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

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Speaker 1: Rob Lamb and we have a fun one here for

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Speaker 1: you today. This is gonna be Santo versus The Martian Invasion. Yes,

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Speaker 1: another classic Lucha libre film, this one from nineteen sixty

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Speaker 1: seven and decidedly sci fi, but don't worry, there are

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Speaker 1: also plenty of wrestling holds and throws to go around

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Speaker 1: This one originally published one ten, twenty twenty five. All right,

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Speaker 1: let's lock up.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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

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Speaker 3: And this is Joe McCormick. And today, once more, we

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Speaker 3: return to the realm of the great and powerful Lucha

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Speaker 3: doors Mexican wrestling cinema and the encounters of these wrestlers

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Speaker 3: with villains of the supernatural, science fiction, and generally weird persuasion.

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Speaker 3: You know, before we came on Mike today, Robbie and

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Speaker 3: I in the chat were talking about just other Mexican

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Speaker 3: wrestling movies that come up that look interesting, But I

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Speaker 3: guess they're just not really within our purview because they

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Speaker 3: don't have either magic or science fiction technology. In it,

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Speaker 3: I think we have to limit ourselves just to those

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Speaker 3: and even just walling off that sort of subset, there's

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Speaker 3: still so many riches to discover.

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Speaker 1: That's right. Yeah, every time we dive into Luca films,

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Speaker 1: I feel like I'm discovering new, potentially tantalizing titles. And

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Speaker 1: I mean, I think the same goes for just Mexican

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Speaker 1: cinema in general. There's just so much there, so many

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Speaker 1: different genres, and not all of it has really gone

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Speaker 1: on to resonate, certainly with modern audiences, but also with

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Speaker 1: modern audiences outside of Mexico.

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Speaker 3: Now. In the past, we've covered a couple of other

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Speaker 3: supernatural Mexican wrestling movies. One was Santo and the Treasure

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Speaker 3: of Dracula from nineteen sixty nine, in which I would

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Speaker 3: say easily the most popular ever lucid or hero Santo.

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Speaker 3: He invents a time machine which somehow leads to a

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Speaker 3: vampire being unleashed upon the world, and in the middle

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Speaker 3: of this chaos, Santo must simultaneously fight the unearthly evil

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Speaker 3: of the Dracool and avoid being photographed in any of

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Speaker 3: the gratuitous nude scenes that were added for the euro market.

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Speaker 1: Yeah, yeah, fun movie fun episode. Definitely see the European

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Speaker 1: version if you get a chance, though, because it is

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Speaker 1: the one that is in glorious color and has been

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Speaker 1: just lovingly restored.

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Speaker 3: That was a real highlight, but also excellent was another

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Speaker 3: one we covered, the nineteen sixty three film Doctor of Doom,

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Speaker 3: which was mainly about two heroic luchadoras Gloria Venus I

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Speaker 3: think that was the one played by Lorrain of Alaskaz

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Speaker 3: and Golden Ruby, who must defeat a mad scientist and

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Speaker 3: his plot too, I think kidnap women and transplant their

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Speaker 3: brains into a gorilla or maybe put gorilla brains inside

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Speaker 3: the women's heads. I was a little fuzzy on that.

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Speaker 1: I think maybe a little bit of both goes on.

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Speaker 1: But yeah, that one was super fun. That one also

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Speaker 1: had the excellent Roberto Canado playing the villain the mad scientist,

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Speaker 1: and both of the pictures we just mentioned were directed

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Speaker 1: by Renee Cardona.

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Speaker 3: Yes, now today we are coming home to another El

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Speaker 3: Santo adventure, but this time it's more directly in the

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Speaker 3: science fiction realm. Though I guess both of the other

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Speaker 3: movies we talked about did have science fiction elements, because

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Speaker 3: it's always easy to forget the Dracula movie has time

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Speaker 3: trackle in it. It's full on time machine. But this

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Speaker 3: one is like your straight up alien invasion movie. Planet

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Speaker 3: Earth is in the crosshairs. The Martians are here and

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Speaker 3: they want full control. So this movie is Santo in

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Speaker 3: the Martian Invasion from nineteen sixty seven. I was thinking

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Speaker 3: for a while, I was a little confused, like, oh,

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Speaker 3: is this even technically a Santo in name movie because

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Speaker 3: a lot of the times in the movie they were

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Speaker 3: calling him silver Mask. But I realize, no, they also

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Speaker 3: call him Santo in the movie. They use both names

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Speaker 3: basically interchangeably.

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Speaker 1: Yeah, that was one of his monikers, the man in

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Speaker 1: the Silver Mask. He gets confusing, I think, especially when

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Speaker 1: we're dealing with English language releases of some of the

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Speaker 1: Santo films, where they may call him something else, like Samson,

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Speaker 1: because the name Santo wasn't as firmly established in other regions.

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Speaker 3: Oh okay, kind of like in other like the in

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Speaker 3: the Peplam subgenre, you might get like Hercules versus Mashiste

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Speaker 3: or Samson and in different releases. Yeah. Now, I would say,

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Speaker 3: in my opinion, of the three Mexican wrestling movies with

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Speaker 3: supernatural elements that we have watched, This I think is

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Speaker 3: the least of the three. Doctor of Doom and Santo

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Speaker 3: and The Treasure of Dracula are both really special in

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Speaker 3: their own ways. But despite coming in third, the Martian

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Speaker 3: Invasion I think is still a lot of fun. And

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Speaker 3: if this makes any sense, Rob, I think it should

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Speaker 3: win some kind of award for some of the funniest

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Speaker 3: blocking in all of the movies we've watched. Just the

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Speaker 3: way characters are kind of arranged on stage or on

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Speaker 3: the set for the camera to look at is often

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Speaker 3: in itself so funny.

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Speaker 1: Yeah, it has a lot of things going for it.

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Speaker 1: None of those the things going for it are it's

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Speaker 1: story and character. They're virtually like no story and character

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Speaker 1: beats throughout.

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Speaker 3: But though Santo as always is flawless.

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Speaker 1: Santo's flawless. Santo doesn't need to grow as a character.

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Speaker 1: He is already that's right, perfect, So like any criticisms

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Speaker 1: about his character is redundant because he.

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Speaker 3: Is missing the point. Yeah.

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Speaker 1: Yeah, what it lacks in those departments arguably it makes

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Speaker 1: up for in just weirdness wackiness. I would say the

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Speaker 1: beefcake factor is pretty in this one. The ladies are

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Speaker 1: really gorgeous as well, so it seems it gives the

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Speaker 1: viewers a lot to look at, and I think has

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Speaker 1: more teleportation and disappearance and reappearance scenes than perhaps some

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Speaker 1: of the Star Trek movies. They really like this effect.

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Speaker 1: They pull it off well, and they it just happens

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Speaker 1: all the time.

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Speaker 3: Yes, they're really into the teleportation, which they accomplish by

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Speaker 3: the way. I like just this little physical prop not

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Speaker 3: by way of a button or by way of a

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Speaker 3: switch or a lever, but by a dial. It's like

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Speaker 3: the oven dials. They like, turn a dial on their

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Speaker 3: belt and that makes them vanish and reappear at the spaceship.

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Speaker 1: I love it. I love good tactile science fiction equipment.

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Speaker 1: Nowadays you watch it's all, you know, like virtual interfaces

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Speaker 1: and floating holograms and you know, or Star Trek next

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Speaker 1: generation like flat screen stuff. I like it when there's

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Speaker 1: a chonky button and a dial and a big lever.

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Speaker 3: Well, the implications of the dial are kind of fascinating,

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Speaker 3: especially for teleportation. I would think teleportation is an on

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Speaker 3: off function. You either you teleport or you don't. But

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Speaker 3: a dial is for graduated functions like the you know,

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Speaker 3: the power of a stove burner or something. So it

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Speaker 3: makes you wonder, like, can do you kind of half

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Speaker 3: teleport or do you two thirds of the way teleport?

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Speaker 3: We never see that happen in the movie. They always

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Speaker 3: turn it to full crank.

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Speaker 1: It's kind of reckless because the thing and maybe you

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Speaker 1: you slowly tune it so that you maintain consciousness between

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Speaker 1: this incarnation and the next, as this one is destroyed

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Speaker 1: and the next one is created. But if you just

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Speaker 1: turn it really fast, I don't know, maybe it still

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Speaker 1: happens appropriately. This movie's not really concerned with those questions.

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Speaker 3: No, this glosses over a lot of the finer points

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Speaker 3: of the Martian technology and the invasion plot and what

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Speaker 3: the humans are doing. I've got to when once we

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Speaker 3: get into the plot, I really have questions about to

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Speaker 3: what extent the people understand that a Martian invasion is happening.

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Speaker 3: It seems to alternate scene to scene, whether people are like, yep,

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Speaker 3: we're being invaded, or whether it's like we've got to

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Speaker 3: keep this a secret.

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Speaker 1: Yeah yeah. Oh. I will also add the Martian technology

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Speaker 1: is of course five hundred years ahead of ours, so

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Speaker 1: of course it is difficult to understand seems like magic.

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Speaker 3: Yes, they say that many many times.

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Speaker 1: Rob.

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Speaker 3: I don't know if you have an elevator pitch for

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Speaker 3: this one, but I would say, imagine War of the Worlds,

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Speaker 3: but take out the heat ray and most of the

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Speaker 3: social commentary and put in muscles, beefcake and burlesque dancing.

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Speaker 1: Yeah, yeah, pretty much.

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Speaker 3: I will say.

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Speaker 1: One of the things I really like about this one

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Speaker 1: is that, since it is I guess leaning into sci

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Speaker 1: fi of the time period, this is a film that

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Speaker 1: does have a message to it. It does have a

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Speaker 1: pretty persistent anti war and anti nuclear weapon standpoint, which

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Speaker 1: I respect.

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Speaker 3: I guess that's right. I don't know why I said

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Speaker 3: take out the social commentary. I guess take out any

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Speaker 3: subtle social commentary. Instead. It's just like bluntly delivered morals.

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Speaker 3: It's like will humanity the A narrator comes on and says,

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Speaker 3: will humanity ever stop these crazy nuclear experiments?

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Speaker 4: It?

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Speaker 3: We don't know, But.

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Speaker 1: It's more than we got in Uh Santo and The

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Speaker 1: Treasure of Dracula. Like there wasn't really. I mean they

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Speaker 1: were like, we must not have time machines or draculas,

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Speaker 1: Like they weren't really. Yeah, there wasn't really a message attached.

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Speaker 3: To that picture.

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Speaker 1: All right, Well, let's go ahead and listen to just

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Speaker 1: a little of the trailer audio. I believe this is

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Speaker 1: Spanish language trailer, so we'll just give you just a

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Speaker 1: little sample of some of the sights and sounds here.

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Speaker 1: Well not the sites, but just the sounds.

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Speaker 5: Hera Mira's atomenero.

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Speaker 4: Panicuestros cambinino shit, ask you that sai stampidiendo he stays

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Speaker 4: mains Yaman Mexico.

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Speaker 3: Now. I don't know if the trailer tries to mislead

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Speaker 3: you on this front, but the glorious poster for this

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Speaker 3: film does definitely mislead as to the plot contents because

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Speaker 3: it shows uh Santo appearing to hold a sort of

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Speaker 3: green martian in one arm, seemingly unconscious. Looks kind of

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Speaker 3: like Blanca from Street Fighter who got that under his

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Speaker 3: one arm, And the other hand he's holding a gun,

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Speaker 3: which what would Santo wheeld a gun like that? It

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Speaker 3: seems completely out of character, not what It doesn't make

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Speaker 3: sense at all. And he's standing on the surface of

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Speaker 3: another planet, probably the Moon, because we can see the

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Speaker 3: Earth in the background. Santo does not leave Earth in

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Speaker 3: this movie.

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Speaker 1: Right, And he never brandishes a laser pistol or a

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Speaker 1: plasma rife or whatever this is. But yeah, this is

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Speaker 1: a great poster for a different movie. None of this

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Speaker 1: actually happens.

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Speaker 3: Santra just shamelessly using the weapon of the enemy. It's yeah,

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Speaker 3: admire the art style though it's lavishly realized.

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Speaker 1: Yeah, as we'll explore, Santo uses grapples, punches, kicks, especially

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Speaker 1: like well timed kicks, and leg scissors to an opponent's legs,

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Speaker 1: that sort of thing. He does not need a laser gun.

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Speaker 3: Now here is where we often talk availability. I was

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Speaker 3: kind of surprised when we were going into this week

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Speaker 3: because I wanted to do another Luca movie. I was

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Speaker 3: kind of surprised how many of these classic Santo movies

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Speaker 3: are apparently hard to get in a good release these days.

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Speaker 3: Like there are tons of them that do not have

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Speaker 3: a solid remaster or good Blu ray release.

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Speaker 1: Yeah, and a lot of times higher quality versions are

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Speaker 1: really lacking. Like Santo and the Treasure of Dracula. When

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Speaker 1: they found that reel and we're able to restore it,

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Speaker 1: like that was big news. I found the Reuters News

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Speaker 1: article about that, Like everyone's excited there, Like this one

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Speaker 1: As far as I know, there are no Blu ray

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Speaker 1: versions of it, no restored versions of the footage, no

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Speaker 1: color versions or anything like that, nothing like we had

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Speaker 1: with the Treasure of Dracula. What we do have is

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Speaker 1: perfectly watchable. I watched it on a DVD release. This

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Speaker 1: is I think like VCI and or Mechs DVD rented

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Speaker 1: from Atlanta's own videodrome. They have a number of Santo

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Speaker 1: films there you can rent, again, perfectly watchable quality. It

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Speaker 1: was in Spanish with the English subtitles, and the disc

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Speaker 1: also had some extras also in Spanish, but with subtitles

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Speaker 1: that are worth seeking. So that's worth seeking out of you.

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Speaker 1: If you want the physical media experience for this film. Yeah,

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Speaker 1: I don't know how available it is right now though,

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Speaker 1: but you can rent it at video drum. All right,

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Speaker 1: Shall we get into the people behind and in this film?

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Speaker 3: Yes? I want to know more. So. This is a

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Speaker 3: different director than our previous Lucha outings, that's right.

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Speaker 1: The director here is Alfredo B. Crevenna, who lived nineteen

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Speaker 1: fourteen through nineteen ninety six German born Mexican film director

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Speaker 1: and screenwriter who directed more than one hundred and fifty

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Speaker 1: films between the mid forties in the mid nineties, an

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Speaker 1: acclaimed filmmaker in his own right of the Mexican Golden

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Speaker 1: Age of cinema. Among his most well received works are

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Speaker 1: the nineteen fifty six drama Taupa and the nineteen fifty

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Speaker 1: one film Girls in Uniform. Now this is a boarding

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Speaker 1: school drama based on a nineteen thirty one German film

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Speaker 1: of the same name. The German film I was reading

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Speaker 1: about it suffered multiple waves of censorship, but is today

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Speaker 1: held up as a cult classic of lesbian cinema. I

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Speaker 1: haven't seenna is version of this, but I'm to understand

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Speaker 1: it grapples with these themes as well while also pushing

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Speaker 1: up against its own censorship issues. At the time, I realized,

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Speaker 1: Girls in Uniform may sound like a sketchy title, but

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Speaker 1: this is like, this is a serious These are serious

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Speaker 1: film projects, and I think the original German film was

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Speaker 1: based on a play.

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Speaker 3: Yeah, I can see the phrasing could give the wrong idea.

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Speaker 3: Sounds like a like women in prison type title, Yeah.

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Speaker 1: Yeah, but nothing of that sort. I have not seen

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Speaker 1: either of these films, but they are very well regarded,

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Speaker 1: or at least the German version is very well regarded,

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Speaker 1: and people seem to like the Mexican version as well. Now,

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Speaker 1: outside of dramas and comedies, Kurvenna also directed multiple Santo

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Speaker 1: and other Lucha libre movies, some Zoro films, some Mexican noir,

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Speaker 1: and also some horror. A couple of titles that jumped

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Speaker 1: out of me include Planet of the Female Invaders from

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Speaker 1: sixty six This Start, Elizabeth Campbell, Mari Monte who will

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Speaker 1: get into Loreno Valisquez, who already mentioned a nineteen eighty

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Speaker 1: film called The Dracula Dynasty. I'm already intrigued. A nineteen

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Speaker 1: seventy nine film called The Whip Versus Satan, which is

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Speaker 1: supposed to be a zoro esque adventure where the zoro

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Speaker 1: esque character has occult powers in battle Satan.

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Speaker 3: Oh okay, so it really is the Whip versus Satan.

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Speaker 3: It's not that Satan has the whip. No, that's playing

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Speaker 3: against type. Yeah yeah.

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Speaker 1: And then there's a nineteen ninety two film called On

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Speaker 1: the Edge of Terror, said to be a very weird

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Speaker 1: and disturbing ventriloquist horror film with Robert Canedo in a

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Speaker 1: supporting role.

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Speaker 3: Okay, I'd be done for watching any of these.

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Speaker 1: Yeah, it sound like I say every time we dive

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Speaker 1: into Mexican cinema, there are so many titles that jump

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Speaker 1: out and sound I booked, I footnoted a few of

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Speaker 1: these to explore later.

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Speaker 4: Man.

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Speaker 3: Just from the title and cast list, Planet of the

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Speaker 3: Female Invaders sounds like it may have a lot in

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Speaker 3: common with another show favorite that we did, Ship of Monsters,

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Speaker 3: which also had Lorraine of Alaskaz and was about women

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Speaker 3: invaders coming to Earth to find the perfect man to

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Speaker 3: I don't know, like replenish their species.

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Speaker 1: Yeah, that one was a musical that was great.

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Speaker 3: Yes, which was wonderful. I love that movie all right.

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Speaker 1: The writer for this picture is Raphael Garcia Trevesi, who

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Speaker 1: lived nineteen ten through nineteen eighty four, Mexican screenwriter who

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Speaker 1: wrote loads of Santo films in addition to just seemingly

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Speaker 1: loads of everything else. His credits include nineteen sixty two

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Speaker 1: Santo and the Vampires, as well as non Santo movies

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Speaker 1: like the horror film Spiritism from sixty two and the

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Speaker 1: historical thriller Black Wind from sixty five.

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Speaker 3: I don't want to be mean, but I will say

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Speaker 3: I don't think the writing is a huge highlight on

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Speaker 3: this one.

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Speaker 1: No, no, you know it. It gave them something to shoot,

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Speaker 1: you know. Yeah, But like I say, at least some

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Speaker 1: of the films that this writer did, you know, are

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Speaker 1: were well received and are you know. The thing about

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Speaker 1: Luke we should mention a lot of think about a

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Speaker 1: lot of these Lucha Libre films is that they are

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Speaker 1: essentially low budget, swiftly produced genre pictures. So yeah, they're

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00:17:06,600 --> 00:17:11,120
Speaker 1: not necessarily, you know, great examples of what everyone involved

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Speaker 1: was capable of, especially when you're talking about the people

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Speaker 1: behind the scenes.

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Speaker 3: Yeah, I mean you can tell from a business perspective.

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Speaker 3: I think a lot of times the idea was, like,

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Speaker 3: we have an extremely popular and charismatic wrestler. We want

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Speaker 3: to find a way to string together a number of

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Speaker 3: different fight scenes with some unusual texture and costumes. How

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Speaker 3: can we kind of like thread all that together? All right?

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Speaker 1: The star of this one, and of course we've talked

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Speaker 1: about him before in our previous episode, is El Santo.

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Speaker 1: Now we know now that El Santo's given name was

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Speaker 1: Ridolfo Guzman Herte and he lived nineteen seventeen through nineteen

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Speaker 1: eighty four. But it's worth noting that at the time

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Speaker 1: period and during this time period and even today Lucha

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Speaker 1: Libre stars their actual name is not necessarily a matter

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Speaker 1: of public record. And during El Santo's day, like this

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Speaker 1: guy like lived the gimmick. You did not see pictures

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Speaker 1: of El Santo without the mask anywhere he went and

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Speaker 1: was known like I guess he would go to the

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Speaker 1: grocery store. I'm to understand, you know, he would not

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Speaker 1: be wearing the mask, but he would be incognito. Anytime

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Speaker 1: he was appearing as El Santo, he was wearing the mask.

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Speaker 1: No one saw his face. And it's still the same

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Speaker 1: today with some wrestlers in Mexico. The people don't have

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Speaker 1: their access to the details of their non gimmick life.

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Speaker 3: Seems like there could be some advantages to that from

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Speaker 3: the wrestler's point of view. I mean, if you're like,

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00:18:40,560 --> 00:18:42,800
Speaker 3: it's a way of being a famous person while still

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Speaker 3: being able to have some privacy in your regular life.

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Speaker 1: Yeah. So yes. El Santo the Saint probably the most

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Speaker 1: famous and instantly identifiable luchador of all time. He was

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Speaker 1: active for five decades, and in addition to being a

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Speaker 1: superstar in the ring, he was able to spin that

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Speaker 1: off into becoming a comic book superhero, and that led

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Speaker 1: to numerous films where he's generally playing the role of

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Speaker 1: a superhero or a crime fighter, taking on everything from

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00:19:10,600 --> 00:19:14,000
Speaker 1: crime and corruption to supernatural evil, and of course invasions

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Speaker 1: from other planets. As we'll be discussing today. He was

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Speaker 1: the ultimate good guy or technico. He never lost his mask,

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Speaker 1: but he did famously reveal his face on TV prior

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Speaker 1: to his death from a heart attack in nineteen eighty four.

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Speaker 1: He was appearing on their mask and it wasn't something

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Speaker 1: they promoted. They were not like, oh, Santo's going to

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Speaker 1: reveal his face today. It was like, almost casually, he

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Speaker 1: was like, this is my face, and he showed his

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Speaker 1: face and then put his mask back on.

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Speaker 3: I've seen the footage. It's very brief. It's almost like

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Speaker 3: he doesn't give you a real good look. He just

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Speaker 3: kind of peels it up and then pulls it right

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Speaker 3: back down.

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Speaker 1: Yeah, but it's still there's an emotional quality to it.

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Speaker 1: Not as emotional as some of the footage you'll find

358
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Speaker 1: of older luchadors losing their mask in a match where

359
00:19:58,840 --> 00:20:00,400
Speaker 1: they put their mask on the line and they lose

360
00:20:00,440 --> 00:20:03,040
Speaker 1: it and then they have to as in a ceremonial fashion,

361
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Speaker 1: revealed their face and revealed their full name to the audience,

362
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Speaker 1: and generally like tears are streaming, family members are present.

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Speaker 1: It is very emotional. But there wasn't is no bigger

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Speaker 1: deal than Santo. He wasn't just a lucha star. He

365
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Speaker 1: was and is a cultural icon. I mentioned this the

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Speaker 1: last time we talked about him, but wrestling journalist Dave

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Speaker 1: Meltzer has pointed out that it's difficult to really point

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Speaker 1: to a figure quite like Santo in American culture, Like

369
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Speaker 1: you can't really compare him to any American wrestling name

370
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Speaker 1: in terms of how important he was and is. So

371
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Speaker 1: you can't say, oh, well, he was like hul Kogan

372
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Speaker 1: or he was like the Rock even No, you'd have

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Speaker 1: to point to a superstar like Muhammad Ali or Elvis

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Speaker 1: Presley to even get close. And again, especially during their heyday,

375
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Speaker 1: Like you'd really have to look to Elvis Presley during

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Speaker 1: the height of his fame and you'd probably get close

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Speaker 1: to what Santo was there.

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Speaker 3: I mean, I am, by no means an expert in

379
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Speaker 3: the cultural reception of El Santo, but one thing I

380
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Speaker 3: noticed from all these movies is, yeah, there is this

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Speaker 3: aura of absolute awe about him that I guess you

382
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Speaker 3: could compare to celebrities like Elvis, except even with people

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Speaker 3: like Elvis, I don't know if there was also the

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Speaker 3: kind of holy veneration, Like there's just this understanding and

385
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Speaker 3: all the Santo stuff I've seen that Santo is just

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Speaker 3: a perfectly honorable person. He is the ultimate lawful good.

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Speaker 3: Even in a world where you can't trust anything else,

388
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Speaker 3: you can trust Santo. That's right.

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Speaker 1: Santo is the best of us, without any question. And yeah,

390
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Speaker 1: he does seem to like stand at this perfect place

391
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Speaker 1: where all these different energies in Mexican culture come together.

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Speaker 1: Like there's this like sacred Catholic element to him. I mean,

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Speaker 1: he is the saint at the same time he is

394
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Speaker 1: this superhero. He is a like Superman, but he is

395
00:22:01,600 --> 00:22:04,760
Speaker 1: also in that area where he is both a comic

396
00:22:04,760 --> 00:22:09,440
Speaker 1: book character and a real person. He is a performer. Yeah,

397
00:22:09,480 --> 00:22:13,159
Speaker 1: and he is absolutely good. There are no shades of

398
00:22:13,200 --> 00:22:17,120
Speaker 1: gray to this character. Everything is silver, beautifully said.

399
00:22:17,200 --> 00:22:17,560
Speaker 3: Yes.

400
00:22:18,840 --> 00:22:21,479
Speaker 1: So the comics came first again, and this allowed this

401
00:22:21,600 --> 00:22:25,240
Speaker 1: larger than life character to then branch out into films,

402
00:22:25,400 --> 00:22:28,480
Speaker 1: and there were so many Santo films of the sixties

403
00:22:28,520 --> 00:22:32,840
Speaker 1: seventies and eighties, and their success allowed other luchadors to

404
00:22:33,000 --> 00:22:37,760
Speaker 1: cross over into cinema. And again, these films were often

405
00:22:37,840 --> 00:22:41,320
Speaker 1: cheap and fast, and they hopscotch through different genres horror,

406
00:22:41,359 --> 00:22:46,240
Speaker 1: science fiction, western, spy movies, crime flicks, some outright comedies

407
00:22:46,240 --> 00:22:49,280
Speaker 1: in the mix as well. All right, so that's Elcento,

408
00:22:49,880 --> 00:22:53,080
Speaker 1: But there are numerous other wrestlers in this picture. There's

409
00:22:53,160 --> 00:22:56,199
Speaker 1: quite a bit of grappling in the movie, and I

410
00:22:56,240 --> 00:23:00,000
Speaker 1: think that all the other main roles are also played

411
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Speaker 1: by wrestlers.

412
00:23:01,359 --> 00:23:04,119
Speaker 3: That's right, when the Martians arrive and they are bringing

413
00:23:04,119 --> 00:23:05,440
Speaker 3: body slams.

414
00:23:06,480 --> 00:23:10,240
Speaker 1: All right. Essentially, the leader of the Martian invasion is

415
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Speaker 1: a Martian who eventually takes on the human name of Argos.

416
00:23:15,200 --> 00:23:17,160
Speaker 3: We don't know what their original names are.

417
00:23:17,400 --> 00:23:19,600
Speaker 1: Yeah, they as we'll discuss. There's a point in the

418
00:23:19,640 --> 00:23:21,399
Speaker 1: film where they're like, all right, we all have names

419
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Speaker 1: now we've taken them from human cultures.

420
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Speaker 3: And they transform themselves and something that lasts for about

421
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Speaker 3: a scene, like.

422
00:23:29,560 --> 00:23:31,960
Speaker 1: Yeah, they don't stick to this concept at all.

423
00:23:32,200 --> 00:23:38,080
Speaker 3: Yeah, but yeah, the Martian leader, he transforms into Argos.

424
00:23:38,320 --> 00:23:40,439
Speaker 3: And I gotta say, right at the beginning, when we

425
00:23:40,480 --> 00:23:44,080
Speaker 3: get to the plot section. I apologize because I may

426
00:23:44,720 --> 00:23:48,840
Speaker 3: misattribute which of the male Martians I am talking about

427
00:23:48,880 --> 00:23:51,600
Speaker 3: at any given time, because I was getting several of

428
00:23:51,640 --> 00:23:55,000
Speaker 3: them mixed up, but not this one, the main Martian.

429
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Speaker 3: I think I always knew who he was. This is

430
00:23:57,160 --> 00:24:01,879
Speaker 3: the Martian leader the Beefcake played by Wolf Ravinsky's. Yeah.

431
00:24:02,000 --> 00:24:06,920
Speaker 1: Wolf Ravinsky's lived nineteen twenty one through nineteen ninety nine.

432
00:24:07,040 --> 00:24:12,240
Speaker 1: He was a luchador turned actor. A Latvian of Jewish descent,

433
00:24:12,400 --> 00:24:15,560
Speaker 1: his family fled Europe for Argentina during the Second World War,

434
00:24:15,920 --> 00:24:20,760
Speaker 1: eventually got into lucha libre and became established there. Now,

435
00:24:20,800 --> 00:24:23,639
Speaker 1: obviously Wolf was too handsome to wear a lucha hood,

436
00:24:23,880 --> 00:24:25,720
Speaker 1: and I think he was generally a rudo I was

437
00:24:25,720 --> 00:24:29,199
Speaker 1: looking at Sometimes information on this time period is a

438
00:24:29,200 --> 00:24:32,280
Speaker 1: little record keeping stunt, all that great, but it looks

439
00:24:32,320 --> 00:24:35,359
Speaker 1: like he was rudo, often going up against Santo in

440
00:24:35,400 --> 00:24:38,359
Speaker 1: his allies, and he was eventually able to spin this

441
00:24:38,400 --> 00:24:41,719
Speaker 1: off the end into success as an actor. His filmography

442
00:24:41,720 --> 00:24:45,160
Speaker 1: includes a couple of Santo films, also the serious wrestling

443
00:24:45,240 --> 00:24:48,600
Speaker 1: drama The serious Lucha Libre drama The Magnificent Beast from

444
00:24:48,680 --> 00:24:52,080
Speaker 1: nineteen fifty three, but his biggest success came as the

445
00:24:52,080 --> 00:24:57,240
Speaker 1: star of the Neutron films, in which he plays the hero,

446
00:24:57,359 --> 00:25:01,240
Speaker 1: a masked, caped atomic superman, and there's several of these.

447
00:25:01,600 --> 00:25:04,520
Speaker 1: His other credits include the nineteen fifty noir film The

448
00:25:04,560 --> 00:25:08,480
Speaker 1: Man Without a Face, which looks really interesting, and eventually,

449
00:25:08,520 --> 00:25:11,040
Speaker 1: after acting and wrestling, he became a restaurant tour in

450
00:25:12,359 --> 00:25:15,120
Speaker 1: Mexico City, I believe. I think it was Argentinian cuisine.

451
00:25:15,440 --> 00:25:19,080
Speaker 3: Oh interesting, If this makes any sense, I feel like

452
00:25:19,200 --> 00:25:23,959
Speaker 3: his presence in this movie is most often funny in

453
00:25:23,960 --> 00:25:26,760
Speaker 3: a way that is not necessarily intended. But that's not

454
00:25:27,000 --> 00:25:29,720
Speaker 3: because he's not a good actor. I don't know if

455
00:25:29,720 --> 00:25:33,280
Speaker 3: that really connects, but I think he's I con sense

456
00:25:33,359 --> 00:25:37,160
Speaker 3: that he would be a good actor in many a role,

457
00:25:37,280 --> 00:25:42,919
Speaker 3: but he's just he is placed within hilarious scenarios and

458
00:25:43,000 --> 00:25:44,879
Speaker 3: he looks hilarious acting them.

459
00:25:44,760 --> 00:25:47,240
Speaker 1: Out right right now. But on the other hand, he

460
00:25:47,280 --> 00:25:52,719
Speaker 1: always looks jacked and handsome. And I don't know if

461
00:25:52,760 --> 00:25:54,840
Speaker 1: this is actually his voice that we hear. I don't

462
00:25:54,880 --> 00:25:57,600
Speaker 1: know if it's dubbed by another actor, but at least

463
00:25:57,600 --> 00:26:00,200
Speaker 1: as we experience it, he sounds commanding as well.

464
00:26:00,520 --> 00:26:01,040
Speaker 3: Yeah.

465
00:26:01,480 --> 00:26:06,040
Speaker 1: Now, moving from the lead male Martian. I guess we're

466
00:26:06,040 --> 00:26:08,920
Speaker 1: going to the lead female Martian, though I don't know

467
00:26:09,119 --> 00:26:10,520
Speaker 1: she's actually the leader.

468
00:26:10,160 --> 00:26:12,120
Speaker 3: But Jesus'd say she's the number one. Yeah.

469
00:26:13,119 --> 00:26:17,480
Speaker 1: This is Afrodita, played by Mara Monti, who I mentioned earlier,

470
00:26:17,520 --> 00:26:20,919
Speaker 1: born nineteen forty two. Now she's a familiar face for

471
00:26:21,040 --> 00:26:23,800
Speaker 1: fans of weird Luchadora movies because she was the star

472
00:26:23,960 --> 00:26:27,760
Speaker 1: of Renee Cardona's nineteen sixty eight film The Batwoman, which

473
00:26:27,760 --> 00:26:31,000
Speaker 1: I do not think was authorized by DC Comics. This

474
00:26:31,080 --> 00:26:35,320
Speaker 1: is a terrifically enjoyable film which also has fish monsters

475
00:26:35,359 --> 00:26:38,360
Speaker 1: in it and a mad scientist played by Roberto Canido.

476
00:26:39,440 --> 00:26:42,680
Speaker 1: Recent Mystery Science Theater three thousand coverage on this one,

477
00:26:42,960 --> 00:26:47,239
Speaker 1: with Emily being the human riffer on that one a

478
00:26:47,240 --> 00:26:50,640
Speaker 1: lot of fun. Monty appears in a handful of Luca films,

479
00:26:50,680 --> 00:26:55,919
Speaker 1: including sixty eight's The Treasure of Montezuma, which had Santo

480
00:26:56,000 --> 00:26:58,639
Speaker 1: in it as well as Jorge Rivera, and she was

481
00:26:58,680 --> 00:27:01,440
Speaker 1: also in nineteen sixty nine The Vampires in nineteen seventy

482
00:27:01,440 --> 00:27:02,480
Speaker 1: one's Alien Terror.

483
00:27:02,840 --> 00:27:05,159
Speaker 3: Now I feel like I've seen The Batwoman, but I

484
00:27:05,200 --> 00:27:08,080
Speaker 3: don't remember anything about it. Is just a complete blank

485
00:27:08,119 --> 00:27:08,679
Speaker 3: in my brain.

486
00:27:09,359 --> 00:27:13,000
Speaker 1: There's a lot of running around in a really skimpy

487
00:27:13,040 --> 00:27:19,119
Speaker 1: batwoman costume, fish monsters and like driving. It's it's it's good,

488
00:27:19,200 --> 00:27:21,399
Speaker 1: it's I mean, it's it's very fun.

489
00:27:22,000 --> 00:27:26,400
Speaker 3: Well, I gotta say Mara Monty is a striking screen

490
00:27:26,480 --> 00:27:29,760
Speaker 3: presence in this movie. Her aura is off the charts.

491
00:27:30,720 --> 00:27:34,880
Speaker 1: Yeah, yeah, I mean all the Martians are very charismatic,

492
00:27:35,920 --> 00:27:39,159
Speaker 1: the sort of the second in command and if there

493
00:27:39,200 --> 00:27:41,760
Speaker 1: is a ranking system for the Martians, here second in

494
00:27:41,760 --> 00:27:45,280
Speaker 1: command of the female Martians we have Selene, played by

495
00:27:45,720 --> 00:27:50,240
Speaker 1: Eva Norvind lived nineteen forty four through two thousand and six,

496
00:27:50,359 --> 00:27:53,240
Speaker 1: Norwegian born actress who went on to achieve greater success

497
00:27:53,800 --> 00:27:58,800
Speaker 1: as a professional dominatrix, but also award winning documentarian for

498
00:27:58,920 --> 00:28:02,119
Speaker 1: the nineteen eighty film Born Without I haven't seen this,

499
00:28:02,200 --> 00:28:05,360
Speaker 1: but I was reading about it. It's about handicapped Mexican

500
00:28:05,400 --> 00:28:10,520
Speaker 1: actor and musician Jose Flores. It also features some content

501
00:28:10,600 --> 00:28:14,280
Speaker 1: with Alejandro jo Drowski. And she served as a consultant

502
00:28:14,280 --> 00:28:16,840
Speaker 1: on nineteen ninety nine's The Thomas Crown Affair. I think

503
00:28:16,880 --> 00:28:21,200
Speaker 1: she was involved. She was like a Renee Russo's consultant

504
00:28:21,320 --> 00:28:25,760
Speaker 1: on something about her characters like dominance or something. I'm

505
00:28:25,800 --> 00:28:27,240
Speaker 1: not sure the full story is there.

506
00:28:27,800 --> 00:28:29,879
Speaker 3: That's a movie that I remember seeing when I was

507
00:28:29,960 --> 00:28:34,040
Speaker 3: way too young for it and finding it almost disturbingly

508
00:28:34,160 --> 00:28:35,800
Speaker 3: weird and not what I expected.

509
00:28:36,320 --> 00:28:38,640
Speaker 1: That's a remake of an older Steve McQueen movie, I believe.

510
00:28:39,160 --> 00:28:42,680
Speaker 3: Oh yeah, I remember Renee Russo and Pierce Brosnan after

511
00:28:42,720 --> 00:28:44,960
Speaker 3: he was coming off of being James Bond. Yeah.

512
00:28:45,040 --> 00:28:47,760
Speaker 1: Yeah, I never saw the remake. I did see the original,

513
00:28:47,880 --> 00:28:50,959
Speaker 1: and because I think it has the song like a

514
00:28:50,960 --> 00:28:52,560
Speaker 1: circle in a spiral, like a wheel.

515
00:28:52,280 --> 00:28:52,840
Speaker 3: Within a wheel.

516
00:28:53,200 --> 00:28:58,640
Speaker 1: And okay, anyway, Norvind is striking in this as all

517
00:28:58,680 --> 00:29:01,440
Speaker 1: the Martians are striking. Yeah, and some of them, of

518
00:29:01,480 --> 00:29:06,080
Speaker 1: course do actually strike, because all the male Martians are

519
00:29:06,120 --> 00:29:08,640
Speaker 1: played by some of Santo's fellow luchadors.

520
00:29:09,240 --> 00:29:12,000
Speaker 3: That's right, So the male Martians are I think, Yeah,

521
00:29:12,040 --> 00:29:16,200
Speaker 3: they are all wrestlers and the main one is Argos,

522
00:29:16,200 --> 00:29:20,200
Speaker 3: but the sort of second in command is Kronos, right.

523
00:29:20,680 --> 00:29:24,040
Speaker 1: Yes, a played by an actor billed as L.

524
00:29:24,160 --> 00:29:27,400
Speaker 3: Nazi. When I saw that in the credits, I was

525
00:29:28,720 --> 00:29:31,000
Speaker 3: I didn't know what to think. We just see the names.

526
00:29:31,000 --> 00:29:35,200
Speaker 3: It's like Wolf Ravinsky's Hamiley L Nazi.

527
00:29:35,040 --> 00:29:39,200
Speaker 1: Yes, L Nazi. This was, of course the Luca name

528
00:29:39,400 --> 00:29:42,440
Speaker 1: for a guy by the name of Ignatio Gomez. He

529
00:29:42,520 --> 00:29:46,360
Speaker 1: lived nineteen thirty two through two thousand and eight. Obviously,

530
00:29:46,520 --> 00:29:49,960
Speaker 1: if it's not obvious, he was a rudo. He was

531
00:29:50,000 --> 00:29:52,600
Speaker 1: a bad guy. He made his career using a German

532
00:29:52,680 --> 00:29:57,400
Speaker 1: Nazi gimmick and his finishing maneuver. His finishing hold was

533
00:29:57,440 --> 00:29:58,840
Speaker 1: called the swastik looked.

534
00:29:58,880 --> 00:30:01,680
Speaker 3: I think it's like a very of the abdominal stretch.

535
00:30:02,760 --> 00:30:06,200
Speaker 1: It was a different time, but there are many examples

536
00:30:06,240 --> 00:30:08,520
Speaker 1: of Nazi themed villains from Lucha libre history.

537
00:30:08,800 --> 00:30:11,400
Speaker 3: Yeah, but so we shouldn't understand this guy not as

538
00:30:11,600 --> 00:30:14,360
Speaker 3: like a wrestler who actually had Nazi sympathies, but who

539
00:30:14,400 --> 00:30:17,120
Speaker 3: is playing a villainous character. He would be like the

540
00:30:17,160 --> 00:30:20,360
Speaker 3: actor is playing the Nazi villains in the Indiana Jones movies.

541
00:30:20,520 --> 00:30:22,640
Speaker 1: Yeah, yeah, I think if you think of like Red

542
00:30:22,680 --> 00:30:25,560
Speaker 1: Skull from Marvel comics, that kind of okay, that's that's

543
00:30:25,600 --> 00:30:29,880
Speaker 1: probably the reference point here. All right. There's another guy

544
00:30:30,160 --> 00:30:33,640
Speaker 1: that he takes on the name mor Morphio, and he

545
00:30:33,720 --> 00:30:37,960
Speaker 1: is played by ham Lee. This was his wrestling name anyway.

546
00:30:38,960 --> 00:30:41,920
Speaker 1: He lived nineteen thirty two through twenty eleven. He was

547
00:30:41,960 --> 00:30:45,080
Speaker 1: a Mexican luchador of Korean descent. I think he only

548
00:30:45,120 --> 00:30:47,760
Speaker 1: ever did two films, both of them Santo films, but

549
00:30:48,040 --> 00:30:51,600
Speaker 1: he's a memorable presence here. According to Luchawiki, which is

550
00:30:53,040 --> 00:30:58,680
Speaker 1: a great English language reference for anything and everything lucha libre,

551
00:30:59,640 --> 00:31:03,640
Speaker 1: he appear currently actually wrestled unofficially as Santo in Japan,

552
00:31:03,760 --> 00:31:06,800
Speaker 1: I think in the early seventies because he was stranded

553
00:31:06,800 --> 00:31:09,720
Speaker 1: there with some of his coworkers after like a shady

554
00:31:09,760 --> 00:31:12,360
Speaker 1: promoter like brought them in but didn't pay them, and

555
00:31:12,400 --> 00:31:14,800
Speaker 1: so they had to get enough money to fly themselves

556
00:31:14,840 --> 00:31:17,040
Speaker 1: back to Mexico. And so he's like, well, I guess

557
00:31:17,040 --> 00:31:21,000
Speaker 1: I'll dress up as Santo and do the style and

558
00:31:21,240 --> 00:31:23,080
Speaker 1: some do some of the moves, and you know, I

559
00:31:23,080 --> 00:31:25,160
Speaker 1: guess they made it back because I believe he ran

560
00:31:25,200 --> 00:31:27,480
Speaker 1: a gym in Mexico City for a long time.

561
00:31:27,720 --> 00:31:31,000
Speaker 3: Well, this is, I guess a serious question. If you

562
00:31:31,160 --> 00:31:35,320
Speaker 3: are a masked wrestling celebrity, how do you prevent somebody

563
00:31:35,360 --> 00:31:37,920
Speaker 3: else from coming in and saying they are you just

564
00:31:37,960 --> 00:31:39,600
Speaker 3: by using an identical costume?

565
00:31:40,880 --> 00:31:44,840
Speaker 1: I mean it, it's it can be an issue and

566
00:31:45,240 --> 00:31:46,640
Speaker 1: it gets throughout.

567
00:31:46,640 --> 00:31:48,280
Speaker 3: Oh, in fact, it happens in this movie.

568
00:31:48,520 --> 00:31:51,640
Speaker 1: Yeah, it happens in this movie in a in a

569
00:31:51,760 --> 00:31:54,239
Speaker 1: rather unbelievable way, but it happens in real life too,

570
00:31:54,400 --> 00:31:58,360
Speaker 1: especially when you get into disputes between companies, like one

571
00:31:58,400 --> 00:32:00,360
Speaker 1: company is like, well, we own the right to this

572
00:32:00,480 --> 00:32:03,000
Speaker 1: mask and this character, but then the guy who plays it,

573
00:32:03,080 --> 00:32:05,360
Speaker 1: he leaves for another company, and now you have two

574
00:32:05,400 --> 00:32:08,840
Speaker 1: guys doing the same gimmick, but maybe one has to

575
00:32:09,000 --> 00:32:12,320
Speaker 1: alter their name slightly, that sort of thing. And then

576
00:32:12,320 --> 00:32:15,000
Speaker 1: there have been cases too where somebody passes away but

577
00:32:15,040 --> 00:32:17,200
Speaker 1: they keep the gimmick going with somebody else under the

578
00:32:17,200 --> 00:32:19,400
Speaker 1: same mask. You get into that again. You get into

579
00:32:19,440 --> 00:32:24,640
Speaker 1: that weird space with a luchador or eluchador, especially like

580
00:32:24,680 --> 00:32:27,840
Speaker 1: it is a real person, but it is also a

581
00:32:27,880 --> 00:32:30,440
Speaker 1: fictional character. It's also a gimmick, and yet at the

582
00:32:30,480 --> 00:32:33,560
Speaker 1: same time, it doesn't always feel appropriate that someone else

583
00:32:33,560 --> 00:32:37,000
Speaker 1: should play that role if something happens to the original,

584
00:32:37,080 --> 00:32:40,800
Speaker 1: unless it is passed down like officially, from like a

585
00:32:40,840 --> 00:32:43,520
Speaker 1: father to a son, or one relative to another, or

586
00:32:43,560 --> 00:32:46,200
Speaker 1: even from like a maestro to a mentor.

587
00:32:47,760 --> 00:32:50,080
Speaker 3: I was a little unclear on exactly his powers, because

588
00:32:50,080 --> 00:32:51,840
Speaker 3: they say the main thing about him is that he

589
00:32:51,880 --> 00:32:54,920
Speaker 3: has great powers of hypnotism, but I think all of

590
00:32:54,960 --> 00:32:57,960
Speaker 3: the Martians can hypnotize people. I think he can hypnotize

591
00:32:58,000 --> 00:33:02,800
Speaker 3: them better than everybody else allegedly. Yes, yeah, but there

592
00:33:02,800 --> 00:33:04,400
Speaker 3: are a lot of good scenes of him just like

593
00:33:04,440 --> 00:33:08,160
Speaker 3: standing there looking very like Stern while while people just

594
00:33:08,160 --> 00:33:10,120
Speaker 3: stop talking in the middle of a sentence and kind

595
00:33:10,160 --> 00:33:11,320
Speaker 3: of go limp. Yeah.

596
00:33:11,560 --> 00:33:14,080
Speaker 1: Other times he's wearing a suit and looks very dapper. Yes,

597
00:33:15,520 --> 00:33:17,760
Speaker 1: one more wrestler, I'm gonna mention, and we may we'll

598
00:33:17,840 --> 00:33:20,840
Speaker 1: rest We'll mention some more later on. But there's a

599
00:33:21,000 --> 00:33:24,640
Speaker 1: bald wrestler that shows up in the training sequences. This

600
00:33:24,680 --> 00:33:27,920
Speaker 1: is a guy whose real name was Nathaniel Leone who

601
00:33:27,920 --> 00:33:30,000
Speaker 1: lived nineteen fifteen through two thousand and one, but his

602
00:33:30,000 --> 00:33:34,000
Speaker 1: wrestling name was Frankenstein. I don't think he wore a

603
00:33:34,040 --> 00:33:35,840
Speaker 1: mask or anything. It's just like they're like, you look

604
00:33:36,120 --> 00:33:39,360
Speaker 1: kind of like Frankenstein, so you're Frankenstein. He pops up

605
00:33:39,400 --> 00:33:42,080
Speaker 1: in a lot of Luca and Mexican genre movies, you know,

606
00:33:42,120 --> 00:33:43,200
Speaker 1: just because he had a great look.

607
00:33:43,520 --> 00:33:46,640
Speaker 3: Yeah, he also has an interesting face. Yeah.

608
00:33:47,280 --> 00:33:51,040
Speaker 1: And oh, and I'll mention there's a professor character, Professor

609
00:33:51,400 --> 00:33:56,000
Speaker 1: Odo Rica, played by Manuel Zozaiah. He lived nineteen thirteen

610
00:33:56,000 --> 00:33:59,640
Speaker 1: through nineteen eighty seven, but he was in a number

611
00:33:59,640 --> 00:34:02,160
Speaker 1: of films, often in a supporting role. But I don't

612
00:34:02,200 --> 00:34:04,640
Speaker 1: have much else to say about him other than he's

613
00:34:04,680 --> 00:34:06,160
Speaker 1: in it, and they talk a lot about what a

614
00:34:06,200 --> 00:34:07,160
Speaker 1: great scientist he is.

615
00:34:07,480 --> 00:34:11,600
Speaker 3: Well, he's kind of an ambiguous character because he is

616
00:34:11,719 --> 00:34:15,480
Speaker 3: portrayed in this movie as like Santo's best friend. He's

617
00:34:15,520 --> 00:34:18,600
Speaker 3: the only guy who really we see Santo spending off

618
00:34:18,640 --> 00:34:20,319
Speaker 3: time with. I mean, we see him training with his

619
00:34:20,360 --> 00:34:23,640
Speaker 3: wrestling buddies, but you know, they're like hanging out together

620
00:34:23,680 --> 00:34:26,839
Speaker 3: and discussing things. But then really, by the time you

621
00:34:26,840 --> 00:34:28,960
Speaker 3: get to the end of the movie, to the extent

622
00:34:29,040 --> 00:34:32,600
Speaker 3: the film has a theme, it is the schism between

623
00:34:32,800 --> 00:34:35,520
Speaker 3: his view of the world and Santo's view of the world.

624
00:34:35,800 --> 00:34:38,239
Speaker 1: Right, yeah, yeah, yeah, that is true. They could have

625
00:34:38,239 --> 00:34:40,839
Speaker 1: maybe built it up more, but it is there, all right.

626
00:34:40,880 --> 00:34:43,439
Speaker 1: And finally, the music here is once more the music

627
00:34:43,560 --> 00:34:47,680
Speaker 1: of Antonio Diaz Condi died in nineteen seventy six, prolific

628
00:34:47,719 --> 00:34:50,120
Speaker 1: Mexican composer who worked on a ton of bee pictures

629
00:34:50,200 --> 00:34:52,560
Speaker 1: during his time period. In fact, we previously mentioned him

630
00:34:52,560 --> 00:34:56,680
Speaker 1: in our episodes on Doctor Doom and Santa Claus. I

631
00:34:56,760 --> 00:35:00,520
Speaker 1: was kind of dismissive of his work in those previous films,

632
00:35:00,719 --> 00:35:03,280
Speaker 1: but this one had a lot of sci fi electronic

633
00:35:03,400 --> 00:35:06,480
Speaker 1: sound effects going on, so I enjoyed the sonic aspects

634
00:35:06,520 --> 00:35:07,759
Speaker 1: of this picture more.

635
00:35:07,800 --> 00:35:10,560
Speaker 3: I would say, that's how to hook Rob. You get

636
00:35:10,600 --> 00:35:11,879
Speaker 3: plenty of beat boops in there.

637
00:35:12,160 --> 00:35:14,239
Speaker 1: I know, I'm kind of a cliche. You just add

638
00:35:14,280 --> 00:35:16,400
Speaker 1: some beeps and some boots and then I'll be like,

639
00:35:16,440 --> 00:35:17,479
Speaker 1: all right, this one's good.

640
00:35:17,800 --> 00:35:22,000
Speaker 3: No. I like the beat boops too. They got us both.

641
00:35:30,719 --> 00:35:32,240
Speaker 1: All right, let's get into the plot.

642
00:35:32,680 --> 00:35:35,560
Speaker 3: Oh boy, Well, we begin with stock footage of a

643
00:35:35,680 --> 00:35:38,160
Speaker 3: rocket taking off, So it's time to play the game

644
00:35:38,200 --> 00:35:42,040
Speaker 3: we've played before. Which mission is this public domain government

645
00:35:42,040 --> 00:35:45,200
Speaker 3: footage from I can't be positive, but I do have

646
00:35:45,239 --> 00:35:47,960
Speaker 3: a best guess, and it's that it was one of

647
00:35:47,960 --> 00:35:51,320
Speaker 3: the Atlas rockets used in Project Mercury Rob. I found

648
00:35:51,320 --> 00:35:53,839
Speaker 3: a photo to compare it to that I put side

649
00:35:53,840 --> 00:35:55,799
Speaker 3: by side in the outline with the opening shots from

650
00:35:55,800 --> 00:35:57,759
Speaker 3: the film. I think it looks pretty close. What do

651
00:35:57,800 --> 00:35:58,120
Speaker 3: you think?

652
00:35:59,040 --> 00:36:00,920
Speaker 1: Yeah, I'm convinced this.

653
00:36:00,840 --> 00:36:04,240
Speaker 3: One was from the launch of Friendships seven in nineteen

654
00:36:04,320 --> 00:36:08,480
Speaker 3: sixty two, which was before this film was released. But anyway,

655
00:36:08,560 --> 00:36:11,560
Speaker 3: after we fiddle around with a bunch of rocket stock footage,

656
00:36:12,560 --> 00:36:16,359
Speaker 3: we get the title, which appears over shots of spectators

657
00:36:16,400 --> 00:36:20,120
Speaker 3: observing the space launch, and the title here is Santo

658
00:36:20,239 --> 00:36:23,960
Speaker 3: the Silver Mask versus the Martian Invasion. Now, I think

659
00:36:23,960 --> 00:36:27,400
Speaker 3: it's interesting that we see the space launch at the

660
00:36:27,400 --> 00:36:30,200
Speaker 3: beginning here, because this plays no role in the plot

661
00:36:30,320 --> 00:36:33,200
Speaker 3: at all. But I was thinking about why we have

662
00:36:33,280 --> 00:36:36,799
Speaker 3: it here, and then thinking about how many other mid

663
00:36:36,960 --> 00:36:42,680
Speaker 3: century low budget space invasion movies have plot elements or

664
00:36:42,719 --> 00:36:48,360
Speaker 3: include something however small, about humans first sending a mission

665
00:36:48,480 --> 00:36:53,880
Speaker 3: into space, which then somehow triggers or provokes or leads

666
00:36:53,920 --> 00:36:57,440
Speaker 3: to an alien attack on Earth. Why do we so

667
00:36:57,600 --> 00:37:01,200
Speaker 3: often have this element of humans going into space and

668
00:37:01,239 --> 00:37:04,879
Speaker 3: then the aliens like retaliate or they come here. Why

669
00:37:04,920 --> 00:37:07,720
Speaker 3: do you need the element of humans launching something first?

670
00:37:08,200 --> 00:37:11,480
Speaker 3: I don't know, but I wonder if it's because actual

671
00:37:11,600 --> 00:37:15,160
Speaker 3: human rocket launch footage was easily obtained, and that's going

672
00:37:15,200 --> 00:37:17,880
Speaker 3: to look more realistic than any spaceship special effects we

673
00:37:17,920 --> 00:37:20,360
Speaker 3: can throw together. So why not work in a space

674
00:37:20,400 --> 00:37:22,680
Speaker 3: mission of some kind so we can use the tape?

675
00:37:22,960 --> 00:37:27,359
Speaker 1: Yeah? Seems reasonable to me. Yeah, because these films can

676
00:37:27,480 --> 00:37:30,719
Speaker 1: and will create their own spaceship effects. But you got

677
00:37:30,760 --> 00:37:33,200
Speaker 1: all this rocket footage, it's just sitting there. Why not

678
00:37:33,400 --> 00:37:33,680
Speaker 1: use it?

679
00:37:33,960 --> 00:37:37,560
Speaker 3: Yeah? But anyway, the movie proper starts with some voiceover

680
00:37:37,680 --> 00:37:42,319
Speaker 3: narration while showing astronauts in mid space walk don't know

681
00:37:42,360 --> 00:37:46,160
Speaker 3: what this is from, but the narrator says, with the

682
00:37:46,239 --> 00:37:50,200
Speaker 3: advance of science come new mysteries. Is our planet the

683
00:37:50,239 --> 00:37:54,600
Speaker 3: only one inhabited by rational beings like us? And then

684
00:37:54,719 --> 00:37:57,160
Speaker 3: this is going to sound kind of confusing, but I'm

685
00:37:57,200 --> 00:38:01,960
Speaker 3: reading the sub subtitles directly. If so, will we conquer

686
00:38:02,040 --> 00:38:06,839
Speaker 3: those other worlds? Or on the contrary, will their inhabitants

687
00:38:06,920 --> 00:38:10,680
Speaker 3: come to rule us? I think maybe that should have

688
00:38:10,680 --> 00:38:14,480
Speaker 3: been If not, I'm not sure. But anyway, we start

689
00:38:14,520 --> 00:38:17,480
Speaker 3: to see out in space something approaching. It's almost like

690
00:38:17,520 --> 00:38:21,440
Speaker 3: the beginning of Predator, one of these movies where you're

691
00:38:21,440 --> 00:38:23,800
Speaker 3: out in the starfield and you just see something coming

692
00:38:23,840 --> 00:38:26,400
Speaker 3: toward the planet Earth. In this case, it looks kind

693
00:38:26,440 --> 00:38:30,000
Speaker 3: of like a kettle grill. I don't know. I've seen

694
00:38:30,040 --> 00:38:32,840
Speaker 3: different people online discussing what this could be. Some people

695
00:38:32,840 --> 00:38:35,799
Speaker 3: say hubcaps. I don't see hubcaps. I see more of

696
00:38:36,040 --> 00:38:38,160
Speaker 3: a cooking device of some kind. Maybe a kind of

697
00:38:38,239 --> 00:38:40,480
Speaker 3: a shallow Dutch oven. I'm not sure.

698
00:38:40,800 --> 00:38:42,960
Speaker 1: Yeah, yeah, it does seem like it came from the kitchen,

699
00:38:43,000 --> 00:38:43,520
Speaker 1: that's for sure.

700
00:38:43,920 --> 00:38:46,719
Speaker 3: But then, oh lord, we get a look inside the ship,

701
00:38:46,760 --> 00:38:50,040
Speaker 3: and this is so first glimpse of the Martians. I

702
00:38:50,719 --> 00:38:53,200
Speaker 3: was rolling. I don't even know how to begin to

703
00:38:53,239 --> 00:38:56,440
Speaker 3: describe the energy of this house party, but it is wild.

704
00:38:56,920 --> 00:39:01,759
Speaker 3: So the inside of the ships has windows that look

705
00:39:01,800 --> 00:39:04,640
Speaker 3: out into space that have like wooden slats, you know,

706
00:39:04,719 --> 00:39:09,640
Speaker 3: going in between them, and then standing around a table,

707
00:39:09,760 --> 00:39:14,000
Speaker 3: are all these people in shiny gold, gold looking. I mean,

708
00:39:14,040 --> 00:39:16,160
Speaker 3: it's in black and white, but I imagine based on

709
00:39:16,239 --> 00:39:18,880
Speaker 3: the sheen of these things that it's all gold stuff.

710
00:39:18,920 --> 00:39:23,040
Speaker 3: They're wearing gold outfits with these big upside down teapot

711
00:39:23,160 --> 00:39:28,200
Speaker 3: helmets on. They've all got long blonde hair, kind of

712
00:39:28,440 --> 00:39:33,400
Speaker 3: you know, classic hulkster energy, and then just these gold

713
00:39:33,600 --> 00:39:37,600
Speaker 3: sort of foil looking capes. And the women are in

714
00:39:37,760 --> 00:39:40,800
Speaker 3: leotards with belts, and the men are just in pants

715
00:39:40,800 --> 00:39:43,800
Speaker 3: and shirtless with their big muscles bulging out, also wearing

716
00:39:43,840 --> 00:39:48,240
Speaker 3: wrestling style belts, and the blocking from the very beginning

717
00:39:48,800 --> 00:39:52,560
Speaker 3: is quite funny. And they all especially because when we

718
00:39:52,600 --> 00:39:55,080
Speaker 3: first see them, they just stand there, not moving or

719
00:39:55,120 --> 00:39:57,440
Speaker 3: speaking for a good long while, I guess, so we

720
00:39:57,480 --> 00:39:58,319
Speaker 3: can take it all in.

721
00:39:58,760 --> 00:40:03,360
Speaker 1: Yeah, everyone here is jacked or voluptuous, and their golden

722
00:40:03,400 --> 00:40:05,719
Speaker 1: helmets are blocky in a way that kind of looks

723
00:40:05,760 --> 00:40:08,719
Speaker 1: like their heads are big teeth, you know, like each

724
00:40:08,760 --> 00:40:10,920
Speaker 1: head is a big tooth, a big gold tooth.

725
00:40:11,120 --> 00:40:13,160
Speaker 3: Yeah, bicuspits, yeah.

726
00:40:13,040 --> 00:40:15,440
Speaker 1: Yeah, but with an eyeball on the front, which on

727
00:40:15,520 --> 00:40:19,520
Speaker 1: the forehead reminds me a lot of Santa Claus conquers

728
00:40:19,520 --> 00:40:22,440
Speaker 1: the Martians in this respect, because we have a lot

729
00:40:22,440 --> 00:40:26,319
Speaker 1: of questions I had anyway about whether this is a

730
00:40:26,400 --> 00:40:29,960
Speaker 1: helmet or part of their anatomy or both. Again, their

731
00:40:29,960 --> 00:40:32,799
Speaker 1: technologies five hundred years ahead of ours, so you know

732
00:40:32,840 --> 00:40:35,080
Speaker 1: they're beyond cybernetics at this point.

733
00:40:35,400 --> 00:40:38,040
Speaker 3: Yeah, there'll be a lot of questions about how we're

734
00:40:38,040 --> 00:40:40,799
Speaker 3: supposed to understand what we're looking at when we see them.

735
00:40:41,000 --> 00:40:43,319
Speaker 3: But anyway, so they stand there, we get a look

736
00:40:43,360 --> 00:40:46,399
Speaker 3: at them, and then the main beefy dude says, from

737
00:40:46,440 --> 00:40:48,880
Speaker 3: now on we will speak in Spanish, for it is

738
00:40:48,920 --> 00:40:51,319
Speaker 3: the language used in the country we are traveling to

739
00:40:51,600 --> 00:40:55,560
Speaker 3: the country the Earthlings call Mexico. And then we got

740
00:40:55,560 --> 00:40:57,719
Speaker 3: a sort of a Chekhov guy who tells them they're

741
00:40:57,719 --> 00:41:00,560
Speaker 3: approaching the planet, and the beef Aliens says it is

742
00:41:00,640 --> 00:41:03,160
Speaker 3: time to transmit their message to the people of Earth,

743
00:41:03,280 --> 00:41:06,040
Speaker 3: or at least to the people of Mexico. And then

744
00:41:06,080 --> 00:41:09,960
Speaker 3: we see them looking at this circular screen up in

745
00:41:10,040 --> 00:41:12,000
Speaker 3: the wall, and I really could not tell is this

746
00:41:12,120 --> 00:41:14,680
Speaker 3: a window where they're looking out at Earth or a

747
00:41:14,680 --> 00:41:17,520
Speaker 3: TV screen. I think it's a TV screen because later

748
00:41:17,560 --> 00:41:20,040
Speaker 3: they're looking at the same circle and they're like watching

749
00:41:20,080 --> 00:41:22,280
Speaker 3: Santo do a wrestling match. Yeah.

750
00:41:22,440 --> 00:41:24,319
Speaker 1: I mean, it's hard for us to say what this is,

751
00:41:24,400 --> 00:41:27,200
Speaker 1: because again, their technology is so far ahead of where

752
00:41:27,239 --> 00:41:27,520
Speaker 1: we are.

753
00:41:28,120 --> 00:41:31,840
Speaker 3: Our puny brains can't even begin to comprehend. Yeah. But

754
00:41:31,920 --> 00:41:34,399
Speaker 3: then we cut to some Earth TV, so we see

755
00:41:34,400 --> 00:41:38,680
Speaker 3: some households, presumably in Mexico, you know, sitting around on

756
00:41:38,719 --> 00:41:42,160
Speaker 3: the couch watching television. So there's a nice program where

757
00:41:42,200 --> 00:41:45,440
Speaker 3: there is a band playing and a man singing a

758
00:41:45,480 --> 00:41:48,720
Speaker 3: love song, and the family is there on the couch.

759
00:41:48,920 --> 00:41:52,160
Speaker 3: The mother's doing some sewing, the father is reading a newspaper,

760
00:41:52,280 --> 00:41:54,560
Speaker 3: or the kids are watching TV. The boys taking like

761
00:41:54,640 --> 00:41:58,000
Speaker 3: these big slugs of some kind of soda from a bottle.

762
00:41:58,239 --> 00:41:59,240
Speaker 1: I think it's a dorito.

763
00:42:00,040 --> 00:42:02,920
Speaker 3: Oh oh yeah, I couldn't tell on mine. Yeah, you

764
00:42:03,000 --> 00:42:04,080
Speaker 3: must have had higher res.

765
00:42:04,160 --> 00:42:08,360
Speaker 1: I think maybe i'd slightly higher res on my version. Yeah.

766
00:42:08,440 --> 00:42:11,360
Speaker 3: But then there's so uh oh, there's a TV malfunction.

767
00:42:11,400 --> 00:42:13,680
Speaker 3: They're trying to watch this music program and it starts

768
00:42:13,760 --> 00:42:18,560
Speaker 3: shorting out and TV's making weird sounds, and mom asks

769
00:42:18,640 --> 00:42:20,640
Speaker 3: what's happening. So we see the father get up and

770
00:42:20,640 --> 00:42:23,240
Speaker 3: he goes to adjust the TV, and then what comes

771
00:42:23,280 --> 00:42:26,279
Speaker 3: on the TV is all of the weird Martians we

772
00:42:26,360 --> 00:42:29,120
Speaker 3: just saw. So there's suddenly the TV is full of

773
00:42:30,160 --> 00:42:33,080
Speaker 3: full of just like jacked, half naked people wearing kind

774
00:42:33,080 --> 00:42:36,839
Speaker 3: of tinfoil outfits with these big goofy helmets on, and

775
00:42:37,000 --> 00:42:40,000
Speaker 3: the dad says, don't be frightened, it's a new program.

776
00:42:40,239 --> 00:42:42,680
Speaker 3: And then we see everyone visibly relieved.

777
00:42:43,239 --> 00:42:47,480
Speaker 1: Real Homer Simpson moment there, like yeah uh.

778
00:42:47,600 --> 00:42:50,799
Speaker 3: And the first thing that the aliens say is what

779
00:42:50,880 --> 00:42:53,480
Speaker 3: you are watching on your screen is not a fantasy.

780
00:42:53,600 --> 00:42:57,560
Speaker 3: It is real. We are not just actors performing in

781
00:42:57,600 --> 00:43:00,960
Speaker 3: a scary movie. And then we start here like cutting

782
00:43:01,040 --> 00:43:03,759
Speaker 3: around and seeing not just this family watching TV, but

783
00:43:03,840 --> 00:43:06,919
Speaker 3: like people all over, like different households watching the same thing,

784
00:43:07,400 --> 00:43:10,480
Speaker 3: people in a bar watching a TV, drinking and like

785
00:43:10,600 --> 00:43:13,440
Speaker 3: laughing at the TV and all this, and the alien

786
00:43:13,440 --> 00:43:16,520
Speaker 3: message goes on while we see all the different households watching.

787
00:43:17,480 --> 00:43:20,840
Speaker 3: They say, this is our actual appearance. We're from the

788
00:43:20,880 --> 00:43:25,720
Speaker 3: planet that you called Mars. Using scientific advancements surpassing yours

789
00:43:25,760 --> 00:43:30,360
Speaker 3: by more than five Earth centuries, we have intercepted transmissions

790
00:43:30,360 --> 00:43:33,799
Speaker 3: from all across your planet. I loved this line. The

791
00:43:33,960 --> 00:43:37,840
Speaker 3: radar you are so proud of was powerless and detecting

792
00:43:37,880 --> 00:43:43,800
Speaker 3: our arrival. Earthlings famously proud of their radar, They say,

793
00:43:43,880 --> 00:43:47,560
Speaker 3: instead of using your scientific advancements to better humanity, you

794
00:43:47,800 --> 00:43:52,239
Speaker 3: Earthlings use them for your own destruction. And then once

795
00:43:52,280 --> 00:43:55,600
Speaker 3: again we see the Earthlings not just watching but mostly

796
00:43:55,719 --> 00:43:58,360
Speaker 3: laughing at this. We see the drunks at the bar laughing.

797
00:43:58,640 --> 00:44:01,520
Speaker 3: We see a scientist in a labat kind of watching

798
00:44:01,600 --> 00:44:04,279
Speaker 3: pensively and rubbing his chin. Then we also see a

799
00:44:04,280 --> 00:44:07,040
Speaker 3: priest in a frock watching pensively and rubbing his chin.

800
00:44:08,200 --> 00:44:11,960
Speaker 3: That means something, But then the speech continues. When you

801
00:44:12,040 --> 00:44:15,400
Speaker 3: wage war with your conventional weapons, you are you are

802
00:44:15,440 --> 00:44:19,000
Speaker 3: the only victims of your ambition and selfishness. But with

803
00:44:19,120 --> 00:44:22,480
Speaker 3: the discovery of nuclear energy and your mad experiments with

804
00:44:22,520 --> 00:44:25,200
Speaker 3: the atomic bomb. You are on the verge of destroying

805
00:44:25,239 --> 00:44:29,560
Speaker 3: the entire planetary system. Before this happens, we warn you

806
00:44:29,640 --> 00:44:33,880
Speaker 3: that we are prepared to disintegrate all the inhabitants of Earth.

807
00:44:34,640 --> 00:44:37,880
Speaker 3: And this last line is delivered, is delivered very forcefully.

808
00:44:37,920 --> 00:44:40,040
Speaker 3: Wolf is like looking right into the camera and he

809
00:44:40,120 --> 00:44:43,000
Speaker 3: like barks it, I will disintegrate all the inhabitants of Earth.

810
00:44:44,280 --> 00:44:46,440
Speaker 3: He goes on to keep talking. He says, knowing the

811
00:44:46,440 --> 00:44:50,000
Speaker 3: skeptical attitudes of the Earthlings, we understand that you may

812
00:44:50,080 --> 00:44:53,879
Speaker 3: doubt the message and not take our warning seriously. Beginning now,

813
00:44:53,920 --> 00:44:56,840
Speaker 3: we will be forced to use the country called Mexico

814
00:44:57,239 --> 00:45:01,040
Speaker 3: to show our determination and power. We have weapons one

815
00:45:01,120 --> 00:45:05,520
Speaker 3: hundred times more powerful than yours. Here are our demands. Uh.

816
00:45:05,560 --> 00:45:07,760
Speaker 3: And by the way, this is first of all, like, well,

817
00:45:07,760 --> 00:45:11,040
Speaker 3: man sucks, sucks for Mexico. Why did they pick Mexico? Well,

818
00:45:11,400 --> 00:45:13,240
Speaker 3: are they going to use the weapons on Mexico?

819
00:45:13,400 --> 00:45:16,080
Speaker 1: I had I have a lot of thoughts about everything

820
00:45:16,080 --> 00:45:19,040
Speaker 1: they've been saying thus far. What But concerning Mexico. On

821
00:45:19,040 --> 00:45:21,399
Speaker 1: one hand, you can imagine that Mexico was like, well,

822
00:45:21,480 --> 00:45:24,399
Speaker 1: we're honored first of all that you would you would

823
00:45:24,440 --> 00:45:26,640
Speaker 1: come here. But secondly, like a lot of this is

824
00:45:26,680 --> 00:45:29,319
Speaker 1: not on us specifically, so it's kind of weird that

825
00:45:29,320 --> 00:45:30,279
Speaker 1: you're singling this out.

826
00:45:30,480 --> 00:45:33,120
Speaker 3: I don't think of Mexico as the most responsible for

827
00:45:33,239 --> 00:45:34,120
Speaker 3: nuclear warfare.

828
00:45:34,440 --> 00:45:37,400
Speaker 1: Yeah, but later on they do come back around to this,

829
00:45:37,440 --> 00:45:41,359
Speaker 1: at least briefly, and they mentioned that they've singled out

830
00:45:41,400 --> 00:45:44,440
Speaker 1: Mexico because of Mexico's commitment to pacifism.

831
00:45:44,719 --> 00:45:47,279
Speaker 3: That seems completely the opposite of what they should be doing.

832
00:45:47,320 --> 00:45:50,240
Speaker 1: But yeah, at the same time, I will add, though,

833
00:45:50,320 --> 00:45:53,680
Speaker 1: it is always refreshing to watch a science fiction film

834
00:45:54,200 --> 00:45:58,520
Speaker 1: in which global considerations are in play and the United

835
00:45:58,600 --> 00:46:02,120
Speaker 1: States or the UK or maybe the Soviet Union are

836
00:46:02,160 --> 00:46:04,960
Speaker 1: not the primary focal point, you know, So it is

837
00:46:05,040 --> 00:46:08,280
Speaker 1: kind of it is nice that we have a Mexico

838
00:46:08,360 --> 00:46:10,960
Speaker 1: centric plot here as opposed to something we're more used to.

839
00:46:11,360 --> 00:46:13,080
Speaker 3: Oh sure, I mean, yeah, of course I want this

840
00:46:13,160 --> 00:46:15,719
Speaker 3: Santo movie to be focused on Mexico. It just seems like,

841
00:46:15,840 --> 00:46:18,920
Speaker 3: within the logic of the film, like it makes doesn't

842
00:46:18,920 --> 00:46:21,440
Speaker 3: make a lot of sense and seems incredibly unfair that

843
00:46:21,480 --> 00:46:24,280
Speaker 3: the Aliens would decide to make an example of Mexico.

844
00:46:24,480 --> 00:46:27,200
Speaker 1: Yeah, when they start get into the whole making examples off.

845
00:46:27,200 --> 00:46:30,799
Speaker 1: You would think that Mexican officials would be like, look,

846
00:46:32,400 --> 00:46:35,680
Speaker 1: can you take this like one north of here, because

847
00:46:35,719 --> 00:46:38,400
Speaker 1: that seems like a better focal point for whatever you're planning.

848
00:46:38,480 --> 00:46:40,600
Speaker 3: Yeah, I could think of at least two other countries

849
00:46:40,640 --> 00:46:42,080
Speaker 3: who are doing more cold warring.

850
00:46:42,440 --> 00:46:45,960
Speaker 1: Yeah, okay, But then their demands.

851
00:46:46,000 --> 00:46:49,000
Speaker 3: They've got demands. But so this is the first moment

852
00:46:49,040 --> 00:46:51,200
Speaker 3: we see Santo sitting in a chair watching the TV

853
00:46:51,280 --> 00:46:54,920
Speaker 3: broadcast as well, and in a theme that will repeat

854
00:46:54,920 --> 00:46:58,200
Speaker 3: throughout the movie, Santo, even when at home on his

855
00:46:58,239 --> 00:47:00,759
Speaker 3: own leisure time, is in full costume, wearing a cape

856
00:47:00,760 --> 00:47:01,560
Speaker 3: and a mask.

857
00:47:01,600 --> 00:47:03,839
Speaker 1: Right, and no shirt, and they never wears a shirt

858
00:47:03,920 --> 00:47:06,319
Speaker 1: in this. In other Santo movies he'll wear like a

859
00:47:06,360 --> 00:47:09,560
Speaker 1: slick suit with his mask, but in this he's always

860
00:47:09,640 --> 00:47:10,400
Speaker 1: ready to grapple.

861
00:47:10,640 --> 00:47:13,480
Speaker 3: Yep, yep. But here are their demands. They say, all

862
00:47:13,520 --> 00:47:18,759
Speaker 3: governments of Earth completely disarmed, surrendering all weapons, eliminate all borders,

863
00:47:19,280 --> 00:47:24,560
Speaker 3: establish a universal language, establish a global government that does

864
00:47:24,600 --> 00:47:29,719
Speaker 3: not discriminate by race or religion, Foster earthly brotherhood, give

865
00:47:29,840 --> 00:47:32,640
Speaker 3: up war forever, which I would have thought that would

866
00:47:32,680 --> 00:47:35,279
Speaker 3: be included under total disarmament, But I guess this goes

867
00:47:35,400 --> 00:47:38,160
Speaker 3: a step further and outlaws war using only like punching

868
00:47:38,200 --> 00:47:41,919
Speaker 3: and sticks. And I love this list. It's like they're

869
00:47:41,920 --> 00:47:45,000
Speaker 3: trying to like make the new World order conspiracy theories

870
00:47:45,320 --> 00:47:49,319
Speaker 3: theorists like go berserk, which I you know, it's weird.

871
00:47:49,320 --> 00:47:50,759
Speaker 3: I think of that as a more recent thing, but

872
00:47:50,800 --> 00:47:53,759
Speaker 3: that was like that that ideation existed even at the time.

873
00:47:53,840 --> 00:47:55,560
Speaker 3: It's like what the John Birch Society was.

874
00:47:56,239 --> 00:47:58,080
Speaker 1: I mean, I was kind of nodding my head on

875
00:47:58,120 --> 00:48:01,799
Speaker 1: a lot of these. Aside from establishing universal language. I'm like, yeah,

876
00:48:01,840 --> 00:48:04,200
Speaker 1: these these all sound like fine points, and we're obviously

877
00:48:04,239 --> 00:48:06,000
Speaker 1: not going to do any of these things on our own,

878
00:48:06,080 --> 00:48:09,359
Speaker 1: so I think maybe Martian Big Brothers should come and

879
00:48:09,400 --> 00:48:10,680
Speaker 1: threaten us and make us do it.

880
00:48:11,920 --> 00:48:16,160
Speaker 3: Unfortunately, it's not so. I mean, you get different versions

881
00:48:16,320 --> 00:48:18,960
Speaker 3: of this premise in different movies. This is not the

882
00:48:18,960 --> 00:48:21,439
Speaker 3: first movie to do this, so you get everything from

883
00:48:21,560 --> 00:48:24,000
Speaker 3: The Day the Earth Stood Still to Plan nine from

884
00:48:24,040 --> 00:48:27,560
Speaker 3: Outer Space. This is almost an exact copy of the

885
00:48:27,640 --> 00:48:30,000
Speaker 3: idea of Plan nine from outer Space. It's like you

886
00:48:30,040 --> 00:48:33,439
Speaker 3: are doing atomic weapons and all that your stupid Earth mind,

887
00:48:33,520 --> 00:48:35,560
Speaker 3: stupid stupid Now we must destroy you.

888
00:48:36,000 --> 00:48:40,319
Speaker 1: I believe. Plan nine also mentioned the idea that our

889
00:48:40,480 --> 00:48:43,520
Speaker 1: nuclear weapons might destroy the Earth and beyond the earth

890
00:48:43,560 --> 00:48:45,000
Speaker 1: like planets.

891
00:48:45,040 --> 00:48:45,200
Speaker 4: Yeah.

892
00:48:45,239 --> 00:48:48,480
Speaker 3: Yeah, well it's because they think that next after nuclear weapons,

893
00:48:48,520 --> 00:48:51,000
Speaker 3: we will discover the solar night bomb, which he says

894
00:48:51,040 --> 00:48:55,600
Speaker 3: will explode the sunlight itself. Oh, that's right, But I

895
00:48:55,600 --> 00:48:58,520
Speaker 3: guess that's the sillier version. I mean, you can also

896
00:48:58,560 --> 00:49:00,359
Speaker 3: think of like the day the Earth stood still, which

897
00:49:00,480 --> 00:49:04,040
Speaker 3: I think maybe is a little less explicit, but it's

898
00:49:04,040 --> 00:49:08,080
Speaker 3: still kind of the idea that aliens try to establish contact,

899
00:49:08,520 --> 00:49:10,879
Speaker 3: and there is a principle where it's like, if we

900
00:49:10,960 --> 00:49:15,320
Speaker 3: respond with just unnecessary violence and militarism, they will destroy

901
00:49:15,440 --> 00:49:16,080
Speaker 3: us possibly.

902
00:49:16,800 --> 00:49:19,040
Speaker 1: Yeah, I mean, it's it works well in science fiction

903
00:49:19,080 --> 00:49:21,200
Speaker 1: because there's so many different ways of looking On one hand,

904
00:49:22,320 --> 00:49:26,720
Speaker 1: the longing for an alien force to come and solve

905
00:49:26,719 --> 00:49:30,719
Speaker 1: our problems like this is a regular part of many

906
00:49:30,719 --> 00:49:35,840
Speaker 1: different strains of ufology and related like new religious movements,

907
00:49:35,880 --> 00:49:39,200
Speaker 1: you know, and it certainly ties into other religious ideas

908
00:49:39,239 --> 00:49:41,960
Speaker 1: that something beyond us will come and tell us what

909
00:49:42,000 --> 00:49:43,320
Speaker 1: to do and tell us how to do things. And

910
00:49:43,880 --> 00:49:48,040
Speaker 1: then if you're getting into like positioning it as the

911
00:49:48,960 --> 00:49:52,360
Speaker 1: itinerary of an enemy, then yeah, it serves as like

912
00:49:52,400 --> 00:49:57,680
Speaker 1: a supernatural version of what you might perceive as a

913
00:49:57,719 --> 00:50:02,120
Speaker 1: threat in whatever your sort ofolitical opponent happens to be. Like,

914
00:50:02,160 --> 00:50:03,960
Speaker 1: you can apply it to like, oh, this is what

915
00:50:04,000 --> 00:50:07,080
Speaker 1: the communists want, or this is what the uh you know,

916
00:50:07,120 --> 00:50:09,279
Speaker 1: this is what the capitalists want, or you know, what

917
00:50:09,440 --> 00:50:13,040
Speaker 1: have you. Somebody has a script for a way to

918
00:50:13,080 --> 00:50:15,600
Speaker 1: make the world a better place, but it doesn't respect

919
00:50:15,640 --> 00:50:19,200
Speaker 1: who I am and what I want. And yeah, I

920
00:50:19,200 --> 00:50:21,439
Speaker 1: mean it's kind of like the idea, like the one

921
00:50:21,640 --> 00:50:23,600
Speaker 1: main bullet point that I wrote that I that I

922
00:50:23,640 --> 00:50:25,320
Speaker 1: was like, well, that doesn't sound so great. Establish a

923
00:50:25,400 --> 00:50:30,480
Speaker 1: universal language that inevitably means destroying other languages and you know,

924
00:50:30,520 --> 00:50:32,400
Speaker 1: cultural associations within those languages.

925
00:50:32,440 --> 00:50:35,759
Speaker 3: So because of course it's going to be French, right,

926
00:50:35,800 --> 00:50:39,080
Speaker 3: I mean, too bad for all the others.

927
00:50:40,000 --> 00:50:42,480
Speaker 1: Esperanto, Right, that's what it's. Oh yeah, yeah, we got

928
00:50:42,520 --> 00:50:46,600
Speaker 1: to come what's the William Shatner movie that's completely an spercubist. Yeah,

929
00:50:46,600 --> 00:50:47,640
Speaker 1: I'll have to come back to that.

930
00:50:48,160 --> 00:50:50,440
Speaker 3: But to come back to the list of alien demands here,

931
00:50:50,480 --> 00:50:52,400
Speaker 3: I mean, yeah, as much as the next guy, I

932
00:50:52,760 --> 00:50:57,040
Speaker 3: like the idea of earthly brotherhood, no discrimination, no more war.

933
00:50:57,160 --> 00:51:00,319
Speaker 3: That sounds great, but we will learn that not only

934
00:51:00,480 --> 00:51:05,040
Speaker 3: is the Martian enforcement mechanism of these demands quite hypocritical.

935
00:51:05,480 --> 00:51:07,600
Speaker 3: In fact, this is all just a ruse. There will

936
00:51:07,640 --> 00:51:08,520
Speaker 3: be a twist coming.

937
00:51:09,239 --> 00:51:12,920
Speaker 1: Yeah, and even if you take them at their word,

938
00:51:13,120 --> 00:51:16,280
Speaker 1: they just step off completely on the wrong foot.

939
00:51:16,719 --> 00:51:17,040
Speaker 3: Yeah.

940
00:51:17,360 --> 00:51:20,600
Speaker 1: Step one in making Earthlings follow this plan is just

941
00:51:20,640 --> 00:51:22,080
Speaker 1: a disastrous misstep.

942
00:51:30,280 --> 00:51:32,799
Speaker 3: So after this big speech, we see Santo kind of

943
00:51:32,800 --> 00:51:35,120
Speaker 3: he leans back in his chair and he thinks about

944
00:51:35,120 --> 00:51:37,560
Speaker 3: what he has just witnessed. And then we go straight

945
00:51:37,600 --> 00:51:40,520
Speaker 3: back to the Martian mothership where the number two goes

946
00:51:40,600 --> 00:51:44,759
Speaker 3: up to the main beef Martian and says, our electronic

947
00:51:44,840 --> 00:51:48,800
Speaker 3: interstellar brain indicates the Earthlings do not take our warning seriously.

948
00:51:50,239 --> 00:51:53,840
Speaker 3: Why not? Well, apparently we learned that the Earthlings didn't

949
00:51:53,880 --> 00:51:57,440
Speaker 3: realize they were real Martians. Most Earthlings thought that they

950
00:51:57,440 --> 00:52:01,560
Speaker 3: were just watching a comedy skit on TV. So they

951
00:52:01,560 --> 00:52:03,440
Speaker 3: come up with a new plan. They got to convince

952
00:52:03,480 --> 00:52:05,160
Speaker 3: the people of Earth. So they're going to land the

953
00:52:05,160 --> 00:52:08,520
Speaker 3: spaceship in a forest, go out and find a populated area,

954
00:52:08,960 --> 00:52:12,080
Speaker 3: let the Earthlings see them, and then melt the Earthlings

955
00:52:12,120 --> 00:52:16,960
Speaker 3: with a weapon that they call the astral eye. It's

956
00:52:17,000 --> 00:52:19,080
Speaker 3: the only way they're going to take their order seriously.

957
00:52:20,400 --> 00:52:23,680
Speaker 3: So oh, but before coming down, we learn an important

958
00:52:23,680 --> 00:52:26,560
Speaker 3: piece of exposition. So the Martians talk about how Earth's

959
00:52:26,560 --> 00:52:29,239
Speaker 3: atmosphere is toxic to them, so they will need to

960
00:52:29,280 --> 00:52:33,719
Speaker 3: take capsules to survive. So they're like, here are all

961
00:52:33,800 --> 00:52:35,600
Speaker 3: your pills. They've all got a little pouch on their

962
00:52:35,600 --> 00:52:37,319
Speaker 3: belt that has pills in it. They got to take

963
00:52:37,320 --> 00:52:40,480
Speaker 3: the pills or they will asphyxiate in the Earth's atmosphere.

964
00:52:41,239 --> 00:52:43,360
Speaker 3: Sounds like a good planet for them to invade, you know.

965
00:52:44,600 --> 00:52:48,480
Speaker 3: So they land amidst some model trees, and then we

966
00:52:48,560 --> 00:52:52,560
Speaker 3: cut to a big athletic complex with tennis quarts, volleyball nets,

967
00:52:52,600 --> 00:52:54,920
Speaker 3: and a track and a bunch of onlookers in this

968
00:52:55,080 --> 00:52:59,319
Speaker 3: arena seating around a soccer game, and the narrator comes back.

969
00:52:59,360 --> 00:53:02,280
Speaker 3: I forgot about him for a second. The narrator tells

970
00:53:02,360 --> 00:53:05,560
Speaker 3: us the Martians, who claim to come from a world

971
00:53:05,680 --> 00:53:09,560
Speaker 3: much more civilized than ours, and whose scientific advancements surpassed

972
00:53:09,600 --> 00:53:13,000
Speaker 3: the Earths by more than what is it, five hundred years?

973
00:53:13,160 --> 00:53:17,200
Speaker 3: Five hundred years, nonetheless commit the same fatal error when

974
00:53:17,200 --> 00:53:21,279
Speaker 3: they accuse us attempting to impose peace and brotherhood through

975
00:53:21,320 --> 00:53:26,040
Speaker 3: fear and force, forgetting that violence only promotes destruction and hate.

976
00:53:27,080 --> 00:53:29,400
Speaker 3: I feel like maybe the narrator is explaining a little

977
00:53:29,400 --> 00:53:31,520
Speaker 3: too much, like yeah, I don't.

978
00:53:31,320 --> 00:53:34,960
Speaker 1: Know, you're not supposed to have the whole They learn

979
00:53:35,040 --> 00:53:37,040
Speaker 1: too late that man is a feeling creature until the

980
00:53:37,120 --> 00:53:38,640
Speaker 1: end of the picture. But they just want to go

981
00:53:38,640 --> 00:53:40,600
Speaker 1: ahead to make sure we have that in our minds

982
00:53:41,040 --> 00:53:41,880
Speaker 1: before we proceed.

983
00:53:42,200 --> 00:53:44,239
Speaker 3: Well, but I don't know, maybe at least they wanted

984
00:53:44,280 --> 00:53:47,440
Speaker 3: to make clear that the irony of like end all

985
00:53:47,480 --> 00:53:51,759
Speaker 3: wars and practice brotherhood, practice worldwide brotherhood, or we will

986
00:53:51,840 --> 00:53:54,600
Speaker 3: kill you, that the irony is not lost on the filmmakers.

987
00:53:54,800 --> 00:53:56,920
Speaker 1: I don't know if they had test audiences, but maybe

988
00:53:56,920 --> 00:53:58,680
Speaker 1: that was like a point, like too many people are

989
00:53:58,719 --> 00:54:02,000
Speaker 1: agreeing with the Martians at this point, we need to

990
00:54:02,160 --> 00:54:03,120
Speaker 1: couch that a little bit.

991
00:54:03,239 --> 00:54:06,120
Speaker 3: So anyway, here we see a man in a lucha mask.

992
00:54:06,280 --> 00:54:09,120
Speaker 3: This is Santo helpfully coaching a bunch of young children

993
00:54:09,200 --> 00:54:12,640
Speaker 3: in this looks like tumbling and acrobatics on the playground.

994
00:54:13,440 --> 00:54:17,239
Speaker 1: Yeah yeah, but also it's luja like they're grappling, they're

995
00:54:17,280 --> 00:54:20,040
Speaker 1: doing little flips and whatnot. So he's training the next

996
00:54:20,080 --> 00:54:22,279
Speaker 1: generation of luciadors to some extent.

997
00:54:22,239 --> 00:54:25,440
Speaker 3: And he's instilling not just physical lessons, this is not

998
00:54:25,480 --> 00:54:28,719
Speaker 3: just training in the techniques, but he's also instilling an ethos.

999
00:54:29,080 --> 00:54:31,719
Speaker 3: He says, everybody, grab a partner, begin to wrestle each

1000
00:54:31,760 --> 00:54:35,480
Speaker 3: other without hurting anyone. Let's see how it goes. And

1001
00:54:35,560 --> 00:54:38,480
Speaker 3: we see one boy named Luis who really just starts

1002
00:54:38,480 --> 00:54:41,279
Speaker 3: wailing on another kid, and Santo has to stop him.

1003
00:54:41,400 --> 00:54:43,879
Speaker 3: He says, Luis, how many times have I told you

1004
00:54:43,960 --> 00:54:48,120
Speaker 3: not to inflict deliberate harm? And after this, Luis has

1005
00:54:48,160 --> 00:54:51,920
Speaker 3: to affirm sort of the Santo school crado, which is

1006
00:54:51,960 --> 00:54:55,520
Speaker 3: that these cutting edge rastlin skills should never be used

1007
00:54:56,080 --> 00:54:59,120
Speaker 3: in attack. They should only be used to counter aggression

1008
00:54:59,280 --> 00:55:02,160
Speaker 3: or to protect the week and defenseless. So it's kind

1009
00:55:02,160 --> 00:55:04,080
Speaker 3: of the Santo school of good sportsmanship.

1010
00:55:04,440 --> 00:55:07,240
Speaker 1: It kind of gets into sort of like the heart

1011
00:55:07,400 --> 00:55:10,600
Speaker 1: of Lucha libre as well too, because this is not

1012
00:55:10,800 --> 00:55:17,560
Speaker 1: a legitimate competitive like martial art combat sport. It is

1013
00:55:18,160 --> 00:55:27,840
Speaker 1: a highly athletic, collaborative, cooperative entertainment product that ultimately affirms

1014
00:55:27,880 --> 00:55:31,800
Speaker 1: the victory of good over evil, of technico's over rudos,

1015
00:55:31,840 --> 00:55:35,839
Speaker 1: and of you know, righteousness over evil. So so yeah,

1016
00:55:35,840 --> 00:55:38,360
Speaker 1: I can I can see this lining up with actual

1017
00:55:38,480 --> 00:55:41,040
Speaker 1: Santo theology here, I guess.

1018
00:55:41,480 --> 00:55:43,440
Speaker 3: Did I already mention there's a big soccer match going

1019
00:55:43,520 --> 00:55:44,000
Speaker 3: on nearby.

1020
00:55:44,080 --> 00:55:45,719
Speaker 1: I think, oh yeah, there's like a big soccer match

1021
00:55:45,760 --> 00:55:47,880
Speaker 1: in the background. There's so much sport happening.

1022
00:55:48,239 --> 00:55:50,080
Speaker 3: I don't know what they're training like right next to

1023
00:55:50,120 --> 00:55:53,000
Speaker 3: the field. But suddenly we hear a buzz and Yonder

1024
00:55:53,080 --> 00:55:56,919
Speaker 3: materializes one of the beef Martians. I don't remember which

1025
00:55:56,920 --> 00:55:59,920
Speaker 3: one this is. It's either I think it's either chron

1026
00:56:00,560 --> 00:56:03,040
Speaker 3: or the one that will later be called Hercules.

1027
00:56:03,400 --> 00:56:06,600
Speaker 1: This one is played by Benny Gallant, who was a

1028
00:56:07,520 --> 00:56:09,759
Speaker 1: he was I think he was always billed as a Frenchman,

1029
00:56:10,200 --> 00:56:14,520
Speaker 1: but he was actually born in Spain. I think, so, yeah,

1030
00:56:14,360 --> 00:56:18,360
Speaker 1: the Martians have it's a it's really a cross continental

1031
00:56:18,360 --> 00:56:19,640
Speaker 1: cast here in many respects.

1032
00:56:19,880 --> 00:56:23,000
Speaker 3: Big stable. Yeah. And this guy has the thing on

1033
00:56:23,040 --> 00:56:25,160
Speaker 3: his head called the astral eye. It's like a third

1034
00:56:25,200 --> 00:56:28,319
Speaker 3: eye up on his forehead, the forehead part of his helmet.

1035
00:56:28,800 --> 00:56:32,319
Speaker 3: We don't see how it works exactly yet, but he

1036
00:56:32,360 --> 00:56:34,400
Speaker 3: has very This is the guy I was calling this

1037
00:56:34,560 --> 00:56:37,840
Speaker 3: murder Corey Energy. He somehow looks a little bit like

1038
00:56:37,880 --> 00:56:41,920
Speaker 3: a super jacked Corey Feldman adult Corey Feldman in the face.

1039
00:56:41,960 --> 00:56:42,440
Speaker 3: Do you see that?

1040
00:56:42,600 --> 00:56:43,360
Speaker 1: Yeah, I can see that.

1041
00:56:43,640 --> 00:56:47,560
Speaker 3: Yeah. But anyway, he approaches the bleachers of the soccer

1042
00:56:47,600 --> 00:56:51,279
Speaker 3: game and with a cruel smirk, the martian activates his

1043
00:56:51,400 --> 00:56:55,400
Speaker 3: astral eye. It flashes with an internal light, and then

1044
00:56:55,440 --> 00:56:58,400
Speaker 3: the spectators see him. They begin to scream and run away,

1045
00:56:58,680 --> 00:57:02,040
Speaker 3: and then they suddenly start to vanish into thin air.

1046
00:57:03,120 --> 00:57:06,680
Speaker 3: Now the astral i, I think is an interesting weapon

1047
00:57:06,760 --> 00:57:09,080
Speaker 3: because on one hand, the effects that we see are

1048
00:57:09,080 --> 00:57:12,000
Speaker 3: not very gory, that we just see people like vanish

1049
00:57:12,040 --> 00:57:16,400
Speaker 3: from the frame, but it implies something even more devastating

1050
00:57:16,440 --> 00:57:18,560
Speaker 3: than like the heat ray in War of the Worlds,

1051
00:57:18,600 --> 00:57:20,880
Speaker 3: which I don't remember if this was in the novel,

1052
00:57:20,960 --> 00:57:23,360
Speaker 3: but in the you know, in the Spielberg adaptation, the

1053
00:57:23,360 --> 00:57:26,560
Speaker 3: movie adaptation, it would leave this pile of empty clothes behind.

1054
00:57:26,600 --> 00:57:29,720
Speaker 3: When it hits you, these people seem to disappear completely,

1055
00:57:29,800 --> 00:57:32,560
Speaker 3: not even leaving dust. It's like they never existed.

1056
00:57:33,200 --> 00:57:38,240
Speaker 1: Yeah, he just completely disintegrates loads and loads of people

1057
00:57:38,520 --> 00:57:42,720
Speaker 1: like men, women and children like it just it's I mean,

1058
00:57:42,760 --> 00:57:45,200
Speaker 1: it's at this as I was watching and I'm like, well,

1059
00:57:45,240 --> 00:57:47,480
Speaker 1: surely they're just disappearing and they'll be back later. But no,

1060
00:57:47,680 --> 00:57:49,240
Speaker 1: like there was completely disintegrated.

1061
00:57:49,360 --> 00:57:53,280
Speaker 3: No, he totally He vaporizes children in the scene, and

1062
00:57:53,480 --> 00:57:56,200
Speaker 3: so Santo is looking on from the nearby playground and

1063
00:57:56,240 --> 00:57:58,840
Speaker 3: he when he realizes what's happening, he springs into action.

1064
00:57:59,360 --> 00:58:02,280
Speaker 3: He tackles the Martian Killer and they start to wrestle

1065
00:58:02,320 --> 00:58:05,320
Speaker 3: out on the grass. And so there's like one point

1066
00:58:05,360 --> 00:58:08,720
Speaker 3: where the Martian throws Santo and then he stops and

1067
00:58:08,760 --> 00:58:11,640
Speaker 3: takes a moment to vaporize four of Santo's students, and

1068
00:58:11,680 --> 00:58:14,720
Speaker 3: then the fight resumes. And I was thinking the same thing, like, well,

1069
00:58:14,840 --> 00:58:17,360
Speaker 3: Santo gonna go like did he teleport them? Santo's gonna

1070
00:58:17,360 --> 00:58:20,400
Speaker 3: go rescue them later. Nope, they're just vapor now. Yeah,

1071
00:58:21,200 --> 00:58:24,200
Speaker 3: a lot of throwing, flipping, and tumbling takes place in

1072
00:58:24,240 --> 00:58:26,040
Speaker 3: this fight. I thought it was a good fight.

1073
00:58:26,520 --> 00:58:29,560
Speaker 1: Yeah, it's a very fun lucha fight scene, especially considering

1074
00:58:29,560 --> 00:58:31,440
Speaker 1: it just takes place in the middle of a field.

1075
00:58:31,560 --> 00:58:34,320
Speaker 1: It like, as far as the location for a fight

1076
00:58:34,800 --> 00:58:37,280
Speaker 1: in a film in general, if this is the most

1077
00:58:37,400 --> 00:58:41,160
Speaker 1: mundane place it could ever go down, And yet it's

1078
00:58:41,200 --> 00:58:45,439
Speaker 1: really good, Like it's just really good lucha grappling by

1079
00:58:46,000 --> 00:58:49,280
Speaker 1: guys who really knew their craft, and I would say,

1080
00:58:49,880 --> 00:58:52,760
Speaker 1: you know, half jokingly but half serious. The best storytelling

1081
00:58:52,760 --> 00:58:55,440
Speaker 1: in this film is told in these little Luca fight scenes.

1082
00:58:55,640 --> 00:58:58,800
Speaker 3: Yeah. Now, I had questions about what I'm seeing here

1083
00:58:58,840 --> 00:59:01,400
Speaker 3: because you know a lot more about the conventions of

1084
00:59:01,880 --> 00:59:04,760
Speaker 3: wrestling in Luca than I do. The Martian uses a

1085
00:59:04,760 --> 00:59:08,440
Speaker 3: full nelson on Santo here, and I was wondering, is

1086
00:59:08,520 --> 00:59:11,000
Speaker 3: the full nelson like a dirty move or is that

1087
00:59:11,040 --> 00:59:12,680
Speaker 3: part of the legitimate move set.

1088
00:59:13,080 --> 00:59:16,360
Speaker 1: It's a legitimate move. It's I mean, it can be

1089
00:59:16,480 --> 00:59:18,160
Speaker 1: used in a dirty way if you're going to hold

1090
00:59:18,160 --> 00:59:20,360
Speaker 1: somebody so that someone else can punch him in the face.

1091
00:59:20,680 --> 00:59:22,480
Speaker 1: And I think in that respect, you see the full

1092
00:59:22,520 --> 00:59:24,960
Speaker 1: nelson pop up in all sorts of like cowboy brawls

1093
00:59:25,520 --> 00:59:28,480
Speaker 1: in pictures. But you know, I think the big thing

1094
00:59:28,560 --> 00:59:32,200
Speaker 1: is that it's dramatic. You can see both wrestlers' faces,

1095
00:59:32,600 --> 00:59:35,960
Speaker 1: and it has a number of cool Luca counters. Yeah,

1096
00:59:36,040 --> 00:59:38,480
Speaker 1: and we see some of those here, several of those here.

1097
00:59:38,520 --> 00:59:40,760
Speaker 1: I think Santo busts out all his favorite counters to

1098
00:59:40,800 --> 00:59:41,840
Speaker 1: the full nelson.

1099
00:59:41,720 --> 00:59:43,800
Speaker 3: And we see him throughout the movie, and in this case,

1100
00:59:43,840 --> 00:59:45,440
Speaker 3: I think he gets out of it by flipping the

1101
00:59:45,480 --> 00:59:48,400
Speaker 3: guy over top what you call it, like throws that

1102
00:59:48,560 --> 00:59:50,960
Speaker 3: goes into a somersault throw. Yeah.

1103
00:59:51,080 --> 00:59:51,320
Speaker 4: Yeah.

1104
00:59:51,320 --> 00:59:53,840
Speaker 1: The Luca holds are really fun in this film, and

1105
00:59:53,880 --> 00:59:57,160
Speaker 1: in this fight in particular, the Martian here busts out

1106
00:59:57,200 --> 00:59:59,960
Speaker 1: the rare butterfly hold, which you don't see much anymore

1107
01:00:00,000 --> 01:00:02,680
Speaker 1: as a standalone hold. It's usually is more as a

1108
01:00:02,720 --> 01:00:05,360
Speaker 1: setup move for some sort of a bomb or a souplex.

1109
01:00:06,560 --> 01:00:06,720
Speaker 4: Well.

1110
01:00:06,760 --> 01:00:09,600
Speaker 3: Anyway, finally Santo gets the upper hand in this fight.

1111
01:00:10,000 --> 01:00:12,560
Speaker 3: He puts the Martian in a choke hold of some kind,

1112
01:00:13,000 --> 01:00:16,360
Speaker 3: but then suddenly the Martian fiddles with something on his

1113
01:00:16,400 --> 01:00:20,800
Speaker 3: belt and then de materializes and Santo is left grasping

1114
01:00:20,800 --> 01:00:23,440
Speaker 3: it air Like. I thought back to that footage we

1115
01:00:23,480 --> 01:00:25,680
Speaker 3: saw the raccoon who tried to wash the wad of

1116
01:00:25,680 --> 01:00:28,240
Speaker 3: cotton candy and it just disappears and he's there switching

1117
01:00:28,280 --> 01:00:32,040
Speaker 3: around in the water looking for it. Yep, yep, you know, like,

1118
01:00:32,400 --> 01:00:34,880
Speaker 3: what what happened? Where is it? I gotta say this

1119
01:00:34,960 --> 01:00:37,680
Speaker 3: several times. This happens throughout the movie when the Martian

1120
01:00:37,720 --> 01:00:41,760
Speaker 3: disappears and Santo's just like looking around frantically. It is

1121
01:00:41,800 --> 01:00:45,520
Speaker 3: the rare u It is the rare exception to the

1122
01:00:45,640 --> 01:00:49,280
Speaker 3: rule of Santo always looking like totally like in control.

1123
01:00:49,920 --> 01:00:52,360
Speaker 3: In these moments, Santo looks a bit made a fool

1124
01:00:52,400 --> 01:00:54,280
Speaker 3: of and I feel like, that's not that's not what

1125
01:00:54,320 --> 01:00:55,080
Speaker 3: you want to go for.

1126
01:00:55,600 --> 01:00:59,360
Speaker 1: Well, yeah, he's he has trained exclusively on grappling opponents

1127
01:00:59,480 --> 01:01:01,880
Speaker 1: that can vanish into thin air, so it just throws

1128
01:01:01,920 --> 01:01:03,600
Speaker 1: him off his game, at least for a few seconds.

1129
01:01:03,920 --> 01:01:06,720
Speaker 3: Anyway, after this, we get a long slow pan as

1130
01:01:06,720 --> 01:01:10,880
Speaker 3: Santo surveys the empty athletic field and it's kind of like,

1131
01:01:10,920 --> 01:01:13,959
Speaker 3: what was that? What new terror am I facing now?

1132
01:01:15,480 --> 01:01:17,800
Speaker 3: But anyway, we go back to the spaceship and we

1133
01:01:17,920 --> 01:01:20,880
Speaker 3: check in with the Martians and they're like, good, good job,

1134
01:01:20,920 --> 01:01:26,360
Speaker 3: mission accomplished. The Earthlings are afraid now. However, the martian

1135
01:01:26,400 --> 01:01:28,400
Speaker 3: who was out there and just had the fight has

1136
01:01:28,440 --> 01:01:30,400
Speaker 3: a little bit of a footnote to report. He says,

1137
01:01:30,440 --> 01:01:33,640
Speaker 3: there is one Earthling who dresses strangely and covers his

1138
01:01:33,680 --> 01:01:37,240
Speaker 3: face with a silver mask, and he almost managed to

1139
01:01:37,320 --> 01:01:41,280
Speaker 3: disrupt our plans. Should we disintegrate him? And then the

1140
01:01:41,320 --> 01:01:45,400
Speaker 3: head martian says no, in fact, he is such an

1141
01:01:45,440 --> 01:01:49,920
Speaker 3: extraordinary specimen, really, the perfect biped. The only thing to

1142
01:01:49,960 --> 01:01:52,400
Speaker 3: do is capture him and take him back to Mars

1143
01:01:52,440 --> 01:01:53,440
Speaker 3: for study.

1144
01:01:54,360 --> 01:01:57,320
Speaker 1: And they'll expand this project as the film commences, where

1145
01:01:57,320 --> 01:01:59,440
Speaker 1: they'll realize, well, there are other humans that are kind

1146
01:01:59,480 --> 01:02:02,520
Speaker 1: Ofanto's of the mind, and we should also bring them

1147
01:02:02,560 --> 01:02:04,280
Speaker 1: back as well, but Santo's the main one. If we

1148
01:02:04,320 --> 01:02:06,360
Speaker 1: could only bring one, it would be El Santo.

1149
01:02:06,640 --> 01:02:10,080
Speaker 3: Yeah, so next we reunite with Santo at a wrestling event.

1150
01:02:10,160 --> 01:02:12,160
Speaker 3: I think he's I don't know if this makes any

1151
01:02:12,200 --> 01:02:15,440
Speaker 3: Is he like in his office at the wrestling arena?

1152
01:02:15,760 --> 01:02:19,560
Speaker 1: Maybe? The establishing shot is that we're at Arena Mexico

1153
01:02:19,720 --> 01:02:22,520
Speaker 1: in Mexico City, which is a very prestigious home of

1154
01:02:22,560 --> 01:02:25,080
Speaker 1: lucha libre. It is built in nineteen fifty six, so

1155
01:02:25,120 --> 01:02:27,880
Speaker 1: I guess it was relatively young building at the time,

1156
01:02:27,920 --> 01:02:31,120
Speaker 1: but it's still in operation. It's the home of CMLL,

1157
01:02:31,200 --> 01:02:33,680
Speaker 1: which is like the biggest and most traditional lutat libre

1158
01:02:33,800 --> 01:02:37,040
Speaker 1: promotion in Mexico. You can still go there and see

1159
01:02:37,080 --> 01:02:41,840
Speaker 1: shows Lucha Libre shows at Arena Mexico. So maybe Santo

1160
01:02:41,920 --> 01:02:42,960
Speaker 1: has an office in the building.

1161
01:02:43,160 --> 01:02:46,160
Speaker 3: Yeah, but Santo has a friend here. This is when

1162
01:02:46,160 --> 01:02:49,360
Speaker 3: we first meet the professor. We will later learn this

1163
01:02:49,440 --> 01:02:53,240
Speaker 3: is Professor Orto Rica, and they're discussing theories on what happened.

1164
01:02:53,240 --> 01:02:57,880
Speaker 3: Professor Orto Rica is a professor of nuclear physics, and

1165
01:02:58,200 --> 01:03:01,480
Speaker 3: they're saying, Santo is saying, what cruel monster would vaporize

1166
01:03:01,520 --> 01:03:05,160
Speaker 3: even innocent children. So they talk it through, but it's

1167
01:03:05,240 --> 01:03:08,880
Speaker 3: not much of a talk because they just briefly consider, well,

1168
01:03:08,880 --> 01:03:11,800
Speaker 3: what if it was a warmongering foreign country trying to

1169
01:03:11,880 --> 01:03:15,360
Speaker 3: dominate them? And they both agree that it can't be that,

1170
01:03:15,800 --> 01:03:18,960
Speaker 3: And then they both immediately go to the conclusion that

1171
01:03:19,000 --> 01:03:21,160
Speaker 3: the man with the astral eye must have come from

1172
01:03:21,160 --> 01:03:25,320
Speaker 3: another planet. That's just logic. So then we check in

1173
01:03:25,360 --> 01:03:28,400
Speaker 3: with some of the families who were watching TV earlier.

1174
01:03:28,800 --> 01:03:32,920
Speaker 3: They're all watching cowboys stuff. Now when suddenly broadcast signal

1175
01:03:32,920 --> 01:03:36,520
Speaker 3: intrusion again. The Martians are back and they say, listen

1176
01:03:36,560 --> 01:03:40,000
Speaker 3: to Earthlings. You doubted the reality of our existence, Well

1177
01:03:40,280 --> 01:03:42,760
Speaker 3: you shouldn't have done that. Now you've seen our power.

1178
01:03:43,160 --> 01:03:46,160
Speaker 3: No scientific or military authority can stand up to us.

1179
01:03:46,480 --> 01:03:49,240
Speaker 3: We can destroy you all if we want. And then

1180
01:03:49,280 --> 01:03:52,040
Speaker 3: we see a priest and a church who's like under

1181
01:03:52,040 --> 01:03:57,240
Speaker 3: a crucifix and he begins to pray. Now, meanwhile, the

1182
01:03:57,360 --> 01:04:01,840
Speaker 3: Santo Professor friendship really starts cooking. They're thinking more about

1183
01:04:01,840 --> 01:04:04,600
Speaker 3: their theories. Now they're in the professor's lab and one

1184
01:04:04,680 --> 01:04:06,640
Speaker 3: of them says, you know, something makes me think that

1185
01:04:06,720 --> 01:04:10,080
Speaker 3: the lost continent of Atlantis was inhabited by a race

1186
01:04:10,120 --> 01:04:14,400
Speaker 3: of people who also had the astral eye. I was like, oh, really, wow,

1187
01:04:14,480 --> 01:04:16,040
Speaker 3: I wonder where they're going with this. But I don't

1188
01:04:16,040 --> 01:04:18,440
Speaker 3: think you know what never comes up again.

1189
01:04:19,960 --> 01:04:22,520
Speaker 1: In a normal conversation. This would be the point where

1190
01:04:22,560 --> 01:04:24,920
Speaker 1: you would suddenly doubt your source, where you're like, this

1191
01:04:24,960 --> 01:04:28,480
Speaker 1: guy's talking about Atlantis. Now I don't know if he

1192
01:04:28,480 --> 01:04:31,880
Speaker 1: should really be my guy, my consult for the situation.

1193
01:04:32,400 --> 01:04:34,480
Speaker 3: Oh but while they're hanging out talking about Atlantis, the

1194
01:04:34,480 --> 01:04:37,439
Speaker 3: professor gets a call from the university and they're like, hey,

1195
01:04:37,440 --> 01:04:40,320
Speaker 3: the Martians are on TV. Watch them. Turn the TV on, so,

1196
01:04:40,560 --> 01:04:44,200
Speaker 3: you know, Santo and the Professor tune in and this

1197
01:04:44,240 --> 01:04:46,720
Speaker 3: is the part where the Martians explain that they selected

1198
01:04:46,760 --> 01:04:51,000
Speaker 3: Mexico because it is a country dedicated to pacifism. And

1199
01:04:51,080 --> 01:04:54,160
Speaker 3: then the professor I thought this was great. He snaps

1200
01:04:54,160 --> 01:04:56,880
Speaker 3: a photo of the TV while the Martians are on TV.

1201
01:04:57,160 --> 01:04:58,160
Speaker 3: How's that going to come out?

1202
01:05:00,400 --> 01:05:02,080
Speaker 1: I mean, you can't push record at this point in

1203
01:05:02,160 --> 01:05:02,880
Speaker 1: no VCRs.

1204
01:05:02,960 --> 01:05:05,520
Speaker 3: Yeah, I guess so, but the Martian muscle guy says

1205
01:05:05,560 --> 01:05:09,680
Speaker 3: resistance is futile, and then they just returned to the

1206
01:05:09,720 --> 01:05:13,640
Speaker 3: regular schedule programming. It's back to the Cowboys show. Well

1207
01:05:13,680 --> 01:05:17,520
Speaker 3: after this, we finally get a confrontation. Here, the beefy

1208
01:05:17,600 --> 01:05:20,920
Speaker 3: Martian teleports into the room with Santo and the Professor.

1209
01:05:21,600 --> 01:05:24,400
Speaker 3: Santo is unhappy with him because of all the people

1210
01:05:24,440 --> 01:05:27,160
Speaker 3: he vaporized earlier, but the Martian kind of waves away

1211
01:05:27,200 --> 01:05:30,960
Speaker 3: the criticism. He's like, hey, listen, you two guys are

1212
01:05:31,000 --> 01:05:35,160
Speaker 3: the best humanity has to offer. With your intelligence, strength

1213
01:05:35,200 --> 01:05:38,600
Speaker 3: and integrity, you will quote be the seed of a

1214
01:05:38,640 --> 01:05:44,320
Speaker 3: new humanity more scientifically and morally advanced. So there, I

1215
01:05:44,360 --> 01:05:47,320
Speaker 3: was like, what, so are they suggesting Santo and the

1216
01:05:47,360 --> 01:05:49,560
Speaker 3: Professor are going to be like Adam and Eve of

1217
01:05:49,600 --> 01:05:51,400
Speaker 3: a new human kind? Sort of?

1218
01:05:52,240 --> 01:05:54,720
Speaker 1: Okay, I have to say in the screenshot that you

1219
01:05:54,720 --> 01:05:57,000
Speaker 1: grabbed a wolf here, he really looks like John Cena

1220
01:05:57,080 --> 01:05:57,640
Speaker 1: in the face.

1221
01:05:57,880 --> 01:06:00,920
Speaker 3: Yes, yeah, yeah, I can see that. I don't know

1222
01:06:01,040 --> 01:06:02,600
Speaker 3: what is it in the face I'm seeing, but I

1223
01:06:02,600 --> 01:06:05,960
Speaker 3: know what you're talking about there. But anyway, so Santo

1224
01:06:06,120 --> 01:06:09,040
Speaker 3: and the Martian argue. Santo is like, no, no, no,

1225
01:06:09,080 --> 01:06:11,360
Speaker 3: you're not going to tell me what to do. Also,

1226
01:06:11,600 --> 01:06:13,960
Speaker 3: was wrong to kill innocent people like you did earlier,

1227
01:06:14,240 --> 01:06:16,760
Speaker 3: And the Martian is like, it was necessary to do so,

1228
01:06:16,840 --> 01:06:20,160
Speaker 3: because only by killing earthlings will they learn to live

1229
01:06:20,160 --> 01:06:23,720
Speaker 3: in peace. And then here it ends up with the

1230
01:06:24,200 --> 01:06:26,800
Speaker 3: Martians like you must come with me, And so Santo

1231
01:06:26,880 --> 01:06:29,280
Speaker 3: does a leg sweep and the fight begins. It's another fight.

1232
01:06:29,680 --> 01:06:32,240
Speaker 3: I noticed the Professor does not tag in. He does

1233
01:06:32,280 --> 01:06:34,920
Speaker 3: not help at all. He just watches, hiding behind a

1234
01:06:34,920 --> 01:06:36,320
Speaker 3: bunch of erlin Meyer flasks.

1235
01:06:36,400 --> 01:06:38,400
Speaker 1: Yeah, he doesn't go and try and break something over

1236
01:06:38,400 --> 01:06:40,320
Speaker 1: the villain's head. He knows he's an egghead and he

1237
01:06:40,320 --> 01:06:41,080
Speaker 1: should stay out of this.

1238
01:06:41,560 --> 01:06:44,680
Speaker 3: Yeah. Now Santo holds his own in a fair fight.

1239
01:06:44,920 --> 01:06:48,680
Speaker 3: But then the Martian uses a dirty trick. He turns

1240
01:06:48,720 --> 01:06:53,040
Speaker 3: on his astral eye and doesn't disintegrate, but paralyzes our hero,

1241
01:06:53,240 --> 01:06:57,000
Speaker 3: leaving him frozen standing straight up. So then the Martian

1242
01:06:57,080 --> 01:07:01,920
Speaker 3: enforcer approaches the Professor, who's defenseless, and he says, all

1243
01:07:01,920 --> 01:07:03,840
Speaker 3: you have to do is touch my hand. The dial

1244
01:07:03,880 --> 01:07:07,040
Speaker 3: on my belt will transport us to the spaces I

1245
01:07:07,040 --> 01:07:09,880
Speaker 3: think he means to the spaceship. He says, do not

1246
01:07:10,040 --> 01:07:14,040
Speaker 3: resist me. But then while he's there holding his hand out,

1247
01:07:14,040 --> 01:07:16,200
Speaker 3: waiting for the Professor to hold his hand so they

1248
01:07:16,200 --> 01:07:20,160
Speaker 3: can go to Mars. Something happens. The Martian is suddenly

1249
01:07:20,240 --> 01:07:23,400
Speaker 3: gripped by pain and surprise, as if like Darth Vader,

1250
01:07:23,440 --> 01:07:25,960
Speaker 3: were just offscreen doing a force choke on him. What's

1251
01:07:26,040 --> 01:07:29,880
Speaker 3: going on? Well, this is the first payoff of the

1252
01:07:29,920 --> 01:07:34,480
Speaker 3: little talk earlier about Earth's toxic atmosphere. The effects of

1253
01:07:34,640 --> 01:07:38,480
Speaker 3: the martians protective capsules are wearing off, so he starts struggling.

1254
01:07:38,720 --> 01:07:41,800
Speaker 3: He's clutching at his throat, and the Martian begins to

1255
01:07:41,880 --> 01:07:44,200
Speaker 3: reach for the pouch of pills on his belt. It's like,

1256
01:07:44,240 --> 01:07:47,080
Speaker 3: can I get down another one in time? I think

1257
01:07:47,160 --> 01:07:49,720
Speaker 3: in D and D terms, or at least Balderskate terms,

1258
01:07:49,800 --> 01:07:51,640
Speaker 3: I think it would work like this in D and D.

1259
01:07:52,200 --> 01:07:56,400
Speaker 3: This seems to break his concentration on the paralyzed lucha spell,

1260
01:07:56,880 --> 01:08:01,120
Speaker 3: and Santo starts to come unfrozen. Yep, yep. And so

1261
01:08:01,240 --> 01:08:04,040
Speaker 3: while the Martian is struggling for the pills, Santo comes

1262
01:08:04,120 --> 01:08:06,960
Speaker 3: up behind him and applies a choke hold, and then

1263
01:08:07,000 --> 01:08:10,400
Speaker 3: the Professor watches as they struggle, but once again the

1264
01:08:10,480 --> 01:08:13,720
Speaker 3: Martian escapes. He escapes the anaconda like grip of Santo

1265
01:08:14,080 --> 01:08:16,760
Speaker 3: by flipping the dial on his belt buckle and teleporting

1266
01:08:16,800 --> 01:08:19,120
Speaker 3: back to the ship. And once again Santo is swiping

1267
01:08:19,120 --> 01:08:21,200
Speaker 3: around in the air like where did he go? But

1268
01:08:21,400 --> 01:08:24,719
Speaker 3: now now they are armed with knowledge because the Professor

1269
01:08:24,720 --> 01:08:27,400
Speaker 3: has a clue as to the weakness of the Martians.

1270
01:08:27,680 --> 01:08:30,719
Speaker 3: Several of the atmosphere capsules were spilled on the floor,

1271
01:08:30,760 --> 01:08:34,439
Speaker 3: and he promises Santo to examine them thoroughly and to

1272
01:08:34,520 --> 01:08:44,920
Speaker 3: report back with what he finds. All right, now here

1273
01:08:44,960 --> 01:08:48,680
Speaker 3: begins a segment where just there's random kidnappings, like some

1274
01:08:48,720 --> 01:08:52,519
Speaker 3: shirtless Martian hulksters appear in children's bedrooms while they're sleeping

1275
01:08:52,600 --> 01:08:54,360
Speaker 3: and just kidnap them. A bunch of the families we

1276
01:08:54,360 --> 01:08:57,320
Speaker 3: saw watching TV earlier just get kidnapped and taken back

1277
01:08:57,320 --> 01:09:00,519
Speaker 3: to the Martian spaceship. And then they get placed in

1278
01:09:00,600 --> 01:09:05,280
Speaker 3: this Martian spaceship jail that has one cool thing about

1279
01:09:05,320 --> 01:09:07,680
Speaker 3: it is an S shaped bench inside it.

1280
01:09:08,040 --> 01:09:10,639
Speaker 1: Oh, yes, the estering. It's like super jail.

1281
01:09:11,080 --> 01:09:13,880
Speaker 3: But here we get more Martian scheming. So after they

1282
01:09:13,880 --> 01:09:16,160
Speaker 3: put the people in the jail, the Martians talk about

1283
01:09:16,520 --> 01:09:20,760
Speaker 3: how they talk about how their appearance frightens earthlings and

1284
01:09:20,840 --> 01:09:25,360
Speaker 3: somehow this is delaying their plans. I didn't understand why,

1285
01:09:26,240 --> 01:09:28,360
Speaker 3: but one of them says, why do we frighten them

1286
01:09:28,400 --> 01:09:32,320
Speaker 3: when our bodies are more perfectly evolved than their own?

1287
01:09:33,320 --> 01:09:36,080
Speaker 3: I don't know. But then one of them explains it

1288
01:09:36,160 --> 01:09:38,559
Speaker 3: is all in the mind, and then that that's the

1289
01:09:38,640 --> 01:09:40,559
Speaker 3: end of that. And so then they go. They say,

1290
01:09:40,640 --> 01:09:43,840
Speaker 3: what we've got to do is go into the transformation

1291
01:09:44,080 --> 01:09:48,120
Speaker 3: chamber to transmogrify our bodies into a less threatening form

1292
01:09:48,479 --> 01:09:52,240
Speaker 3: that we will find disgusting but the Earthlings will find appealing.

1293
01:09:53,200 --> 01:09:54,880
Speaker 3: And so what this means is they all go into

1294
01:09:54,920 --> 01:09:57,160
Speaker 3: this adjoining room with big glass windows, and then it

1295
01:09:57,240 --> 01:10:01,439
Speaker 3: quickly fills up with smoke, and then they I was wondering, like,

1296
01:10:01,479 --> 01:10:03,759
Speaker 3: what are they going to be transformed into like bunny

1297
01:10:03,840 --> 01:10:06,160
Speaker 3: rabbits to be, you know, non threatening.

1298
01:10:06,439 --> 01:10:09,120
Speaker 1: I was expecting that they would walk out like in

1299
01:10:09,160 --> 01:10:11,920
Speaker 1: street clothes, looking like they would blend in. Yes, and

1300
01:10:12,000 --> 01:10:13,559
Speaker 1: later on in the film we do see them in

1301
01:10:13,600 --> 01:10:16,560
Speaker 1: street clothes, but that's not what we get initially.

1302
01:10:16,240 --> 01:10:17,000
Speaker 3: No, not at all.

1303
01:10:17,120 --> 01:10:17,320
Speaker 1: No.

1304
01:10:17,760 --> 01:10:22,479
Speaker 3: So they come out and they look exactly the same,

1305
01:10:23,040 --> 01:10:27,320
Speaker 3: except with shorter, darker hair, and with different costumes on.

1306
01:10:27,439 --> 01:10:30,760
Speaker 3: So now instead of Golden space wrestler costumes with the

1307
01:10:30,840 --> 01:10:34,200
Speaker 3: kind of the tinfoil chic. They're wearing some kind of

1308
01:10:34,320 --> 01:10:38,640
Speaker 3: Greek peplham wrestler costumes. And all of the lady Martians

1309
01:10:38,720 --> 01:10:42,959
Speaker 3: now have big hair as well, like voluminous mid century

1310
01:10:43,080 --> 01:10:45,760
Speaker 3: updues and that kind of bouffont helmet hair.

1311
01:10:46,280 --> 01:10:49,320
Speaker 1: Yeah there, I guess with the women, you could say

1312
01:10:49,320 --> 01:10:52,200
Speaker 1: to their costumes are like a little less revealing than

1313
01:10:52,240 --> 01:10:56,760
Speaker 1: they were earlier, and their hair is bigger. And as

1314
01:10:56,800 --> 01:11:00,839
Speaker 1: for the guys, I don't know, they still look ridiculous.

1315
01:11:00,880 --> 01:11:02,760
Speaker 1: They still look like they're about to wrestle a match.

1316
01:11:03,000 --> 01:11:05,479
Speaker 3: They changed out of the tinfoil and now they're all

1317
01:11:05,520 --> 01:11:07,000
Speaker 3: dressed like maschiste.

1318
01:11:06,880 --> 01:11:09,639
Speaker 1: Yeah yeah, with and the helmets are all gone obviously.

1319
01:11:09,880 --> 01:11:12,960
Speaker 3: Yeah. So the head martian explains that they now will

1320
01:11:13,000 --> 01:11:17,439
Speaker 3: begin using names taken from the Earthlings mythology. So the

1321
01:11:17,479 --> 01:11:20,160
Speaker 3: captain of the ship is going to be Argos. There's

1322
01:11:20,200 --> 01:11:23,200
Speaker 3: the sort of Kirk Douglas looking martian, they say, because

1323
01:11:23,240 --> 01:11:26,320
Speaker 3: he is a scholar excelling at the studies of time

1324
01:11:26,400 --> 01:11:31,519
Speaker 3: and space, he will be named Kronos. There's I think

1325
01:11:31,520 --> 01:11:34,320
Speaker 3: it's ham Lee who's going to be called Morphio. Because

1326
01:11:34,320 --> 01:11:38,880
Speaker 3: of his hypnotic powers. There is this might be the

1327
01:11:38,920 --> 01:11:42,880
Speaker 3: Benny Gallant guy who they are going to call Hercules

1328
01:11:42,960 --> 01:11:46,559
Speaker 3: because of his physical strength. They say that the lady

1329
01:11:46,600 --> 01:11:50,680
Speaker 3: Martian with the hugest hair is Aproudita because of her

1330
01:11:50,680 --> 01:11:54,720
Speaker 3: great beauty. Another Martian lady is Selena because she has

1331
01:11:54,800 --> 01:11:57,360
Speaker 3: the serenity of the moon. And then the last two

1332
01:11:57,360 --> 01:12:01,360
Speaker 3: Martian ladies are Artemisa and Diana. No explanation why, yeah,

1333
01:12:01,360 --> 01:12:05,519
Speaker 3: it's like and the rest. So Captain Argos gives them

1334
01:12:05,520 --> 01:12:09,040
Speaker 3: a few reminders. He says, of all of you, only

1335
01:12:09,120 --> 01:12:12,040
Speaker 3: Hercules has the strength to match Santo, so he's the

1336
01:12:12,080 --> 01:12:13,920
Speaker 3: only one who's going to go toe to toe with

1337
01:12:14,000 --> 01:12:17,360
Speaker 3: him in a wrestling match. And they say, now that

1338
01:12:17,760 --> 01:12:21,240
Speaker 3: we have taken on these disgusting, undesirable human forms, we

1339
01:12:21,280 --> 01:12:23,719
Speaker 3: will no longer have the power of the astral eye,

1340
01:12:23,800 --> 01:12:27,000
Speaker 3: so we can neither vaporize nor paralyze humans at will.

1341
01:12:27,400 --> 01:12:29,320
Speaker 3: So we're gonna have to rely on our strength and

1342
01:12:29,360 --> 01:12:33,040
Speaker 3: our wits and our belts whatever those do. We are

1343
01:12:33,080 --> 01:12:36,200
Speaker 3: only told that the belts cannot make them invisible, but

1344
01:12:36,479 --> 01:12:39,000
Speaker 3: we're not told what they can do apart from teleportation.

1345
01:12:40,360 --> 01:12:42,400
Speaker 1: Now all of this is I love it when a

1346
01:12:42,439 --> 01:12:45,960
Speaker 1: movie gives us the rules. No, but these rules are

1347
01:12:45,960 --> 01:12:49,519
Speaker 1: more guidelines pretty fast and with all.

1348
01:12:49,439 --> 01:12:52,360
Speaker 3: This Yeah, and I can't stress enough it will be

1349
01:12:52,720 --> 01:12:57,000
Speaker 3: repeated many, many times that the Martians find their current

1350
01:12:57,120 --> 01:13:01,400
Speaker 3: hot body forms hideous and grotesque. But like, hey, this

1351
01:13:01,479 --> 01:13:04,800
Speaker 3: is what the Earthlings like. But the thing is, they

1352
01:13:04,840 --> 01:13:08,400
Speaker 3: don't really look very different, Like, it's mostly just costume

1353
01:13:08,520 --> 01:13:11,920
Speaker 3: changes and some changes to like hairstyle and color.

1354
01:13:12,400 --> 01:13:14,439
Speaker 1: Yeah, these references would have made a lot more since

1355
01:13:14,479 --> 01:13:18,200
Speaker 1: had they been in like monster costumes earlier on. But no,

1356
01:13:18,400 --> 01:13:19,799
Speaker 1: it's it's not that different.

1357
01:13:20,880 --> 01:13:24,120
Speaker 3: But somehow this is going to help them capture some Earthlings,

1358
01:13:24,160 --> 01:13:27,559
Speaker 3: and especially capture Santo and Professor Orto Rica and take

1359
01:13:27,600 --> 01:13:30,360
Speaker 3: them back to Mars to create the perfect human.

1360
01:13:30,640 --> 01:13:32,400
Speaker 1: Yeah, they don't really lay it out here, but the

1361
01:13:32,760 --> 01:13:36,240
Speaker 1: female Martians their main goal is to use siren like

1362
01:13:36,320 --> 01:13:42,000
Speaker 1: powers to bring in like key male captives, you know, scientists,

1363
01:13:42,000 --> 01:13:45,040
Speaker 1: heads of industry, prominent sci fi writers, that sort of thing.

1364
01:13:45,160 --> 01:13:47,320
Speaker 3: Yeah, we'll see this in several scenes where just like

1365
01:13:47,360 --> 01:13:49,800
Speaker 3: a beautiful Martian lady walks up to a dude and

1366
01:13:49,840 --> 01:13:53,559
Speaker 3: he's like, oh, hello, and then she just hypnotizes him

1367
01:13:53,560 --> 01:13:57,040
Speaker 3: and then they're at the spaceship, you know. So anyway,

1368
01:13:57,080 --> 01:13:59,800
Speaker 3: what's going on with Santo and the professor Now, Well,

1369
01:13:59,840 --> 01:14:03,240
Speaker 3: the professor's research figures out what the alien's pills are for.

1370
01:14:03,280 --> 01:14:05,920
Speaker 3: He figures out atmosphere is poisonous to them. They're going

1371
01:14:06,000 --> 01:14:08,800
Speaker 3: to die without the pills, so they can use that information.

1372
01:14:09,320 --> 01:14:11,720
Speaker 3: But he also tells Santo that because the Martians have

1373
01:14:11,800 --> 01:14:15,080
Speaker 3: such smart brains, he can make a machine that will

1374
01:14:15,080 --> 01:14:19,400
Speaker 3: be able to locate them by detecting the mental vibrations

1375
01:14:19,439 --> 01:14:22,679
Speaker 3: that their brains put out. These are produced during moments

1376
01:14:22,680 --> 01:14:26,360
Speaker 3: of high tension or emotion, such as when they are

1377
01:14:26,400 --> 01:14:29,040
Speaker 3: on the attack. But it will be twenty four hours

1378
01:14:29,040 --> 01:14:31,800
Speaker 3: before this device is functional, so Santo can't have that

1379
01:14:31,840 --> 01:14:36,240
Speaker 3: device yet. The Professor also mentions an additional way that

1380
01:14:36,280 --> 01:14:39,640
Speaker 3: Santo could locate the Martian hideout, though this would be

1381
01:14:39,720 --> 01:14:43,559
Speaker 3: so impossible it's ridiculous to even imagine, but that way

1382
01:14:43,600 --> 01:14:46,759
Speaker 3: would be to take control of one of their almost

1383
01:14:46,840 --> 01:14:50,679
Speaker 3: wrestling championship style belts and to use the dial on it.

1384
01:14:51,400 --> 01:14:54,479
Speaker 3: Santos like, Okay, that all makes sense, and now I've

1385
01:14:54,479 --> 01:14:56,719
Speaker 3: got to go practice wrestling. Get me to the gym.

1386
01:14:57,040 --> 01:14:59,360
Speaker 1: Yeah, He's like, it's more important now than ever. I've

1387
01:14:59,360 --> 01:15:00,600
Speaker 1: got to work out Yes.

1388
01:15:01,040 --> 01:15:04,879
Speaker 3: So here the movie kind of transitions into what feels

1389
01:15:05,560 --> 01:15:08,759
Speaker 3: less continuous and more just like a series of alien

1390
01:15:08,920 --> 01:15:12,400
Speaker 3: encounter episodes and fight scenes. So I thought, here we

1391
01:15:12,479 --> 01:15:14,360
Speaker 3: can just kind of like talk about some highlights.

1392
01:15:15,560 --> 01:15:18,400
Speaker 1: Yeah, because it really does flow like that the movie.

1393
01:15:18,400 --> 01:15:22,160
Speaker 1: It's kind of like highlight after highlight until the movie ends. Yeah,

1394
01:15:22,200 --> 01:15:26,160
Speaker 1: it doesn't. This film doesn't have a lot of I

1395
01:15:26,200 --> 01:15:29,040
Speaker 1: don't know, intentional flow to it, but it's still it's

1396
01:15:29,120 --> 01:15:30,880
Speaker 1: it's it's entertaining the whole way.

1397
01:15:31,760 --> 01:15:34,559
Speaker 3: So one thing is attempt to number two, to kidnap

1398
01:15:34,600 --> 01:15:36,800
Speaker 3: the Professor. This one comes pretty much right after what

1399
01:15:36,800 --> 01:15:39,000
Speaker 3: we were just talking about. The Professor is left alone

1400
01:15:39,040 --> 01:15:41,760
Speaker 3: he's working on the Martian brain wave detector when the

1401
01:15:41,800 --> 01:15:44,880
Speaker 3: Martians come back to get him. Fortunately, he has a

1402
01:15:44,920 --> 01:15:47,800
Speaker 3: brilliant idea. He knocks a bunch of chemistry beakers on

1403
01:15:47,880 --> 01:15:50,200
Speaker 3: the floor at the martians feet, causing a fire in

1404
01:15:50,280 --> 01:15:54,120
Speaker 3: his lab, and this makes them go away quick thinking Professor.

1405
01:15:54,120 --> 01:15:55,920
Speaker 1: Yeah, because they're like, oh, the fire, it's eating up

1406
01:15:55,920 --> 01:15:59,240
Speaker 1: the oxygen so forth. So yeah, yeah, but he also

1407
01:15:59,479 --> 01:16:01,680
Speaker 1: clearly burns his whole lap down in the process.

1408
01:16:01,920 --> 01:16:03,639
Speaker 3: I was just thinking of the line in the Attack

1409
01:16:03,680 --> 01:16:06,240
Speaker 3: of the Crab Monsters. You know, pity is all fires

1410
01:16:06,320 --> 01:16:10,040
Speaker 3: must one day burn out. Let's see.

1411
01:16:10,720 --> 01:16:10,880
Speaker 4: Oh.

1412
01:16:10,920 --> 01:16:12,920
Speaker 3: I also want to note that in this scene, the

1413
01:16:12,920 --> 01:16:15,280
Speaker 3: Martians who come for him, which I believe are Argos

1414
01:16:15,320 --> 01:16:19,120
Speaker 3: and Chronos, they are already changed out of their new

1415
01:16:19,160 --> 01:16:22,800
Speaker 3: Greek hero clothes and back into essentially the original gold

1416
01:16:22,920 --> 01:16:25,640
Speaker 3: Martian outfits, except without the helmets on.

1417
01:16:26,320 --> 01:16:28,519
Speaker 1: So we will almost immediately abandon all.

1418
01:16:28,760 --> 01:16:32,479
Speaker 3: Yes, well, there's this huge like transformation scene and then

1419
01:16:32,560 --> 01:16:36,880
Speaker 3: it has almost no effect in the rest of the film,

1420
01:16:37,160 --> 01:16:39,920
Speaker 3: and I don't think do the Greek costumes ever return.

1421
01:16:40,120 --> 01:16:42,120
Speaker 1: No, They're like, we didn't like the way those felt,

1422
01:16:42,200 --> 01:16:44,400
Speaker 1: so we're just taking the old customs.

1423
01:16:44,840 --> 01:16:47,599
Speaker 3: So there is The next thing is ooh, I think

1424
01:16:47,640 --> 01:16:49,040
Speaker 3: this is a really good scene. This is one of

1425
01:16:49,080 --> 01:16:52,120
Speaker 3: my favorites in the movie, the hypnotic attack at Club

1426
01:16:52,160 --> 01:16:57,639
Speaker 3: de Luchadors. So good, really good. In this sequence, Santo

1427
01:16:57,760 --> 01:17:00,120
Speaker 3: is training with a couple of his Lucca buddies and

1428
01:17:00,160 --> 01:17:02,800
Speaker 3: it's a tough fight, but they're all friends and it's

1429
01:17:02,840 --> 01:17:05,639
Speaker 3: good sportsmanship all around. So you know, he's wrestling with people.

1430
01:17:05,640 --> 01:17:09,040
Speaker 3: They're fighting hard, but no hard feelings. These are all friends.

1431
01:17:08,760 --> 01:17:11,639
Speaker 1: Here, yeah, and Frankenstein is one of the friends.

1432
01:17:11,880 --> 01:17:14,760
Speaker 3: Yes, and I should know that Santo is masked, but

1433
01:17:14,840 --> 01:17:19,599
Speaker 3: his two training partners are not anyway, so Santo's here

1434
01:17:19,720 --> 01:17:25,080
Speaker 3: and then suddenly, disguised as beautiful Earth women and revealing leotards,

1435
01:17:25,880 --> 01:17:29,360
Speaker 3: the Martians are Tomisa and Diana come into the gym

1436
01:17:29,439 --> 01:17:33,360
Speaker 3: to execute plans. They walk through the doors as this

1437
01:17:33,400 --> 01:17:36,519
Speaker 3: is right after Santo's sparring matches over and Santo leaves

1438
01:17:36,560 --> 01:17:39,639
Speaker 3: for a minute, and the two space ladies make eye

1439
01:17:39,680 --> 01:17:44,280
Speaker 3: contact at his two sparring partners, and they're of course.

1440
01:17:44,280 --> 01:17:46,559
Speaker 3: Both of these guys are like, hey, what's up. Hello,

1441
01:17:46,800 --> 01:17:51,080
Speaker 3: and the ladies walk up and they end up hypnotizing

1442
01:17:51,120 --> 01:17:54,880
Speaker 3: them so that when Santo comes back into the room later,

1443
01:17:55,360 --> 01:17:58,880
Speaker 3: his two sparring partners suddenly pounce on him with deadly intent.

1444
01:17:59,000 --> 01:18:03,920
Speaker 3: I think, they say, and now you are finished? No, no, sorry,

1445
01:18:03,960 --> 01:18:07,479
Speaker 3: they say, your end has come. Also, I don't know

1446
01:18:07,560 --> 01:18:09,120
Speaker 3: if this even needs to be said, but the Martian

1447
01:18:09,200 --> 01:18:11,400
Speaker 3: ladies are no longer in their Greek outfits either. They're

1448
01:18:11,439 --> 01:18:12,920
Speaker 3: just wearing the tin foil cheek.

1449
01:18:13,240 --> 01:18:15,559
Speaker 1: Yeah, they didn't like that old like it was gross.

1450
01:18:16,160 --> 01:18:18,840
Speaker 3: So this fight I think is pretty good. It's like

1451
01:18:18,880 --> 01:18:22,080
Speaker 3: a no holds barred two on one fight with what

1452
01:18:22,320 --> 01:18:26,040
Speaker 3: I thought were some surprisingly brutal moments and moves, Like

1453
01:18:26,520 --> 01:18:30,320
Speaker 3: at one point, the other two wrestlers they grab Santo

1454
01:18:30,880 --> 01:18:35,120
Speaker 3: and they pin Santo's arm across the two saddles on

1455
01:18:35,160 --> 01:18:38,800
Speaker 3: a bench press rack and start kicking his arm like

1456
01:18:38,840 --> 01:18:41,559
Speaker 3: to break it between the two metal hooks, And I

1457
01:18:41,600 --> 01:18:44,680
Speaker 3: was like, oof, that is a I don't know, that

1458
01:18:44,720 --> 01:18:48,720
Speaker 3: has much more kind of gory and brutal implications than

1459
01:18:48,760 --> 01:18:50,560
Speaker 3: a lot of Luca moves. I don't know if you

1460
01:18:50,600 --> 01:18:53,519
Speaker 3: felt the same way, but that it really struck me.

1461
01:18:53,920 --> 01:18:56,280
Speaker 1: Yeah, yeah, absolutely, yeah, this fight here, it does have

1462
01:18:56,360 --> 01:18:58,960
Speaker 1: Luca moves in it, but it also has these these

1463
01:18:59,000 --> 01:19:01,360
Speaker 1: brutal moments. I think on one hand, you have, of

1464
01:19:01,400 --> 01:19:05,519
Speaker 1: course performers here who are used to portraying violence in

1465
01:19:05,600 --> 01:19:09,479
Speaker 1: a way that is convincing. But then also maybe they're

1466
01:19:09,479 --> 01:19:11,600
Speaker 1: like leaning into it, working a little stiff here for

1467
01:19:11,640 --> 01:19:14,240
Speaker 1: the camera. But yeah, it's it's a brutal fight scene.

1468
01:19:14,520 --> 01:19:17,920
Speaker 1: Santo of course is up up for the fight.

1469
01:19:18,400 --> 01:19:22,639
Speaker 3: Yes, yeah, Oh, and I should say we during the fight,

1470
01:19:22,680 --> 01:19:25,200
Speaker 3: we see Diana and Ardemisa over at the other side,

1471
01:19:25,200 --> 01:19:27,240
Speaker 3: of the room watching intently, and I don't know, it

1472
01:19:27,280 --> 01:19:31,519
Speaker 3: seems like they are enjoying what they see. But however,

1473
01:19:31,960 --> 01:19:35,160
Speaker 3: Santo prevails against it, even these odds, even two on one,

1474
01:19:35,200 --> 01:19:37,960
Speaker 3: he wins. And when the Martian ladies see that he

1475
01:19:38,080 --> 01:19:40,240
Speaker 3: is going to win, they're like, oh, we got to

1476
01:19:40,240 --> 01:19:42,000
Speaker 3: get out of here, and they use their belt dials

1477
01:19:42,040 --> 01:19:45,919
Speaker 3: to disappear. The spell immediately wears off, and then Santo's

1478
01:19:45,960 --> 01:19:48,640
Speaker 3: two buddies are just like, gorsh we were trying to

1479
01:19:48,760 --> 01:19:52,599
Speaker 3: kill you, wonder why, And it's there aren't a lot

1480
01:19:52,640 --> 01:19:54,920
Speaker 3: of questions about it. It's just kind of like, no harm,

1481
01:19:54,960 --> 01:19:56,880
Speaker 3: no foul. They shake it off and then yeah, we're

1482
01:19:56,920 --> 01:19:57,280
Speaker 3: all good.

1483
01:19:57,680 --> 01:19:59,639
Speaker 1: Santo knows it's good. Santo knows your heart.

1484
01:20:00,240 --> 01:20:03,000
Speaker 3: There's a scene after this where the Martians kidnaps more

1485
01:20:03,040 --> 01:20:07,599
Speaker 3: regular Earthlings. It's like a there's a cocktail party of

1486
01:20:07,720 --> 01:20:13,200
Speaker 3: these various scientists and government leaders, just various important big wigs.

1487
01:20:13,680 --> 01:20:15,120
Speaker 3: This is one of the scenes where I was getting

1488
01:20:15,160 --> 01:20:21,160
Speaker 3: really confused about what people understood about the Martian invasion.

1489
01:20:21,240 --> 01:20:23,280
Speaker 3: I'm not sure if I missed something or if this

1490
01:20:23,360 --> 01:20:27,760
Speaker 3: really is just inconsistent or nonsensical. In the movie, everybody

1491
01:20:28,040 --> 01:20:31,000
Speaker 3: usually seems to be aware of the Martians, Like everybody

1492
01:20:31,080 --> 01:20:33,920
Speaker 3: saw the message on TV and then they found out

1493
01:20:33,960 --> 01:20:38,600
Speaker 3: about the astral eye vaporizations. We see newspapers with headlines

1494
01:20:38,640 --> 01:20:41,840
Speaker 3: about the Martian invasion. Everybody seems to be talking about

1495
01:20:41,880 --> 01:20:44,400
Speaker 3: it whenever we get scenes of just regular people talking.

1496
01:20:45,120 --> 01:20:47,880
Speaker 3: And yet there is also a b plot that like,

1497
01:20:47,960 --> 01:20:50,920
Speaker 3: these big wigs are trying to keep the Martian attack

1498
01:20:51,040 --> 01:20:55,040
Speaker 3: a secret to avoid causing mass panic, and throughout the

1499
01:20:55,080 --> 01:20:57,639
Speaker 3: rest of the movie, the Martian invasion seems to be

1500
01:20:57,720 --> 01:21:01,519
Speaker 3: both common knowledge and secret and the subject of a

1501
01:21:01,560 --> 01:21:02,040
Speaker 3: cover up.

1502
01:21:02,560 --> 01:21:07,120
Speaker 1: Yeah, yeah, it's I mean again, it's kind of commendable

1503
01:21:07,120 --> 01:21:11,440
Speaker 1: that the movie is acknowledging some of the complex dynamics

1504
01:21:11,439 --> 01:21:14,360
Speaker 1: that would be in play with a situation like this,

1505
01:21:15,040 --> 01:21:16,519
Speaker 1: But at the same time, it's like, this is not

1506
01:21:16,600 --> 01:21:18,880
Speaker 1: the place where you really get to explore those concepts

1507
01:21:19,120 --> 01:21:19,919
Speaker 1: to their fullest.

1508
01:21:20,520 --> 01:21:24,120
Speaker 3: Well, it's also not portrayal. So like the big wigs

1509
01:21:24,160 --> 01:21:26,160
Speaker 3: who are deciding that there must be a cover up,

1510
01:21:26,400 --> 01:21:29,479
Speaker 3: they stand around with their martinis and cigars and they're like, yes,

1511
01:21:29,560 --> 01:21:31,800
Speaker 3: we must lie to everyone, and we must start by

1512
01:21:31,880 --> 01:21:35,439
Speaker 3: lying to our wives. Yeah, but then they don't really

1513
01:21:35,439 --> 01:21:37,320
Speaker 3: get a chance to lie to their wives yet because

1514
01:21:37,360 --> 01:21:41,760
Speaker 3: instead suddenly Martian women come into the room. It's Afrodita

1515
01:21:41,840 --> 01:21:45,240
Speaker 3: and Selena. They wander into the party, they get ogled

1516
01:21:45,280 --> 01:21:48,040
Speaker 3: by the conspiracy dudes, they get some nasty looks from

1517
01:21:48,080 --> 01:21:51,479
Speaker 3: the conspiracy dudes's wives, and then they teleport the big

1518
01:21:51,479 --> 01:21:54,920
Speaker 3: wigs away to space jail. Oh and then also I

1519
01:21:54,920 --> 01:21:57,519
Speaker 3: didn't understand why this was, but they kidnap a science

1520
01:21:57,560 --> 01:22:00,000
Speaker 3: fiction writer from a restaurant and take him to space

1521
01:22:00,080 --> 01:22:02,799
Speaker 3: ship jail. That sounds like something written by a writer.

1522
01:22:04,800 --> 01:22:06,920
Speaker 1: Yeah, I have a feeling that the screenwriter was like,

1523
01:22:07,000 --> 01:22:10,000
Speaker 1: I'm just not connecting with any of these characters. I've

1524
01:22:10,000 --> 01:22:13,840
Speaker 1: got an idea. Why can't I be kidnapped by the

1525
01:22:13,880 --> 01:22:14,519
Speaker 1: space women.

1526
01:22:15,120 --> 01:22:18,000
Speaker 3: Well he's like, yeah, I want to get seduced by Artemisa.

1527
01:22:18,920 --> 01:22:21,040
Speaker 3: So you know, she makes eyes at him at the

1528
01:22:21,080 --> 01:22:23,360
Speaker 3: restaurant and he follows her away from the table, and

1529
01:22:23,360 --> 01:22:25,640
Speaker 3: then they just blink, you know, they get teleported.

1530
01:22:26,160 --> 01:22:26,320
Speaker 1: Oh.

1531
01:22:26,360 --> 01:22:28,840
Speaker 3: But it is through the sci fi writer's attempt to

1532
01:22:29,000 --> 01:22:31,800
Speaker 3: escape the spaceship that we learn the ship has a

1533
01:22:31,840 --> 01:22:34,519
Speaker 3: big lever in the center of the room that causes

1534
01:22:34,560 --> 01:22:38,080
Speaker 3: the ship to explode if it is pulled and so

1535
01:22:38,160 --> 01:22:39,680
Speaker 3: he goes and reaches for it. I don't know how

1536
01:22:39,720 --> 01:22:41,759
Speaker 3: the sci fi writer knew this. Maybe he's just randomly

1537
01:22:41,760 --> 01:22:44,840
Speaker 3: pulling it levers, but the Martians start yelling, no, that

1538
01:22:44,920 --> 01:22:46,240
Speaker 3: will make the ship blow up.

1539
01:22:47,200 --> 01:22:50,560
Speaker 1: You know, I'm really one of the last people to

1540
01:22:50,840 --> 01:22:54,280
Speaker 1: sexualize everything in a film, but this is the most

1541
01:22:54,320 --> 01:22:57,920
Speaker 1: phallic looking lever I think I've ever seen an emotion picture.

1542
01:22:58,640 --> 01:23:01,200
Speaker 1: And it just makes all of these scenes where folks

1543
01:23:01,200 --> 01:23:03,560
Speaker 1: are grabbing at it all the more hilarious.

1544
01:23:03,720 --> 01:23:06,960
Speaker 3: It's a big just like a handle that is protruding

1545
01:23:07,080 --> 01:23:11,160
Speaker 3: from a large round bass that looks like hips.

1546
01:23:12,120 --> 01:23:16,639
Speaker 1: Yeah, like this had to have been intentional on some level.

1547
01:23:16,840 --> 01:23:19,519
Speaker 1: Somebody designing this thing puts some thought into it.

1548
01:23:20,760 --> 01:23:22,439
Speaker 3: So yeah, it makes the ship will up. I wonder

1549
01:23:22,439 --> 01:23:24,720
Speaker 3: if this will come up again later. They do not

1550
01:23:24,760 --> 01:23:26,960
Speaker 3: succeed in blowing up the ship, but so then we

1551
01:23:27,360 --> 01:23:29,360
Speaker 3: just move on. We Oh, we get some stuff with

1552
01:23:29,400 --> 01:23:32,799
Speaker 3: the people in the space jail. They're fed concentrated food

1553
01:23:32,920 --> 01:23:33,720
Speaker 3: and things like that.

1554
01:23:33,840 --> 01:23:36,759
Speaker 1: Oh yeap pills for dinner, kind of like Santa conquers

1555
01:23:36,800 --> 01:23:39,320
Speaker 1: the Martians. There's a lot of shared DNA between these

1556
01:23:39,320 --> 01:23:39,920
Speaker 1: two films.

1557
01:23:40,320 --> 01:23:43,400
Speaker 3: We also get more scenes. There are some repetitive things.

1558
01:23:43,439 --> 01:23:46,679
Speaker 3: Here more scenes of the Martians all standing around looking sexy.

1559
01:23:46,760 --> 01:23:48,920
Speaker 3: They're all like, you know, flexing their muscles and looking

1560
01:23:48,960 --> 01:23:51,640
Speaker 3: at their bodies, and they're like, I don't understand what

1561
01:23:51,720 --> 01:23:55,960
Speaker 3: earthlings see in this disgusting appearance. And in this scene,

1562
01:23:55,960 --> 01:23:58,040
Speaker 3: this is the part where they we get a twist,

1563
01:23:58,400 --> 01:24:02,400
Speaker 3: we learn more about the motivations. So they're talking about

1564
01:24:02,520 --> 01:24:04,320
Speaker 3: they have to kidnap Santo, and they say, you know,

1565
01:24:04,320 --> 01:24:05,960
Speaker 3: when we get him to Mars, we're going to kill

1566
01:24:06,040 --> 01:24:09,200
Speaker 3: him and dissect his body for study. And it's like,

1567
01:24:09,320 --> 01:24:12,760
Speaker 3: why would they do that? Well, because Santo, it turns out,

1568
01:24:12,880 --> 01:24:16,840
Speaker 3: is even more advanced than the Martians themselves. They must

1569
01:24:16,840 --> 01:24:18,960
Speaker 3: so like they're five hundred years ahead of us, and

1570
01:24:19,000 --> 01:24:21,479
Speaker 3: yet Santo's still ahead of them. So how many years

1571
01:24:21,479 --> 01:24:24,040
Speaker 3: ahead of regular humanity is Santo? I don't know, six

1572
01:24:24,120 --> 01:24:28,920
Speaker 3: hundred years. So they've got to study him. And the

1573
01:24:28,960 --> 01:24:31,919
Speaker 3: reason is this, they want to make copies of Santo

1574
01:24:32,360 --> 01:24:35,360
Speaker 3: to use as super soldiers for the armies that they

1575
01:24:35,400 --> 01:24:41,879
Speaker 3: will soon use to launch a full scale invasion of Earth. Dun, Dun, duh.

1576
01:24:41,920 --> 01:24:45,400
Speaker 3: Who could have seen this this twist coming? Because it

1577
01:24:45,439 --> 01:24:50,600
Speaker 3: turns out all that stuff about improving humankind, fostering universal brotherhood,

1578
01:24:50,640 --> 01:24:52,400
Speaker 3: all that. It was just it was just for show.

1579
01:24:52,960 --> 01:24:55,519
Speaker 3: It was who he They don't actually care. They're just

1580
01:24:55,560 --> 01:24:57,640
Speaker 3: trying to soften us up so they can invade and

1581
01:24:57,680 --> 01:24:58,840
Speaker 3: take our planet.

1582
01:24:58,600 --> 01:25:02,840
Speaker 1: With an army of dark Santo's. Like that's that's that's awful.

1583
01:25:02,720 --> 01:25:07,360
Speaker 3: Evil Santo's by the millions. Oh. Also after this, uh,

1584
01:25:07,680 --> 01:25:10,120
Speaker 3: we just get like a radio announcer got talking into

1585
01:25:10,160 --> 01:25:14,960
Speaker 3: a microphone who says that the authorities, in an effort

1586
01:25:15,040 --> 01:25:18,040
Speaker 3: to calm the public, decided to use every tool in

1587
01:25:18,080 --> 01:25:22,719
Speaker 3: their arsenal, including letting people quote enjoy their favorite pastimes. Again,

1588
01:25:23,439 --> 01:25:24,840
Speaker 3: I think that means wrastling.

1589
01:25:25,720 --> 01:25:28,240
Speaker 1: This is such a weird sequence. Yeah, because they're building

1590
01:25:28,240 --> 01:25:30,400
Speaker 1: this up, like just go to go to watch your

1591
01:25:30,439 --> 01:25:34,360
Speaker 1: local Lucas show as usual. Don't let this fear of

1592
01:25:34,400 --> 01:25:37,920
Speaker 1: alien invasion steer you in a different direction. But then,

1593
01:25:38,040 --> 01:25:40,720
Speaker 1: as we see, nobody actually shows up for resting that

1594
01:25:40,880 --> 01:25:42,920
Speaker 1: night arena they.

1595
01:25:42,760 --> 01:25:44,360
Speaker 3: Do in the first one, there are two there are

1596
01:25:44,400 --> 01:25:45,639
Speaker 3: two people don't show.

1597
01:25:45,520 --> 01:25:48,040
Speaker 1: Up the second scenes. What's going on by the second one?

1598
01:25:48,200 --> 01:25:50,120
Speaker 3: The second one is when people don't show up the

1599
01:25:50,160 --> 01:25:51,400
Speaker 3: first one, it's a huge crew.

1600
01:25:51,479 --> 01:25:53,400
Speaker 1: Oh, it's true, it is a big crowd for the first.

1601
01:25:53,520 --> 01:25:56,160
Speaker 3: They may be discouraged for the second one because Martians

1602
01:25:56,200 --> 01:25:57,760
Speaker 3: show up at the end of the first match and

1603
01:25:57,840 --> 01:26:01,760
Speaker 3: start vaporizing people. Well, that's standable, but this first one

1604
01:26:02,600 --> 01:26:05,000
Speaker 3: is rob Is there a formal term in Luca for

1605
01:26:06,160 --> 01:26:08,880
Speaker 3: the villain swap out, like when the villain is you

1606
01:26:08,960 --> 01:26:11,040
Speaker 3: think it's one person behind the mask, but then the

1607
01:26:11,080 --> 01:26:13,240
Speaker 3: mask comes off and it turns out it with somebody else.

1608
01:26:13,920 --> 01:26:15,920
Speaker 1: I don't know if there's any kind of lingo for it. Yeah,

1609
01:26:15,960 --> 01:26:17,840
Speaker 1: but it is a trope, I guess.

1610
01:26:17,920 --> 01:26:20,280
Speaker 3: Yeah. Well, anyway, here one of the beef aliens I

1611
01:26:20,280 --> 01:26:22,920
Speaker 3: think it's Hercules. He beats up and steals the mask

1612
01:26:23,000 --> 01:26:26,400
Speaker 3: of Santo's scheduled opponent for the night, a wrestler called

1613
01:26:26,439 --> 01:26:30,280
Speaker 3: Black Eagle, and this appears to be the kind of

1614
01:26:30,280 --> 01:26:33,439
Speaker 3: fight where the goal is to take off the opponent's mask.

1615
01:26:33,520 --> 01:26:35,880
Speaker 3: I think that's That's not every fight in Luca, right.

1616
01:26:36,280 --> 01:26:38,799
Speaker 1: No, in fact, I don't. I was kind of scratching

1617
01:26:38,800 --> 01:26:41,040
Speaker 1: my head at this because generally a mask is on

1618
01:26:41,080 --> 01:26:45,080
Speaker 1: the line officially, in which if you lose the match

1619
01:26:45,560 --> 01:26:47,959
Speaker 1: you have to give up your mask in your previous identity,

1620
01:26:48,439 --> 01:26:52,880
Speaker 1: but then also it is mask ripping, and the unmasking

1621
01:26:53,000 --> 01:26:56,840
Speaker 1: is also a common shenanigan that takes place in Luca masks.

1622
01:26:56,840 --> 01:27:00,559
Speaker 1: So like the rudo's will start tugging at the Technico mask,

1623
01:27:01,000 --> 01:27:03,080
Speaker 1: the ref will get on to them for it. They

1624
01:27:03,120 --> 01:27:05,800
Speaker 1: may pull off a mask and then get a quick

1625
01:27:05,840 --> 01:27:10,200
Speaker 1: pin while the hero's distracted. And then also if memory serves, like,

1626
01:27:10,280 --> 01:27:12,880
Speaker 1: actually snatching the mask off your opponent's face is a

1627
01:27:12,920 --> 01:27:16,760
Speaker 1: dq So, honestly, maybe it was different back then. I

1628
01:27:16,800 --> 01:27:19,720
Speaker 1: don't know. Maybe they did have matches like this in

1629
01:27:19,760 --> 01:27:23,559
Speaker 1: the fifties and sixties, but it also kind of felt

1630
01:27:23,840 --> 01:27:26,200
Speaker 1: I don't know, I didn't fully understand it. Yeah, but

1631
01:27:26,280 --> 01:27:28,559
Speaker 1: for some reason it seems to be the case that

1632
01:27:28,600 --> 01:27:31,120
Speaker 1: you can end this match by pulling off your opponent's mask.

1633
01:27:31,400 --> 01:27:33,439
Speaker 3: Well, I thought this was a solid fight, and it

1634
01:27:33,479 --> 01:27:36,080
Speaker 3: had a lot of twists and turns and some weird

1635
01:27:36,200 --> 01:27:41,080
Speaker 3: interesting moves and rules. What the weirdest move I think

1636
01:27:41,120 --> 01:27:44,400
Speaker 3: in the entire movie is this match has a clear

1637
01:27:44,479 --> 01:27:46,760
Speaker 3: I'm not exaggerating, there is a move that's like a

1638
01:27:46,840 --> 01:27:49,120
Speaker 3: head butt to the perineum.

1639
01:27:49,560 --> 01:27:52,879
Speaker 1: Yes, yeah, this was great. I'd never seen it before,

1640
01:27:53,760 --> 01:27:57,240
Speaker 1: but there used to be a lot more butt based combat,

1641
01:27:57,240 --> 01:27:59,439
Speaker 1: you know, like the atomic drop used to be big

1642
01:27:59,479 --> 01:28:03,040
Speaker 1: money back in the day. That's the one where you do,

1643
01:28:03,120 --> 01:28:05,479
Speaker 1: like it's like you're gonna do a belly to back suplex,

1644
01:28:05,560 --> 01:28:07,479
Speaker 1: but then you bring the opponent down so that their

1645
01:28:08,800 --> 01:28:11,960
Speaker 1: butt lands on your knee. Okay, And you know, it's

1646
01:28:11,960 --> 01:28:15,720
Speaker 1: like it makes sense in a wrestling world, you know,

1647
01:28:15,760 --> 01:28:17,960
Speaker 1: because it's like, oh, impact of the spine, Like that's

1648
01:28:18,000 --> 01:28:21,720
Speaker 1: a full body you know effect right there. But it

1649
01:28:21,760 --> 01:28:24,040
Speaker 1: also is kind of funny because you're hitting somebody in

1650
01:28:24,040 --> 01:28:25,599
Speaker 1: the butt, so you don't see it as much anymore.

1651
01:28:25,920 --> 01:28:28,280
Speaker 3: Okay, Okay, I accept it. I mean I don't want

1652
01:28:28,280 --> 01:28:31,000
Speaker 3: to be headbutted in the butt either. Yeah.

1653
01:28:31,000 --> 01:28:33,000
Speaker 1: I'd never seen an attack like this before.

1654
01:28:33,080 --> 01:28:44,439
Speaker 3: This was pretty great. At one point, Hercules gets the

1655
01:28:44,880 --> 01:28:47,200
Speaker 3: gets the better of Santo, though, and he rips off

1656
01:28:47,200 --> 01:28:50,960
Speaker 3: Santo's mask oh no, only to reveal that Santo is

1657
01:28:51,000 --> 01:28:53,080
Speaker 3: wearing a second mask underneath.

1658
01:28:53,560 --> 01:28:53,760
Speaker 1: Yeah.

1659
01:28:53,800 --> 01:28:56,679
Speaker 3: And then somehow Hercules the alien knows to like throw

1660
01:28:56,840 --> 01:28:58,800
Speaker 3: the first mask that he took off. He throw it

1661
01:28:58,840 --> 01:29:00,840
Speaker 3: on the ground and stomp on it and squish it,

1662
01:29:02,200 --> 01:29:05,439
Speaker 3: and somebody starts to rebuke Santo for this. He's like

1663
01:29:05,920 --> 01:29:08,000
Speaker 3: suggesting it's some kind of cheating, I think to be

1664
01:29:08,040 --> 01:29:11,280
Speaker 3: wearing more than one mask. But Santo counters that his

1665
01:29:11,320 --> 01:29:14,599
Speaker 3: opponent is not actually an Earthling but a Martian, and

1666
01:29:14,880 --> 01:29:18,000
Speaker 3: I guess that's a that is a legitimate counter argument,

1667
01:29:18,320 --> 01:29:20,679
Speaker 3: And he proves this by pinning him and ripping off

1668
01:29:20,720 --> 01:29:24,400
Speaker 3: his mask, and for some reason this makes the Martian

1669
01:29:24,479 --> 01:29:28,960
Speaker 3: transform into his original Martian hair and helmet, which causes

1670
01:29:29,000 --> 01:29:31,200
Speaker 3: the people in the arena to freak out and scatter,

1671
01:29:31,560 --> 01:29:34,439
Speaker 3: and then the Martians appear and start astral eye blasting

1672
01:29:34,439 --> 01:29:39,280
Speaker 3: everybody in vaporizing them yep. And then of course they

1673
01:29:39,320 --> 01:29:41,040
Speaker 3: turn the dial again and escape.

1674
01:29:41,520 --> 01:29:44,600
Speaker 1: So clearly some other form of attack is going to

1675
01:29:44,600 --> 01:29:46,080
Speaker 1: be necessary to defeat Santa.

1676
01:29:46,680 --> 01:29:50,120
Speaker 3: That's right. Now they try a seduction as well. How

1677
01:29:50,560 --> 01:29:52,360
Speaker 3: well do you think this is going to work on Santo?

1678
01:29:52,439 --> 01:29:53,960
Speaker 1: Oh, this is not going to work. In fact, I

1679
01:29:54,040 --> 01:29:56,800
Speaker 1: was a little it seems like it's working, and I

1680
01:29:56,880 --> 01:29:57,400
Speaker 1: was shocked.

1681
01:29:57,600 --> 01:29:59,759
Speaker 3: Yes, but it's It turns out it's like a dream

1682
01:29:59,800 --> 01:30:03,080
Speaker 3: fa out. So we see Santo at home in his

1683
01:30:03,080 --> 01:30:05,200
Speaker 3: full outfit with the mask on, lying on his bed

1684
01:30:05,200 --> 01:30:07,880
Speaker 3: reading a book, and then who should appear at the

1685
01:30:07,880 --> 01:30:10,800
Speaker 3: opposite end of the room, But Afrodita, the most powerful

1686
01:30:10,840 --> 01:30:14,960
Speaker 3: seductress of the Martian operators, and she's like, hey, Santo,

1687
01:30:15,080 --> 01:30:17,600
Speaker 3: and then she blows some smoke into the air and

1688
01:30:18,760 --> 01:30:22,080
Speaker 3: the Martian love goddesses they I think they're multiple of

1689
01:30:22,120 --> 01:30:25,760
Speaker 3: them there, and they hypnotize Santo start kissing him and

1690
01:30:25,880 --> 01:30:28,040
Speaker 3: remove his mask. Now we don't see his face, we

1691
01:30:28,080 --> 01:30:30,200
Speaker 3: only see from behind, but we see like his hair,

1692
01:30:30,640 --> 01:30:32,519
Speaker 3: and I was just like you, I was thinking, it

1693
01:30:32,560 --> 01:30:35,839
Speaker 3: can't be true. It can't be Santo is he cannot

1694
01:30:35,840 --> 01:30:38,519
Speaker 3: be defeated in this way. But it turns out it's

1695
01:30:38,560 --> 01:30:40,840
Speaker 3: all like a horrible dream. He wakes up and she's

1696
01:30:40,840 --> 01:30:43,479
Speaker 3: still there, but he hasn't actually kissed her or anything,

1697
01:30:44,080 --> 01:30:46,680
Speaker 3: and his mask is still on, and he's like, you know,

1698
01:30:46,760 --> 01:30:49,000
Speaker 3: if you try to kidnap me, I might steal your

1699
01:30:49,040 --> 01:30:52,439
Speaker 3: belt and your Martian technology, And that threat alone is

1700
01:30:52,560 --> 01:30:54,519
Speaker 3: enough to make her be like, oh, never mind.

1701
01:30:54,320 --> 01:30:57,840
Speaker 1: And then he just back away and then teleport.

1702
01:30:58,120 --> 01:31:01,320
Speaker 3: Next there is a scene where where he ends up

1703
01:31:01,400 --> 01:31:04,160
Speaker 3: using the device that the Professor made to track the

1704
01:31:04,200 --> 01:31:07,240
Speaker 3: Martians to a Catholic church where they're there arguing with

1705
01:31:07,320 --> 01:31:09,960
Speaker 3: the priest about I don't know, they're just like having

1706
01:31:09,960 --> 01:31:14,040
Speaker 3: a moral argument with the priest, and there is a

1707
01:31:14,240 --> 01:31:16,479
Speaker 3: weird kind of discussion of whether or not they should

1708
01:31:16,520 --> 01:31:18,639
Speaker 3: fight inside the church. I think they have to take

1709
01:31:18,640 --> 01:31:19,720
Speaker 3: the fight outside.

1710
01:31:20,120 --> 01:31:24,479
Speaker 1: Yeah, Like the basically the priest here is like he

1711
01:31:24,560 --> 01:31:26,400
Speaker 1: pulls out some highlander lord and he's like, this is

1712
01:31:26,439 --> 01:31:28,760
Speaker 1: holy ground. You can't actually fight here, and they're like,

1713
01:31:28,800 --> 01:31:31,479
Speaker 1: fair enough, yep, we respect holy ground.

1714
01:31:32,000 --> 01:31:34,479
Speaker 3: Then one of the most baffling things in the movie

1715
01:31:34,479 --> 01:31:38,280
Speaker 3: after this is the professor is invited to some kind

1716
01:31:38,320 --> 01:31:42,519
Speaker 3: of celebration of scientific achievement, which takes the form of

1717
01:31:42,720 --> 01:31:47,640
Speaker 3: a party with burlesque dancing. So it's there, it's like

1718
01:31:47,640 --> 01:31:51,360
Speaker 3: people there with their families to receive awards for scientific achievements.

1719
01:31:52,160 --> 01:31:55,160
Speaker 3: But then of course there are four burlesque dancers who,

1720
01:31:55,200 --> 01:31:59,760
Speaker 3: of course they get hypnotized by the Martian ladies, who

1721
01:31:59,800 --> 01:32:04,120
Speaker 3: then steal their costumes and do the dance themselves. The

1722
01:32:04,680 --> 01:32:07,320
Speaker 3: costumes are hilarious. It's like something out of Doctor Seuss.

1723
01:32:07,360 --> 01:32:08,599
Speaker 3: It looks like the lore Axe.

1724
01:32:08,680 --> 01:32:11,519
Speaker 1: Yeah, I mean it's really it's truly classy stuff. It's

1725
01:32:12,040 --> 01:32:14,880
Speaker 1: I guess it's kind of chorus line right.

1726
01:32:15,200 --> 01:32:18,280
Speaker 3: Yeah, yeah, I guess. So I don't know the terminology here,

1727
01:32:18,840 --> 01:32:20,920
Speaker 3: but what are what are the dancers going to do here?

1728
01:32:20,920 --> 01:32:25,000
Speaker 3: Obviously they're here to kidnap the professor, and so they

1729
01:32:25,280 --> 01:32:27,360
Speaker 3: take the professor, they send him back to the ship

1730
01:32:27,400 --> 01:32:29,920
Speaker 3: as well. Now later we see the Martians at the

1731
01:32:29,920 --> 01:32:32,320
Speaker 3: ship and they're like, uh oh, we're in trouble now.

1732
01:32:32,360 --> 01:32:34,920
Speaker 3: We're all out of our atmosphere pills and it's it's

1733
01:32:35,000 --> 01:32:37,479
Speaker 3: do or die. It's this is our last chance chance

1734
01:32:37,520 --> 01:32:40,599
Speaker 3: to capture Santo before we must leave this planet because

1735
01:32:40,600 --> 01:32:44,000
Speaker 3: we you know, the atmosphere is killing us. So Santo

1736
01:32:44,160 --> 01:32:47,000
Speaker 3: comes up with a plan that involves guess what, what's

1737
01:32:47,040 --> 01:32:49,559
Speaker 3: it going to be? It's another wrestling match match, right,

1738
01:32:51,240 --> 01:32:55,000
Speaker 3: So they get that going. There's not a whole lot

1739
01:32:55,040 --> 01:32:57,280
Speaker 3: to explain here. It's just like they have another match.

1740
01:32:57,520 --> 01:33:00,120
Speaker 3: This time there's nobody in the arena, but it's still

1741
01:33:00,120 --> 01:33:03,599
Speaker 3: manages to trick the Martians into showing up. Santo beats

1742
01:33:03,640 --> 01:33:06,280
Speaker 3: them up and they fall right into his trap. He

1743
01:33:06,320 --> 01:33:08,960
Speaker 3: beats them up and he manages to steal one of

1744
01:33:09,080 --> 01:33:12,360
Speaker 3: the belts, which earlier they said that would be impossible.

1745
01:33:13,200 --> 01:33:15,639
Speaker 3: So now he's got a belt and that man and

1746
01:33:15,680 --> 01:33:18,760
Speaker 3: that allows him to teleport to where the ship is.

1747
01:33:19,200 --> 01:33:21,479
Speaker 3: So it's on Now he goes back to the Martian

1748
01:33:21,479 --> 01:33:25,520
Speaker 3: ship and arrives actually to find the Martians all generally asphyxiating,

1749
01:33:25,640 --> 01:33:28,519
Speaker 3: and he like fights them in the state, which I

1750
01:33:28,520 --> 01:33:31,519
Speaker 3: don't know, it felt a little anti climactic, but he

1751
01:33:31,560 --> 01:33:34,880
Speaker 3: frees the hostages. They all run outside, and here is

1752
01:33:34,920 --> 01:33:37,759
Speaker 3: where they get. We get a brief discussion between Santo

1753
01:33:37,840 --> 01:33:40,439
Speaker 3: and the Professor, because the Professor is like, hey, we

1754
01:33:40,479 --> 01:33:42,680
Speaker 3: should save the Martian ship. We've got to use it

1755
01:33:42,720 --> 01:33:46,320
Speaker 3: to advance Earth technology by five hundred years, right, and

1756
01:33:46,400 --> 01:33:49,320
Speaker 3: Santo says, no, no, no, we must destroy it because

1757
01:33:49,360 --> 01:33:52,560
Speaker 3: we are not ready for such power. It must be eliminated.

1758
01:33:53,120 --> 01:33:55,080
Speaker 1: I mean, this is this is a part of the

1759
01:33:55,280 --> 01:33:57,400
Speaker 1: film where was like, all right, this is they're cooking

1760
01:33:57,439 --> 01:34:01,080
Speaker 1: a little bit here with these ideas. Yes, Santo's like, like,

1761
01:34:01,080 --> 01:34:03,000
Speaker 1: we're going out there to destroy it, not to bring

1762
01:34:03,080 --> 01:34:04,280
Speaker 1: back and.

1763
01:34:05,160 --> 01:34:08,599
Speaker 3: Right, yeah, he's the ripley in the scenario nukid for morbid,

1764
01:34:08,920 --> 01:34:11,160
Speaker 3: which he does by running back into the ship once

1765
01:34:11,200 --> 01:34:14,320
Speaker 3: more and pulling the lever. Pulling the lever we talked

1766
01:34:14,320 --> 01:34:17,000
Speaker 3: about the lever of death. He pulls it real good.

1767
01:34:17,479 --> 01:34:20,360
Speaker 3: He jumps out of the ship. There's a big explosion,

1768
01:34:20,640 --> 01:34:23,400
Speaker 3: Santo and the freed prisoners watch the ship burn, and

1769
01:34:23,439 --> 01:34:26,519
Speaker 3: then the narrator comes in and says, the human race

1770
01:34:26,560 --> 01:34:29,040
Speaker 3: has been saved for the moment. Will we learn our

1771
01:34:29,160 --> 01:34:33,320
Speaker 3: lesson or insist on carrying on crazy nuclear experiments until

1772
01:34:33,320 --> 01:34:36,120
Speaker 3: we disappear from the face of the earth. And the

1773
01:34:36,200 --> 01:34:39,320
Speaker 3: narrator is saying this as we just watch Santo turn

1774
01:34:39,400 --> 01:34:42,800
Speaker 3: around and wander into the woods, leaving the freed prisoners

1775
01:34:42,840 --> 01:34:44,080
Speaker 3: alone by themselves.

1776
01:34:44,479 --> 01:34:47,519
Speaker 1: I really like this sending, though, because it's like Santo's saying, Look,

1777
01:34:47,680 --> 01:34:49,360
Speaker 1: I'm not always going to be here to fight your

1778
01:34:49,400 --> 01:34:51,400
Speaker 1: battles for you and to clean things up for you.

1779
01:34:51,400 --> 01:34:53,840
Speaker 1: You've got to figure this out for your own humanity.

1780
01:34:54,760 --> 01:34:57,439
Speaker 1: You've got to decide what you want for this world

1781
01:34:57,560 --> 01:35:01,120
Speaker 1: and for your lives. And yes, Santo leaves them there.

1782
01:35:01,439 --> 01:35:04,479
Speaker 3: Great, yeah, all right, So that was Santo in the

1783
01:35:04,520 --> 01:35:05,360
Speaker 3: Martian invasion.

1784
01:35:06,240 --> 01:35:12,599
Speaker 1: Yes, he successfully defeated the invasion, did not find it

1785
01:35:12,680 --> 01:35:16,880
Speaker 1: necessary to then go and conquer the Martians. Leave that

1786
01:35:17,160 --> 01:35:18,200
Speaker 1: for Santa Claus.

1787
01:35:19,880 --> 01:35:21,880
Speaker 3: Someday we'll have to come back and explore all of

1788
01:35:21,920 --> 01:35:23,920
Speaker 3: the parallels between Santo and Santa Claus.

1789
01:35:24,040 --> 01:35:29,360
Speaker 1: I think there are number Yeah, like the attempt to kidnap.

1790
01:35:30,120 --> 01:35:34,759
Speaker 1: Santo and Santa Claus, the head gear, the food pills.

1791
01:35:35,240 --> 01:35:37,080
Speaker 1: I mean, you know, I guess they're both pulling on

1792
01:35:37,160 --> 01:35:39,880
Speaker 1: a lot of sci fi ideas that were very much

1793
01:35:39,880 --> 01:35:41,040
Speaker 1: in the heather at that time.

1794
01:35:41,320 --> 01:35:46,280
Speaker 3: You never see them out of costume. They're paragons of virtue.

1795
01:35:46,720 --> 01:35:48,400
Speaker 1: Yeah, yeah, they teach.

1796
01:35:48,280 --> 01:35:49,800
Speaker 3: The children to do right. Yeah.

1797
01:35:49,800 --> 01:35:53,080
Speaker 1: But we had no divisions this time in Martian the

1798
01:35:53,080 --> 01:35:55,759
Speaker 1: Martian camp. You know, we didn't have like pro Santo

1799
01:35:55,880 --> 01:35:59,360
Speaker 1: anti Santo camp. That would have been interesting. But oh yeah,

1800
01:35:59,680 --> 01:36:03,400
Speaker 1: there's Dropo. This movie needed to drive. That would be

1801
01:36:03,439 --> 01:36:05,920
Speaker 1: my other main criticism is that Santo and the Treasure

1802
01:36:05,920 --> 01:36:10,320
Speaker 1: of Dracula had a nice comic relief sidekick Periico. Yeah, Perigo.

1803
01:36:10,439 --> 01:36:12,200
Speaker 1: And we didn't have a pirago. We didn't have a

1804
01:36:12,320 --> 01:36:15,080
Speaker 1: dropoh in this in this picture, I'm not sure we

1805
01:36:15,120 --> 01:36:18,559
Speaker 1: had room for can't have everything, Rob, that's true, that's true.

1806
01:36:19,080 --> 01:36:20,920
Speaker 1: All right, we're gonna go ahead and call it for

1807
01:36:21,000 --> 01:36:23,479
Speaker 1: this episode. But we'd love to hear your thoughts on

1808
01:36:23,680 --> 01:36:27,800
Speaker 1: this and other Santo movies, Luchador movies, Luchadora movies. Write in.

1809
01:36:27,960 --> 01:36:30,200
Speaker 1: We would love to hear from you. Just a reminder

1810
01:36:30,240 --> 01:36:32,080
Speaker 1: the stuff to Blow Your Mind is primarily a science

1811
01:36:32,120 --> 01:36:34,599
Speaker 1: and culture podcast, with core episodes on Tuesdays and Thursdays,

1812
01:36:34,640 --> 01:36:36,760
Speaker 1: but on Fridays we set aside most serious concerns to

1813
01:36:36,760 --> 01:36:39,040
Speaker 1: just talk about a weird film on Weird House Cinema.

1814
01:36:39,240 --> 01:36:41,719
Speaker 1: You can find us on a letterboxed we are Weird House,

1815
01:36:41,760 --> 01:36:43,680
Speaker 1: and you can also find us on Instagram, where we

1816
01:36:43,720 --> 01:36:45,600
Speaker 1: are STBYM.

1817
01:36:44,880 --> 01:36:48,240
Speaker 3: Podcast Huge Things. As always to our excellent audio producer

1818
01:36:48,320 --> 01:36:50,679
Speaker 3: JJ Posway. If you would like to get in touch

1819
01:36:50,720 --> 01:36:52,720
Speaker 3: with us with feedback on this episode or any other,

1820
01:36:52,800 --> 01:36:54,920
Speaker 3: to suggest a topic for the future, or just to

1821
01:36:54,920 --> 01:36:58,000
Speaker 3: say hello, you can email us at contact stuff to

1822
01:36:58,000 --> 01:37:05,600
Speaker 3: blow your Mind dot com.

1823
01:37:05,840 --> 01:37:08,760
Speaker 2: Stuff to Blow your Mind is production of iHeartRadio. For

1824
01:37:08,840 --> 01:37:12,680
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1825
01:37:12,760 --> 01:37:14,559
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