 1: This is actually a director we've mentioned on the show before.

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Speaker 1: This is our second film by this guy. This is

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Speaker 1: Yuzenne Laurie lived nineteen oh three through nineteen ninety one.

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Speaker 1: He also directed the nineteen sixty one British kaiju movie Gorgo, Gorgo.

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Speaker 2: You know, this is a better movie than Gorgo. This

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Speaker 2: is definitely better than Gorgo. Gorgo had there was a

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Speaker 2: lot to love about Gorgo. That was the one about

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Speaker 2: the big lizard rat that attacks off the coast of

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Speaker 2: Ireland and then gets captured and brought back to London.

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Speaker 2: So really it is the plot of King Kong, except

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Speaker 2: it treats Ireland to Skull Island.

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Speaker 1: Yes, yeah, the King Kong connection is key here. You

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Speaker 1: alluded to it already. But my understanding is that this

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Speaker 1: film basically came about because there had been they re

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Speaker 1: released King Kong in the studio, in the in the theaters,

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Speaker 1: which of course would come out and come out you know,

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Speaker 1: decades earlier. They re released it in the theaters. It

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Speaker 1: was a big hit, and you know, studio heads were like, well,

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Speaker 1: why are we not still making giant monster movies that

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Speaker 1: make us giant money. Let's do some more of those.

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Speaker 1: And that's where the Beast from twenty thousand fathoms comes in.

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Speaker 1: And then it by most accounts, partially inspires Godzilla to come.

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Speaker 1: So it does play a key role in the history

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Speaker 1: of giant monster movies just Internet nationally m Yeah. Uh.

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Speaker 1: You know.

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Speaker 2: One thing I think King Kong gets right. Gorgo does

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Speaker 2: not get right, and this movie gets somewhere in the middle,

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Speaker 2: is making the human characters of interest. Yeah, you know,

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Speaker 2: there's like some human interest in King Kong. There is

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Speaker 2: not really much at all in Gorgo, and this is

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Speaker 2: somewhere in the middle. Like the characters in this or

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Speaker 2: you're not going to be, you know, falling in love

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Speaker 2: with them. They're not like amazingly compelling, but they're fun

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Speaker 2: enough to fall especially like the paleontologist guy.

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Speaker 1: Yeah. Yeah, yeah, he is a lot of fun and

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Speaker 1: it is of course sad when when he gets it.

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Speaker 2: We'll get to.

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Speaker 1: Here, okay, but back to lay Here again, our second

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Speaker 1: film of his having covered Gorgo before. Russian born French

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Speaker 1: art director and then a film director his production design

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Speaker 1: where it goes back to the early thirties, but his

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Speaker 1: first directorial credit was this film, and this scene still

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Speaker 1: have cemented him as a giant monster director to some extent,

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Speaker 1: as he followed this up with fifty eight's The Colossus

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Speaker 1: of New York, in which a giant robot body has

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Speaker 1: a dead boy's brain in it controlling It.

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Speaker 2: That's on my weird house list.

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Speaker 1: Yeah, I do want to see that one, and I

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Speaker 1: see it on the video rental shelves of Video Drone sometimes.

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Speaker 1: Fifty nine's The Giant Behemoth, which is another Giant Dino movie.

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Speaker 1: And then he also did an episode of the fifty

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Speaker 1: nine TV series World of Giants. This is an incredible

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Speaker 1: Shrinking Man inspired series. And then of course he did Gorgo. Yeah,

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Speaker 1: all right, getting into the screenplay here, one of the

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Speaker 1: most the more interesting connections here on the script is

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Speaker 1: that it is based to some extent on a short story,

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Speaker 1: very short story by Ray Bradberry, who lived nineteen twenty

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Speaker 1: through twenty twelve.

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Speaker 2: Did you notice how in the credits it doesn't name

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Speaker 2: the story. It just says based on the Saturday Evening

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Speaker 2: Post story by Ray Bradberry.

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Speaker 1: It really kind of felt like, oh, crap, I forgot

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Speaker 1: to I've got to write down the name. I'll just

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Speaker 1: say just just say where it was feltlish.

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Speaker 2: Yeah, it was in the one in the post.

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Speaker 1: Yeah, the one in the post. That one what was

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Speaker 1: it called? It was? It was I'm forgetting the fog Horn.

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Speaker 1: The fog Horn was the name of the.

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Speaker 2: Songg fog horn leg Horn.

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Speaker 1: Yeah, the Foghorn from nineteen fifty one, which which you

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Speaker 1: can find online. It's it's it's a pretty short story,

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Speaker 1: and it's it's it's it's well written, it's nice. I'm

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Speaker 1: going to read a quick excerpt from it here. Mcdunn

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Speaker 1: fumbled the switch, but even as he switched it on,

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Speaker 1: the monster was rearing up. I had a glimpse of

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Speaker 1: its gigantic paws, fish skin glittering in webs between the

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Speaker 1: finger like projections, clawing at the tower. The huge eye

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Speaker 1: on the right side of its anguished head glittered before

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Speaker 1: me like a cauldron into which I might drop screaming.

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Speaker 1: The tower shook, The fog horn cried, The monster cried.

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Speaker 1: It sees the tower and gnashed at the glass, which

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Speaker 1: shattered in upon us.

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Speaker 2: Oh okay, So is this the scene that becomes the

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Speaker 2: attack on the light house in the movies?

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Speaker 1: Yeah? Okay, Well, one.

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Speaker 2: Of the better parts of the movie. Very very interesting scene.

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Speaker 1: Yeah, the emotional heart of the film really as far

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Speaker 1: as the monster goes, because essentially what appears to be

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Speaker 1: happening is the monster is confusing the sound of the foghorn,

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Speaker 1: in confusing the lighthouse with one of its own kind,

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Speaker 1: and it sort of comes in and tries to hug it,

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Speaker 1: to embrace it, to find comfort in its embrace, but

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Speaker 1: instead just collapses a lighthouse and has then desponded, And

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Speaker 1: you know, we can understand it's rage at that point.

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Speaker 2: Yeah, and sadly kills a couple of lighthouse keepers who

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Speaker 2: were in the middle of a brilliant discourse on body songs.

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Speaker 1: Yeah, it's true there was human tragedy here as well.

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Speaker 1: But yeah, this was the Ray Bradbury story. Yeah, we

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Speaker 1: talked about Bradbury before. He's come up before, but we

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Speaker 1: talked about The Soul and the Lame Bass short film

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Speaker 1: Quest from nineteen eighty four, which was based on one

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Speaker 1: of his tales. And he's the author of such works

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Speaker 1: the Martian Chronicles from fifty They Illustrated Man from fifty one,

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Speaker 1: The October Country from fifty five. And he was of

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Speaker 1: course a successful screenwriter, having written the screenplay for the

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Speaker 1: nineteen fifty six adaptation of Moby Dick, and his work

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Speaker 1: was also adapted for TV and film going back to

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Speaker 1: the nineteen fifties, including Jack Arnold's It Came from Outer

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Speaker 1: Space in fifty three, and that's one that has been

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Speaker 1: kind of on the short list or maybe the long

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Speaker 1: list for weird house cinema. There's probably one Jack Arnold

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Speaker 1: film in particular. In particular we'll get too before that,

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Speaker 1: but at any rate, Yeah, you do see a little

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Speaker 1: bit of the fog Horn in this picture, and it

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Speaker 1: is kind of the emotional heart of it. I was

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Speaker 1: reading about it, and I've found out that there's actually

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Speaker 1: a nineteen ninety seven episode of the Pokemon TV series

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Speaker 1: which also loosely adapts this Bradburry story. It's called Mystery

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Speaker 1: at the Lighthouse, and I included a couple of stills

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Speaker 1: for you here. I did not have a chance to

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Speaker 1: watch this episode, but based on the screenshots, it appears

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Speaker 1: that a large dragon like form I'm assuming this is

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Speaker 1: what Charizard charizard O.

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Speaker 2: Yeah, I know that one.

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Speaker 1: Yeah, it looks like Charizard, except in black and white,

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Speaker 1: you know, or at least in mist and fog we

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Speaker 1: don't get are mostly silhouette, and he is indeed attacking

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Speaker 1: a lighthouse, perhaps mistaking it for I don't know, another Pokemon. Anyway,

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Speaker 1: Pokemon fans out there, and we know, we certainly know

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Speaker 1: we have them right in about this episode, we'll learn

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Speaker 1: more from you, all right. The screenplay credits, however, go

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Speaker 1: to two individuals. We have Lou Morheim, who lived nineteen

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Speaker 1: twenty two through twenty thirteen, writer and producer who's other

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Speaker 1: credits as a writer include five episodes of the original

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Speaker 1: Outer Limits plus a bunch of Westerns, which makes sense

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Speaker 1: given the time period. And then also Fred Freiberger nineteen

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Speaker 1: fifteen through two thousand and three, film and TV writer

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Speaker 1: who went on to create the Neanderthal Saturday More live

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Speaker 1: action TV show Corg seventy thousand BC. This ran from

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Speaker 1: seventy four through seventy five, nineteen episodes narrated by Burgess.

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Speaker 2: Meredith. Huh yeah, I didn't know about that.

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Speaker 1: Yeah. Yeah, Like I was reading about it and it

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Speaker 1: was like, oh wow, this is like a serious caveman

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Speaker 1: drama and they're like, no Saturday Morning TV.

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Speaker 2: Show, Okay, it's not like the Inheritors.

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Speaker 1: Yeah yeah, that's what I was thinking, Like, is this

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Speaker 1: a real serious treatment of maybe, you know, somehow connected

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Speaker 1: to a lot of the other like seriously minded prehistoric

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Speaker 1: people novels and so forth. But I don't think that

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Speaker 1: was the case. More of a light land of the

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Speaker 1: lost flavor here I think, all right, let's get into

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Speaker 1: the actors here. So our protagonist is Professor Tom Nesbit,

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Speaker 1: played by an actor credited as Paul Christian, his real

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Speaker 1: name Paul Hubschmid. He was a Swiss actor with film

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Speaker 1: credits going back to nineteen thirty eight. He lived nineteen

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Speaker 1: seventeen through two thousand and one. He worked in German cinema,

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Speaker 1: including during the period of Nazi rule, which he later

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Speaker 1: expressed regret over and had difficulty finding Swiss roles because

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Speaker 1: of in the years following the war. I'm to understand

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Speaker 1: that these German films of the Nazi era he appeared

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Speaker 1: in were light romantic fare with only faint ideological references,

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Speaker 1: but it was still kind of a lasting blight on

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Speaker 1: his career. So to be clear, not a Nazi, but

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Speaker 1: a young Swiss actor working in Germany at the time

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Speaker 1: who was just kind of going with the flow and

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Speaker 1: did not ask questions about who he was working for.

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Speaker 1: But anyway, he kept working and continued to find success

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Speaker 1: in Europe and then branching over into Hollywood. He signed

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Speaker 1: a deal with Universal in forty eight, starring in the

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Speaker 1: forty nine film Baghdad, alongside the likes of Marin O'Hara

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Speaker 1: and Vincent Price, all playing Middle Easterners, and did a

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Speaker 1: string of other big studio films, including nineteen fifty two's

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Speaker 1: No Time for Flowers, directed by Don Siegel. Other credits

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Speaker 1: include The Indian Tomb from fifty nine, The Day the

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Speaker 1: Sky Exploded from fifty eight, Oh Sounds, Explosive, Funeral in

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Speaker 1: Berlin from sixty six, and Skullduggery in seventy, a screwball

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Speaker 1: adventure movie starring Burt Reynolds that does not sound good,

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Speaker 1: looks like it has not aged well and probably came

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Speaker 1: out of the oven offensive. And then he was also

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Speaker 1: in the nineteen eighty eight German language horror movie Broken Silence.

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Speaker 2: When I was watching this, I wondered if I was

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Speaker 2: subconsciously holding his accent against him. I hope that's not it,

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Speaker 2: But he just like he wasn't totally selling the movie

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Speaker 2: for me.

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Speaker 1: Oh really, I found his accent charming. I think I

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Speaker 1: like that. Like he's, for the most part, very much

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Speaker 1: by appearances, your square jaw protagonist from an early fifties film,

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Speaker 1: Like he's very definitely definitely fits the mold in pretty

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Speaker 1: much every imaginable way. On that front, but his accent

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Speaker 1: I felt like, gave him like maybe a little bit

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Speaker 1: of charm where I was like, oh, this is this

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Speaker 1: is not just an American monster movie. This is this

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Speaker 1: is a you know, a Transatlantic monster movie. This is

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Speaker 1: a you know, it has a little bit of European

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Speaker 1: flare to it.

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Speaker 2: Even. Yeah. So he's supposed to be a nuclear physicist

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Speaker 2: who exactly what his relationship is to his work is

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Speaker 2: not totally clear, And some of the monologues in the movie,

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Speaker 2: his character seems to be kind of ambivalent or even

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Speaker 2: kind of negative about what nuclear technology means. Other Times

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Speaker 2: he's like talking about how he's paving the way for tomorrow,

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Speaker 2: and you know, he's like that he's talking about the

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Speaker 2: curative properties of the radioactive isotope. So I don't know,

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Speaker 2: I feel like there's some ambivalence in the way that

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Speaker 2: the character is realized. But also, as I said, I

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Speaker 2: was saying, I hope it wasn't the accent was making

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Speaker 2: me feel this, but something about him was awkward for me.

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Speaker 2: It didn't totally click.

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Speaker 1: Okay, all right, well that's like him or not. That's

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Speaker 1: her character and the love interest. The supporting character here

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Speaker 1: is the character Lee Hunter. And she is played by

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Speaker 1: Paula Raymond, who live nineteen twenty four through two thousand

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Speaker 1: and three, American actress with credits going back to thirty eight.

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Speaker 1: She acted in a variety of genres, including noir such

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Speaker 1: as fifty threes City That Never Sleeps, westerns such as

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Speaker 1: fifties Devil's Doorway, as well as romance. Her other horror

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Speaker 1: and sci fi credits include sixty two's Hand of Death,

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Speaker 1: starring John Agar as a monster that looks an awful lot.

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Speaker 1: People have commented on this like Marvel's Thing, who debuted

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Speaker 1: in the pages of Marvel Comics the year before, and

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Speaker 1: then she's also in sixty nine's Blood of Dracula's Castle

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Speaker 1: with John Caradine.

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Speaker 2: I like her. She's fun when she shows up, though

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Speaker 2: you do kind of get the feeling with her character

407
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Speaker 2: that like, so she shows up when Nesbit is like,

408
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Speaker 2: I've seen a monster, nobody will believe me, and she's like,

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Speaker 2: well you're handsome, I believe you.

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Speaker 1: Yeah, Yeah, there is that. It's it's a mix of

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Speaker 1: things here with this the way this character is presented,

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Speaker 1: because she's presented as a confident female scientist, which is great,

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Speaker 1: but on the other hand, she's still fetching coffee and

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Speaker 1: kissing old men on the cheek before there are only

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Speaker 1: the lips before they get into the bathosphere. So you

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Speaker 1: know it's a mixed bag here.

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Speaker 2: Yeah.

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Speaker 1: Yeah.

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Speaker 2: She makes some little sandwiches with the crusts cut off

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Speaker 2: while they're trying to do their research.

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Speaker 1: You need that crust for the research, though, I think

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Speaker 1: doing them a disservice.

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Speaker 2: Are they five years old? While don't they leave the

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Speaker 2: crusts on?

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Speaker 1: I will say she is very stylishly dressed. There's one

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Speaker 1: scene where she's wearing this black like this big black

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Speaker 1: coat with a big, wide white collar, and you know

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Speaker 1: this is a big this is a monster movie, so

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Speaker 1: you know, certainly I was poking the person to me

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Speaker 1: and say, you're looking at this monster. But in a

431
00:24:02,280 --> 00:24:04,000
Speaker 1: couple of these scenes, I'm like, are you looking at

432
00:24:04,000 --> 00:24:07,359
Speaker 1: this coat? This is incredible. It looks amazing on the

433
00:24:07,359 --> 00:24:07,879
Speaker 1: big screen.

434
00:24:08,119 --> 00:24:10,320
Speaker 2: I enjoyed her wardrobe. But in the first scene where

435
00:24:10,320 --> 00:24:12,520
Speaker 2: we meet her, she's got the Is that the scene

436
00:24:12,560 --> 00:24:15,280
Speaker 2: in the paleontologist's office where she's ring like a trench

437
00:24:15,320 --> 00:24:17,720
Speaker 2: coat over there? I don't know. I don't know yet.

438
00:24:17,760 --> 00:24:20,520
Speaker 1: She's also wearing more of like a beige trench coat

439
00:24:20,520 --> 00:24:22,600
Speaker 1: and another scene, but in general, just you know, very

440
00:24:22,600 --> 00:24:23,320
Speaker 1: well costumed.

441
00:24:23,680 --> 00:24:26,600
Speaker 2: Also, I think she gets to be the only character

442
00:24:26,920 --> 00:24:30,760
Speaker 2: in the movie who expresses care or concern for another character.

443
00:24:31,920 --> 00:24:34,639
Speaker 2: So you know, it's that like she she's she's the

444
00:24:34,640 --> 00:24:37,240
Speaker 2: person who gets to grieve when Elson gets eaten by

445
00:24:37,240 --> 00:24:40,160
Speaker 2: the monster. The rest of the movie is very it's

446
00:24:40,280 --> 00:24:43,240
Speaker 2: very process and action oriented. She's one of the only

447
00:24:43,320 --> 00:24:47,080
Speaker 2: characters who gets to have emotional reflection on the proceedings.

448
00:24:47,359 --> 00:24:50,520
Speaker 1: Yeah, that's a good point. Well, let's talk about Professor

449
00:24:50,560 --> 00:24:55,800
Speaker 1: Elson or the Professor, the aged Professor, much beloved professor

450
00:24:55,840 --> 00:24:58,400
Speaker 1: that is also part of the monster investigation. Played by

451
00:24:58,720 --> 00:25:03,200
Speaker 1: Cecil Calaway lived eighteen ninety through nineteen seventy three South

452
00:25:03,240 --> 00:25:06,280
Speaker 1: African British character actor who started out in Australian theater

453
00:25:06,359 --> 00:25:09,280
Speaker 1: in film in the thirties before making them move to Hollywood.

454
00:25:09,640 --> 00:25:12,240
Speaker 1: Two time Oscar nominee for forty nine's The Luck of

455
00:25:12,240 --> 00:25:15,399
Speaker 1: the Irish and sixty eights Guess Who's Coming to Dinner?

456
00:25:15,760 --> 00:25:19,800
Speaker 1: Replayed the Monsignor character in that. His other films include

457
00:25:19,800 --> 00:25:22,959
Speaker 1: The Invisible Man Returns and The Mummy's Hand from nineteen

458
00:25:23,040 --> 00:25:26,520
Speaker 1: forty and Hush, hush, sweet Charlotte in nineteen sixty four.

459
00:25:27,119 --> 00:25:28,840
Speaker 2: Well, I like this guy. He was, you know what.

460
00:25:28,880 --> 00:25:30,679
Speaker 2: They set it up like the cop movie, like he

461
00:25:30,760 --> 00:25:33,600
Speaker 2: was two days away from retirement. Except this guy's thing

462
00:25:33,720 --> 00:25:35,920
Speaker 2: is he was like two days away from his first

463
00:25:35,920 --> 00:25:36,680
Speaker 2: ever vacation.

464
00:25:38,320 --> 00:25:42,720
Speaker 1: Yeah, he's a very likable, grandfatherly character, and it was funny.

465
00:25:42,720 --> 00:25:46,520
Speaker 1: I saw this with my family and afterwards I was

466
00:25:46,560 --> 00:25:49,400
Speaker 1: asking my kid what they thought about it, and they mentioned,

467
00:25:49,440 --> 00:25:52,119
Speaker 1: and to be clear, like they've seen Aliens at this point,

468
00:25:52,200 --> 00:25:55,479
Speaker 1: and various other films. They watched Stranger Things. It's not

469
00:25:55,520 --> 00:25:59,359
Speaker 1: like they've only seen films in which the endings are

470
00:25:59,480 --> 00:26:03,359
Speaker 1: super happ but they were like, oh, yeah, I thought

471
00:26:03,359 --> 00:26:05,080
Speaker 1: that they were going to cut open the beast at

472
00:26:05,080 --> 00:26:07,120
Speaker 1: the end of the film and find the Bathisphere and

473
00:26:07,359 --> 00:26:09,680
Speaker 1: he was going to be all right. And that obviously

474
00:26:09,800 --> 00:26:12,000
Speaker 1: does not happen, but I can understand, like what the

475
00:26:12,080 --> 00:26:14,920
Speaker 1: characters presented in such a sweet way, and then he's

476
00:26:15,000 --> 00:26:17,960
Speaker 1: just totally destroyed, you kind of, I guess they're holding

477
00:26:18,000 --> 00:26:18,440
Speaker 1: out hope.

478
00:26:19,359 --> 00:26:21,760
Speaker 2: Well, you know, if the Bathisphere had had its own

479
00:26:21,800 --> 00:26:26,000
Speaker 2: internal oxygen supply, m this may be conceivable. I don't

480
00:26:26,000 --> 00:26:27,639
Speaker 2: think it did I think they had an air hose

481
00:26:27,680 --> 00:26:28,400
Speaker 2: from the surface.

482
00:26:28,640 --> 00:26:30,919
Speaker 1: Yeah yeah. Or of course, then you get into a

483
00:26:30,920 --> 00:26:33,240
Speaker 1: weird area. If he's in there, that's a whole second

484
00:26:33,240 --> 00:26:36,320
Speaker 1: movie where he's communicating to the outside. It's like innerspace,

485
00:26:37,440 --> 00:26:40,040
Speaker 1: except he's in a dinosaur.

486
00:26:39,880 --> 00:26:42,200
Speaker 2: Like he still got that phone and he's making calls

487
00:26:42,200 --> 00:26:44,440
Speaker 2: from inside this Yes, the monster.

488
00:26:44,240 --> 00:26:48,560
Speaker 1: I'm almost out of coffee. Yeah. All right. So those

489
00:26:48,560 --> 00:26:50,800
Speaker 1: are I guess are three main characters, but we have

490
00:26:51,040 --> 00:26:54,000
Speaker 1: we have some other supporting characters. Want to mention real quick.

491
00:26:54,600 --> 00:26:57,960
Speaker 1: There's Colonel Jack Evans and he was played by Kenneth Toby,

492
00:26:58,000 --> 00:27:00,840
Speaker 1: who of nineteen seventeen through two thousand and two. If

493
00:27:00,840 --> 00:27:04,200
Speaker 1: that square jaw and no nonsense demeanor seems familiar, it's

494
00:27:04,240 --> 00:27:06,919
Speaker 1: because he was the lead in nineteen fifty one's The

495
00:27:07,000 --> 00:27:09,600
Speaker 1: Thing from Another World, which of course covered on Weird

496
00:27:09,600 --> 00:27:10,439
Speaker 1: House Cinema.

497
00:27:10,520 --> 00:27:13,600
Speaker 2: Oh yeah, this guy was ready to punch a communist

498
00:27:13,680 --> 00:27:15,320
Speaker 2: at a moment's notice.

499
00:27:15,560 --> 00:27:19,400
Speaker 1: Yeah. Yeah, he's got a signature, signature face. You recognize

500
00:27:19,440 --> 00:27:21,760
Speaker 1: him once you start looking for him. He was also

501
00:27:21,880 --> 00:27:24,639
Speaker 1: in fifty fives. It Came from Beneath the Sea. Just

502
00:27:24,680 --> 00:27:26,760
Speaker 1: a ton of TV and film credits going back to

503
00:27:26,760 --> 00:27:30,040
Speaker 1: I think nineteen forty five. And in his later career

504
00:27:30,080 --> 00:27:32,119
Speaker 1: he did a lot of cameos. So there were a

505
00:27:32,119 --> 00:27:34,280
Speaker 1: lot of like, you know, new and up and coming

506
00:27:34,280 --> 00:27:37,320
Speaker 1: directors who grew up on some of these old fifties pictures,

507
00:27:37,800 --> 00:27:40,680
Speaker 1: including Joe Dante. So he pops up in The Howling

508
00:27:41,119 --> 00:27:45,600
Speaker 1: Grimlins two Inner Space, and he even cameos unrelated to

509
00:27:45,680 --> 00:27:49,760
Speaker 1: Joe Dante in hell Raiser Bloodline. Mmm, okay, yeah, which

510
00:27:49,840 --> 00:27:52,480
Speaker 1: I think he's a priest on a hologram. Still a

511
00:27:52,560 --> 00:27:53,800
Speaker 1: tempted to come back to that one.

512
00:27:54,960 --> 00:27:56,560
Speaker 2: Wait a minute, is that the one that's got the

513
00:27:56,640 --> 00:27:59,080
Speaker 2: segment different segments in time? There's like one on a

514
00:27:59,080 --> 00:27:59,760
Speaker 2: space station.

515
00:28:00,119 --> 00:28:03,920
Speaker 1: One in the past, Yes, yes, the past, the future,

516
00:28:04,359 --> 00:28:05,280
Speaker 1: Adam Scott.

517
00:28:05,640 --> 00:28:10,320
Speaker 2: It's got little baby Adam Scott. He's in like seventeenth

518
00:28:10,359 --> 00:28:11,200
Speaker 2: century clothing.

519
00:28:11,359 --> 00:28:15,840
Speaker 1: I think, so, yeah, he's in the past. All right,

520
00:28:16,080 --> 00:28:19,760
Speaker 1: let's say moving along, We've got Captain Phil Jackson played

521
00:28:19,760 --> 00:28:22,080
Speaker 1: by Donald Woods, who have nineteen oh six through nineteen

522
00:28:22,160 --> 00:28:25,520
Speaker 1: ninety eight Canadian born actor whose credits include nineteen sixties

523
00:28:25,560 --> 00:28:28,880
Speaker 1: Thirteen Ghosts and nineteen sixty nine's True Grit.

524
00:28:29,160 --> 00:28:30,000
Speaker 2: And then we.

525
00:28:29,960 --> 00:28:32,600
Speaker 1: Also have a character by the name of Corporal Stone.

526
00:28:32,960 --> 00:28:35,160
Speaker 1: Corporal Stone is going to come into play pretty late

527
00:28:35,200 --> 00:28:38,440
Speaker 1: in the picture, but he is played by Lee van Cleef,

528
00:28:38,520 --> 00:28:40,920
Speaker 1: who lived nineteen twenty five through nineteen eighty nine, only

529
00:28:40,960 --> 00:28:44,320
Speaker 1: a year into his film and TV career, coming off

530
00:28:44,360 --> 00:28:47,280
Speaker 1: of small roles in such films as fifty two's High

531
00:28:47,360 --> 00:28:51,160
Speaker 1: Noon his earliest credit. He was in his late twenties

532
00:28:51,200 --> 00:28:54,240
Speaker 1: at the time. So a very small but pivotal role

533
00:28:54,320 --> 00:28:57,400
Speaker 1: here in which old angel Eyes really gets to shine.

534
00:28:57,640 --> 00:28:59,680
Speaker 2: Yeah, he plays a crack shot, right. They bring him

535
00:28:59,720 --> 00:29:02,160
Speaker 2: into to slay the Beast because he's the best with

536
00:29:02,200 --> 00:29:02,720
Speaker 2: a rifle.

537
00:29:03,120 --> 00:29:05,800
Speaker 1: Yeah, he is essentially barred the bowman from The Hobbit

538
00:29:06,280 --> 00:29:08,400
Speaker 1: and all that. We'll dwell on this a bit more

539
00:29:08,440 --> 00:29:11,360
Speaker 1: when we start talking about the scene. But yeah, he

540
00:29:11,480 --> 00:29:15,160
Speaker 1: is the sharpshooter brought in to use a special weapon

541
00:29:15,440 --> 00:29:18,840
Speaker 1: against the Giant Monster's one week point.

542
00:29:18,560 --> 00:29:21,480
Speaker 2: Which came first this movie or The Hobbit. I don't

543
00:29:21,480 --> 00:29:22,960
Speaker 2: know when the Hobbit was first published.

544
00:29:23,280 --> 00:29:26,360
Speaker 1: Well, the Hobbit was first published in thirty seven.

545
00:29:26,360 --> 00:29:30,680
Speaker 2: Okay, so it wouldn't be that Beast inspired.

546
00:29:30,200 --> 00:29:34,280
Speaker 1: The no, But it's also not necessarily the fact that

547
00:29:34,800 --> 00:29:38,360
Speaker 1: the Hobbit inspired the beast, because, as I'll get into

548
00:29:38,440 --> 00:29:41,560
Speaker 1: later in the episode, the trope of a hero using

549
00:29:41,600 --> 00:29:44,280
Speaker 1: a special weapon to slay the monster by hitting a

550
00:29:44,400 --> 00:29:47,520
Speaker 1: very specific spot on its body is basically one of

551
00:29:47,520 --> 00:29:50,520
Speaker 1: the oldest stories in human mythology. So we have multiple

552
00:29:50,520 --> 00:29:53,840
Speaker 1: examples we can point to and works of ancient literature

553
00:29:54,120 --> 00:29:57,680
Speaker 1: in which this exact same thing happened. So I think

554
00:29:57,760 --> 00:30:00,520
Speaker 1: it's it may be it maybe have been a case

555
00:30:00,520 --> 00:30:02,760
Speaker 1: where they were inspired by the Hobbit, but just as

556
00:30:02,920 --> 00:30:06,720
Speaker 1: likely that it's just this is a very human story

557
00:30:06,760 --> 00:30:09,240
Speaker 1: about people standing up to monsters.

558
00:30:09,600 --> 00:30:11,760
Speaker 2: Well, I mean, I guess the other big point of

559
00:30:11,760 --> 00:30:14,680
Speaker 2: comparison is that it's a character who shows up late

560
00:30:14,720 --> 00:30:16,880
Speaker 2: in the story. It's not like the hero for the

561
00:30:16,920 --> 00:30:19,760
Speaker 2: whole time is the one who makes the strike at

562
00:30:19,760 --> 00:30:20,400
Speaker 2: the weak point.

563
00:30:20,560 --> 00:30:22,400
Speaker 1: That's true, yeah, because I think in many of the

564
00:30:22,440 --> 00:30:24,560
Speaker 1: other examples, it's like you're gonna have a key hero

565
00:30:24,600 --> 00:30:26,920
Speaker 1: who it's like, oh yeah, we don't have to bring

566
00:30:26,960 --> 00:30:31,280
Speaker 1: an outsider in because our structural protagonist is already the

567
00:30:31,360 --> 00:30:34,600
Speaker 1: best shot within bow and Arrow in the entire world.

568
00:30:35,520 --> 00:30:37,280
Speaker 1: In this case, they're like, who can do this shot?

569
00:30:37,360 --> 00:30:40,760
Speaker 1: We got to bring into Lee van Cleef more on

570
00:30:40,800 --> 00:30:42,520
Speaker 1: that scene when we get to it, like he's part

571
00:30:42,520 --> 00:30:45,560
Speaker 1: of He's just one element in the fantastic finish to

572
00:30:45,600 --> 00:30:46,120
Speaker 1: this picture.

573
00:30:46,520 --> 00:30:48,080
Speaker 2: You know, he does the same thing at the end

574
00:30:48,120 --> 00:30:50,520
Speaker 2: of it Conquered the World, except instead of a rifle,

575
00:30:50,560 --> 00:30:53,239
Speaker 2: it's like a you know, a little butane torch. Oh

576
00:30:53,520 --> 00:30:55,400
Speaker 2: remember that. Yeah, we brings up to the art to

577
00:30:55,520 --> 00:30:56,040
Speaker 2: choke with it.

578
00:30:56,320 --> 00:30:59,840
Speaker 1: Yeah, we talked about him previously in that episode and

579
00:31:00,800 --> 00:31:03,640
Speaker 1: a much different character like he's because he's he's on

580
00:31:03,680 --> 00:31:05,360
Speaker 1: the side of the villains in that one for a

581
00:31:05,360 --> 00:31:07,640
Speaker 1: long time and then has a change of heart and

582
00:31:07,680 --> 00:31:11,520
Speaker 1: decides that space communism is bad. In this one, he's

583
00:31:11,560 --> 00:31:13,280
Speaker 1: just yeah, they just like, we need to bring in

584
00:31:13,440 --> 00:31:15,120
Speaker 1: a guy who really knows how to shoot, and they're

585
00:31:15,120 --> 00:31:16,719
Speaker 1: like here he is, and he's like, all right, I'm

586
00:31:16,760 --> 00:31:18,280
Speaker 1: up for the job. He pulls it off.

587
00:31:18,760 --> 00:31:21,200
Speaker 2: I don't remember them mentioning his name in the movie,

588
00:31:21,240 --> 00:31:22,240
Speaker 2: but I guess maybe they do.

589
00:31:22,880 --> 00:31:24,600
Speaker 1: Uh, you know, I don't remember as well. I was

590
00:31:24,600 --> 00:31:26,760
Speaker 1: more at that point in the film. I knew Lee

591
00:31:26,840 --> 00:31:28,640
Speaker 1: van Kleeff was going to be in it, and then

592
00:31:28,680 --> 00:31:30,520
Speaker 1: I forgot that who's going to be in it? And

593
00:31:30,600 --> 00:31:33,120
Speaker 1: the movie was about over and then suddenly they brought

594
00:31:33,160 --> 00:31:35,280
Speaker 1: him out and I was like, yes, he's finally here.

595
00:31:35,560 --> 00:31:37,520
Speaker 2: It took me a minute to recognize who he was,

596
00:31:37,560 --> 00:31:38,880
Speaker 2: and I was like, oh wait, that's him.

597
00:31:39,080 --> 00:31:39,240
Speaker 1: Yeah.

598
00:31:39,360 --> 00:31:42,600
Speaker 2: Well they're getting the lead box out of the container.

599
00:31:42,680 --> 00:31:44,640
Speaker 1: Yeah yeah, it's like what you got here? A monster? Yeah,

600
00:31:44,680 --> 00:31:47,680
Speaker 1: I'm gonna shoot that, which his whole vibe. He's cool,

601
00:31:48,640 --> 00:31:53,800
Speaker 1: all right. Technical effects created by, of course Ray Harry Housen,

602
00:31:53,840 --> 00:31:58,320
Speaker 1: who of nineteen twenty through twenty thirteen American British Oscar

603
00:31:58,360 --> 00:32:02,959
Speaker 1: winning animator and special effect creator, major pioneer in the industry.

604
00:32:03,400 --> 00:32:05,280
Speaker 1: We talked about him before in the show because we

605
00:32:05,400 --> 00:32:08,920
Speaker 1: covered Clash of the Titans from nineteen eighty one, which

606
00:32:08,960 --> 00:32:13,800
Speaker 1: was essentially his swan song, but so many other films

607
00:32:13,840 --> 00:32:17,120
Speaker 1: in between that one and this one, and really, like again,

608
00:32:17,160 --> 00:32:20,520
Speaker 1: the effects in The Beast from twenty thousand fathoms absolutely

609
00:32:20,560 --> 00:32:25,120
Speaker 1: hold up. And you hear about fairly recent films, including

610
00:32:26,240 --> 00:32:30,959
Speaker 1: Peter Jackson's Hobbit adaptations. I'm to understand that in figuring

611
00:32:31,000 --> 00:32:33,800
Speaker 1: out how they were going to present Smog the Dragon

612
00:32:33,840 --> 00:32:36,240
Speaker 1: and animate Smog the Dragon like this was one of

613
00:32:36,280 --> 00:32:38,520
Speaker 1: the films they look back to look back to see

614
00:32:38,520 --> 00:32:42,080
Speaker 1: how Ray Harry Elsen brought a creature like this to life,

615
00:32:42,400 --> 00:32:45,160
Speaker 1: because it's one of these things. When you see it

616
00:32:45,200 --> 00:32:48,680
Speaker 1: on the screen, you admire it. But sometimes, like not

617
00:32:48,880 --> 00:32:51,640
Speaker 1: being in effects and not ever actually having tried to

618
00:32:51,680 --> 00:32:54,560
Speaker 1: create something like this, you maybe miss out on just

619
00:32:54,920 --> 00:32:58,520
Speaker 1: how sublime it really is. How this creature moves like

620
00:32:58,560 --> 00:33:03,000
Speaker 1: a creature. You know, it's a you can easily take

621
00:33:03,040 --> 00:33:06,400
Speaker 1: it all for granted because the magic is absolutely working totally.

622
00:33:06,480 --> 00:33:10,200
Speaker 2: Yeah, I think it looks excellent. You know, I've said

623
00:33:10,240 --> 00:33:12,080
Speaker 2: many times on the show how much of a sucker

624
00:33:12,080 --> 00:33:15,560
Speaker 2: I am for Ray Harry Housen and stop motion creature effects.

625
00:33:15,560 --> 00:33:19,280
Speaker 2: I love them. I really like them, even sometimes when

626
00:33:19,320 --> 00:33:22,200
Speaker 2: they're not great. There's just something about the texture of

627
00:33:22,240 --> 00:33:25,080
Speaker 2: the effects themselves I just find pleasing. And then when

628
00:33:25,080 --> 00:33:28,120
Speaker 2: they look really good, as this one does, it it's

629
00:33:28,160 --> 00:33:31,520
Speaker 2: even more of a treat. So yeah, I think they're

630
00:33:31,560 --> 00:33:33,480
Speaker 2: just great. You know. There were a lot of little

631
00:33:33,560 --> 00:33:38,720
Speaker 2: things where I felt like I noticed moments that resembled

632
00:33:38,960 --> 00:33:42,600
Speaker 2: different types of effects, maybe stop motion, maybe puppetry, maybe

633
00:33:42,600 --> 00:33:46,240
Speaker 2: computer effects from later movies, and I kept wondering or

634
00:33:46,280 --> 00:33:49,200
Speaker 2: those later movies calling back to this one, Like there's

635
00:33:49,240 --> 00:33:52,200
Speaker 2: one part where the creature eats a policeman in New

636
00:33:52,280 --> 00:33:55,000
Speaker 2: York here, and it was like, I was like, man,

637
00:33:55,120 --> 00:33:57,080
Speaker 2: that really looks like the first time the t Rex

638
00:33:57,120 --> 00:33:59,640
Speaker 2: eat somebody in Jurassic Park. I wonder if that was

639
00:33:59,680 --> 00:34:02,240
Speaker 2: in space Olberg's mind, where they like, I kind of

640
00:34:02,280 --> 00:34:05,320
Speaker 2: want to have this look like when the monster eads

641
00:34:05,320 --> 00:34:07,360
Speaker 2: somebody in Beasts from twenty thousand Fathoms.

642
00:34:07,400 --> 00:34:09,640
Speaker 1: I mean, I bet it was. I mean it is also,

643
00:34:09,680 --> 00:34:11,600
Speaker 1: of course the thing you would want a giant monster

644
00:34:11,719 --> 00:34:14,479
Speaker 1: to do. But yeah, yeah, I think it's probably hard

645
00:34:14,520 --> 00:34:17,600
Speaker 1: to overstate the importance of a film like this and

646
00:34:18,040 --> 00:34:19,120
Speaker 1: it effects history.

647
00:34:19,480 --> 00:34:22,719
Speaker 2: Yeah, there was some visual signature in common there though,

648
00:34:22,760 --> 00:34:25,320
Speaker 2: with like the biting the top half of the body

649
00:34:25,360 --> 00:34:27,920
Speaker 2: and the legs sticking out and wiggling in a certain way.

650
00:34:28,960 --> 00:34:31,080
Speaker 1: Yeah. Yeah, because this is a creature that is this

651
00:34:31,160 --> 00:34:33,279
Speaker 1: in effect a lizard, and there are aspects of a

652
00:34:33,320 --> 00:34:36,839
Speaker 1: lizard to its locomotion. But it also I think it's

653
00:34:36,840 --> 00:34:39,600
Speaker 1: clear that that Harry Housen was looking at other animals

654
00:34:39,600 --> 00:34:41,360
Speaker 1: as well and determining like how he was going to

655
00:34:41,440 --> 00:34:43,879
Speaker 1: animate it and how it was going to move. And

656
00:34:44,120 --> 00:34:45,759
Speaker 1: when we've talked a little bit about that, I think

657
00:34:45,960 --> 00:34:48,480
Speaker 1: in previous episodes about how like he would go to

658
00:34:48,480 --> 00:34:51,600
Speaker 1: the zoo and watch animals move around and to figure

659
00:34:51,600 --> 00:34:53,960
Speaker 1: out exactly how he was going to animate things. So

660
00:34:54,000 --> 00:34:58,560
Speaker 1: he really put in the work here. But to your point, though,

661
00:34:59,400 --> 00:35:02,080
Speaker 1: whether it's Harry Housen's work or anyone else's, like when

662
00:35:02,400 --> 00:35:06,440
Speaker 1: stop motion effects or puppetry effects practical effects when they

663
00:35:06,480 --> 00:35:09,520
Speaker 1: are less than perfect, yes they can be hilarious, but

664
00:35:09,560 --> 00:35:12,759
Speaker 1: they can also still absolutely resonate on this level that

665
00:35:12,880 --> 00:35:15,200
Speaker 1: it is a form of puppetry. It is this form

666
00:35:15,239 --> 00:35:19,160
Speaker 1: of human storytelling that has very much been in play

667
00:35:19,200 --> 00:35:22,719
Speaker 1: as a medium throughout our history as a species.

668
00:35:23,160 --> 00:35:26,279
Speaker 2: As I often say on here, stop motion effects don't

669
00:35:26,360 --> 00:35:29,680
Speaker 2: have to look realistic to look great. You know, there

670
00:35:29,680 --> 00:35:33,200
Speaker 2: are two different dimensions of like how well realized the

671
00:35:33,239 --> 00:35:37,400
Speaker 2: effects are. One element is kind of realism blending in

672
00:35:37,440 --> 00:35:40,279
Speaker 2: with the human action or the backdrop or whatever. But

673
00:35:40,320 --> 00:35:42,680
Speaker 2: then there's a whole other dimension that's just kind of

674
00:35:43,440 --> 00:35:48,200
Speaker 2: artistic pleasingness that doesn't really correlate necessarily with it looking

675
00:35:48,360 --> 00:35:49,200
Speaker 2: like real life.

676
00:35:49,640 --> 00:35:53,920
Speaker 1: Yeah, yeah, absolutely, all right. Finally, the music here is

677
00:35:54,280 --> 00:35:57,520
Speaker 1: by David Buttoff, who we've mentioned before. Butt Off lived

678
00:35:57,600 --> 00:36:00,879
Speaker 1: nineteen oh two through nineteen eighty three imposer who also

679
00:36:00,880 --> 00:36:04,799
Speaker 1: did Hitchcock's Rope forty eight thirty nine's The Gorilla That's

680
00:36:04,840 --> 00:36:07,600
Speaker 1: Not Hitchcock, And we previously mentioned him for his score

681
00:36:07,640 --> 00:36:09,440
Speaker 1: to nineteen fifty three's House of Wax.

682
00:36:18,520 --> 00:36:20,560
Speaker 2: All right, are you ready to talk about the plot?

683
00:36:20,800 --> 00:36:21,319
Speaker 1: Let's do it.

684
00:36:22,160 --> 00:36:25,080
Speaker 2: So the title appears in this movie over a whirlpool

685
00:36:25,239 --> 00:36:29,160
Speaker 2: water spiraling down a drain, and this in the credits

686
00:36:29,160 --> 00:36:31,560
Speaker 2: here is when we get that note that this was

687
00:36:32,000 --> 00:36:35,520
Speaker 2: inspired by the Saturday Evening Post story by Ray Bradbury.

688
00:36:36,400 --> 00:36:39,040
Speaker 2: So at the beginning of the movie, a voiceover monologue

689
00:36:39,080 --> 00:36:41,800
Speaker 2: sets up the action while we watch footage of workers

690
00:36:41,880 --> 00:36:45,000
Speaker 2: moving cargo around on an airfield in the far North

691
00:36:45,080 --> 00:36:48,680
Speaker 2: with these twin engine propeller planes lined up into the distance.

692
00:36:49,800 --> 00:36:53,280
Speaker 2: And I was actually kind of curious about a air

693
00:36:53,520 --> 00:36:56,759
Speaker 2: you know, aerospace technology question. Did you notice all these

694
00:36:56,760 --> 00:36:59,600
Speaker 2: big hoses they were running from machines on the ground

695
00:36:59,760 --> 00:37:03,680
Speaker 2: up into the airplane engines. I was wondering, are these heaters?

696
00:37:03,760 --> 00:37:06,560
Speaker 2: Are they blowing hot air into the engines before the

697
00:37:06,600 --> 00:37:10,040
Speaker 2: planes take off, maybe to prevent them from icing or something.

698
00:37:09,920 --> 00:37:12,279
Speaker 1: That would make sense, But yeah, I don't know for sure.

699
00:37:12,360 --> 00:37:15,040
Speaker 2: Yeah, yeah, I don't know either. I wondered what that was.

700
00:37:15,160 --> 00:37:17,319
Speaker 2: Folks out there, if you know what's going on there

701
00:37:17,400 --> 00:37:21,800
Speaker 2: right in contact at stuff to blow yourmind dot com. Anyway,

702
00:37:21,880 --> 00:37:26,200
Speaker 2: the narrator sets up what's going on here. The narrator says,

703
00:37:26,280 --> 00:37:31,400
Speaker 2: this is Operation Experiment. Experiment is the name of the operation.

704
00:37:31,800 --> 00:37:33,759
Speaker 1: I think they should have workshopped at a bit more, but

705
00:37:34,280 --> 00:37:34,840
Speaker 1: fair enough.

706
00:37:35,000 --> 00:37:39,800
Speaker 2: Okay, this is Operation Experiment, a secret base far north

707
00:37:39,840 --> 00:37:43,520
Speaker 2: of the Arctic Circle. Experiment was the code name for

708
00:37:43,560 --> 00:37:48,040
Speaker 2: a top priority scientific expedition. These men arrived here on

709
00:37:48,400 --> 00:37:51,640
Speaker 2: X day minus sixty. It has taken them the full

710
00:37:51,719 --> 00:37:55,360
Speaker 2: two months to get ready. Today is X day. It

711
00:37:55,440 --> 00:37:58,880
Speaker 2: is now h hour minus fifty nine minutes. There is

712
00:37:59,000 --> 00:37:59,719
Speaker 2: less than an hour.

713
00:37:59,840 --> 00:38:04,280
Speaker 1: Lefe left a lot of babel to get through. But okay,

714
00:38:04,560 --> 00:38:06,280
Speaker 1: something technical is happening.

715
00:38:06,960 --> 00:38:09,040
Speaker 2: I like how it does the math for us. So

716
00:38:09,080 --> 00:38:11,560
Speaker 2: at h our minus fifty nine minutes, that means there's

717
00:38:11,640 --> 00:38:15,520
Speaker 2: less than an hour. Oh okay, thanks. So now we

718
00:38:15,560 --> 00:38:17,880
Speaker 2: see the airplanes that we saw earlier. They're like getting

719
00:38:17,920 --> 00:38:20,240
Speaker 2: ready to go. So the engines are running, they're preparing

720
00:38:20,280 --> 00:38:22,799
Speaker 2: for takeoff. And I thought it was kind of cool

721
00:38:22,840 --> 00:38:25,360
Speaker 2: here to notice that instead of wheels at the bottom

722
00:38:25,360 --> 00:38:27,319
Speaker 2: of the landing gear, they have skis, I guess because

723
00:38:27,320 --> 00:38:30,480
Speaker 2: they're out on these ice fields. And the narrator goes

724
00:38:30,520 --> 00:38:33,919
Speaker 2: on to say, the plane must arrive at its rendezvous

725
00:38:33,920 --> 00:38:37,359
Speaker 2: two hundred miles away in exactly fifty eight minutes. There

726
00:38:37,400 --> 00:38:39,520
Speaker 2: can be no room for error, there can be no

727
00:38:39,680 --> 00:38:42,680
Speaker 2: second chance. So then the plane takes off. We see

728
00:38:42,680 --> 00:38:45,600
Speaker 2: this big radar aerial spinning on top of a metal tower,

729
00:38:46,360 --> 00:38:49,160
Speaker 2: and it goes on narrating about like, here's the rendezvous,

730
00:38:49,200 --> 00:38:51,520
Speaker 2: and it's doing more of the countdown, here's for the

731
00:38:51,560 --> 00:38:55,400
Speaker 2: scientists or double checking their equipment, and we see shots

732
00:38:55,400 --> 00:38:57,680
Speaker 2: of inside a facility where a bunch of men dressed

733
00:38:57,719 --> 00:39:01,480
Speaker 2: for cold weather are looking through instation. They're doing calculations

734
00:39:01,520 --> 00:39:04,200
Speaker 2: on paper with like you know, a pencil and compass

735
00:39:04,239 --> 00:39:07,880
Speaker 2: and a straight edge and all that. And then we

736
00:39:07,920 --> 00:39:12,280
Speaker 2: see eventually the radar operators kicking into action. They detect

737
00:39:12,320 --> 00:39:14,920
Speaker 2: the airplane and they get on the radio and they

738
00:39:14,960 --> 00:39:18,120
Speaker 2: report its heading. And then outside on the ice we

739
00:39:18,200 --> 00:39:21,120
Speaker 2: see men in fur lined jackets and boots standing around

740
00:39:21,120 --> 00:39:25,200
Speaker 2: with binoculars watching the sky. The narrator says, every man

741
00:39:25,239 --> 00:39:28,840
Speaker 2: here knows his job he does it quickly, efficiently, silently.

742
00:39:29,160 --> 00:39:32,400
Speaker 2: The men are ready, the equipment is ready. We're like, okay,

743
00:39:32,440 --> 00:39:33,080
Speaker 2: what is it.

744
00:39:33,600 --> 00:39:35,399
Speaker 1: I don't know what it is, but I guess I'm

745
00:39:35,560 --> 00:39:37,680
Speaker 1: feel confident about the people doing it.

746
00:39:38,000 --> 00:39:41,920
Speaker 2: Yeah. So the countdown continues, The narrator goes on building

747
00:39:42,000 --> 00:39:45,960
Speaker 2: up the tension. People are standing around waiting. Then we

748
00:39:46,000 --> 00:39:48,480
Speaker 2: get the final countdown from ten down to one, three

749
00:39:48,560 --> 00:39:52,880
Speaker 2: to one, and it's a nuclear explosion. So there is

750
00:39:52,920 --> 00:39:57,239
Speaker 2: a blinding flash of light, a mushroom cloud blooming up

751
00:39:57,239 --> 00:40:00,720
Speaker 2: into the sky, and then lots of footage of I mayhem.

752
00:40:00,840 --> 00:40:03,719
Speaker 2: So we see glaciers calving off and dropping sheets of

753
00:40:03,760 --> 00:40:07,040
Speaker 2: ice into the sea. There are icebergs that split in

754
00:40:07,120 --> 00:40:10,920
Speaker 2: half and then crumble into the water, all kinds of

755
00:40:10,960 --> 00:40:14,360
Speaker 2: like ice crumbling and falling. So we have just witnessed

756
00:40:14,400 --> 00:40:19,240
Speaker 2: a nuclear test conducted somewhere over a northern polar ice sheet.

757
00:40:20,080 --> 00:40:22,920
Speaker 1: Well, it seems fine, probably won't be related to anything

758
00:40:22,920 --> 00:40:25,560
Speaker 1: else in the plot. That the world absolutely will be

759
00:40:25,640 --> 00:40:27,920
Speaker 1: the same. Let's see what happens.

760
00:40:28,520 --> 00:40:32,600
Speaker 2: Yeah, So the radar operators flag something weird right after

761
00:40:32,640 --> 00:40:36,000
Speaker 2: the blast. They say they detect a foreign object, and

762
00:40:36,040 --> 00:40:38,920
Speaker 2: one of them says it's silhouetted like five hundred tons

763
00:40:38,960 --> 00:40:41,680
Speaker 2: at least, but by the time they call the superiors over,

764
00:40:41,880 --> 00:40:45,080
Speaker 2: the object is gone without a trace. So after the

765
00:40:45,120 --> 00:40:47,560
Speaker 2: test we join a couple of guys in charge here

766
00:40:47,680 --> 00:40:51,840
Speaker 2: reflecting on the successful detonation. This is Colonel Jack Evans

767
00:40:51,880 --> 00:40:55,640
Speaker 2: played by Kenneth Toby and Professor Tom Nesbitt played by

768
00:40:55,640 --> 00:40:59,960
Speaker 2: Paul Christian or Paul Hugh Schmidt, but billed as Paul Christian.

769
00:41:01,120 --> 00:41:04,160
Speaker 2: And so the colonel comments with some amusement that they

770
00:41:04,200 --> 00:41:06,600
Speaker 2: spend eight weeks preparing for this kind of test and

771
00:41:06,640 --> 00:41:09,560
Speaker 2: then it's all over in a second. But then Nesbit

772
00:41:09,640 --> 00:41:13,839
Speaker 2: comes back with some opposing consideration. He says, quote, when

773
00:41:14,000 --> 00:41:17,680
Speaker 2: energy of that magnitude is released, it's never over. What

774
00:41:17,800 --> 00:41:21,120
Speaker 2: the cumulative effects of all these atomic explosions and tests

775
00:41:21,160 --> 00:41:25,080
Speaker 2: will be only time can tell. And then the Colonel's like,

776
00:41:25,120 --> 00:41:28,040
Speaker 2: what you mean, Scientists don't know, You don't know the

777
00:41:28,120 --> 00:41:31,480
Speaker 2: answer to everything, And Nesbit goes on. He's like, well,

778
00:41:31,520 --> 00:41:33,720
Speaker 2: you know, the world's been here for millions of years,

779
00:41:33,840 --> 00:41:36,839
Speaker 2: man's been walking upright for a comparatively short amount of

780
00:41:36,840 --> 00:41:41,080
Speaker 2: that time. Mentally, we're still crawling, he says. And then

781
00:41:41,120 --> 00:41:44,240
Speaker 2: after this there is I thought a one two punch

782
00:41:44,280 --> 00:41:47,160
Speaker 2: of dialogue that for me, like the first line lands

783
00:41:47,239 --> 00:41:50,440
Speaker 2: great and the second not so good. So there's another

784
00:41:50,480 --> 00:41:55,200
Speaker 2: professor nearby named George Ritchie who comments that quote every

785
00:41:55,200 --> 00:41:57,480
Speaker 2: time one of these things goes off. I feel like

786
00:41:57,560 --> 00:42:00,640
Speaker 2: we're helping to write the first chapter of a newt Genesis.

787
00:42:01,640 --> 00:42:03,880
Speaker 2: And then the second line from Nesbit is he says,

788
00:42:04,160 --> 00:42:06,640
Speaker 2: let's hope we're not writing the last chapter of the

789
00:42:06,680 --> 00:42:09,600
Speaker 2: old one. That was like the last chapter of the

790
00:42:09,640 --> 00:42:11,640
Speaker 2: Old Genesis. That's like I had to look it up.

791
00:42:11,680 --> 00:42:15,560
Speaker 2: It's like, that's the death of Joseph. Like I think

792
00:42:15,600 --> 00:42:18,319
Speaker 2: what he must mean is the Book of Revelation, not

793
00:42:18,440 --> 00:42:19,440
Speaker 2: the last chapter of.

794
00:42:19,360 --> 00:42:22,280
Speaker 1: That would make But yeah, it's the line is written

795
00:42:22,320 --> 00:42:24,920
Speaker 1: or delivered in a way here that doesn't specify that

796
00:42:25,040 --> 00:42:27,080
Speaker 1: like it should. So it sounds like these guys have

797
00:42:27,160 --> 00:42:29,080
Speaker 1: just had nothing to read but the Bible. Up here,

798
00:42:29,080 --> 00:42:31,719
Speaker 1: they're about to list launch and do a very nuanced

799
00:42:31,719 --> 00:42:34,560
Speaker 1: discussion of Old Testament literature.

800
00:42:34,760 --> 00:42:38,160
Speaker 2: The Gideons left Bibles and they're beside all of their

801
00:42:38,200 --> 00:42:41,560
Speaker 2: ice field sleeping bags, and yeah, they've been really getting

802
00:42:41,600 --> 00:42:44,680
Speaker 2: into it anyway. So the scientists after this, they're going

803
00:42:44,719 --> 00:42:47,040
Speaker 2: to take some readings. They load up onto a motorized

804
00:42:47,080 --> 00:42:50,080
Speaker 2: ice tractor and they head to the forward observation post.

805
00:42:50,760 --> 00:42:53,560
Speaker 2: They promised to turn back when their Geiger counters start

806
00:42:53,600 --> 00:42:57,000
Speaker 2: going berserk. So out on the ice, the mood is

807
00:42:57,120 --> 00:43:00,000
Speaker 2: very eerie. There's soft music and the wind is whipped,

808
00:43:00,600 --> 00:43:03,960
Speaker 2: and while the scientists are away from the vehicle taking

809
00:43:04,040 --> 00:43:07,000
Speaker 2: readings from their instruments, a blizzard starts coming on, so

810
00:43:07,080 --> 00:43:11,400
Speaker 2: the two scientists become separated. And then through a narrow

811
00:43:11,600 --> 00:43:15,640
Speaker 2: gap in some tall sort of columns of ice, one

812
00:43:15,680 --> 00:43:20,880
Speaker 2: of the scientists, Professor Ritchie, sees something shocking, a giant, black,

813
00:43:21,120 --> 00:43:24,560
Speaker 2: scaly figure moving quickly, like what on earth was that?

814
00:43:25,360 --> 00:43:27,879
Speaker 2: Richie calls out for Nesbit, but no one can hear

815
00:43:27,960 --> 00:43:30,600
Speaker 2: him through the wind, so he climbs up on a steep,

816
00:43:30,840 --> 00:43:33,680
Speaker 2: icy hillside and then there at the top he sees

817
00:43:33,800 --> 00:43:36,359
Speaker 2: in all its glory, the monster of the movie, which

818
00:43:36,400 --> 00:43:40,880
Speaker 2: will later be called the Ritosaurus. So the monster of

819
00:43:40,920 --> 00:43:46,600
Speaker 2: the movie is a giant quadrupedal lizard shaped dinosaur with

820
00:43:47,040 --> 00:43:50,680
Speaker 2: pebbled skin and sharp teeth. It does a dorsal crest

821
00:43:50,760 --> 00:43:55,160
Speaker 2: running down its back with these small triangular sail shaped spines.

822
00:43:56,160 --> 00:44:00,880
Speaker 2: It has very mean looking eyes, small, cold, eight full eyes,

823
00:44:01,480 --> 00:44:03,920
Speaker 2: and it walks on four feet, but it has an

824
00:44:04,000 --> 00:44:07,360
Speaker 2: upturned posture like some lizards do, usually kind of raised

825
00:44:07,440 --> 00:44:10,000
Speaker 2: up higher in the front, as if it's somewhat kind

826
00:44:10,040 --> 00:44:12,759
Speaker 2: of proud. I don't know, robbed you of any other

827
00:44:12,800 --> 00:44:14,600
Speaker 2: comments to add on the monster design?

828
00:44:14,800 --> 00:44:17,479
Speaker 1: Yeah, I would say, in addition to it just being

829
00:44:17,520 --> 00:44:20,320
Speaker 1: so very well executed, I would say it's general design

830
00:44:20,400 --> 00:44:24,120
Speaker 1: here it speaks to more what we would think of

831
00:44:24,160 --> 00:44:28,360
Speaker 1: as archaic paleo art, you know, like older depictions of

832
00:44:28,360 --> 00:44:30,960
Speaker 1: what dinosaurs might have looked like. And then there is

833
00:44:31,000 --> 00:44:36,040
Speaker 1: a definite there's a definite dash of you know, Saint

834
00:44:36,040 --> 00:44:38,040
Speaker 1: George and the dragon here, I said, I in the

835
00:44:38,080 --> 00:44:41,520
Speaker 1: sense that there's some you know, classical dragon illustration folded

836
00:44:41,560 --> 00:44:43,600
Speaker 1: into the into the design as well.

837
00:44:44,200 --> 00:44:46,879
Speaker 2: Now we didn't talk about this beforehand, so I may

838
00:44:46,880 --> 00:44:49,280
Speaker 2: be catching you off guard here, but it just occurred

839
00:44:49,320 --> 00:44:52,880
Speaker 2: to me. What do you think the difference in feeling

840
00:44:53,320 --> 00:44:58,319
Speaker 2: is with a prehistoric radioactive monster that walks on four

841
00:44:58,400 --> 00:45:01,160
Speaker 2: feet versus one that walks on So we will get

842
00:45:01,200 --> 00:45:04,600
Speaker 2: Godzilla a year later, who is who looks a lot

843
00:45:04,800 --> 00:45:07,960
Speaker 2: like this in many ways, similar kind of dark pebbled,

844
00:45:08,000 --> 00:45:12,680
Speaker 2: scaly skin texture, similar kind of dinosaur, you know, tyrannosaur

845
00:45:12,719 --> 00:45:17,520
Speaker 2: shaped head in a way. But Godzilla, of course is

846
00:45:17,680 --> 00:45:21,480
Speaker 2: firmly bipedal, walks on its two back legs. This monster

847
00:45:21,600 --> 00:45:23,560
Speaker 2: walks on four feet. Do you think that has a

848
00:45:23,600 --> 00:45:25,720
Speaker 2: significant difference in the feeling created?

849
00:45:26,000 --> 00:45:27,439
Speaker 1: I think so. I mean, I don't know how much

850
00:45:27,440 --> 00:45:30,040
Speaker 1: it was really in play at this point, but I

851
00:45:30,080 --> 00:45:33,760
Speaker 1: think having you know, comparing the two, a bipedal monster

852
00:45:34,360 --> 00:45:36,680
Speaker 1: is going to feel more human and maybe we're going

853
00:45:36,760 --> 00:45:40,640
Speaker 1: to be more inclined to give it human motivations and

854
00:45:40,719 --> 00:45:43,600
Speaker 1: see some sort of humanity within it, whereas a four

855
00:45:43,640 --> 00:45:46,600
Speaker 1: legged creature is more of a beast. That being said,

856
00:45:46,640 --> 00:45:49,880
Speaker 1: I think execution also plays a role here, because with

857
00:45:50,360 --> 00:45:53,400
Speaker 1: the excellent stop motion like this, you can have a

858
00:45:53,400 --> 00:45:56,719
Speaker 1: four legged creature that is brought perfectly to life and

859
00:45:56,719 --> 00:45:59,600
Speaker 1: you completely buy it as a four legged creature, whereas

860
00:46:00,239 --> 00:46:05,400
Speaker 1: in the Godzilla era when you do encounter quadrupedal monsters,

861
00:46:05,560 --> 00:46:07,800
Speaker 1: I mean, it is a man in a suit crawling

862
00:46:07,800 --> 00:46:12,319
Speaker 1: around on all fours, and you can suspend disbelief, but

863
00:46:12,360 --> 00:46:16,080
Speaker 1: that reality is going to be there on some level

864
00:46:16,160 --> 00:46:19,080
Speaker 1: or another for you. And I think That's why, while

865
00:46:19,120 --> 00:46:22,680
Speaker 1: you do find quadrupedal kaiju, a lot of kaiju are

866
00:46:22,719 --> 00:46:25,400
Speaker 1: going to be bipedal, or there's going to be some

867
00:46:25,400 --> 00:46:29,239
Speaker 1: sort of arrangement that is bipedal in basic structure and

868
00:46:29,280 --> 00:46:31,920
Speaker 1: in its actual performance elements.

869
00:46:32,200 --> 00:46:35,560
Speaker 2: I totally agree with what you're saying. The while the

870
00:46:35,719 --> 00:46:39,880
Speaker 2: characterization of Godzilla did change a lot over time, so

871
00:46:40,080 --> 00:46:43,640
Speaker 2: certainly they found characteristics of Godzilla much later on that

872
00:46:43,680 --> 00:46:46,400
Speaker 2: we're not there in the first movie. You can see

873
00:46:46,440 --> 00:46:51,200
Speaker 2: how the bipedal Godzilla turns into more of this protector

874
00:46:51,239 --> 00:46:55,359
Speaker 2: sort of human, you know, personality possessing character later on.

875
00:46:56,200 --> 00:46:59,160
Speaker 2: It's hard to imagine that with the Ritosaurus in this movie.

876
00:46:59,160 --> 00:47:02,680
Speaker 2: It's hard to imagine this thing ever becoming like having

877
00:47:02,680 --> 00:47:05,680
Speaker 2: a human intellect in the way that later Godzilla seems too.

878
00:47:06,080 --> 00:47:09,480
Speaker 1: Yeah, yeah, I agree, But already the monster looks great here,

879
00:47:09,520 --> 00:47:11,880
Speaker 1: and in general, I just want to say that this

880
00:47:12,080 --> 00:47:16,480
Speaker 1: whole opening sequence in this snowy wasteland with a monster

881
00:47:16,600 --> 00:47:19,680
Speaker 1: stalking and you know, with me behind a fair amount

882
00:47:19,680 --> 00:47:22,680
Speaker 1: of like blizzardy weather, just looks really good. And we

883
00:47:22,800 --> 00:47:25,640
Speaker 1: get already getting a nice sense of tension and horror here.

884
00:47:26,239 --> 00:47:29,719
Speaker 2: Right, So the scientist Richie sees this beast and then

885
00:47:29,800 --> 00:47:32,280
Speaker 2: screams and falls backwards into a crevasse.

886
00:47:32,560 --> 00:47:36,440
Speaker 1: Yeah, right on his butt too. Got some mild laughter

887
00:47:36,480 --> 00:47:39,000
Speaker 1: from the audience, but also like it's it was an

888
00:47:39,000 --> 00:47:40,799
Speaker 1: impressive stunt, so it's like that looks like it hurt.

889
00:47:41,160 --> 00:47:44,960
Speaker 2: Yeah. So eventually the other scientist, Tom Nesbit, comes to

890
00:47:45,000 --> 00:47:48,040
Speaker 2: the rescue and he finds his colleague granting deliriously about

891
00:47:48,040 --> 00:47:51,880
Speaker 2: a prehistoric monster. And then after climbing back out of

892
00:47:51,920 --> 00:47:55,000
Speaker 2: the crevass, Nesbit sees it too. He turns and he

893
00:47:55,040 --> 00:47:58,239
Speaker 2: sees the creature and the beast snarls as it kind

894
00:47:58,239 --> 00:48:01,239
Speaker 2: of whips over the lip of a nearby cliff, and

895
00:48:01,320 --> 00:48:05,080
Speaker 2: with its body it causes an avalanche that buries the

896
00:48:05,160 --> 00:48:10,319
Speaker 2: other scientist, Professor Ritchie in Ice. Then sometime later we

897
00:48:10,360 --> 00:48:12,840
Speaker 2: see Professor Nesbitt brought back to the base by a

898
00:48:12,920 --> 00:48:16,239
Speaker 2: rescue team, and the doctors conclude that he has to

899
00:48:16,280 --> 00:48:18,799
Speaker 2: be rushed back to a hospital in the States immediately,

900
00:48:19,560 --> 00:48:22,080
Speaker 2: So he's going to be taken back to New York eventually.

901
00:48:22,160 --> 00:48:24,080
Speaker 2: And then while they're waiting on a plane to take

902
00:48:24,120 --> 00:48:26,800
Speaker 2: him away, Nesbit mutters in his sleep about a monster.

903
00:48:27,360 --> 00:48:29,399
Speaker 2: I do think it's funny that. I don't know what

904
00:48:29,560 --> 00:48:33,480
Speaker 2: was New York the nearest hospital to where they I'm

905
00:48:33,520 --> 00:48:35,960
Speaker 2: surprised they didn't take him to like a base hospital,

906
00:48:36,000 --> 00:48:36,759
Speaker 2: so I don't know.

907
00:48:37,080 --> 00:48:39,120
Speaker 1: It seems like there would have been another option. But no,

908
00:48:39,440 --> 00:48:40,879
Speaker 1: we can take the plot right to New York.

909
00:48:41,120 --> 00:48:45,040
Speaker 2: Yeah, okay, So we're in New York City now. At

910
00:48:45,080 --> 00:48:49,360
Speaker 2: the hospital, Nesbitt seems to be making a good physical recovery. Unfortunately,

911
00:48:49,480 --> 00:48:52,319
Speaker 2: he is suffering from what the staff believed to be

912
00:48:52,400 --> 00:48:56,640
Speaker 2: traumatic hallucinations, and they bring in a psychiatrist named doctor

913
00:48:56,760 --> 00:49:00,439
Speaker 2: Ingersoll to talk some sense into this raving madman. So

914
00:49:00,960 --> 00:49:04,480
Speaker 2: Ingersoll goes on a monologue about how like he sits

915
00:49:04,520 --> 00:49:07,120
Speaker 2: down next to Nesbit's hospital bed and he's like, let

916
00:49:07,120 --> 00:49:09,680
Speaker 2: me tell you about some other monsters people have claimed

917
00:49:09,800 --> 00:49:14,120
Speaker 2: to exist. There is the famous monster of Scotland, you know,

918
00:49:14,160 --> 00:49:17,560
Speaker 2: the lake Monster of Scotland, the loch Lomund Monster.

919
00:49:19,200 --> 00:49:21,960
Speaker 1: Oh yeah, yeah, I ever heard of that one generic brand?

920
00:49:23,080 --> 00:49:23,680
Speaker 1: Is that? Really?

921
00:49:24,040 --> 00:49:25,480
Speaker 2: I don't know. I tried to look it up, and

922
00:49:25,520 --> 00:49:28,120
Speaker 2: I was confused about whether the only references I was

923
00:49:28,160 --> 00:49:31,120
Speaker 2: seeing were from this movie or whether it's independently a thing.

924
00:49:31,200 --> 00:49:33,520
Speaker 2: I didn't have time to investigate. Fully, I don't know.

925
00:49:33,560 --> 00:49:35,319
Speaker 1: You know, it's been a long time since I've read

926
00:49:35,360 --> 00:49:38,239
Speaker 1: into many monsters of the Loch. But I mean, I

927
00:49:38,320 --> 00:49:42,040
Speaker 1: do know that there are various lake moderate monster traditions

928
00:49:42,480 --> 00:49:44,560
Speaker 1: in the British Isles, so I would not be shocked

929
00:49:44,600 --> 00:49:48,680
Speaker 1: if this were referring to some legitimate tradition or an

930
00:49:48,680 --> 00:49:49,359
Speaker 1: alternate name.

931
00:49:49,880 --> 00:49:52,000
Speaker 2: Could be a thing, but I'd never heard of it.

932
00:49:52,520 --> 00:49:55,960
Speaker 2: The other thing he brings up are those green serpents

933
00:49:56,040 --> 00:49:58,000
Speaker 2: off the coast of Ireland, and I was like, I

934
00:49:58,040 --> 00:49:59,720
Speaker 2: don't know what that is, but that makes me think.

935
00:49:59,600 --> 00:50:02,279
Speaker 1: Of gorg Oh yeah, yeah, foreshadowing.

936
00:50:02,719 --> 00:50:06,279
Speaker 2: So Colonel Jack Evans, remember the colonel. He shows up

937
00:50:06,320 --> 00:50:08,640
Speaker 2: at the hospital to convince his friend that there was

938
00:50:08,680 --> 00:50:10,680
Speaker 2: no monster. He says, he went out and he tried

939
00:50:10,680 --> 00:50:13,000
Speaker 2: to reconstruct the whole scene and there was no trace

940
00:50:13,040 --> 00:50:17,400
Speaker 2: of an animal like Nesbit described. But Nesbit is he's adamant.

941
00:50:17,440 --> 00:50:20,080
Speaker 2: He says, I was not hallucinating. The monster was there.

942
00:50:20,200 --> 00:50:22,120
Speaker 2: And you know what, there was a blizzard, so the

943
00:50:22,160 --> 00:50:24,520
Speaker 2: snow covered up the tracks and everything. That's why you're

944
00:50:24,560 --> 00:50:28,840
Speaker 2: not finding the evidence. Did you notice this set? I

945
00:50:28,880 --> 00:50:31,000
Speaker 2: was like, what is with the walls and the door,

946
00:50:31,239 --> 00:50:33,839
Speaker 2: like there's crown molding in here. It just didn't look

947
00:50:33,880 --> 00:50:36,080
Speaker 2: like a hospital room. It looked like somebody's house.

948
00:50:36,480 --> 00:50:38,480
Speaker 1: Yeah, yeah, I did look ornate.

949
00:50:39,440 --> 00:50:44,080
Speaker 2: Anyway, we eventually start getting attack scenes where the creature

950
00:50:44,719 --> 00:50:47,800
Speaker 2: has made it out into the world and is attacking boats.

951
00:50:48,280 --> 00:50:50,560
Speaker 2: I think there is a scene very much like what's

952
00:50:50,560 --> 00:50:53,400
Speaker 2: coming up, a scene like this in the original Godzilla.

953
00:50:53,520 --> 00:50:57,120
Speaker 2: So it's a dark night, there's moonlight sparkling on the seawater.

954
00:50:57,480 --> 00:51:00,680
Speaker 2: You've got a grizzled boat captain and his rum soaked

955
00:51:00,680 --> 00:51:03,800
Speaker 2: first mate, and they're just staring down the dark waves.

956
00:51:03,800 --> 00:51:06,799
Speaker 2: And then suddenly the beast attacks the boat, kind of

957
00:51:06,840 --> 00:51:09,560
Speaker 2: fumes up out of the water, filled with hate, has

958
00:51:09,600 --> 00:51:13,160
Speaker 2: this horrible cruel look in its eye, and it smashes

959
00:51:13,200 --> 00:51:16,560
Speaker 2: the boat to pieces. And then meanwhile we cut back

960
00:51:16,600 --> 00:51:21,360
Speaker 2: to the hospital. Nesbit is getting his newspaper in the hospital.

961
00:51:22,000 --> 00:51:24,320
Speaker 2: He asks the nurse, you know what's in the paper today,

962
00:51:24,360 --> 00:51:27,360
Speaker 2: and the nurse says, death in politics. The comics page

963
00:51:27,400 --> 00:51:30,680
Speaker 2: is the only thing that makes sense anymore in this

964
00:51:30,760 --> 00:51:31,759
Speaker 2: crazy world.

965
00:51:32,680 --> 00:51:35,120
Speaker 1: Give me that, Marmaduke. Yeah, the only thing that's going

966
00:51:35,160 --> 00:51:36,320
Speaker 1: to make me feel better.

967
00:51:36,239 --> 00:51:39,520
Speaker 2: The only way to become saying once again is Marmaduke

968
00:51:40,000 --> 00:51:44,080
Speaker 2: gasoline ally, but he does not take her instruction. He

969
00:51:44,120 --> 00:51:46,560
Speaker 2: starts looking at the news part and what do you know,

970
00:51:46,680 --> 00:51:51,120
Speaker 2: there's a headline that says sea serpent reported off grand Banks. Well,

971
00:51:51,239 --> 00:51:53,960
Speaker 2: Nesbit is convinced. Now he's like, see, I told you

972
00:51:54,040 --> 00:51:57,200
Speaker 2: there is a sea serpent. That's the dinosaur I saw.

973
00:51:57,560 --> 00:52:00,840
Speaker 2: So Nesbit goes to the nearby Natural History Museum to

974
00:52:00,840 --> 00:52:04,080
Speaker 2: meet a new character. This is Professor Thurgood Elson, a

975
00:52:04,120 --> 00:52:10,319
Speaker 2: palaeontologist played by Cecil Kellaway. Nesbit wants Elson to authorize

976
00:52:10,360 --> 00:52:13,680
Speaker 2: an investigation to see if the creature awakened by the

977
00:52:13,719 --> 00:52:17,080
Speaker 2: atomic test in the North was a one hundred million

978
00:52:17,160 --> 00:52:22,120
Speaker 2: year old dinosaur. Elson quite reasonably has some objections to this.

979
00:52:22,640 --> 00:52:26,040
Speaker 2: He says, reports of sea monsters are very common, and

980
00:52:26,160 --> 00:52:29,640
Speaker 2: we don't believe all of them. Why do we have

981
00:52:29,719 --> 00:52:32,120
Speaker 2: reason to think that this one is the one that's true?

982
00:52:33,200 --> 00:52:36,399
Speaker 2: He says, dinosaurs have been extinct for millions of years.

983
00:52:36,440 --> 00:52:38,640
Speaker 2: It is not possible for them to still be alive.

984
00:52:39,680 --> 00:52:43,239
Speaker 2: And Nesbit says, but what if one was frozen in

985
00:52:43,360 --> 00:52:47,040
Speaker 2: ice the whole time? Don't bears hibernate over winter in

986
00:52:47,080 --> 00:52:50,600
Speaker 2: a state of suspended animation. Elson says, yes, they do

987
00:52:50,800 --> 00:52:53,840
Speaker 2: for one winter on food they have stored as body

988
00:52:53,840 --> 00:52:56,760
Speaker 2: fat from the previous summer. A hibernation of one hundred

989
00:52:56,800 --> 00:52:58,880
Speaker 2: million years would take quite an appetite.

990
00:52:59,200 --> 00:53:02,400
Speaker 1: It really sound like the screenwriters are talking themselves out

991
00:53:02,400 --> 00:53:03,399
Speaker 1: of the whole premise here.

992
00:53:03,560 --> 00:53:06,600
Speaker 2: Yeah. Yeah, like the professor, the skeptical professors make a

993
00:53:06,600 --> 00:53:10,160
Speaker 2: lot of sense. But then from across the room, we

994
00:53:10,239 --> 00:53:12,640
Speaker 2: suddenly cut to a different character. There's a woman who's

995
00:53:12,640 --> 00:53:15,400
Speaker 2: been standing against the wall in this imposing looking kind

996
00:53:15,440 --> 00:53:18,680
Speaker 2: of trench coat with this like cape around it, and

997
00:53:18,719 --> 00:53:23,000
Speaker 2: she butts in. She says, Professor Elson, isn't it true

998
00:53:23,600 --> 00:53:27,680
Speaker 2: that ten thousand year old mammoths have been found perfectly

999
00:53:27,719 --> 00:53:31,560
Speaker 2: preserved in ice, with fur still intact and meat still edible?

1000
00:53:32,480 --> 00:53:36,440
Speaker 2: So we're gonna learn this is Elson's assistant, Lee Hunter's

1001
00:53:36,880 --> 00:53:42,959
Speaker 2: she's also a paleontologist, and Elson says yes, But nevertheless,

1002
00:53:43,080 --> 00:53:46,120
Speaker 2: I do not buy nesbit story. Dinosaurs don't freeze for

1003
00:53:46,239 --> 00:53:48,040
Speaker 2: millions of years and then come back to life.

1004
00:53:48,360 --> 00:53:52,160
Speaker 1: It's been a while since I've researched mammoth that remains

1005
00:53:52,200 --> 00:53:54,680
Speaker 1: found in the purple frost and so forth, But I

1006
00:53:54,719 --> 00:53:59,560
Speaker 1: forget details about the meat being edible, But did they

1007
00:53:59,600 --> 00:54:00,200
Speaker 1: eat the meat?

1008
00:54:00,680 --> 00:54:03,880
Speaker 2: I mean, technically, is anything edible if somebody will eat it?

1009
00:54:04,040 --> 00:54:06,480
Speaker 1: And yeah, I guess a note to self to do

1010
00:54:06,560 --> 00:54:08,160
Speaker 1: more research on mammoth jerkey.

1011
00:54:08,600 --> 00:54:10,279
Speaker 2: I feel like this has come up at some point.

1012
00:54:10,320 --> 00:54:13,880
Speaker 2: Didn't we talk about a famous dinner at you like

1013
00:54:13,960 --> 00:54:16,839
Speaker 2: the Explorers Club in New York where they where they

1014
00:54:17,000 --> 00:54:20,160
Speaker 2: ate frozen mammoth remains or so that's.

1015
00:54:20,080 --> 00:54:23,040
Speaker 1: Ringing a bell. That's ringing a bell. Okay, yeah, I

1016
00:54:23,040 --> 00:54:23,879
Speaker 1: think you may be right.

1017
00:54:31,920 --> 00:54:35,480
Speaker 2: So Nesbit leaves, and then Lee Hunter here tells Elson

1018
00:54:36,480 --> 00:54:39,040
Speaker 2: when he first came to this country, I attended his

1019
00:54:39,120 --> 00:54:42,680
Speaker 2: lectures on the curative properties of the radioactive isotope. He's

1020
00:54:42,719 --> 00:54:45,920
Speaker 2: a brilliant man. Isn't his story in any way feasible?

1021
00:54:46,080 --> 00:54:48,040
Speaker 2: So she's trying to find a way to get there,

1022
00:54:48,640 --> 00:54:51,439
Speaker 2: but Elson says, nope, sorry. I like him, I want

1023
00:54:51,440 --> 00:54:54,080
Speaker 2: to help him, but I just don't believe it. And

1024
00:54:54,120 --> 00:54:56,960
Speaker 2: then also throughout the scene, they're talking about how Elson

1025
00:54:57,080 --> 00:54:59,799
Speaker 2: is about to take his first vacation ever. I think

1026
00:55:00,000 --> 00:55:02,959
Speaker 2: he's never been on vacation before. He's always been down

1027
00:55:03,000 --> 00:55:04,920
Speaker 2: in his work, but now he's about to go to

1028
00:55:05,120 --> 00:55:06,120
Speaker 2: somewhere on holiday.

1029
00:55:06,200 --> 00:55:09,239
Speaker 1: Yeah, those vacation days rolled over. So he's about to Yeah,

1030
00:55:09,480 --> 00:55:11,560
Speaker 1: he's about to go to I don't know, oh man,

1031
00:55:11,600 --> 00:55:16,480
Speaker 1: Panama City for twelve months, I don't know, three years

1032
00:55:16,480 --> 00:55:17,080
Speaker 1: of vacation.

1033
00:55:18,400 --> 00:55:21,240
Speaker 2: So back at the hospital, Nesbit is licking his wounds.

1034
00:55:21,800 --> 00:55:24,360
Speaker 2: And there's a funny thing that We've got radio announcers

1035
00:55:24,520 --> 00:55:26,319
Speaker 2: that say a lot of funny stuff in this movie.

1036
00:55:26,960 --> 00:55:29,919
Speaker 2: Hear what the radio announcer says is this is your

1037
00:55:30,000 --> 00:55:33,040
Speaker 2: hour of mirth and melody. They say music has charms

1038
00:55:33,080 --> 00:55:35,600
Speaker 2: to soothe the savage beast. They ought to try it

1039
00:55:35,680 --> 00:55:39,360
Speaker 2: on these sea monsters we keep hearing about. From Marquette, Canada.

1040
00:55:39,400 --> 00:55:42,080
Speaker 2: Today comes word of a second ship that was destroyed

1041
00:55:42,080 --> 00:55:45,400
Speaker 2: by a beast. According to a captain, George LeMay, he

1042
00:55:45,520 --> 00:55:49,360
Speaker 2: really ought to stop smoking that stuff and try Virginia Golds,

1043
00:55:49,440 --> 00:55:53,680
Speaker 2: the sponsor of today's probably you know, so, I wonder

1044
00:55:53,680 --> 00:55:55,799
Speaker 2: what that's rephras is in nineteen fifty three and he's

1045
00:55:55,840 --> 00:55:59,240
Speaker 2: talking about smoking that stuff. Was that common parlance then about?

1046
00:55:59,239 --> 00:56:01,759
Speaker 1: Oh? I don't know. Oh, you know, I will say

1047
00:56:01,800 --> 00:56:05,080
Speaker 1: that one of the radio announcers in the film, uncredited

1048
00:56:05,160 --> 00:56:06,880
Speaker 1: is MERV Griffin. But I don't know if this is

1049
00:56:06,920 --> 00:56:09,279
Speaker 1: merv Griffin in this point at this point or not.

1050
00:56:09,800 --> 00:56:15,560
Speaker 2: Could be so. Lee Hunter, the paleontologist, comes to Nesbit's

1051
00:56:15,560 --> 00:56:18,960
Speaker 2: office to follow up, and she talks about how she

1052
00:56:19,120 --> 00:56:22,799
Speaker 2: is sympathetic to his story because she says, I have

1053
00:56:22,880 --> 00:56:26,840
Speaker 2: a deep, abiding faith in the work of scientists, and

1054
00:56:26,880 --> 00:56:30,560
Speaker 2: I was like, is this the work of scientists? It

1055
00:56:30,600 --> 00:56:33,680
Speaker 2: sounds like a single scientist claiming he saw a monster?

1056
00:56:33,880 --> 00:56:38,120
Speaker 1: Is that what we don't say? Trust all scientists is not.

1057
00:56:38,800 --> 00:56:40,360
Speaker 1: That's not how science works.

1058
00:56:40,320 --> 00:56:42,839
Speaker 2: Right, to be clear, No trust in science. Yeah, it's

1059
00:56:42,840 --> 00:56:45,759
Speaker 2: about the process, not so much about like anything a

1060
00:56:45,960 --> 00:56:47,560
Speaker 2: scientist says is true.

1061
00:56:47,680 --> 00:56:51,320
Speaker 1: A scientist has a very strong opinion that he cannot

1062
00:56:51,440 --> 00:56:57,239
Speaker 1: prove about something outside of his particular discipline in science. Yeah,

1063
00:56:57,320 --> 00:56:58,480
Speaker 1: let's believe him.

1064
00:56:58,360 --> 00:57:03,560
Speaker 2: Absolutely anyway, So Hunter and Nesbit decide to work together.

1065
00:57:04,120 --> 00:57:07,040
Speaker 2: She has Nesbit tried to identify the animal he saw

1066
00:57:07,080 --> 00:57:10,960
Speaker 2: from illustrations of dinosaurs, and I should note that all

1067
00:57:11,000 --> 00:57:14,719
Speaker 2: of these would be artists interpretations based on fossil skeletons,

1068
00:57:14,760 --> 00:57:20,640
Speaker 2: not like photos shots. Y. Yeah, but they're working over it.

1069
00:57:20,680 --> 00:57:24,400
Speaker 2: And she she brings coffee and Hunter says, careful, I

1070
00:57:24,440 --> 00:57:28,600
Speaker 2: make coffee strong enough to compete in the Olympics, and

1071
00:57:28,640 --> 00:57:30,919
Speaker 2: they have a kind of flirty chat while they're doing

1072
00:57:30,960 --> 00:57:35,920
Speaker 2: this work. So Hunter describes how she became Elson's assistant. Basically,

1073
00:57:36,080 --> 00:57:38,720
Speaker 2: she she's like, I was his most annoying student. I

1074
00:57:38,760 --> 00:57:41,680
Speaker 2: was always challenging him and arguing with him. But he

1075
00:57:41,720 --> 00:57:44,360
Speaker 2: was a good teacher and he respected her grit. So

1076
00:57:44,440 --> 00:57:47,080
Speaker 2: he's like, come on, you can be my assistant. And

1077
00:57:47,120 --> 00:57:50,880
Speaker 2: so clearly they have a very positive working relationship. But

1078
00:57:51,000 --> 00:57:54,720
Speaker 2: then they start but then Nesbit and a Hunter start

1079
00:57:54,800 --> 00:57:58,520
Speaker 2: kind of flirting with each other. Nesbit says, between us,

1080
00:57:58,560 --> 00:58:01,120
Speaker 2: we span the ages. You deal with the past and

1081
00:58:01,240 --> 00:58:05,280
Speaker 2: I with the future. And then she says how uncomplicated

1082
00:58:05,320 --> 00:58:08,120
Speaker 2: the past was, and he says, and how bright the

1083
00:58:08,160 --> 00:58:09,000
Speaker 2: future can be.

1084
00:58:09,920 --> 00:58:13,000
Speaker 1: All right, Just so, yeah, the match made in heaven.

1085
00:58:13,320 --> 00:58:15,880
Speaker 1: Atomic science and paleontology.

1086
00:58:15,920 --> 00:58:18,920
Speaker 2: Okay, So they keep digging through all these sketches of

1087
00:58:18,960 --> 00:58:21,720
Speaker 2: dinosaurs and then eventually they land on one. He pulls

1088
00:58:21,720 --> 00:58:23,760
Speaker 2: one out and he's like, this is it. This is

1089
00:58:23,800 --> 00:58:26,520
Speaker 2: the creature I saw. And I thought it's funny because

1090
00:58:26,560 --> 00:58:29,560
Speaker 2: the one he picks out is like a way more

1091
00:58:29,720 --> 00:58:32,960
Speaker 2: vivid illustration than all the others. It's like a water

1092
00:58:33,040 --> 00:58:35,480
Speaker 2: color and all the others are sketches with pencil.

1093
00:58:36,000 --> 00:58:39,040
Speaker 1: Yeah. Yeah, it's like the most impressive of the stills

1094
00:58:39,040 --> 00:58:42,320
Speaker 1: from the art department here, like this one's in color.

1095
00:58:42,360 --> 00:58:43,840
Speaker 1: Of course, this is it. The one I saw was

1096
00:58:43,880 --> 00:58:44,320
Speaker 1: in color.

1097
00:58:45,120 --> 00:58:49,800
Speaker 2: So they identified the dinosaur as the Retosaurus or the Raidosaurus.

1098
00:58:50,000 --> 00:58:54,200
Speaker 2: And to be clear, this is not a real dinosaur.

1099
00:58:53,760 --> 00:58:58,040
Speaker 1: Correct and shockingly has not become a dinosaur. You'd think somebody,

1100
00:58:59,680 --> 00:59:02,560
Speaker 1: I don't know, it's different in different scientific disciplines, but

1101
00:59:02,680 --> 00:59:05,240
Speaker 1: nobody has been able to push through this is the

1102
00:59:05,320 --> 00:59:07,439
Speaker 1: name of a newly discovered dinosaur either.

1103
00:59:08,360 --> 00:59:12,760
Speaker 2: So when they find this picture, Hunter is convinced and

1104
00:59:12,800 --> 00:59:15,520
Speaker 2: Nesbit's like, I know what it is now, and they

1105
00:59:15,520 --> 00:59:18,120
Speaker 2: get the idea, we could prove it if we could

1106
00:59:18,200 --> 00:59:23,240
Speaker 2: get Captain George LeMay from this boat in Canada to like,

1107
00:59:23,560 --> 00:59:25,480
Speaker 2: if we could cross reference it with him, and he

1108
00:59:25,480 --> 00:59:27,760
Speaker 2: could say, also, that's the thing he saw. That would

1109
00:59:27,800 --> 00:59:29,840
Speaker 2: prove it. I don't know if that would prove it,

1110
00:59:29,920 --> 00:59:32,560
Speaker 2: but that's what they believe. So they call him on

1111
00:59:32,600 --> 00:59:35,520
Speaker 2: the phone and U and Nesbit has to speak French

1112
00:59:35,560 --> 00:59:38,080
Speaker 2: to this guy, so there's a lot of wei wei.

1113
00:59:38,160 --> 00:59:40,240
Speaker 2: But then the captain doesn't want to hear about it.

1114
00:59:40,280 --> 00:59:43,120
Speaker 2: So he hangs up, and then I was confused about this.

1115
00:59:43,200 --> 00:59:46,200
Speaker 2: The telephone operator seems to know a lot about the

1116
00:59:46,240 --> 00:59:50,160
Speaker 2: captain's the operators like he's a stubborn old man, especially

1117
00:59:50,160 --> 00:59:51,720
Speaker 2: on the subject of sea serpents.

1118
00:59:52,560 --> 00:59:55,840
Speaker 1: Yeah, I mean, I guess this is how it used

1119
00:59:55,880 --> 00:59:59,680
Speaker 1: to work. I mean, my understanding of old timey telephones

1120
00:59:59,680 --> 01:00:03,200
Speaker 1: and tell phone operators is mostly based on what pops

1121
01:00:03,280 --> 01:00:06,000
Speaker 1: up in old movies and TV shows. But I guess

1122
01:00:06,000 --> 01:00:10,040
Speaker 1: it was like a local telephone operator who just knows everybody,

1123
01:00:10,480 --> 01:00:11,920
Speaker 1: listens into all the calls.

1124
01:00:12,000 --> 01:00:13,520
Speaker 2: She's been on the line the whole time.

1125
01:00:13,640 --> 01:00:15,440
Speaker 1: Yeah.

1126
01:00:15,480 --> 01:00:18,920
Speaker 2: Anyway, so after this, Nesbit flies up to Canada to

1127
01:00:18,920 --> 01:00:22,080
Speaker 2: meet le May in person. You might try calling a

1128
01:00:22,120 --> 01:00:22,960
Speaker 2: second time.

1129
01:00:22,800 --> 01:00:24,360
Speaker 1: First, but he ain't answering.

1130
01:00:24,760 --> 01:00:28,080
Speaker 2: Yeah, okay. He flies up, he can't find the captain,

1131
01:00:28,120 --> 01:00:30,640
Speaker 2: I think he's left town, but instead finds the other

1132
01:00:30,720 --> 01:00:33,400
Speaker 2: guy from the boat, the first mate. He is lying

1133
01:00:33,440 --> 01:00:37,160
Speaker 2: in a hospital bed surrounded by French nuns, and Nesbit

1134
01:00:37,240 --> 01:00:40,000
Speaker 2: goes up to him and he's like, look, buddy, I

1135
01:00:40,040 --> 01:00:41,720
Speaker 2: promise you if you come to New York, there are

1136
01:00:41,760 --> 01:00:43,680
Speaker 2: going to be a lot of people who believe your story.

1137
01:00:44,840 --> 01:00:47,440
Speaker 2: So Nesbit brings the boat guy to New York to

1138
01:00:47,520 --> 01:00:52,120
Speaker 2: meet Elson, and Elson is he has this talk with

1139
01:00:52,480 --> 01:00:55,720
Speaker 2: Lee Hunter where he's like, well, I could lose my

1140
01:00:55,840 --> 01:00:58,800
Speaker 2: job and my reputation for listening to this, but Lee,

1141
01:00:59,000 --> 01:01:01,560
Speaker 2: I don't want to mess up budding romance, so I'm

1142
01:01:01,600 --> 01:01:05,480
Speaker 2: gonna hear him out as a favor to you. And

1143
01:01:05,520 --> 01:01:09,640
Speaker 2: then also he reads this historical anecdote about a professor

1144
01:01:09,760 --> 01:01:13,040
Speaker 2: from the eighteenth century who was disciplined by the Royal

1145
01:01:13,120 --> 01:01:16,440
Speaker 2: Society because he claimed he saw leprechauns uprooting of venerated

1146
01:01:16,480 --> 01:01:22,320
Speaker 2: campus oak. So Nesbit arrives with his witness and Nesbit

1147
01:01:22,400 --> 01:01:25,200
Speaker 2: when he gets there, he's already gloating about how you know,

1148
01:01:25,240 --> 01:01:28,040
Speaker 2: they tried to put Galileo in jail for saying the

1149
01:01:28,120 --> 01:01:30,560
Speaker 2: Earth was round, but it turns out he was right,

1150
01:01:31,080 --> 01:01:33,560
Speaker 2: and I'm sorry to be pedantic. That is not what

1151
01:01:33,680 --> 01:01:37,360
Speaker 2: Galileo got in trouble, for everybody knew the Earth was round.

1152
01:01:38,560 --> 01:01:43,200
Speaker 2: It was about whether the Earth goes around the Sun anyway.

1153
01:01:43,600 --> 01:01:46,600
Speaker 2: So this is also one of the cases where there's

1154
01:01:46,640 --> 01:01:50,360
Speaker 2: more like skeptic versus believer dialogue here, And it's one

1155
01:01:50,360 --> 01:01:53,320
Speaker 2: of those times in movies where the skeptic that we're

1156
01:01:53,320 --> 01:01:56,720
Speaker 2: supposed to be rooting against makes good points, and the

1157
01:01:56,800 --> 01:01:59,160
Speaker 2: hero that whose side were supposed to be on keeps

1158
01:01:59,160 --> 01:02:02,360
Speaker 2: saying things that don't make sense or are logical fallacies.

1159
01:02:03,520 --> 01:02:07,000
Speaker 2: So they have this exchange where Nesbit's like, if a

1160
01:02:07,080 --> 01:02:10,240
Speaker 2: particle of the sun broke off and flew into space,

1161
01:02:10,800 --> 01:02:13,600
Speaker 2: I wouldn't consider the man who brought that news to

1162
01:02:13,680 --> 01:02:17,240
Speaker 2: be insane. As a scientist, I would examine every facet

1163
01:02:17,280 --> 01:02:21,880
Speaker 2: of it. Uh, And then Elson makes the reasonable points like, yeah,

1164
01:02:21,920 --> 01:02:24,000
Speaker 2: but that would we would know. We would know about

1165
01:02:24,000 --> 01:02:26,160
Speaker 2: that because people would see it, like you would have

1166
01:02:26,240 --> 01:02:30,760
Speaker 2: direct evidence of it. And then Nesbit says if it

1167
01:02:30,800 --> 01:02:33,840
Speaker 2: broke off, it would make no difference if one saw it,

1168
01:02:34,000 --> 01:02:35,880
Speaker 2: or if no one at all saw it, it would

1169
01:02:35,920 --> 01:02:39,920
Speaker 2: still be the same as the monster. It still is.

1170
01:02:40,880 --> 01:02:43,520
Speaker 2: And I was just thinking, wait, I mean, obviously things

1171
01:02:43,640 --> 01:02:46,120
Speaker 2: are whether somebody sees them or not. But the question

1172
01:02:46,320 --> 01:02:51,200
Speaker 2: is does Elson have any evidence, like did yeah, other

1173
01:02:51,280 --> 01:02:52,800
Speaker 2: than the sky just saying.

1174
01:02:52,520 --> 01:02:55,960
Speaker 1: So yeah, so far he has nothing concrete to present here, Right,

1175
01:02:56,280 --> 01:02:59,160
Speaker 1: he saw it. We have another guy who may have

1176
01:02:59,280 --> 01:03:02,920
Speaker 1: seen it, and that said no footprints, no, no no

1177
01:03:03,000 --> 01:03:03,880
Speaker 1: body nothing.

1178
01:03:04,240 --> 01:03:09,000
Speaker 2: Nesbit's just within like not understanding the nature of the critique.

1179
01:03:09,760 --> 01:03:12,640
Speaker 2: But anyway, okay, things are about to change because this

1180
01:03:12,720 --> 01:03:15,280
Speaker 2: guy from Canada comes into the room, the guy from

1181
01:03:15,320 --> 01:03:19,280
Speaker 2: the boat. He is shown the drawings of the dinosaurs

1182
01:03:19,320 --> 01:03:23,040
Speaker 2: and he picks out the same drawing that Nesbit did.

1183
01:03:23,760 --> 01:03:27,040
Speaker 2: Elson is immediately a convert. He's like, oh, okay, let's

1184
01:03:27,040 --> 01:03:30,720
Speaker 2: call the president. I think there's a dinosaur. And so

1185
01:03:30,760 --> 01:03:33,120
Speaker 2: they put Elson on the phone with Colonel Evans and

1186
01:03:33,160 --> 01:03:35,840
Speaker 2: he says, this is a quote. I'm convinced that this

1187
01:03:35,960 --> 01:03:39,080
Speaker 2: creature exists, and I'm willing to stake my reputation on

1188
01:03:39,480 --> 01:03:41,040
Speaker 2: the one eighty is hilarious.

1189
01:03:42,200 --> 01:03:44,880
Speaker 1: Yeah, yeah, two people pick the same photo. What are

1190
01:03:44,920 --> 01:03:46,840
Speaker 1: the chances? What are the same chances? The same picture

1191
01:03:46,920 --> 01:03:47,760
Speaker 1: other not photo.

1192
01:03:48,080 --> 01:03:50,720
Speaker 2: Now, after this we get to a great scene, which

1193
01:03:50,760 --> 01:03:54,680
Speaker 2: is the attack on the lighthouse. Yes we mentioned this earlier,

1194
01:03:54,880 --> 01:03:57,800
Speaker 2: but whatever you're calling it. The dinosaur, the monster, the lizard,

1195
01:03:57,920 --> 01:04:01,120
Speaker 2: the retosaurus. It crawls up up on this rocky shore

1196
01:04:01,200 --> 01:04:04,240
Speaker 2: in Maine and it's up there on the boulders and

1197
01:04:04,280 --> 01:04:06,640
Speaker 2: we see the lighthouse in silhouette. They've got like a

1198
01:04:06,680 --> 01:04:09,520
Speaker 2: miniature model of it against the you know, the the

1199
01:04:09,560 --> 01:04:12,600
Speaker 2: black sky in the background with the light on up top,

1200
01:04:13,000 --> 01:04:15,760
Speaker 2: and then we cut inside and we have the two

1201
01:04:15,840 --> 01:04:19,160
Speaker 2: lighthouse keepers who are talking about their favorite body songs.

1202
01:04:19,200 --> 01:04:22,200
Speaker 2: One guy's like, I like songs about gin and women

1203
01:04:22,400 --> 01:04:24,560
Speaker 2: and another ones like, oh, I like the you know,

1204
01:04:24,640 --> 01:04:28,280
Speaker 2: the sad sad tales. Uh. And you know they're having

1205
01:04:28,280 --> 01:04:30,960
Speaker 2: a back and forth, and then suddenly this monster is outside,

1206
01:04:31,000 --> 01:04:35,080
Speaker 2: like raw and it looks in through the window. So

1207
01:04:35,200 --> 01:04:37,160
Speaker 2: there's like a shot where you see it's face through

1208
01:04:37,200 --> 01:04:41,080
Speaker 2: the glass and there's rain falling outside, and it's very

1209
01:04:41,120 --> 01:04:43,640
Speaker 2: spooky because the monster in this shot looks like a

1210
01:04:43,760 --> 01:04:46,040
Speaker 2: snake with fangs. Did you notice that?

1211
01:04:46,320 --> 01:04:49,920
Speaker 1: Yeah? Yeah. And indeed, these scenes I think are this

1212
01:04:50,000 --> 01:04:53,360
Speaker 1: scene and the Arctic scene are both key because again,

1213
01:04:53,400 --> 01:04:56,240
Speaker 1: the most iconic sequences from this film are rampaging and

1214
01:04:56,320 --> 01:04:58,840
Speaker 1: broad daylight in New York, and those are impressive sequences,

1215
01:04:59,160 --> 01:05:01,360
Speaker 1: but I think we get a bit more of a

1216
01:05:01,440 --> 01:05:04,720
Speaker 1: horror atmosphere in these two earlier sequences.

1217
01:05:05,000 --> 01:05:07,040
Speaker 2: I love the way it looks later when you can

1218
01:05:07,080 --> 01:05:09,200
Speaker 2: get a good look at it, but I agree in

1219
01:05:09,240 --> 01:05:13,040
Speaker 2: the earlier scenes it's much creepier. Yeah, So we get

1220
01:05:13,040 --> 01:05:16,000
Speaker 2: some different things going on. In the meantime, there is

1221
01:05:16,160 --> 01:05:19,720
Speaker 2: one scene where somebody goes to I think it's the Kernel,

1222
01:05:19,920 --> 01:05:24,160
Speaker 2: following up on Elson vouching for the idea of the dinosaur,

1223
01:05:24,200 --> 01:05:26,120
Speaker 2: and he goes to a military buddy of his and

1224
01:05:26,160 --> 01:05:27,960
Speaker 2: he's like, look, I want you to come and report

1225
01:05:28,040 --> 01:05:30,760
Speaker 2: back to me if there are any freak happenings. And

1226
01:05:30,800 --> 01:05:32,520
Speaker 2: the guy's like, okay, I'll let you know about free

1227
01:05:32,560 --> 01:05:34,160
Speaker 2: happenings and let.

1228
01:05:34,120 --> 01:05:37,040
Speaker 1: Me know about the freak happenings. Daddy O. I think

1229
01:05:37,040 --> 01:05:40,000
Speaker 1: it's an invite to a drum circle. Later and it's

1230
01:05:40,040 --> 01:05:41,840
Speaker 1: like no, no, no, I n monster.

1231
01:05:41,560 --> 01:05:46,720
Speaker 2: Attacks and then Nesbit and Hunter also they go to

1232
01:05:46,720 --> 01:05:49,040
Speaker 2: the ballet they get box seats.

1233
01:05:49,480 --> 01:05:51,880
Speaker 1: Yeah, we're in kind of a padding zone.

1234
01:05:51,640 --> 01:05:55,280
Speaker 2: In the picture at this point, but much like Godzilla,

1235
01:05:55,400 --> 01:05:58,480
Speaker 2: we see characters eventually figuring out they're kind of mapping

1236
01:05:58,600 --> 01:06:04,400
Speaker 2: contact points along along the sea coast and they notice

1237
01:06:04,520 --> 01:06:07,000
Speaker 2: that the monster is like it's here, and it's here,

1238
01:06:07,040 --> 01:06:09,640
Speaker 2: and it's here, and it's plotting a course for the metropolis.

1239
01:06:10,600 --> 01:06:12,880
Speaker 2: So they start talking about what can be done about

1240
01:06:12,880 --> 01:06:17,360
Speaker 2: this creature. Elson, the paleontologist, does not want the creature killed.

1241
01:06:17,840 --> 01:06:20,760
Speaker 2: He wants to study it to understand it, and he

1242
01:06:20,840 --> 01:06:23,240
Speaker 2: says I know what we'll do. I'm going to survey

1243
01:06:23,400 --> 01:06:26,600
Speaker 2: the undersea canyons where we think the monster is traveling.

1244
01:06:26,920 --> 01:06:29,360
Speaker 2: I'm going to do that in person in a diving

1245
01:06:29,440 --> 01:06:32,040
Speaker 2: bell to see it for myself. And if I see it,

1246
01:06:32,080 --> 01:06:34,600
Speaker 2: then I can think up a means of capture safely

1247
01:06:34,640 --> 01:06:35,320
Speaker 2: capturing it.

1248
01:06:35,840 --> 01:06:36,240
Speaker 1: Yeah.

1249
01:06:36,360 --> 01:06:40,800
Speaker 2: Now this leads to the diving bell slash Bathisphere scene,

1250
01:06:40,880 --> 01:06:42,600
Speaker 2: which is one of my favorite parts of the movie.

1251
01:06:42,640 --> 01:06:44,560
Speaker 2: I thought this whole sequence is great.

1252
01:06:44,760 --> 01:06:48,560
Speaker 1: Yeah, yeah, this is really tremendous, builds up some wonderful tension.

1253
01:06:48,600 --> 01:06:50,960
Speaker 1: You don't want anything bad to happen to the professor,

1254
01:06:51,320 --> 01:06:54,480
Speaker 1: even though certainly by modern standards, you know it's going

1255
01:06:54,520 --> 01:06:57,240
Speaker 1: to happen. And this also brings back memories from our

1256
01:06:57,280 --> 01:07:02,920
Speaker 1: twenty nineteen episodes about the Bathisphere, about the actual underwater

1257
01:07:03,000 --> 01:07:07,440
Speaker 1: exploration device, vehicle, enclosure, whatever you want to call it.

1258
01:07:08,200 --> 01:07:09,880
Speaker 1: So if you're interested in this sort of thing, go

1259
01:07:09,960 --> 01:07:12,080
Speaker 1: look those episodes up in the backlog.

1260
01:07:12,760 --> 01:07:15,280
Speaker 2: The short pitch on the Bathisphere, which is kind of

1261
01:07:15,320 --> 01:07:17,760
Speaker 2: horrifying if you think about it, is that it was

1262
01:07:17,960 --> 01:07:22,120
Speaker 2: a device used to observe deep underwater. It was not

1263
01:07:22,280 --> 01:07:25,760
Speaker 2: a powered submarine, it had no propulsion of its own.

1264
01:07:26,120 --> 01:07:30,720
Speaker 2: It was basically just an enclosed ball, metal ball that

1265
01:07:30,880 --> 01:07:34,560
Speaker 2: was dangled off of a boat, way way down deep

1266
01:07:34,560 --> 01:07:36,800
Speaker 2: into the water. So if that line falls, you're just

1267
01:07:36,920 --> 01:07:37,479
Speaker 2: going down.

1268
01:07:37,840 --> 01:07:40,280
Speaker 1: And he claimed to see in some cases things that

1269
01:07:40,920 --> 01:07:45,400
Speaker 1: have never been fully verified. So it's a really interesting story.

1270
01:07:45,920 --> 01:07:50,640
Speaker 2: Yeah, so Bathisphere very interesting. But I love the part

1271
01:07:50,760 --> 01:07:54,240
Speaker 2: in the movie here where there's this almost ceremonial ceiling

1272
01:07:54,360 --> 01:07:57,760
Speaker 2: of the old scientist inside the bell, and Elson is

1273
01:07:57,840 --> 01:08:01,520
Speaker 2: just giddy. He's not afraid all really, he's so excited

1274
01:08:01,560 --> 01:08:03,439
Speaker 2: about what he's going to get to see down there.

1275
01:08:03,760 --> 01:08:06,480
Speaker 1: To give him his coffee, right, he gets a kiss, yeah,

1276
01:08:06,520 --> 01:08:08,760
Speaker 1: and then seal him in. Yeah.

1277
01:08:08,840 --> 01:08:10,880
Speaker 2: They're trying to Yeah, they're trying to give him drama.

1278
01:08:10,920 --> 01:08:13,080
Speaker 2: Mean He's like, I don't need that. I don't need

1279
01:08:13,120 --> 01:08:16,200
Speaker 2: my drama. Mean, I'm just I'm high on life, you know,

1280
01:08:16,280 --> 01:08:21,640
Speaker 2: I'm ready. But also I love here the underwater landscape

1281
01:08:21,760 --> 01:08:25,880
Speaker 2: they achieve with these models and sets. You've got these tall,

1282
01:08:26,120 --> 01:08:30,240
Speaker 2: thin spires of undersea rock that look like giant tree trunks,

1283
01:08:30,640 --> 01:08:33,320
Speaker 2: and then this tiny diving bell hanging in the black.

1284
01:08:34,160 --> 01:08:38,040
Speaker 2: And as they're descending, the professor says, I feel like

1285
01:08:38,080 --> 01:08:41,439
Speaker 2: I'm leaving a world of untold Tomorrow's for a world

1286
01:08:41,479 --> 01:08:42,880
Speaker 2: of countless yesterdays.

1287
01:08:43,680 --> 01:08:47,240
Speaker 1: The screenwriters keep touching on this idea, like of the

1288
01:08:47,280 --> 01:08:48,360
Speaker 1: past meeting tomorrow.

1289
01:08:48,720 --> 01:08:50,799
Speaker 2: Yeah, there's something going on there. I don't know exactly

1290
01:08:50,800 --> 01:08:55,519
Speaker 2: what it is, maybe maybe suggesting something about barbarity, or

1291
01:08:55,800 --> 01:08:58,040
Speaker 2: I don't know, maybe I'm reading too much into that.

1292
01:08:58,160 --> 01:08:59,880
Speaker 2: They've got some kind of past future thing.

1293
01:09:00,080 --> 01:09:02,200
Speaker 1: It might be there. I think it might might legitimately

1294
01:09:02,240 --> 01:09:04,800
Speaker 1: be there. So yeah, I think it's a valid reading.

1295
01:09:05,200 --> 01:09:08,600
Speaker 2: But then when they get down to the bottom, so

1296
01:09:08,680 --> 01:09:12,560
Speaker 2: he's looking out the window and he sees an octopus,

1297
01:09:13,200 --> 01:09:16,360
Speaker 2: and then he sees a shark, and then he says, oh,

1298
01:09:16,439 --> 01:09:18,960
Speaker 2: there appears to be a slight difference of opinion between

1299
01:09:19,000 --> 01:09:21,360
Speaker 2: two of the local inhabitants, and the shark and the

1300
01:09:21,360 --> 01:09:25,400
Speaker 2: octopus start fighting each other. But then oh, a third

1301
01:09:25,439 --> 01:09:30,160
Speaker 2: animal makes an appearance, and it is our ritosaurus. It

1302
01:09:30,280 --> 01:09:34,160
Speaker 2: is the monster, and Elson is astonished. He's got this

1303
01:09:34,200 --> 01:09:37,400
Speaker 2: little wired telephone that he uses to call the ship above.

1304
01:09:38,080 --> 01:09:40,320
Speaker 2: He demands that they put Hunter on the line. He's like,

1305
01:09:40,360 --> 01:09:42,720
Speaker 2: get these military officers off the line. I need to

1306
01:09:42,720 --> 01:09:45,479
Speaker 2: talk to my assistant. So she gets on the line

1307
01:09:45,520 --> 01:09:48,960
Speaker 2: and he starts making like anatomical observations. He's like, the

1308
01:09:49,080 --> 01:09:55,200
Speaker 2: upper clavicle is cantileveric, and then he's like making these

1309
01:09:55,240 --> 01:09:58,280
Speaker 2: kind of observations. But then suddenly the line goes dead

1310
01:09:58,439 --> 01:10:01,639
Speaker 2: and we don't see what happened below. He's just looking

1311
01:10:01,720 --> 01:10:04,439
Speaker 2: and he's talking and the line goes dead. What happened?

1312
01:10:04,920 --> 01:10:07,519
Speaker 2: Obviously it did not end well, and we are I think,

1313
01:10:07,640 --> 01:10:10,519
Speaker 2: just left to assume that the monster has eaten the

1314
01:10:10,520 --> 01:10:15,960
Speaker 2: diving bell. Yeah, and so here we get more monologues

1315
01:10:16,000 --> 01:10:19,599
Speaker 2: like after the fact reflecting from Hunter, where she's very sad.

1316
01:10:20,320 --> 01:10:23,000
Speaker 2: You know, Elson was like a father to her. She

1317
01:10:23,160 --> 01:10:25,519
Speaker 2: reiterates again that you know, he was about to take

1318
01:10:25,560 --> 01:10:29,599
Speaker 2: his first vacation ever, and we see Nesbit comforting her

1319
01:10:29,640 --> 01:10:32,760
Speaker 2: while she mourns. But then there's not much time left

1320
01:10:32,760 --> 01:10:36,240
Speaker 2: for morning because about now we're gonna have the New

1321
01:10:36,320 --> 01:10:42,280
Speaker 2: York attack. So during this sequence, the dinosaur rises up

1322
01:10:42,479 --> 01:10:45,760
Speaker 2: out of a harbor around Manhattan, so comes up on

1323
01:10:45,840 --> 01:10:49,479
Speaker 2: the docks, first seen by doc workers who run away,

1324
01:10:49,920 --> 01:10:53,080
Speaker 2: and then everybody starts noticing. They run screaming as the

1325
01:10:53,120 --> 01:10:55,559
Speaker 2: dinosaur comes up onto the shore and then onto the

1326
01:10:55,600 --> 01:10:59,439
Speaker 2: streets between the buildings and is making his way down

1327
01:10:59,520 --> 01:11:03,360
Speaker 2: the avenue. There's one thing that's almost funny, where there's

1328
01:11:03,400 --> 01:11:08,040
Speaker 2: this policeman grimly squaring off against the dinosaur, drawing his

1329
01:11:08,040 --> 01:11:11,840
Speaker 2: weapon and just standing there scowling. He takes a while

1330
01:11:11,880 --> 01:11:14,599
Speaker 2: to finally shoot, but then he does start shooting at it.

1331
01:11:14,600 --> 01:11:18,080
Speaker 2: It doesn't work. The dinosaur eats him and we see

1332
01:11:18,080 --> 01:11:21,519
Speaker 2: his legs wiggling outside of the dinosaur's mouth. We see

1333
01:11:21,520 --> 01:11:25,920
Speaker 2: the creature crushing cars with its feet with this brigade

1334
01:11:25,920 --> 01:11:28,519
Speaker 2: of cops with shotguns come out of the precinct and

1335
01:11:28,560 --> 01:11:31,919
Speaker 2: start blasting it to drive it back. This whole sequence

1336
01:11:31,960 --> 01:11:33,800
Speaker 2: is pretty awesome, Rob, I don't know what else you

1337
01:11:33,840 --> 01:11:35,000
Speaker 2: want to highlight from here.

1338
01:11:35,120 --> 01:11:38,479
Speaker 1: Ah, No, it is just an awesome sequence. It's very iconic.

1339
01:11:38,600 --> 01:11:40,519
Speaker 1: I think if people have seen any clips from the

1340
01:11:40,520 --> 01:11:43,360
Speaker 1: film or any stills, they've probably seen this sequence. And

1341
01:11:43,400 --> 01:11:46,559
Speaker 1: it just it does. It looks amazing. It creates a

1342
01:11:46,640 --> 01:11:51,320
Speaker 1: very believable sense of early fifties New York being attacked

1343
01:11:51,400 --> 01:11:55,320
Speaker 1: by a giant monster. And again like broad broad daylight, yes,

1344
01:11:55,439 --> 01:11:59,160
Speaker 1: but still great use of shadows, just terrific.

1345
01:11:58,800 --> 01:12:11,400
Speaker 2: Stuff, chases people into the subway. Yeah, and then we

1346
01:12:11,439 --> 01:12:15,080
Speaker 2: get another radio report, so the radio announcer says New

1347
01:12:15,160 --> 01:12:18,320
Speaker 2: York is like a city besieged. A state of emergency

1348
01:12:18,360 --> 01:12:21,040
Speaker 2: has been declared and the entire police force put on

1349
01:12:21,080 --> 01:12:24,640
Speaker 2: twenty four hour duty. Civilian defense is fully mobilized, and

1350
01:12:24,680 --> 01:12:26,840
Speaker 2: shelters have been opened in an effort to stop the

1351
01:12:26,880 --> 01:12:30,920
Speaker 2: mounting hysteria. All traffic has been halted and Times Square,

1352
01:12:31,040 --> 01:12:33,160
Speaker 2: the heart of New York, has stopped beating.

1353
01:12:33,439 --> 01:12:35,120
Speaker 1: Several elmos have been eaten.

1354
01:12:36,400 --> 01:12:41,160
Speaker 2: Yeah, Superman, where is he now? The National Guard has

1355
01:12:41,200 --> 01:12:44,400
Speaker 2: been called out, fully armed to repel the invader. This

1356
01:12:44,600 --> 01:12:47,760
Speaker 2: is full scale war against a terrible enemy such as

1357
01:12:47,880 --> 01:12:52,120
Speaker 2: modern man has never before faced. Ordinary bullets have no effect,

1358
01:12:52,320 --> 01:12:55,000
Speaker 2: and a method of destroying the awesome creature has not

1359
01:12:55,120 --> 01:12:59,439
Speaker 2: yet been formulated. But the battlefield has been cleared. Harald Square,

1360
01:12:59,560 --> 01:13:03,280
Speaker 2: thirty four Street, Broadway, every section of the city is guarded.

1361
01:13:03,560 --> 01:13:06,280
Speaker 2: No one knows where the monster will strike next. It

1362
01:13:06,320 --> 01:13:08,599
Speaker 2: was last seen on Wall Street, close to where it

1363
01:13:08,640 --> 01:13:12,400
Speaker 2: came ashore, but Lower Manhattan has become no man's land,

1364
01:13:12,479 --> 01:13:15,960
Speaker 2: where the beast at present lies hidden. The National Guard

1365
01:13:16,000 --> 01:13:19,040
Speaker 2: is barricading the entire area in an effort to confine

1366
01:13:19,080 --> 01:13:22,000
Speaker 2: the death and destruction of what is already the worst

1367
01:13:22,200 --> 01:13:24,240
Speaker 2: disaster in New York's history.

1368
01:13:24,680 --> 01:13:28,360
Speaker 1: Wow, so even worse than the King Kong thing decades earlier,

1369
01:13:28,760 --> 01:13:29,160
Speaker 1: I guess.

1370
01:13:29,200 --> 01:13:32,880
Speaker 2: So. Yeah, And we do see some of the aftermath,

1371
01:13:32,960 --> 01:13:35,880
Speaker 2: like we see hospitals afterwards, where the doctors are going

1372
01:13:35,880 --> 01:13:39,320
Speaker 2: through checking on people, and it really emphasizes the monster

1373
01:13:39,400 --> 01:13:44,040
Speaker 2: attack as a disaster with aftermath, not just like a

1374
01:13:44,120 --> 01:13:46,520
Speaker 2: conflict between the monster and the military.

1375
01:13:47,120 --> 01:13:49,439
Speaker 1: Yeah. Yeah, it's not just people that have you know,

1376
01:13:49,479 --> 01:13:51,840
Speaker 1: clearly there's a lot of chaos and destruction, but also

1377
01:13:51,880 --> 01:13:55,360
Speaker 1: this sense that it's like making people sick. Yeah, you know,

1378
01:13:55,800 --> 01:14:00,000
Speaker 1: it's it has these different spiraling consequences.

1379
01:14:00,479 --> 01:14:00,759
Speaker 2: Yeah.

1380
01:14:00,800 --> 01:14:03,000
Speaker 1: So I did like that it was I think rather nuanced.

1381
01:14:03,080 --> 01:14:07,360
Speaker 2: Yeah, people with fevers and stuff afterwards. So after this,

1382
01:14:07,400 --> 01:14:10,800
Speaker 2: you get more scenes of the armed forces versus the Retosaurus.

1383
01:14:10,800 --> 01:14:14,320
Speaker 2: They're coming out with bazukas. They've got electrified wire fence

1384
01:14:14,439 --> 01:14:17,360
Speaker 2: put up, and they can sort of drive the monster

1385
01:14:17,479 --> 01:14:20,600
Speaker 2: back but apparently not kill it. It seems somehow invincible.

1386
01:14:21,160 --> 01:14:24,519
Speaker 2: And then they there's a strange observation like soldiers who

1387
01:14:24,600 --> 01:14:27,160
Speaker 2: go hunting after the dinosaur after they blast it with

1388
01:14:27,240 --> 01:14:31,400
Speaker 2: some weapons, start becoming weak and feverish, and they're collapsing

1389
01:14:31,400 --> 01:14:34,880
Speaker 2: in the street. Turns out, in addition to everything else,

1390
01:14:35,120 --> 01:14:39,800
Speaker 2: the animal's blood carries a horrible virus that can infect

1391
01:14:39,920 --> 01:14:44,439
Speaker 2: and kill humans, and contact with this blood can be fatal.

1392
01:14:45,400 --> 01:14:48,400
Speaker 2: So this leads them to realize, Okay, we thought we

1393
01:14:48,439 --> 01:14:51,559
Speaker 2: could stop the creature by bombing it, but we can't

1394
01:14:51,680 --> 01:14:55,520
Speaker 2: bomb it because that will spread particles of this virus

1395
01:14:55,560 --> 01:14:58,559
Speaker 2: into the air, which will spread and kill more people.

1396
01:14:59,120 --> 01:15:03,000
Speaker 2: So how can we feed it without spilling its blood?

1397
01:15:03,520 --> 01:15:06,799
Speaker 2: Very interesting problem that will be replicated in other stories,

1398
01:15:06,840 --> 01:15:09,680
Speaker 2: but mainly the ones I'm thinking of come later. Like

1399
01:15:09,680 --> 01:15:12,880
Speaker 2: I'm thinking of Alien. In the original Alien, this is

1400
01:15:12,920 --> 01:15:15,599
Speaker 2: a big part of the plot a different reason there.

1401
01:15:15,680 --> 01:15:19,160
Speaker 2: In Alien, the crew of the Nostromo figure out that

1402
01:15:19,200 --> 01:15:22,519
Speaker 2: the xenomorph has acidic blood that could eat through the

1403
01:15:22,600 --> 01:15:25,400
Speaker 2: hull of the spacecraft and kill everybody if they you know,

1404
01:15:25,520 --> 01:15:27,680
Speaker 2: blow it up or whatever. So they're like, how are

1405
01:15:27,680 --> 01:15:29,799
Speaker 2: we going to deal with it without spilling this acidic

1406
01:15:29,840 --> 01:15:33,639
Speaker 2: blood and you know, maybe getting vented into space because

1407
01:15:33,680 --> 01:15:37,719
Speaker 2: it ate through the hull. And different thing going on here,

1408
01:15:37,760 --> 01:15:39,920
Speaker 2: but it results in the same thing is like, we've

1409
01:15:39,920 --> 01:15:42,240
Speaker 2: got to find a way to fight the creature without

1410
01:15:42,360 --> 01:15:43,559
Speaker 2: getting its gore out.

1411
01:15:43,840 --> 01:15:44,720
Speaker 1: Yeah.

1412
01:15:45,040 --> 01:15:47,880
Speaker 2: So anyway, Nesbit comes in to save the day because

1413
01:15:47,920 --> 01:15:50,639
Speaker 2: he's like, I've got it, you know, Colonel Jack. There's

1414
01:15:50,720 --> 01:15:54,160
Speaker 2: one way to beat him my personal specialization, which is

1415
01:15:54,400 --> 01:15:55,800
Speaker 2: radioactive isotopes.

1416
01:15:56,280 --> 01:15:59,479
Speaker 1: Yes, yes, And so in this they will forge the

1417
01:15:59,520 --> 01:16:03,360
Speaker 1: special weapon that can be used against the beast. In

1418
01:16:03,400 --> 01:16:05,960
Speaker 1: this we really get into this crazy ending for the picture,

1419
01:16:06,400 --> 01:16:08,040
Speaker 1: and I think it really the ending really puts the

1420
01:16:08,080 --> 01:16:10,400
Speaker 1: film over the top. And again it's not even that

1421
01:16:10,560 --> 01:16:12,680
Speaker 1: crazy of a formula. We have a secret weapon to

1422
01:16:12,760 --> 01:16:15,400
Speaker 1: use against a giant monster, we have knowledge of a

1423
01:16:15,439 --> 01:16:17,720
Speaker 1: singular weak spot to aim at, and we need a

1424
01:16:17,760 --> 01:16:21,639
Speaker 1: skilled marksman hero to deploy the weapon. Again, pretty much

1425
01:16:21,640 --> 01:16:24,160
Speaker 1: the exact same formula for killing the Dragon's smog and

1426
01:16:24,200 --> 01:16:27,759
Speaker 1: the Hobbit, and just a common monster slaying formula throughout

1427
01:16:27,760 --> 01:16:30,720
Speaker 1: mythic and ancient literature. We see it, for example, in

1428
01:16:30,800 --> 01:16:34,479
Speaker 1: the North of volsunga Saga, the ancient Mesopotamian and Numa

1429
01:16:34,520 --> 01:16:39,280
Speaker 1: a Leish, the Romagnina the as well as the Argonautica

1430
01:16:39,880 --> 01:16:48,360
Speaker 1: and concerning respectively the monsters Fafnir, tiamat, Ravana, Talaus, and

1431
01:16:48,400 --> 01:16:51,440
Speaker 1: again there are many others from many other different cultures

1432
01:16:51,479 --> 01:16:55,640
Speaker 1: and traditions. It's a basic formula, and in this the

1433
01:16:55,680 --> 01:16:58,599
Speaker 1: Beast from twenty thousand fathoms is again like nicely positioned

1434
01:16:58,600 --> 01:17:02,160
Speaker 1: within the canon of deep human history and monster slang.

1435
01:17:02,400 --> 01:17:06,599
Speaker 1: Truly one of our oldest myths, but the movie puts

1436
01:17:06,640 --> 01:17:08,920
Speaker 1: things over the top in a most delightful manner. So

1437
01:17:09,000 --> 01:17:11,679
Speaker 1: the Beast here is rampage. They've kind of you again.

1438
01:17:11,760 --> 01:17:16,160
Speaker 1: These wars between local police and military and the National

1439
01:17:16,160 --> 01:17:19,679
Speaker 1: Guard against the Beasts have been raging all over the city,

1440
01:17:19,680 --> 01:17:23,719
Speaker 1: across all the burroughs, and now almost like the I guess,

1441
01:17:23,720 --> 01:17:25,800
Speaker 1: like the end of the Warriors, the action has been

1442
01:17:26,160 --> 01:17:30,559
Speaker 1: pushed to Coney Island and the Beast is rampaging through

1443
01:17:30,640 --> 01:17:34,759
Speaker 1: the wooden roller coaster, the Coney Island Cyclone built nineteen

1444
01:17:34,800 --> 01:17:38,200
Speaker 1: twenty seven, so it's just shy of one hundred years old,

1445
01:17:38,360 --> 01:17:40,880
Speaker 1: still active. You can still ride this thing. I never have.

1446
01:17:40,960 --> 01:17:45,200
Speaker 1: I've only done the Wonder Wheel. But yeah, it's rampaging,

1447
01:17:45,280 --> 01:17:49,360
Speaker 1: breaking up the Coney Island Cyclone, and it becomes clear

1448
01:17:49,600 --> 01:17:53,160
Speaker 1: that the only way that our marksmen, Corporal Stone, this

1449
01:17:53,240 --> 01:17:55,240
Speaker 1: is Lee van Cleef, who, like you know, they proudly

1450
01:17:55,760 --> 01:17:58,559
Speaker 1: basically they have the weapon. It's like an isotope weapon

1451
01:17:58,600 --> 01:18:02,760
Speaker 1: that it's on the front of a rifle something radioactive.

1452
01:18:02,760 --> 01:18:05,160
Speaker 2: They're carrying it around in this giant lead.

1453
01:18:05,040 --> 01:18:07,720
Speaker 1: Case like Holy hand grenaders.

1454
01:18:07,760 --> 01:18:09,479
Speaker 2: So they have to like lift it out of its

1455
01:18:09,520 --> 01:18:12,840
Speaker 2: containment because obviously I guess it's ionizing everything around it.

1456
01:18:13,200 --> 01:18:14,800
Speaker 2: They put it on the end of a rifle like

1457
01:18:14,840 --> 01:18:17,040
Speaker 2: a harpoon, and then Lee van Cleef has to get

1458
01:18:17,120 --> 01:18:19,240
Speaker 2: up on the on the roller coaster to shoot it

1459
01:18:19,280 --> 01:18:21,040
Speaker 2: at the animal's weak spot.

1460
01:18:21,160 --> 01:18:23,519
Speaker 1: Yeah. I have questions about the ballistics of that, but

1461
01:18:23,680 --> 01:18:25,800
Speaker 1: fair enough, we have our special weapon. And they're like,

1462
01:18:25,920 --> 01:18:28,720
Speaker 1: who's who's the best marksman. You've got military dudes, and

1463
01:18:28,720 --> 01:18:30,880
Speaker 1: they're like, oh, it's stone. And then you know, Lee

1464
01:18:30,920 --> 01:18:32,920
Speaker 1: van Cleef comes out and he's like, well, you need

1465
01:18:32,960 --> 01:18:34,559
Speaker 1: me to do it. Shoot a giant monster. You got it.

1466
01:18:35,320 --> 01:18:37,559
Speaker 1: But it becomes clear that they don't have the proper

1467
01:18:37,680 --> 01:18:39,800
Speaker 1: vantage point. The only way they can get the proper

1468
01:18:39,880 --> 01:18:44,240
Speaker 1: vantage point to make the shot and hit that one

1469
01:18:44,320 --> 01:18:47,519
Speaker 1: weak spot on the creature is to ride the half

1470
01:18:47,520 --> 01:18:52,120
Speaker 1: destroyed roller coaster up to the very crest. And that's

1471
01:18:52,160 --> 01:18:56,200
Speaker 1: what our protagonist and our monster slayer, Le Van Cleef,

1472
01:18:56,360 --> 01:18:59,320
Speaker 1: are gonna do. They put on these really kind of

1473
01:18:59,320 --> 01:19:02,960
Speaker 1: creepy radio suits. Like you said, they have the box

1474
01:19:03,080 --> 01:19:06,280
Speaker 1: with the isotope weapon in it, and they're like, Okay,

1475
01:19:06,760 --> 01:19:08,840
Speaker 1: fire up this half destroyed roller coaster. We're going to

1476
01:19:08,920 --> 01:19:09,680
Speaker 1: go up there and do it.

1477
01:19:09,840 --> 01:19:13,240
Speaker 2: Brilliant. Yeah, And then also we get to see like

1478
01:19:13,280 --> 01:19:15,640
Speaker 2: they go up to the top of the crest and

1479
01:19:15,680 --> 01:19:19,280
Speaker 2: the coaster and then the cars go on without them,

1480
01:19:19,360 --> 01:19:21,679
Speaker 2: so like they go sliding down and they watch them

1481
01:19:21,720 --> 01:19:25,960
Speaker 2: crash and explode, and the Stone gets the shot off,

1482
01:19:26,240 --> 01:19:28,640
Speaker 2: it goes into the wound in the monster's neck. The

1483
01:19:28,680 --> 01:19:31,800
Speaker 2: isotope gets in there, sickens the monster, and then we

1484
01:19:31,840 --> 01:19:35,479
Speaker 2: see it kind of pacing around, clearly suffering. There's something

1485
01:19:35,800 --> 01:19:38,320
Speaker 2: there's a little bit of pathos there. You almost feel

1486
01:19:38,360 --> 01:19:42,880
Speaker 2: sad for the monster a little bit, and then kind

1487
01:19:42,880 --> 01:19:47,280
Speaker 2: of it becomes weak and then it falls down and dies.

1488
01:19:47,600 --> 01:19:49,639
Speaker 2: The whole roller coaster is on fire, by the way,

1489
01:19:50,040 --> 01:19:54,040
Speaker 2: fire on the coaster. Nesbit and Corporal Stone get back.

1490
01:19:54,120 --> 01:19:58,040
Speaker 2: Nesbit hugs with Lee Hunter and the monsters dead and

1491
01:19:58,080 --> 01:20:00,559
Speaker 2: that's the end, very abrupt ending, like a lot of

1492
01:20:00,560 --> 01:20:01,920
Speaker 2: these fifties monster movies.

1493
01:20:02,160 --> 01:20:04,599
Speaker 1: Yeah, yeah, a lot of them do follow this formula.

1494
01:20:04,680 --> 01:20:07,559
Speaker 1: What the monster has been killed, the authorities killed the monster.

1495
01:20:07,600 --> 01:20:10,040
Speaker 1: At the end, everybody can home, can go home happy

1496
01:20:10,080 --> 01:20:10,719
Speaker 1: and safe.

1497
01:20:11,000 --> 01:20:14,920
Speaker 2: Yeah, not even not even he tampered in God's domain.

1498
01:20:15,120 --> 01:20:18,840
Speaker 2: Not even a single line of comment. It's just monsters dead.

1499
01:20:18,880 --> 01:20:19,720
Speaker 2: The whole thing's over.

1500
01:20:20,160 --> 01:20:23,000
Speaker 1: Yeah, but what an ending. Yeah, I was not prepared.

1501
01:20:23,680 --> 01:20:25,800
Speaker 1: I was barely prepared for le Van Kleef to show

1502
01:20:25,880 --> 01:20:29,160
Speaker 1: up and just do all the hero work and then

1503
01:20:29,240 --> 01:20:33,200
Speaker 1: the roller coaster amazing, So just maximum points for that.

1504
01:20:34,640 --> 01:20:38,000
Speaker 2: Yeah. So I think really well put together ending. The

1505
01:20:38,040 --> 01:20:44,400
Speaker 2: climax really works, I would say, especially because of some weird, unusual,

1506
01:20:45,320 --> 01:20:48,360
Speaker 2: very inspired choices of visual texture that go in there,

1507
01:20:48,680 --> 01:20:53,400
Speaker 2: primarily setting it at the roller coaster and the use

1508
01:20:53,600 --> 01:20:57,920
Speaker 2: of those super creepy looking radiation suits the costumes. Really

1509
01:20:58,000 --> 01:21:00,320
Speaker 2: they put you in a different mood for the end here,

1510
01:21:00,439 --> 01:21:04,640
Speaker 2: something like our heroes have become kind of monstrous themselves,

1511
01:21:05,720 --> 01:21:08,400
Speaker 2: and they don't look they don't look nice in those

1512
01:21:08,520 --> 01:21:13,439
Speaker 2: radiations ses. It's very creepy look and so something I

1513
01:21:13,479 --> 01:21:16,600
Speaker 2: don't know. It really works right at the end, especially.

1514
01:21:16,400 --> 01:21:18,479
Speaker 1: And I also liked that they did have to go

1515
01:21:18,560 --> 01:21:21,840
Speaker 1: the extra mile and do the extra daring deed to

1516
01:21:21,920 --> 01:21:24,320
Speaker 1: pull off the shot because a lot of these movies

1517
01:21:24,479 --> 01:21:27,760
Speaker 1: end with more of an abrupt Oh, authorities are here,

1518
01:21:27,800 --> 01:21:31,120
Speaker 1: shoot the monster and it's done, whereas like true heroics

1519
01:21:31,160 --> 01:21:33,280
Speaker 1: and a little extra daring did have to go into

1520
01:21:33,280 --> 01:21:35,920
Speaker 1: the finish here and it makes it just makes it.

1521
01:21:35,920 --> 01:21:38,360
Speaker 1: It makes it far more dramatically satisfying.

1522
01:21:38,800 --> 01:21:39,200
Speaker 2: Totally.

1523
01:21:39,360 --> 01:21:44,320
Speaker 1: Yeah, so enjoyed it. I like the pick rub Oh yeah, thanks, Yeah.

1524
01:21:44,400 --> 01:21:46,479
Speaker 1: I had a lot of fun with this one, and again,

1525
01:21:46,520 --> 01:21:48,919
Speaker 1: great to see it on the big screen. I encourage

1526
01:21:48,920 --> 01:21:50,519
Speaker 1: everyone out there, if you get a chance to see

1527
01:21:50,560 --> 01:21:53,240
Speaker 1: any giant monster movie on the big screen, do it,

1528
01:21:53,600 --> 01:21:56,559
Speaker 1: because the monsters are bigger that way. That's what the

1529
01:21:56,600 --> 01:21:57,600
Speaker 1: format exists for.

1530
01:21:58,200 --> 01:22:00,160
Speaker 2: If only they'd had to IMAX back then.

1531
01:22:00,320 --> 01:22:03,880
Speaker 1: Yeah yeah, yeah, so that said the Beast from twenty

1532
01:22:03,920 --> 01:22:06,559
Speaker 1: thousand fathoms, though I was never really clear of the

1533
01:22:06,560 --> 01:22:09,120
Speaker 1: Beast was truly from twenty thousand fathoms or if it

1534
01:22:09,240 --> 01:22:11,720
Speaker 1: just visited twenty thousand fathoms at times.

1535
01:22:12,439 --> 01:22:14,800
Speaker 2: So it's from the it was in the ice right, yeah,

1536
01:22:14,880 --> 01:22:17,599
Speaker 2: where the ice is on the top of the ocean,

1537
01:22:17,640 --> 01:22:18,439
Speaker 2: not at the bottom.

1538
01:22:18,800 --> 01:22:21,000
Speaker 1: But it's built from twenty thousand fathoms. It's like, I

1539
01:22:21,040 --> 01:22:22,719
Speaker 1: don't know, it's maybe this a show business speak.

1540
01:22:23,880 --> 01:22:26,840
Speaker 2: I guess maybe it went twenty thousand Fathoms after it

1541
01:22:26,880 --> 01:22:28,360
Speaker 2: came out of the ice, but before it went to

1542
01:22:28,400 --> 01:22:30,960
Speaker 2: New York City, because that's where the professor goes down

1543
01:22:31,040 --> 01:22:31,400
Speaker 2: to see it.

1544
01:22:31,400 --> 01:22:33,840
Speaker 1: I remember, yeah, But once it gets to New York City,

1545
01:22:33,840 --> 01:22:36,160
Speaker 1: it can immediately say it's from New York City. I

1546
01:22:36,200 --> 01:22:40,280
Speaker 1: think those are the rules. It is officially in New Yorker.

1547
01:22:40,920 --> 01:22:42,639
Speaker 1: All right, we're gonna go and close it out there.

1548
01:22:42,640 --> 01:22:44,680
Speaker 1: But I'd love to hear anyone's thoughts on this one.

1549
01:22:44,720 --> 01:22:46,800
Speaker 1: If you have experience with the Beast from twenty Thousand

1550
01:22:46,800 --> 01:22:50,599
Speaker 1: Fathoms or other Ray Harry Howsen films that you are

1551
01:22:50,640 --> 01:22:52,720
Speaker 1: particularly fond of, and you'd like for us to cover

1552
01:22:52,760 --> 01:22:55,120
Speaker 1: in the future, right in, we would love to hear

1553
01:22:55,160 --> 01:22:57,519
Speaker 1: from you. Just a reminder that Steft to Bow Your

1554
01:22:57,520 --> 01:23:00,000
Speaker 1: Mind is primarily a science and culture podcast with corpisodes

1555
01:23:00,120 --> 01:23:02,840
Speaker 1: on Tuesdays and Thursdays, but on Fridays we set aside

1556
01:23:02,880 --> 01:23:04,760
Speaker 1: most serious concerns to just talk about a weird film

1557
01:23:04,800 --> 01:23:07,640
Speaker 1: here on Weird House Cinema. You can find us on

1558
01:23:07,720 --> 01:23:10,160
Speaker 1: various social media formats ays stuff to Blow your Mind,

1559
01:23:10,280 --> 01:23:14,000
Speaker 1: but on Letterboxed we exist there just as Weird House Cinema.

1560
01:23:14,080 --> 01:23:17,360
Speaker 1: Look us up our name there is Weird House, and

1561
01:23:17,400 --> 01:23:18,840
Speaker 1: you can find a list of all the movies we've

1562
01:23:18,840 --> 01:23:20,559
Speaker 1: covered over the years and sometimes if peek ahead at

1563
01:23:20,560 --> 01:23:21,200
Speaker 1: what comes next.

1564
01:23:21,560 --> 01:23:25,200
Speaker 2: Huge thanks as always to our excellent audio producer JJ Posway.

1565
01:23:25,400 --> 01:23:27,040
Speaker 2: If you would like to get in touch with us

1566
01:23:27,040 --> 01:23:29,320
Speaker 2: with feedback on this episode or any other, to suggest

1567
01:23:29,360 --> 01:23:31,439
Speaker 2: a topic for the future, or just to say hello,

1568
01:23:31,680 --> 01:23:34,080
Speaker 2: you can email us at contact at stuff to Blow

1569
01:23:34,120 --> 01:23:43,200
Speaker 2: your Mind dot com. Stuff to Blow Your Mind is

1570
01:23:43,240 --> 01:23:46,479
Speaker 2: production of iHeartRadio. For more podcasts from my Heart Radio,

1571
01:23:46,720 --> 01:23:49,840
Speaker 2: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

1572
01:23:49,880 --> 01:23:51,280
Speaker 2: to your favorite shows.