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Speaker 1: Hello, and welcome to Weird House Cinema. Rewind. Today we

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Speaker 1: are bringing you an older episode of Weird House Cinema.

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Speaker 1: This one was originally published on August fifth, twenty twenty two.

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Speaker 1: And oh boyd, this is the one we did on

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Speaker 1: Plan nine from Outer Space. Let's dive right in.

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

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Speaker 3: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 1: And this is Joe McCormick, and it's finally time for

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Speaker 1: our very first ed Wood movie on Weird House Cinema.

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Speaker 1: Today's selection is perhaps the reigning world champion of the Schlocktagon.

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Speaker 1: It is the nineteen fifty seven undead Saucer invasion film

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Speaker 1: Plan nine from Outer Space, a movie in which fussy

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Speaker 1: aliens attempt to conquer planet Earth by creating approximately three

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Speaker 1: zombies at a local cemetery in Los Angeles. I've been

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Speaker 1: wondering how long it would take us to do an

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Speaker 1: Edwood movie, and we debated whether we should do this,

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Speaker 1: do this one or Bride of the Monster. They're both fantastic,

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Speaker 1: but I think this might be a sort of emotional

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Speaker 1: episode for me because Plan nine is not only one

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Speaker 1: of the best and most famously bad movies of all time,

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Speaker 1: it also played a very special role in my life. So, Rob,

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Speaker 1: I don't know if I ever told you this before,

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Speaker 1: but when my wife Rachel and I were very first

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Speaker 1: hanging out when we were in high school. This was

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Speaker 1: before we were technically dating. I don't know what the

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Speaker 1: term in your high school time and place was. It

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Speaker 1: was going out for us before we were going out.

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Speaker 1: One of the first times we ever got together was

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Speaker 1: to watch Plan nine from Outer Space in the basement

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Speaker 1: of my parents' house.

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Speaker 3: Oh well, that's sweet.

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Speaker 1: Yeah, So we already knew each other, we had some

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Speaker 1: friends in common, and for some reason we decided we

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Speaker 1: needed to see this movie. And I still remember vividly

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Speaker 1: a bunch of failed attempts to acquire a copy, like

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Speaker 1: we went to Blockbuster Video, thinking, oh, yeah, okay, it's Blockbuster,

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Speaker 1: surely they will have Plan nine from Outer Space, and

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Speaker 1: what a shock they did not. This would have been

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Speaker 1: I think of around two thousand and two, so they

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Speaker 1: could have hooked us up with thirty seven copies of

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Speaker 1: mister Deed's if we wanted, but they did not have

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Speaker 1: any Edwood movies in stock and Eventually we figured out

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Speaker 1: that one of Rachel's friends had a bootleg VHS tape

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Speaker 1: of it. We finally got our hands on it, and wow,

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Speaker 1: it was so perfect, like the aliens wearing the costumes,

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Speaker 1: with the medieval sigils, like you know, Bunny Breckenridge with

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Speaker 1: the axe, and the constant switching between night and day,

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Speaker 1: the floppy tombstones, the line delivery but I'll be in there,

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Speaker 1: and it was. It was just a magical experience. And

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Speaker 1: now in our house, right next to one of our

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Speaker 1: wedding photos, we have a framed portrait of Tor Johnson

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Speaker 1: and Vampira from Plan nine.

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Speaker 3: That's sweet. And I have to say, this is probably

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Speaker 3: the perfect movie to watch on a bootleg VHS in

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Speaker 3: a basement somewhere.

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Speaker 1: It's this is a great date movie in general. I mean, yeah,

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Speaker 1: oh yeah, yeah.

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Speaker 3: I've watched this with my wife before and it's it's

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Speaker 3: just it is. It is NonStop, it is relentlessly what

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Speaker 3: it is, and it's I was having trouble coming up

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Speaker 3: with the perfect adjective for what this film is because

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Speaker 3: you can say it's cheesy, or it's bad, or it's amateur,

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Speaker 3: or it's outsider art. You know, and it's and it

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Speaker 3: is all those things, and yet it it it kind

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Speaker 3: of expands beyond easy definition.

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Speaker 1: Oh yeah, And I also just want to point out

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Speaker 1: that this is another nineteen fifty seven sci fi horror movie,

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Speaker 1: which you know, I was trying to think of it.

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Speaker 1: I have a feeling about this. It's kind of ineffable.

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Speaker 1: I was trying to find the best way to put

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Speaker 1: it into words. But I think I think it's that

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Speaker 1: I have a sense that, like nineteen fifty seven to

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Speaker 1: fifty eight was a two year period that was a

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Speaker 1: renaissance for sci fi monster trash, like just to stick

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Speaker 1: to movies that we've talked about on Weird House, fifty

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Speaker 1: seven was the same year as Attack of the Crab

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Speaker 1: Monsters and Not of This Earth. Fifty eight was The

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Speaker 1: Brain Eaters and Fiend Without a Face. I feel like

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Speaker 1: something happened during this two year period. There was a

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Speaker 1: shift in the veldtgeist, and it gave rise to all

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Speaker 1: these emanations, emanations in the gnostic sense, from a kind

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Speaker 1: of primeval spirit of B movie weirdness, and the world

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Speaker 1: has never been the same. We live in the culture

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Speaker 1: that was built by the clumsy brow furrowing Demiurge that

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Speaker 1: descended from those emanations. It's fifty seven to fifty eight,

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Speaker 1: and it's been monsters ever since. This is the air

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Speaker 1: we breathe.

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Speaker 3: Yeah, I think it's a great point. And yeah, thinking

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Speaker 3: about my own history with ed Wood and Plan nine

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Speaker 3: from Outer Space, I'm reminded that I think I saw

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Speaker 3: my first clips from a number of these movies in

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Speaker 3: nineteen eighty two's it came from Hollywood, which somebody in

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Speaker 3: my family had taped off of HBO onto VHS, and

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Speaker 3: for some reason I was allowed to watch this over

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Speaker 3: and over again, even though you know, it's mostly like

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Speaker 3: a lot of fun monster clips, but also some risk

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Speaker 3: humor and also some disturbing content from Hollywood of yesteryear.

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Speaker 3: But still there's a whole section on there's that is

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Speaker 3: celebrating Edwood and talking about like how great and how fun.

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Speaker 3: You know, So much of this content was so many

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Speaker 3: of these films, and I guess I kind of took

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Speaker 3: all that for granted. And it wasn't until I was

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Speaker 3: digging in and researching a little bit for this picture

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Speaker 3: that I realized before, like before the early eighties when

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Speaker 3: this came out and some other things were going on

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Speaker 3: with film festivals, like ed Wood had already drifted into obscurity,

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Speaker 3: and it was it was the memory of these films

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Speaker 3: that ended up resurrecting his spirit.

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Speaker 1: Oh yeah, the weirdness of Plan nine. I get the

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Speaker 1: impression that this was not recognized at the time as

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Speaker 1: anything great or worthwhile, and it was not celebrated even

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Speaker 1: in an ironic sense, for a long time until like

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Speaker 1: decades after it was made. I think the initial reaction was, well,

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Speaker 1: that was weird. Okay, never see that again.

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Speaker 3: But to come back to what you said, like the

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Speaker 3: classic era, you know, I mean they are different classic

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Speaker 3: eras and cinema, but he had that late nineteen fifties

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Speaker 3: era seemed to have produced a number of these ideas,

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Speaker 3: these tropes that would continue to resonate throughout our film

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Speaker 3: culture as different creators then grew up with those images

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Speaker 3: in their heads and then created their own things.

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Speaker 1: I sort of feel like this is the era where

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Speaker 1: like the Corman machine is finally humming at full output

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Speaker 1: like it has it's going, and other parallel production machines

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Speaker 1: for drive in monster movies are sort of at their

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Speaker 1: peak output.

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Speaker 3: Yeah, but before we get too.

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Speaker 1: Wrapped up in how Plan nine from Outer Space is,

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Speaker 1: you know, cranking the gears of history and of our

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Speaker 1: personal lives before we get caught in the wheels of progress.

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Speaker 1: We should also describe what this movie is in a

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Speaker 1: literal sense, so I have a few categories I think

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Speaker 1: it should fit into. One is that it's a fifties

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Speaker 1: flying saucer movie. The plot concerns aliens who fly around

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Speaker 1: in saucers that are described both as saucers and as

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Speaker 1: quote cigar shaped. That's mutually exclusive, dude. I don't know

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Speaker 1: why you say that in the movie, but that's what

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Speaker 1: they say. But at their saucers, they come to Earth

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Speaker 1: to do something something vaguely hostile. It seems their main

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Speaker 1: objectives are to make sure that humans acknowledge their existence

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Speaker 1: and to keep humans from finding out about them.

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Speaker 3: And we find out more about their missions as we'll

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Speaker 3: get into.

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Speaker 1: But yeah, so what is their Well, this entails the

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Speaker 1: second thing. It's also a zombie movie. The aliens plan

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Speaker 1: involves resurrecting the dead from a cemetery and making these

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Speaker 1: revenants wander around and scare people. It is also an

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Speaker 1: ed Wood movie. Now, more about that when we discuss

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Speaker 1: Edwood directly. But this means a film made with an

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Speaker 1: absolutely irresistible blend of overwhelming ineptitude and awe inspiring self confidence.

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Speaker 1: And it's a combination I can't really think of in

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Speaker 1: any other filmmaker. It's a movie that is so bad

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Speaker 1: it's unbelievable, and yet it doesn't feel like just check

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Speaker 1: cashing hackwork. It feels like it was made by someone

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Speaker 1: who thought this was a brilliant masterpiece and it might

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Speaker 1: even change the world.

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Speaker 3: Yeah, there's an audacity to Edwood movies for sure. Yeah,

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Speaker 3: so we'll get it into that in a bed, But yeah,

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Speaker 3: there's nothing quite like an ed Wood film.

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Speaker 1: Also, tying into the cast, which we'll discuss more in

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Speaker 1: a minute, I think it's important to say this is

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Speaker 1: sort of a bizarro ensemble movie. Like, despite the fact

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Speaker 1: that this is a very low budget movie, the cast

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Speaker 1: includes a surprising bill of strange but familiar faces or

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Speaker 1: what would have been strange but familiar faces at the time.

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Speaker 1: You've got Bella Lagosi, the legend himself, but also Tor Johnson, Vampira,

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Speaker 1: the amazing Chriswell. It's really kind of unusual when you

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Speaker 1: stop to appreciate how many sort of names ended up

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Speaker 1: in this thing.

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Speaker 3: At least names that would have resonated on television in

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Speaker 3: LA at the time. Yeah, and beyond that to some extent.

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Speaker 1: And who might not necessarily be known for acting, but

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Speaker 1: who make a very striking screen presence. I mean, are

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Speaker 1: Vampira and Tor Johnson actors? Not really, but I mean

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Speaker 1: when they're on screen, it looks great.

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Speaker 3: They are both individuals who had totally nailed what they

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Speaker 3: were doing outside of film, and in this movie though,

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Speaker 3: those skill sets are able to work well on film

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Speaker 3: in kind of an acting space, but I would not

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Speaker 3: say they are acting right.

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Speaker 1: One last thing I want to say is that it's

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Speaker 1: in a category of a category that doesn't exist as

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Speaker 1: much as it used to, and that is the thoroughly

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Speaker 1: technically incompetent film. Maybe we don't appreciate this distinction enough,

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Speaker 1: but here's my take. I'd be interested to hear from

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Speaker 1: people who actually work in the film industry to maybe

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Speaker 1: agree or disagree with this. But my feeling is that

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Speaker 1: in decades past, bad movies were packed with way way

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Speaker 1: more technical mistakes than bad movies of today. So you

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Speaker 1: have everything from you know, continuity failures between shots, obviously

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Speaker 1: phony sets. You might see a crew member who wasn't

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Speaker 1: supposed to be in the shot standing in the background,

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Speaker 1: you know, you see the boom, my decnct audio, stuff

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Speaker 1: like that. But now the film industry has become much

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Speaker 1: more professionalized, and I think there are so many people

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Speaker 1: working in the film industry now who know how to

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Speaker 1: execute the technical aspects of a film properly. They're good

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Speaker 1: at their jobs. There are enough of those people that

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Speaker 1: even bad movies today are rarely full of actual technical incompetence.

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Speaker 1: Even the bad movies of the twenty first century are

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Speaker 1: made with a pretty high baseline of technical professionalism. And

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Speaker 1: instead now I would say when a movie is bad today,

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Speaker 1: I would argue it's almost always bad because of the

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Speaker 1: creative elements rather than the technical ones. So, for example,

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Speaker 1: in my personal opinion, hands down the most common problem

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Speaker 1: for bad movies made this year is going to be

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Speaker 1: a bad script, followed by other creative failures, you know,

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Speaker 1: failure of like a cinematographer to establish an interesting or

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Speaker 1: pleasing visual style. But this will rarely extend to mismatching

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Speaker 1: day night, continuity between shots.

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Speaker 3: Right right, or or one that is also frequently used

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Speaker 3: by Edward Jarring, use of stock footage.

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Speaker 1: It's like not even of apparently the same film grain

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Speaker 1: or whatever.

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Speaker 3: Right, right, different film, grain, different era, sometimes different continent.

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Speaker 3: It looks like.

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Speaker 1: There's a really good one in the other movie we

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Speaker 1: were thinking about doing Bride of the Monster, where a

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Speaker 1: character like looks at a tree and then we cut

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Speaker 1: to grainy stock footage of a snake and then she

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Speaker 1: screams and faints. It's really it's wonderful.

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Speaker 3: So, I mean, for the most part that's the pitch,

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Speaker 3: but for just to throw out an elevator pitch, I'll

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Speaker 3: use one from that is from the trailer that we're

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Speaker 3: about to listen to, and that is a terrifying revelation

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Speaker 3: of things to come. We cannot overlook the fact that

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Speaker 3: this is a movie that is not just about something

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Speaker 3: that could happen. This is not a speculative work. This

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Speaker 3: is about things that have happened, are happening, or definitely

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Speaker 3: will happen in near future. Yeah, all right, well, let's

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Speaker 3: go ahead and listen to this trailer in full, because

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Speaker 3: on its own, like if this were a lost film

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Speaker 3: and all we had was the trailer, we would still

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Speaker 3: have a masterpiece on our hands.

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Speaker 4: It is safe to state that the grandchildren of some

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Speaker 4: of the people in this dinner will not be born

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Speaker 4: on Earth. They come from the bowels of Hell, a

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Speaker 4: transformed race of walking dead zombies guided by a master

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Speaker 4: plan for complete domination of the Earth. Plan nine from

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Speaker 4: Outer Space, starring the most right Marrish past ever, Fella Legosi,

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Speaker 4: the seductive Vampira, and poor Johnson as the walking dead.

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Speaker 4: Turn your rector gun, No, no starting down, you can't

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Speaker 4: get it. Bullets bounce off their buddies, Rockets, missiles, jets

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Speaker 4: cannot stop their death shifts. What earthly power can stop

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Speaker 4: this terror? Or a glimpse of things to come? See

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Speaker 4: this blast of screen suspense, or it could be happening

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Speaker 4: right now?

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Speaker 3: All right, I absolutely love that it is safe to

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Speaker 3: state that the grandchildren of some of the people in

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Speaker 3: this theater will not be born on Earth.

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Speaker 1: Can you prove the trailer wrong? I don't think you can.

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Speaker 1: You don't even know who was in that theater.

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Speaker 3: All right, Well, let's get into the people a bit more.

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Speaker 3: Of course, we're going to start at the top. We're

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Speaker 3: going to start with Edwood or as he is credited

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Speaker 3: on the film, Edward D. Wood Junior. He is the director,

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Speaker 3: he is the writer. He is the producer, he is

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Speaker 3: the film editor, and he also has a cameo in

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Speaker 3: the picture.

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Speaker 1: You know, I realized that a lot of my thoughts

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Speaker 1: about the life of Edward actually are not like researched

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Speaker 1: for accuracy, but a lot of them come from the

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Speaker 1: nineties Tim Burton movie Edwood, which I think is it's

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Speaker 1: probably my favorite biography movie. It's fantastic. I don't know

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Speaker 1: how true it is to the reality of the events

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Speaker 1: it depicts, but it's incredibly fun and it has a

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Speaker 1: standout performance by Martin Landau as Bill a Lagosi.

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Speaker 4: Yeah.

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Speaker 3: Yeah, nineteen ninety four's ed Wood also pretty crazy, because

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Speaker 3: you know, we've talked about how already about how Wood

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Speaker 3: Edward was a Hollywood outsider. Through Tim Burton's ninety four picture,

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Speaker 3: it becomes an Academy Award winning property. Like Martin lan

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Speaker 3: Dallasbela Lagosi role wins an Academy Award. Also, Rick Baker's

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Speaker 3: makeup wins an Academy Award for that picture, and so

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Speaker 3: it's kind of like the Hollywood establishment finally has to

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Speaker 3: enshrine Wood's legacy, which is kind of interesting, but.

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Speaker 1: Okay, putting the movie that movie aside, I don't know.

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Speaker 1: How do you describe what Edwood was?

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Speaker 3: Yeah, again, it's difficult to sum up. You know, just

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Speaker 3: a low budget legend, counterculture icon, overconfident, amateur outsider artist.

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Speaker 3: Sometimes I think about that. I compare him to someone

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Speaker 3: like a Howard Finster in my mind, you know, someone

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Speaker 3: who doesn't have the training that other individuals working in

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Speaker 3: the field have, but there's something going on. There's this

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Speaker 3: spark that still manages to force its way into the.

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Speaker 1: Medium inspiration in the classic sense, as in literally meaning

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Speaker 1: divine guidance.

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Speaker 3: When I was looking around for some additional biographical information

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Speaker 3: on him, one of the mistakes I made was thinking, well,

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Speaker 3: I'll look up see what the obits of the day said.

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Speaker 3: And that's one of the things about his life is

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Speaker 3: that there weren't really any major obits about him when

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Speaker 3: he died, because he had drifted into such obscurity. But

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Speaker 3: I was looking at a review that Roger Ebert, the

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Speaker 3: late Roger Ebert, wrote for Tim Burton's ed Wood movie,

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Speaker 3: and he included, like I thought, what was a nice

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Speaker 3: summary of who and what Edwood was? Quote, Edward D.

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Speaker 3: Wood Junior must have been the Will Rogers of filmmaking.

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Speaker 3: He never directed a shot he didn't like. It takes

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Speaker 3: a special weird genius to be voted the worst director

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Speaker 3: of all time, a title that Wood has earned by acclamation.

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Speaker 3: He was so in love with every frame, of every

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Speaker 3: scene of every film he shot that he was blind

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Speaker 3: to hilarious blenders, stumbling, ineptitude, and acting so bad that

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Speaker 3: it achieved a kind of grandeur. But badness alone would

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Speaker 3: not have been enough to make him a legend. It

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Speaker 3: was his love of film sneaking through that pushes him

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Speaker 3: over the top.

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Speaker 1: You know, I think this is a phrase I recall

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Speaker 1: from Roger Ebert, though I don't remember the origin of it,

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Speaker 1: but it was Roger Ebert talking about some bad movie

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Speaker 1: that he said was not just bad, but was awesomely bad.

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Speaker 1: And I think that is a good descripture to apply

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Speaker 1: to the Edwood movies I've seen. There they transcended normal badness.

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Speaker 1: They even transcend the normal way that you appreciate bad

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Speaker 1: movies at an ironic level. They become, in some genuine sense,

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Speaker 1: an awe inspiring spectacle. It's like it's you are observing

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Speaker 1: a work of sheer will. It's oh, I guess you know.

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Speaker 1: To quote the title of another podcast, you wonder how

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Speaker 1: did this get made? Like how was this pushed through

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Speaker 1: to completion?

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Speaker 3: Yeah, and it's it's it's a rare enough thing just historically,

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Speaker 3: but it's certainly rare now. You don't you don't really

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Speaker 3: find examples of this as much as one might like,

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Speaker 3: and I feel like we're kind of starved for it

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Speaker 3: at times. There have been films that have come out

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Speaker 3: in recent years where I think people were expecting awesome badness,

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Speaker 3: and unfortunately the cases you end up with something that's

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Speaker 3: just bad in the and the lackluster, lukewarm sense of

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Speaker 3: the word.

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Speaker 1: Plan nine has such a kind of relentless, ludicrous unbelievability

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Speaker 1: while you're watching it that before we started recording, we

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Speaker 1: were talking off Mike about how when you're explaining this movie,

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Speaker 1: you want to like quote the weird dialogue, but then

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Speaker 1: you can't really end up doing that because you end

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Speaker 1: up wanting to quote the entire script. Like every scene

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Speaker 1: is just filled with exchanges that that that clang and

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Speaker 1: sound wrong in the most awesomely weird way, and and

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Speaker 1: then it never stops. You think like, oh, I got

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Speaker 1: a make a note of that one, but then the

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Speaker 1: next one is exactly like it.

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Speaker 3: Yeah, it is relentless, it is stupefying. So briefly on

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Speaker 3: the bio of Edward here he lived nineteen twenty four

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Speaker 3: through nineteen seventy eight. He was a film enthusiast. As

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Speaker 3: a child, he had a Kodak Sinis special. He was

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Speaker 3: an usher at a cinema. At one point, he served

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Speaker 3: in the Marines. In nineteen forty seventy moved to Hollywood

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Speaker 3: to pursue his cinematic dreams. He would become a legend,

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Speaker 3: true enough, but like we said, his star would rise

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Speaker 3: after his death in seventy eight. The end of his

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Speaker 3: life was one of obscurity. But then you had stuff

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Speaker 3: like eighty two's that came from Hollywood Come Out, which

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Speaker 3: again featured inn Edwood tribute section. You had a growing

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Speaker 3: cult following for films of this nature, including for instance,

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Speaker 3: Michael Weldon's Psychotronic Film Guide, which started up as a

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Speaker 3: magazine in nineteen seventy nine the year after his death.

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Speaker 3: Documentaries would follow film festivals, and then by the time

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Speaker 3: you get ninety four's ed Wood the picture by Tim Burton,

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Speaker 3: like the legacy is assured, like it's cemented, and again

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Speaker 3: the Hollywood establishment itself kind of has to enshrine Wood's legacy.

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Speaker 3: Towards the end of his life, Wood's output descended sharply

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Speaker 3: into erotic and adult territory. This would have been in

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Speaker 3: the seventies, but his work in the fifties gave us

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Speaker 3: a string of just memorably weird films, including the semiotographical

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Speaker 3: fifty three film Glenn or Glinda, in which Would himself

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Speaker 3: plays the titular lead character. He also gave us Bride

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Speaker 3: of the Monster in fifty five, The Violent Years in

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Speaker 3: fifty six, The Bride and the Beast in fifty eight,

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Speaker 3: Night of the Ghouls in fifty nine, and The Sinister

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Speaker 3: Urge in nineteen sixty.

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Speaker 1: I would say he's most remembered. I think for Glenn

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Speaker 1: or Glinda and the two Big Bella to go see

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Speaker 1: Monster movies which were Bride of the Monster and play

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Speaker 1: nine from outer Space Bride of the Monster. We may

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Speaker 1: have to come back and also do on the show

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Speaker 1: in the future because it has more bella Legosi than

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Speaker 1: Plan nine does. In fact, Plan nine has almost no

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Speaker 1: bella legosi at all, and that's one of the real

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Speaker 1: core paradoxes of Plan nine. I would say that this

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Speaker 1: movie seems in a way to be kind of built

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Speaker 1: around Bella Lagosi. It might be in modern to use

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Speaker 1: a modern expression called a Legosi vehicle. And yet Bella

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Speaker 1: Legosi is almost entirely missing from the movie. He actually

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Speaker 1: appears in literally just a couple of shots. Legosi I

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Speaker 1: think died before most of the movie was filmed, so

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Speaker 1: in most scenes that feature his character, he's played by

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Speaker 1: a body double holding a cape over his face. And

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Speaker 1: even including the shots with the body double, Legosi's character

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Speaker 1: is not really central. He's just one of a number

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Speaker 1: of zombies.

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Speaker 3: Yeah, And it's just such a wood move right to

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Speaker 3: not let this stand in the way of not only

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Speaker 3: completing the film, but also not reshooting anything they already had,

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Speaker 3: Like we already have Bella in one scene to scenes,

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Speaker 3: why reshoot any of that. Let's just keep going and

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Speaker 3: we'll just have the cape over the face looks perfect,

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Speaker 3: no reason, no notes, no reason to change anything.

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Speaker 1: It does not look perfect at all. The guy that

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Speaker 1: got to replace Bella Lagosi kind of looks like Jared Letto.

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Speaker 1: He's just like creeping around with slicked back hair and

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Speaker 1: the cape over his like he's you know, his face

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Speaker 1: is in the crook of his arm with the cape.

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Speaker 1: There no explanation of why he's walking like that. There

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Speaker 1: are some scenes where I'm not even sure it looks

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Speaker 1: like it was shot for the movie. There there's like

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Speaker 1: one of just Bella kind of standing around.

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Speaker 3: It's hard to tell because again there's such such a

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Speaker 3: jarring difference between one scene and the next. Ye and yeah,

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Speaker 3: at times it looks like like he's just standing there.

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Speaker 3: So yeah, I agree, it's it's a weird paradox of

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Speaker 3: planed nine and almost. That's one of the reasons that

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Speaker 3: I'm not even gonna go into Bella Lagosi too much here,

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Speaker 3: because this is it's not really a Bella Lagosi film

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Speaker 3: because he's in it so briefly. It's still an important

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Speaker 3: part of his legacy. It's his final film, but still

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Speaker 3: here ere the basics. Bella Legosi in this plays the

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Speaker 3: old man, slash the dead man, slash the ghoulman. Like

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Speaker 3: several characters in this, they're called different things. He lived

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Speaker 3: eighteen eighty two through nineteen fifty six, and yeah, he's

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Speaker 3: a titan of classic horror. The star of nineteen thirty

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Speaker 3: one's Dracula. Nineteen thirty four is the Black Cat. And yeah,

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Speaker 3: we'll have to come back to him in another episode

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Speaker 3: of Weird House Cinema when we can really talk about

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Speaker 3: Bella Lagosi as a performer more, because again barely performs.

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Speaker 4: In this at all.

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Speaker 3: Is barely in this movie, but he was.

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Speaker 1: One of the greats. I love Bella. Yeah, but you

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Speaker 1: know who performs in this movie without acting, I would

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Speaker 1: say performs almost entirely with this, with this kind of

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Speaker 1: stack she like Grimace, is Tor Johnson.

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Speaker 4: Oh.

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Speaker 3: Tor Johnson is so good in this playing He has

433
00:25:07,760 --> 00:25:10,080
Speaker 3: basically a dual role here. He gets to play a

434
00:25:10,200 --> 00:25:14,000
Speaker 3: human by the name of Inspector Clay, a policeman he gets,

435
00:25:14,040 --> 00:25:16,400
Speaker 3: so he gets kind of like a straight acting part.

436
00:25:16,640 --> 00:25:20,280
Speaker 3: But then he also plays the main undead character who

437
00:25:20,359 --> 00:25:23,479
Speaker 3: is sometimes called the Big One or sometimes called the Giant.

438
00:25:24,960 --> 00:25:30,000
Speaker 3: And it's a great physical performance. So Tor Johnson lived,

439
00:25:30,119 --> 00:25:33,120
Speaker 3: and apparently there's some disagreeance on exactly when he was born,

440
00:25:33,440 --> 00:25:36,160
Speaker 3: either nineteen oh two or nineteen oh three, they seemed

441
00:25:36,160 --> 00:25:39,080
Speaker 3: to be the prime candidates here. Died in seventy one.

442
00:25:40,000 --> 00:25:45,440
Speaker 3: He was born Carl Eric tor Johansson, and yeah it

443
00:25:45,800 --> 00:25:51,840
Speaker 3: is a Swedish born professional wrestler slash strongman, slash actor

444
00:25:53,440 --> 00:25:56,920
Speaker 3: and quite an interesting character. He was known in professional

445
00:25:56,960 --> 00:26:00,320
Speaker 3: wrestling circles of the day as Super Swedish aim Angel,

446
00:26:00,960 --> 00:26:05,280
Speaker 3: and he was Swedish. But the reason he was an angel,

447
00:26:06,000 --> 00:26:08,360
Speaker 3: it was an angel. But the angel thing is interesting.

448
00:26:08,440 --> 00:26:11,240
Speaker 3: So he's Super Swedish Angel because there was already a

449
00:26:11,320 --> 00:26:14,199
Speaker 3: Swedish angel wrestling. So you can't have two Swedish angels.

450
00:26:14,240 --> 00:26:15,720
Speaker 3: You got to mix it up. Somebody's got to be

451
00:26:16,240 --> 00:26:19,920
Speaker 3: like son of the Swedish Angel or Swedish Angel too,

452
00:26:20,320 --> 00:26:23,240
Speaker 3: or Super Swedish Angel. There you go. And now that's

453
00:26:23,240 --> 00:26:27,000
Speaker 3: a gimmick. But this whole angel thing, but in both

454
00:26:27,080 --> 00:26:30,280
Speaker 3: cases they're tweaking a gimmick that was established by the

455
00:26:30,400 --> 00:26:34,440
Speaker 3: French angel Maurice Tillett, who was born nineteen oh three

456
00:26:34,480 --> 00:26:38,360
Speaker 3: and died in nineteen fifty four, who was like a big,

457
00:26:39,119 --> 00:26:42,680
Speaker 3: brutish strong man with a very interesting look, very much

458
00:26:42,880 --> 00:26:48,639
Speaker 3: you know, a giant wrestler of the day whoa yeah, sorry.

459
00:26:48,400 --> 00:26:50,399
Speaker 1: I found an image comparing him to Shrek.

460
00:26:51,359 --> 00:26:53,920
Speaker 3: Yeah, I've heard that that Shrek. The character Shrek was

461
00:26:53,920 --> 00:27:00,199
Speaker 3: actually patterned after after Maurice Tillett, So that's interesting. Now

462
00:27:00,280 --> 00:27:03,440
Speaker 3: it's hard to find footage of Tour Johnson wrestling, or

463
00:27:03,440 --> 00:27:04,880
Speaker 3: at least it was hard for me to find any,

464
00:27:05,000 --> 00:27:09,800
Speaker 3: but we did find some British footage of tour wrestling

465
00:27:10,000 --> 00:27:12,960
Speaker 3: some guy. I'll have to include a link for this

466
00:27:13,119 --> 00:27:17,320
Speaker 3: on the blog post for this episode at somemmutomusic dot com.

467
00:27:17,440 --> 00:27:20,560
Speaker 3: But it's it's it's weird. It's yeah. I mean, on

468
00:27:20,640 --> 00:27:23,200
Speaker 3: one hand, it's not Monster Tour. I mean, he's a

469
00:27:23,240 --> 00:27:25,080
Speaker 3: big guy and you get to see him moving around

470
00:27:25,160 --> 00:27:27,960
Speaker 3: applying headlocks and doing some Matt wrestling, but he's not

471
00:27:28,200 --> 00:27:31,240
Speaker 3: like a he's not in monster mode. He's not Tor

472
00:27:31,400 --> 00:27:34,600
Speaker 3: Johnson wrestling the way a modern wrestling fan might expect

473
00:27:34,640 --> 00:27:35,880
Speaker 3: Tod Johnson to wrestle.

474
00:27:37,000 --> 00:27:40,080
Speaker 1: Yeah, so is this the clip you shared with me

475
00:27:40,200 --> 00:27:41,879
Speaker 1: that has the British narrator on it?

476
00:27:42,040 --> 00:27:42,200
Speaker 4: Oh?

477
00:27:42,320 --> 00:27:44,720
Speaker 3: Yeah, just totally trashing the whole enterprise.

478
00:27:45,080 --> 00:27:48,440
Speaker 1: Oh so yeah, so the narrator is like, well this

479
00:27:48,600 --> 00:27:51,399
Speaker 1: professional wrestling, you know, it isn't very serious, is it?

480
00:27:51,560 --> 00:27:52,639
Speaker 1: It is somewhat funny?

481
00:27:53,640 --> 00:27:56,440
Speaker 3: Yeah, it just okay, just just really rips into it.

482
00:27:56,520 --> 00:27:58,040
Speaker 3: And then there's all this other weird stuff, like the

483
00:27:58,160 --> 00:28:01,560
Speaker 3: ref is either shirtles at one point or the ref

484
00:28:01,680 --> 00:28:05,680
Speaker 3: has like a very like small undershirt on. It was weird.

485
00:28:05,760 --> 00:28:08,479
Speaker 3: I'm just used to sitting a ref in ref's clothing.

486
00:28:09,080 --> 00:28:10,800
Speaker 3: The ref can't be shirtless.

487
00:28:10,840 --> 00:28:14,720
Speaker 1: That's weird, right, Well, maybe it's aren't There some cases

488
00:28:14,880 --> 00:28:17,000
Speaker 1: in like the I don't know whatever it's called, the

489
00:28:17,400 --> 00:28:20,440
Speaker 1: WWE or wherever where like a heel will attack the ref.

490
00:28:20,600 --> 00:28:22,800
Speaker 1: Maybe the ref has to be dressed like a wrestler

491
00:28:23,000 --> 00:28:24,640
Speaker 1: in case the heel attacks.

492
00:28:25,400 --> 00:28:29,560
Speaker 3: I don't know, and I don't know a lot about

493
00:28:29,600 --> 00:28:33,480
Speaker 3: this this period of pro wrestling, though I have read

494
00:28:33,560 --> 00:28:36,280
Speaker 3: that is it is rare to have footage from some

495
00:28:36,400 --> 00:28:39,840
Speaker 3: of these earlier eras because, for one thing, a lot

496
00:28:39,880 --> 00:28:42,480
Speaker 3: of it wasn't taped, and then if it was recorded,

497
00:28:42,720 --> 00:28:49,400
Speaker 3: those recordings weren't necessarily preserve. Sometimes're essentially taped over and

498
00:28:49,440 --> 00:28:53,360
Speaker 3: they would be lost to history. According to cagematch dot com,

499
00:28:53,840 --> 00:28:56,960
Speaker 3: Tor Johnson's earliest match was nineteen thirty three and his

500
00:28:57,120 --> 00:29:00,640
Speaker 3: last match was nineteen fifty five. The records on this

501
00:29:00,720 --> 00:29:03,240
Speaker 3: website I don't think are always complete, especially when dealing

502
00:29:03,320 --> 00:29:06,120
Speaker 3: with older stuff like this, but still it seems like

503
00:29:06,160 --> 00:29:09,360
Speaker 3: a respectable era in which to have plied his trade,

504
00:29:09,440 --> 00:29:12,680
Speaker 3: and he was indeed a big boy build at six three,

505
00:29:13,000 --> 00:29:14,640
Speaker 3: four hundred and forty pounds.

506
00:29:14,680 --> 00:29:18,680
Speaker 1: He is massive, and you can see why people wanted

507
00:29:18,680 --> 00:29:20,760
Speaker 1: to put him in monster movies. This is not the

508
00:29:20,880 --> 00:29:24,480
Speaker 1: only one he's He's been in a number. Another one

509
00:29:24,520 --> 00:29:27,360
Speaker 1: that sticks in my mind is the Beast of Yucca Flats,

510
00:29:27,520 --> 00:29:32,160
Speaker 1: where Tour Johnson plays. I think he so, that is,

511
00:29:32,560 --> 00:29:35,440
Speaker 1: if I'm not wrong, a Coleman Francis movie, the same

512
00:29:35,480 --> 00:29:38,480
Speaker 1: guy who made Red Zone, Cuba, which was famously parodied

513
00:29:38,520 --> 00:29:41,760
Speaker 1: on Mystery Science Theater. Beast of yucka Flats. I mainly

514
00:29:41,840 --> 00:29:45,920
Speaker 1: remember for two things, having a really just over the

515
00:29:46,080 --> 00:29:49,560
Speaker 1: top narrator who you know, every time you'd see a character,

516
00:29:49,720 --> 00:29:53,320
Speaker 1: he would just say something like John Johnson caught in

517
00:29:53,440 --> 00:29:57,000
Speaker 1: the wheels of progress. In fact, it's almost kind of

518
00:29:57,040 --> 00:29:59,520
Speaker 1: similar to Kriswell's narration in Plant nine. We'll get to

519
00:29:59,600 --> 00:30:02,320
Speaker 1: Kriswell in a second. But the other thing I remember

520
00:30:02,360 --> 00:30:05,480
Speaker 1: about Beast of Byuacka Flats is they barely put Tour

521
00:30:05,560 --> 00:30:07,760
Speaker 1: in any makeup to make him the monster. He plays

522
00:30:07,800 --> 00:30:11,280
Speaker 1: like a Soviet scientist who defects to the United States,

523
00:30:11,440 --> 00:30:14,960
Speaker 1: walks on to a nuclear testing range. They blow up

524
00:30:15,000 --> 00:30:17,960
Speaker 1: a bomb, and that turns him into a Radioactive Monster.

525
00:30:18,320 --> 00:30:20,240
Speaker 1: But they just sort of like put some oatmeal on

526
00:30:20,320 --> 00:30:22,800
Speaker 1: his face, I think, and then he's otherwise he's just tor.

527
00:30:23,120 --> 00:30:25,640
Speaker 3: Yeah, I mean tour was a walking special effect. I

528
00:30:25,680 --> 00:30:29,520
Speaker 3: mean the physicality, the grimace, that was all you needed.

529
00:30:30,440 --> 00:30:32,840
Speaker 3: So yeah, Beasts of Yaka Flats, that's a fun one.

530
00:30:32,880 --> 00:30:34,760
Speaker 3: I think Mst. Three K did that one as well.

531
00:30:36,000 --> 00:30:38,360
Speaker 3: He was in such films as nineteen fifties Abed and

532
00:30:38,400 --> 00:30:41,440
Speaker 3: Costello in the Foreign Legion, Bob Hopes, the Lemon Drop

533
00:30:41,520 --> 00:30:44,480
Speaker 3: Kid in fifty one Ed Woods, Bride of the Monster,

534
00:30:44,640 --> 00:30:48,640
Speaker 3: and Night of the Ghouls. But in terms of earlier

535
00:30:49,200 --> 00:30:54,280
Speaker 3: in his career, he started off doing uncredited strongman tight

536
00:30:54,400 --> 00:30:57,440
Speaker 3: bit parts in films back to the mid nineteen thirties,

537
00:30:57,960 --> 00:31:01,760
Speaker 3: and by forty nine he was showing uh, still uncredited

538
00:31:02,040 --> 00:31:05,360
Speaker 3: in films like Ernest b showed Sacks Mighty Joe Young.

539
00:31:06,040 --> 00:31:08,520
Speaker 3: There's a scene in that movie where a number of

540
00:31:08,680 --> 00:31:12,320
Speaker 3: strong men are are are playing tug of war with

541
00:31:12,480 --> 00:31:15,640
Speaker 3: the giant ape and uh, and it's it's kind of

542
00:31:15,640 --> 00:31:18,240
Speaker 3: it's not kind of interesting. I didn't work on ibing

543
00:31:18,320 --> 00:31:20,480
Speaker 3: all of these guys, but one of them was the

544
00:31:20,800 --> 00:31:26,720
Speaker 3: famous Italian boxer turned professional wrestler Primo Carnera, who is

545
00:31:26,880 --> 00:31:29,680
Speaker 3: a really big guy six y six and was very

546
00:31:29,760 --> 00:31:33,000
Speaker 3: much a legendary figure in boxing of that day.

547
00:31:33,320 --> 00:31:35,640
Speaker 1: Oh, I don't know him. Is he the last guy

548
00:31:35,760 --> 00:31:37,120
Speaker 1: on the tug on the tug rope?

549
00:31:37,120 --> 00:31:39,440
Speaker 3: Here? Yeah, I found it. Still he's the last guy.

550
00:31:39,560 --> 00:31:42,800
Speaker 3: So he's the most enormous and he's like this big,

551
00:31:43,520 --> 00:31:48,520
Speaker 3: you know, handsome, well built Italian gentleman. And I'm not

552
00:31:48,680 --> 00:31:52,400
Speaker 3: sure exactly. I think I think I've pinpointed the individual

553
00:31:52,400 --> 00:31:54,400
Speaker 3: who's Tor Johnson in this, and I think Tor Johnson

554
00:31:54,440 --> 00:31:57,920
Speaker 3: has hair. I read somewhere that Tor actually had like

555
00:31:58,000 --> 00:32:00,720
Speaker 3: a full head of blonde hair, but he kept it

556
00:32:00,800 --> 00:32:03,120
Speaker 3: shaved because that was the look, you know, that was

557
00:32:03,600 --> 00:32:04,600
Speaker 3: the look he was going for.

558
00:32:05,280 --> 00:32:07,080
Speaker 1: I can see that. I think he's the first guy

559
00:32:07,160 --> 00:32:09,480
Speaker 1: in the picture you have for me here. But this

560
00:32:09,680 --> 00:32:13,040
Speaker 1: other guy looks like he would definitely be cast as

561
00:32:13,160 --> 00:32:16,880
Speaker 1: Goliath in a bunch of nineteen fifties Italian Bible movies.

562
00:32:17,400 --> 00:32:19,240
Speaker 3: I think he did some sword and sandals work. I

563
00:32:19,280 --> 00:32:23,680
Speaker 3: didn't go too far into the Primo filmography, but he

564
00:32:24,160 --> 00:32:26,840
Speaker 3: was a celebrity of the day and may have had

565
00:32:26,920 --> 00:32:31,160
Speaker 3: some mob ties apparently. But yeah, he was in a

566
00:32:31,240 --> 00:32:34,120
Speaker 3: number of motion pictures himself. But going back to the

567
00:32:34,120 --> 00:32:36,239
Speaker 3: picture on yourself, Joe, we can't just talk about tor

568
00:32:36,320 --> 00:32:38,840
Speaker 3: Johnson here. We also have to talk about Vampire.

569
00:32:39,240 --> 00:32:42,440
Speaker 1: So Vampira has no lines in this movie. And yet

570
00:32:42,560 --> 00:32:46,880
Speaker 1: I think she is the best actor in it. Well,

571
00:32:47,320 --> 00:32:49,560
Speaker 1: maybe a tie between her and Tour. They both need

572
00:32:50,440 --> 00:32:54,120
Speaker 1: the Tour has lines before he gets killed. Both of

573
00:32:54,200 --> 00:32:57,640
Speaker 1: them spend a number of shots just sort of menacing

574
00:32:57,760 --> 00:33:01,080
Speaker 1: the camera, and they're great in it. Hirah is wonderful

575
00:33:01,640 --> 00:33:05,040
Speaker 1: as like making the creepy face and just like flexing

576
00:33:05,120 --> 00:33:05,880
Speaker 1: her nails.

577
00:33:06,520 --> 00:33:10,840
Speaker 3: Yes, yes, she has the She basically has this Mortitia

578
00:33:10,960 --> 00:33:14,640
Speaker 3: Adams kind of look going on what essentially has become

579
00:33:14,720 --> 00:33:20,200
Speaker 3: an iconic Gothic female vamp look. Right, she has the

580
00:33:20,280 --> 00:33:23,720
Speaker 3: long nails, and then she also has this very painful

581
00:33:23,800 --> 00:33:26,560
Speaker 3: looking courset on that makes her, you know, have this

582
00:33:26,720 --> 00:33:30,440
Speaker 3: kind of almost skeletal appearance. You know, she's very made up,

583
00:33:30,840 --> 00:33:33,400
Speaker 3: and she's she's hamming it out big time as well.

584
00:33:34,160 --> 00:33:36,600
Speaker 3: You know, she's really twisting her her face in a

585
00:33:36,680 --> 00:33:39,360
Speaker 3: way that she's coming off like like the undead.

586
00:33:39,800 --> 00:33:41,800
Speaker 1: Now, something I've always wondered. I don't know if you

587
00:33:41,840 --> 00:33:45,040
Speaker 1: know the answer to this vampire. We've recently on the

588
00:33:45,040 --> 00:33:48,960
Speaker 1: show been talking about these horror movie hosts, the people

589
00:33:49,000 --> 00:33:52,040
Speaker 1: who would you know, host a TV program where they

590
00:33:52,080 --> 00:33:54,520
Speaker 1: would show a horror movie and then they would interrupt

591
00:33:54,600 --> 00:33:57,440
Speaker 1: it to do commercial breaks and make jokes about the movie.

592
00:33:57,840 --> 00:34:01,520
Speaker 1: That was Vampira's gig way back in the fifties, And

593
00:34:01,920 --> 00:34:05,240
Speaker 1: so I wonder was she the first one or were

594
00:34:05,320 --> 00:34:07,000
Speaker 1: there other people who did this before her.

595
00:34:07,520 --> 00:34:11,000
Speaker 3: Everything I've read seems to indicate that she was the first.

596
00:34:11,080 --> 00:34:14,920
Speaker 3: She's the matriarch of the entire enterprise. I don't think

597
00:34:14,920 --> 00:34:18,400
Speaker 3: anybody else was doing it before her, So it's an

598
00:34:18,440 --> 00:34:22,720
Speaker 3: interesting story. So Vampira is the persona of Malia Nurmi,

599
00:34:23,160 --> 00:34:25,799
Speaker 3: who lived nineteen twenty two through two thousand and eight.

600
00:34:26,320 --> 00:34:27,879
Speaker 3: And it didn't even have a long run. It only

601
00:34:27,960 --> 00:34:32,520
Speaker 3: ran fifty four through fifty five, but it resonated with folks,

602
00:34:32,600 --> 00:34:35,480
Speaker 3: especially apparently in the LA area. I believe that's where

603
00:34:35,520 --> 00:34:38,920
Speaker 3: it was primarily airing. That's where it was based out of.

604
00:34:39,520 --> 00:34:43,799
Speaker 3: And she also did appearances on some other shows, popping up,

605
00:34:43,840 --> 00:34:47,000
Speaker 3: you know, pretty much always in the persona of Vampira.

606
00:34:47,719 --> 00:34:51,439
Speaker 3: So yeah, she was this gothy queen super narrow, corseted waiste,

607
00:34:51,560 --> 00:34:54,640
Speaker 3: long fingernails, often with a cocktail, and some sort of

608
00:34:54,760 --> 00:34:56,520
Speaker 3: in the set. You know, behind her would be something

609
00:34:56,560 --> 00:35:01,759
Speaker 3: atmospheric and gothy, maybe a little ice smoke going on,

610
00:35:02,080 --> 00:35:04,680
Speaker 3: you know. So for the most part, yeah, she's always

611
00:35:04,719 --> 00:35:07,880
Speaker 3: showing up in her persona of Vampira, but she also

612
00:35:08,080 --> 00:35:11,799
Speaker 3: pops up as a hag and a sorceress in bert

613
00:35:11,880 --> 00:35:15,320
Speaker 3: I Gordon's nineteen sixty two fantasy film The Magic Sword,

614
00:35:15,800 --> 00:35:21,400
Speaker 3: which starred Basil Rathbone, Estelle Winwood, and Gary Lockwood. That is,

615
00:35:21,480 --> 00:35:24,200
Speaker 3: at least for me, a much beloved MST three K

616
00:35:24,360 --> 00:35:25,200
Speaker 3: episode as well.

617
00:35:25,640 --> 00:35:26,200
Speaker 1: Never seen it.

618
00:35:26,480 --> 00:35:29,279
Speaker 3: Oh it's good. Yeah, crote Robot falls in love with

619
00:35:29,440 --> 00:35:31,719
Speaker 3: Estelle Winwood and has a whole song about how much

620
00:35:31,719 --> 00:35:34,920
Speaker 3: he loves Estelle. It's great. And then the movie itself

621
00:35:35,000 --> 00:35:36,520
Speaker 3: is a lot of fun. It's you know, it's Sword

622
00:35:36,600 --> 00:35:38,760
Speaker 3: and Sorcery from Burt Eye Gordon.

623
00:35:39,040 --> 00:35:44,040
Speaker 1: Oh I bet the effects are just perfect, but you

624
00:35:44,120 --> 00:35:48,560
Speaker 1: know so, Vampiro was not the only La Area TV

625
00:35:48,719 --> 00:35:52,480
Speaker 1: celebrity to appear in Plan nine from Outer Space. The

626
00:35:52,719 --> 00:35:56,239
Speaker 1: other one, the other main one, is Chriswell, who Plan

627
00:35:56,400 --> 00:35:59,760
Speaker 1: nine definitely would not be the same without Kriswell. Chriswell

628
00:35:59,880 --> 00:36:03,439
Speaker 1: is the narrator in this movie. Criswell was the name

629
00:36:03,520 --> 00:36:07,880
Speaker 1: of Jaren Charles Criswell King, also known as the Amazing Criswell,

630
00:36:08,440 --> 00:36:12,160
Speaker 1: who was an eccentric, celebrity psychic who is probably best

631
00:36:12,239 --> 00:36:16,440
Speaker 1: known for making predictions about the future on late night

632
00:36:16,520 --> 00:36:18,759
Speaker 1: TV shows in the fifties and sixties.

633
00:36:19,200 --> 00:36:23,279
Speaker 3: Yeah. Yeah, he was a psychic for May West and

634
00:36:23,440 --> 00:36:26,319
Speaker 3: was a friend of May West's and at one point

635
00:36:26,360 --> 00:36:29,320
Speaker 3: he was also Vampire's roommate. So you do get the

636
00:36:29,400 --> 00:36:33,399
Speaker 3: sense that, like it's like a network of l A weirdos, really,

637
00:36:33,440 --> 00:36:36,360
Speaker 3: and I think that's something that that Tim Burton captured

638
00:36:36,400 --> 00:36:38,399
Speaker 3: rather well in his film, the idea that like these

639
00:36:38,840 --> 00:36:42,440
Speaker 3: these were the outsiders and they were brought together in

640
00:36:42,520 --> 00:36:43,600
Speaker 3: this strange enterprise.

641
00:36:44,040 --> 00:36:46,000
Speaker 1: So when we were getting ready to do this episode,

642
00:36:46,080 --> 00:36:49,799
Speaker 1: I got really into doing to reading about the predictions

643
00:36:49,960 --> 00:36:52,520
Speaker 1: made by Chriswell. So that was what he was famous for.

644
00:36:52,640 --> 00:36:54,920
Speaker 1: He'd come on TV and say, you know, I'm a psychic,

645
00:36:55,040 --> 00:37:00,560
Speaker 1: so I predict that Allegedly he correctly predicts did that

646
00:37:01,239 --> 00:37:05,040
Speaker 1: John F. Kennedy would not run for reelection because of

647
00:37:05,160 --> 00:37:09,560
Speaker 1: some tragic event in November nineteen sixty three, that is,

648
00:37:09,600 --> 00:37:12,440
Speaker 1: at least what I've seen claimed on his website. I

649
00:37:12,480 --> 00:37:14,560
Speaker 1: don't know if that's actually what he said, but that's

650
00:37:14,600 --> 00:37:18,120
Speaker 1: what it says. That's what it claims retroactively. But he

651
00:37:18,200 --> 00:37:20,640
Speaker 1: made all kinds of other predictions that definitely did not

652
00:37:20,920 --> 00:37:24,799
Speaker 1: come true. So there's a website called Criswell predicts dot

653
00:37:24,880 --> 00:37:27,080
Speaker 1: com where you can read a bunch of these, excerpted

654
00:37:27,440 --> 00:37:29,600
Speaker 1: from his books, or at least from one book of his.

655
00:37:31,080 --> 00:37:33,000
Speaker 1: I don't even know where to start with these. There

656
00:37:33,040 --> 00:37:35,799
Speaker 1: are a lot of predictions about like Earth being destroyed,

657
00:37:36,320 --> 00:37:40,000
Speaker 1: So to read one passage quote, can our whirling, turning,

658
00:37:40,280 --> 00:37:44,239
Speaker 1: churning Earth last out the night? Our geologists tell us

659
00:37:44,320 --> 00:37:46,560
Speaker 1: that the danger to Mother Earth lies not in the

660
00:37:46,719 --> 00:37:50,560
Speaker 1: uncharted vast of outer space, but from inner Earth. Here

661
00:37:50,680 --> 00:37:54,120
Speaker 1: is what will more than likely happen. According to geologists.

662
00:37:54,560 --> 00:37:57,839
Speaker 1: Small tidal waves will play havoc for no reason at all.

663
00:37:58,280 --> 00:38:01,000
Speaker 1: The surface of the Earth will bowl jeffer so slightly,

664
00:38:01,120 --> 00:38:05,400
Speaker 1: and highways will slightly buckle. Foundations will tip, and floors

665
00:38:05,440 --> 00:38:07,920
Speaker 1: will slant when you pour a cup of coffee or

666
00:38:07,920 --> 00:38:11,239
Speaker 1: a glass of water. The rim will not level. Telephone

667
00:38:11,320 --> 00:38:15,080
Speaker 1: coin boxes and vending machines will refuse to work. Delicate

668
00:38:15,160 --> 00:38:18,720
Speaker 1: instruments will go haywire, elevators will go out of whack,

669
00:38:19,120 --> 00:38:22,879
Speaker 1: jukeboxes will be mute, radio and TV will fail. All

670
00:38:23,040 --> 00:38:26,799
Speaker 1: electric power, gas and water service will cease. And then

671
00:38:26,920 --> 00:38:29,840
Speaker 1: will come the time when garbage cans roll across the

672
00:38:29,920 --> 00:38:33,439
Speaker 1: street for no apparent reason. Then, and only then will

673
00:38:33,480 --> 00:38:37,080
Speaker 1: you realize the advanced corrosion spelling the end of our earth.

674
00:38:37,520 --> 00:38:40,080
Speaker 1: The seas will fill up quickly with a gooey mass

675
00:38:40,120 --> 00:38:43,960
Speaker 1: of inner earth rubble. Our streets and city lots, farms

676
00:38:44,040 --> 00:38:47,200
Speaker 1: and deserts will bubble up like a festered oil and

677
00:38:47,280 --> 00:38:51,759
Speaker 1: marking the complete collapse. Has this happened before, more than likely,

678
00:38:52,000 --> 00:38:58,400
Speaker 1: and it will happen again in your incredible future. He

679
00:38:58,480 --> 00:39:02,440
Speaker 1: also predicted the assassination of Fidel Castro in nineteen seventy.

680
00:39:03,640 --> 00:39:07,200
Speaker 1: He predicted that there will be an outbreak of men

681
00:39:07,440 --> 00:39:14,759
Speaker 1: becoming cannibals in Pittsburgh, Pennsylvania, in December nineteen eighty, and

682
00:39:15,080 --> 00:39:18,400
Speaker 1: he predicts the world will end on August eighteenth, nineteen

683
00:39:18,520 --> 00:39:22,120
Speaker 1: ninety nine, in a sequence of events including a jet

684
00:39:22,200 --> 00:39:27,200
Speaker 1: black rainbow, a huge snake encircling the world and feeding

685
00:39:27,280 --> 00:39:32,600
Speaker 1: upon the oxygen which we need to exist. Well, oh wait,

686
00:39:32,719 --> 00:39:35,320
Speaker 1: actually sorry, I apologize. The huge snake in Circling the

687
00:39:35,360 --> 00:39:40,160
Speaker 1: World is a metaphor he's using, Oh okay, a metaphor

688
00:39:40,320 --> 00:39:43,279
Speaker 1: for the black rainbow that's caused by a mysterious force.

689
00:39:43,320 --> 00:39:45,560
Speaker 1: So it's a black rainbow, but it's like a snake

690
00:39:45,719 --> 00:39:46,920
Speaker 1: eating all of our oxygen.

691
00:39:47,200 --> 00:39:49,799
Speaker 3: But the black rainbow is not a metaphor. It's an

692
00:39:49,840 --> 00:39:50,880
Speaker 3: actual black rainbow.

693
00:39:51,239 --> 00:39:55,200
Speaker 1: I think so. Also, several of his predictions are about

694
00:39:55,239 --> 00:39:59,440
Speaker 1: some kind of mass sexual behavior phenomenon, such as one

695
00:39:59,560 --> 00:40:04,239
Speaker 1: he predict where clouds of afrodisiac substances will take over

696
00:40:04,360 --> 00:40:07,719
Speaker 1: the country in the years nineteen eighty eight to eighty nine,

697
00:40:07,880 --> 00:40:10,440
Speaker 1: causing people to marry kats and stuff.

698
00:40:10,960 --> 00:40:15,520
Speaker 3: Okay, well, this reminds me. One of the things I

699
00:40:15,600 --> 00:40:19,080
Speaker 3: read about Chris Well is that he worked with Edwould

700
00:40:19,280 --> 00:40:20,920
Speaker 3: to figure out exactly what he was going to say

701
00:40:22,160 --> 00:40:25,600
Speaker 3: on this film, because there were certain words that Chris

702
00:40:25,640 --> 00:40:28,600
Speaker 3: Well could not really get out all that easily kind

703
00:40:28,640 --> 00:40:30,759
Speaker 3: of a speech impediment kind of a situation, and so

704
00:40:30,840 --> 00:40:33,200
Speaker 3: they kind of like figured out how to like figured

705
00:40:33,200 --> 00:40:36,120
Speaker 3: out what he could say, so, you know, work it

706
00:40:36,200 --> 00:40:39,160
Speaker 3: to his favor here, and ultimately I feel like with

707
00:40:39,239 --> 00:40:42,120
Speaker 3: Tor Johnson, with a Vampiro with Chris Well, like, these

708
00:40:42,160 --> 00:40:45,040
Speaker 3: are all examples of someone who they'd already figured out

709
00:40:45,280 --> 00:40:49,480
Speaker 3: their gimmick outside of film, and then they're brought into

710
00:40:49,520 --> 00:40:51,680
Speaker 3: the film world and they're just they're continuing to do

711
00:40:51,840 --> 00:40:55,160
Speaker 3: their thing on their terms, and that's why they're probably

712
00:40:55,200 --> 00:40:57,680
Speaker 3: the most impressive figures in this picture.

713
00:40:58,040 --> 00:41:02,000
Speaker 1: Yeah, there is, there's. Tour doesn't really do any wrestling

714
00:41:02,080 --> 00:41:04,359
Speaker 1: in the movie, except there's one moment where he gets

715
00:41:04,400 --> 00:41:07,680
Speaker 1: a really nice wrestling slap down on a cop. He

716
00:41:07,880 --> 00:41:10,399
Speaker 1: like smacks him on the shoulders, you know the part

717
00:41:10,400 --> 00:41:11,000
Speaker 1: I'm talking about.

718
00:41:11,040 --> 00:41:13,479
Speaker 3: Yeah, yeah, yeah, he does kind of it almost looks

719
00:41:13,480 --> 00:41:16,560
Speaker 3: like a double chop. Yeah situation, almost like a Mongolian

720
00:41:16,640 --> 00:41:21,040
Speaker 3: chop or something. But the other individual just completely collapses

721
00:41:21,160 --> 00:41:24,000
Speaker 3: if it just instantaneously broke all of the bones in

722
00:41:24,040 --> 00:41:34,640
Speaker 3: their body. All right, Well, onto the rest of the cast.

723
00:41:35,200 --> 00:41:37,160
Speaker 3: Some of these are humans, some of these are aliens

724
00:41:37,239 --> 00:41:40,160
Speaker 3: or celestials, but the first is definitely a human man.

725
00:41:40,719 --> 00:41:44,320
Speaker 3: This is the character Jeff Trent, played by Gregory Walcott

726
00:41:44,360 --> 00:41:47,360
Speaker 3: who lived nineteen twenty eight through twenty fifteen. He is

727
00:41:47,440 --> 00:41:50,640
Speaker 3: our square jaws six ' four punch. First hero.

728
00:41:51,239 --> 00:41:53,759
Speaker 1: This is the lug hero of this monster movie.

729
00:41:54,200 --> 00:41:57,359
Speaker 3: Yeah, and it's interesting because he's also He was also

730
00:41:57,560 --> 00:42:00,400
Speaker 3: more of an established actor than many of the folks

731
00:42:00,440 --> 00:42:04,480
Speaker 3: and Plan nine, which isn't saying much obviously, but he'd

732
00:42:04,520 --> 00:42:06,560
Speaker 3: already been in a string of movies and TV shows

733
00:42:06,560 --> 00:42:08,840
Speaker 3: at this point. He mainly went on to do a

734
00:42:08,880 --> 00:42:11,279
Speaker 3: lot of TV after this, but also popped back up

735
00:42:11,320 --> 00:42:13,400
Speaker 3: on the big screen in a trio of Clint Eastwood

736
00:42:13,440 --> 00:42:17,560
Speaker 3: movies in the nineteen seventies, Thunderbolten, Lightfoot, the Eiger Sanction,

737
00:42:18,239 --> 00:42:20,360
Speaker 3: which I remember is being a pretty fun mountain climbing

738
00:42:20,480 --> 00:42:24,279
Speaker 3: thriller every which way, but Lose, which some would say

739
00:42:24,400 --> 00:42:27,520
Speaker 3: is a Grade eight movie, and then nineteen eighty seven's

740
00:42:27,560 --> 00:42:30,600
Speaker 3: House to the Second Story. He even has a cameo

741
00:42:30,800 --> 00:42:34,880
Speaker 3: in Burton's Edwood movie. He plays like a potential backer

742
00:42:35,040 --> 00:42:36,200
Speaker 3: for one of the pictures.

743
00:42:36,560 --> 00:42:39,400
Speaker 1: I don't want to be too unkind, but Gregory Walcott

744
00:42:39,800 --> 00:42:42,600
Speaker 1: this is no John Agar. I mean, you've, you know,

745
00:42:42,800 --> 00:42:45,800
Speaker 1: in fifty sci fi movies, You've got your lugs and

746
00:42:45,880 --> 00:42:49,040
Speaker 1: then you've got your lugs, and Walcott is the latter.

747
00:42:49,719 --> 00:42:51,680
Speaker 1: The best comparison I could think of. I don't think

748
00:42:51,680 --> 00:42:54,120
Speaker 1: I've ever put this together before, but on this viewing,

749
00:42:54,200 --> 00:42:56,920
Speaker 1: I realized that this is what you'd get if you

750
00:42:57,000 --> 00:43:00,960
Speaker 1: made an alien invasion movie where the dashing hero was

751
00:43:01,120 --> 00:43:02,560
Speaker 1: Putty from Seinfeld.

752
00:43:03,000 --> 00:43:05,080
Speaker 3: Yeah, I know what you mean. His voice. He's got

753
00:43:05,120 --> 00:43:07,200
Speaker 3: a deep voice, but it's almost a little too deep,

754
00:43:07,320 --> 00:43:11,240
Speaker 3: like he's almost leaning into lurch territory. And again he's

755
00:43:11,440 --> 00:43:13,640
Speaker 3: he's already six y four. Like, he's a very tall guy.

756
00:43:13,719 --> 00:43:16,200
Speaker 3: I mean, we're getting I guess he's taller than than

757
00:43:16,280 --> 00:43:18,200
Speaker 3: Tor Really at this point, he's getting up in there

758
00:43:18,239 --> 00:43:21,560
Speaker 3: into into primo territory. And that's that's awfully tall for

759
00:43:21,680 --> 00:43:23,759
Speaker 3: your for your heroes. You got to pull some apple

760
00:43:23,800 --> 00:43:26,480
Speaker 3: boxes on set at this point. Yeah.

761
00:43:26,560 --> 00:43:29,359
Speaker 1: So, actually, you know what I think, to go even better,

762
00:43:29,360 --> 00:43:32,400
Speaker 1: I would say he's a combination of Putty from Seinfeld

763
00:43:32,480 --> 00:43:33,600
Speaker 1: and Jack Palance.

764
00:43:34,160 --> 00:43:37,960
Speaker 3: Oh that's good. Yeah, yeah, but but without without the

765
00:43:38,200 --> 00:43:41,000
Speaker 3: the uh, the the overpowering charisma of either.

766
00:43:41,360 --> 00:43:43,719
Speaker 1: Oh of course, I didn't mean he has the charisma

767
00:43:43,800 --> 00:43:46,360
Speaker 1: of Jack Palance. He does not have that sneer. No,

768
00:43:46,600 --> 00:43:50,360
Speaker 1: he's he's actually quite appropriate though for the role he plays,

769
00:43:50,960 --> 00:43:53,200
Speaker 1: which is he he seems to be playing a man

770
00:43:53,200 --> 00:43:57,040
Speaker 1: who's supposed to represent the stupidity of Earthlings, because the

771
00:43:57,480 --> 00:44:00,560
Speaker 1: Aliens are like, you know, you're going to destroy yourselves

772
00:44:00,640 --> 00:44:04,000
Speaker 1: by creating weapons that will annihilate the entire universe. And

773
00:44:04,120 --> 00:44:07,400
Speaker 1: he's like, but wouldn't these weapons make us stronger? And

774
00:44:07,520 --> 00:44:10,320
Speaker 1: he also, I hope you'll notice in the later scenes

775
00:44:10,320 --> 00:44:14,000
Speaker 1: where the aliens are calling Earthling stupid, he's the only

776
00:44:14,120 --> 00:44:17,600
Speaker 1: Earthling who gets offended, and I think that tells us something.

777
00:44:18,880 --> 00:44:21,480
Speaker 3: All right. So he plays Jeff Trent, a human man,

778
00:44:21,880 --> 00:44:24,279
Speaker 3: But then we also have the character Paula Trent, a

779
00:44:24,400 --> 00:44:28,360
Speaker 3: human woman. This is his wife, played by Mona McKinnon,

780
00:44:28,480 --> 00:44:32,279
Speaker 3: who live nineteen twenty nine through nineteen ninety Tennessee born

781
00:44:32,320 --> 00:44:35,000
Speaker 3: actor who acted in just a handful of movies during

782
00:44:35,000 --> 00:44:38,719
Speaker 3: the nineteen fifties, including Mesa of the Lost Women, Jailbait,

783
00:44:39,120 --> 00:44:41,400
Speaker 3: Teenage Thunder, and Knight of the Ghouls.

784
00:44:42,000 --> 00:44:44,439
Speaker 1: She has some line deliveries in this movie that will

785
00:44:44,480 --> 00:44:45,480
Speaker 1: leave you reeling.

786
00:44:46,280 --> 00:44:49,480
Speaker 3: Yes, I mean, you can't blame her too much because

787
00:44:49,600 --> 00:44:52,759
Speaker 3: she's using the lines that were given to her by

788
00:44:53,040 --> 00:44:57,400
Speaker 3: ed Wood, right, but oh, it's beautiful to behold.

789
00:44:57,760 --> 00:45:00,840
Speaker 1: There's a scene where Jeff Trant is, you know, her husband,

790
00:45:00,920 --> 00:45:03,719
Speaker 1: he's going off to fly an airplane and she's like,

791
00:45:03,840 --> 00:45:05,920
Speaker 1: I wish you'd go stay at your mother's house because

792
00:45:05,920 --> 00:45:08,400
Speaker 1: of all these zombies that have been wandering around. And

793
00:45:08,480 --> 00:45:11,960
Speaker 1: she's like, oh, don't worry about things, and he's like, okay,

794
00:45:12,160 --> 00:45:15,160
Speaker 1: well be careful, and then the line she says is,

795
00:45:15,440 --> 00:45:18,160
Speaker 1: I'm afraid I'm getting wrong. I think it's something almost

796
00:45:18,239 --> 00:45:22,120
Speaker 1: exactly like this. The flying saucers are up there, the

797
00:45:22,239 --> 00:45:25,080
Speaker 1: cemeteries out there, but I'll be in there.

798
00:45:26,120 --> 00:45:29,680
Speaker 3: Yes, Oh my god, Like really, she did a great

799
00:45:29,760 --> 00:45:31,480
Speaker 3: job with what she was given there, like what are you?

800
00:45:31,640 --> 00:45:34,200
Speaker 3: How are you supposed to deliver that? And then there's

801
00:45:34,239 --> 00:45:36,839
Speaker 3: so much other weird stuff that she's given, Like there's

802
00:45:36,880 --> 00:45:41,640
Speaker 3: this whole bit where she's talking about how with lghead

803
00:45:41,680 --> 00:45:44,680
Speaker 3: Away with Jeff Away that she's got a pillow that

804
00:45:44,760 --> 00:45:46,840
Speaker 3: she's going to hold at night and he's acting a

805
00:45:46,880 --> 00:45:49,560
Speaker 3: little jealous of the pillow and there's like some at

806
00:45:49,640 --> 00:45:53,000
Speaker 3: least mild pillow eroticism wrapped up in the whole scene

807
00:45:53,080 --> 00:45:56,080
Speaker 3: and it's just so weird, all right. So that's that's

808
00:45:56,160 --> 00:46:02,120
Speaker 3: McKinnon playing Paula, a human woman. Character is Arros, a

809
00:46:02,239 --> 00:46:05,080
Speaker 3: celestial an alien which of course, especially in a film

810
00:46:05,160 --> 00:46:07,080
Speaker 3: like this, just looks like a human being except in

811
00:46:07,120 --> 00:46:09,960
Speaker 3: a funny costume. And this character is played by all

812
00:46:10,239 --> 00:46:15,680
Speaker 3: the brilliant Dudley man Love, who lived nineteen fourteen through

813
00:46:15,800 --> 00:46:20,080
Speaker 3: nineteen ninety six, a California radio announcer with a voice

814
00:46:20,120 --> 00:46:23,160
Speaker 3: of just solid gold and also sometimes actor.

815
00:46:23,600 --> 00:46:27,760
Speaker 1: Exact opposite end of the spectrum. So whereas with Jeff

816
00:46:27,800 --> 00:46:30,480
Speaker 1: and Paula, both of them have these line deliveries that

817
00:46:30,680 --> 00:46:34,520
Speaker 1: just clang and clunk and like roll tumble down the stairs,

818
00:46:35,160 --> 00:46:38,640
Speaker 1: this guy says every single line, no matter how banal,

819
00:46:39,239 --> 00:46:43,600
Speaker 1: with like like he's giving a sort of political announcement.

820
00:46:43,400 --> 00:46:49,200
Speaker 3: Yeah, or the Hindenburg is crashing. Yeah, that's the level

821
00:46:49,560 --> 00:46:50,400
Speaker 3: of his delivery.

822
00:46:50,960 --> 00:46:51,160
Speaker 1: Yes.

823
00:46:51,239 --> 00:46:55,320
Speaker 3: Yeah, he was not an actor, to be fair, sometimes

824
00:46:55,320 --> 00:46:57,640
Speaker 3: an actor, but this was his first picture. He went

825
00:46:57,719 --> 00:47:00,320
Speaker 3: on to act in nineteen sixty two's The Creation of

826
00:47:00,360 --> 00:47:03,160
Speaker 3: the Humanoids, and he had some roles that would pop

827
00:47:03,239 --> 00:47:05,360
Speaker 3: up here and there on TV shows, like even Alfred

828
00:47:05,400 --> 00:47:10,000
Speaker 3: Hitchcock presents in Dragnet. But this, this is his memorable performance.

829
00:47:10,040 --> 00:47:12,719
Speaker 3: He's just he's a light anytime he's on screen, but.

830
00:47:12,880 --> 00:47:15,920
Speaker 1: He's usually not alone on screen. There are two aliens

831
00:47:15,960 --> 00:47:19,040
Speaker 1: who pilot the main flying saucer in the movie, and

832
00:47:19,160 --> 00:47:22,160
Speaker 1: the other one is Tana played by Joanna Lee.

833
00:47:22,840 --> 00:47:25,560
Speaker 3: Yeah. I lived nineteen thirty one through two thousand and three,

834
00:47:26,280 --> 00:47:28,320
Speaker 3: and as an actor, she was mostly active in the

835
00:47:28,400 --> 00:47:31,399
Speaker 3: nineteen fifties, including a role in The Brain Eaters from

836
00:47:31,440 --> 00:47:35,680
Speaker 3: fifty eight mm hmm, but she more extensively had an

837
00:47:35,719 --> 00:47:39,040
Speaker 3: impact as a producer, a writer, and a director. She

838
00:47:39,280 --> 00:47:43,239
Speaker 3: wrote for a slew of TV comedies, including, just to

839
00:47:43,400 --> 00:47:46,160
Speaker 3: name a few of them, The Jetsons, My Three Sons,

840
00:47:46,280 --> 00:47:50,759
Speaker 3: Johnny Quest, Bewitched, The Flintstones, Gilligan's Island, The Brady Bunch,

841
00:47:50,840 --> 00:47:56,040
Speaker 3: The Waltons, and then later on Dynasty. So that alone's

842
00:47:56,080 --> 00:47:59,160
Speaker 3: pretty impressive. But she also produced and directed episodes of

843
00:47:59,280 --> 00:48:04,000
Speaker 3: CBS School Break Special and ABC After School Specials. So

844
00:48:05,040 --> 00:48:06,600
Speaker 3: seem to me like a pretty solid career.

845
00:48:06,960 --> 00:48:09,319
Speaker 1: Yeah yeah, broke mainstream YEP.

846
00:48:09,920 --> 00:48:12,279
Speaker 3: Now, before we get to the next celestial we want

847
00:48:12,280 --> 00:48:14,040
Speaker 3: to dip back into the human world for a second

848
00:48:14,400 --> 00:48:17,600
Speaker 3: and mention that we have this patrolman. Patrolman Kelton played

849
00:48:17,640 --> 00:48:21,040
Speaker 3: by Paul Marco. Paul Marco lived nineteen twenty seven through

850
00:48:21,080 --> 00:48:23,600
Speaker 3: two thousand and six. He was a three time would actor.

851
00:48:24,000 --> 00:48:26,759
Speaker 3: He also appears in Bride of the Monster and Night of.

852
00:48:26,760 --> 00:48:30,360
Speaker 1: The Ghoules classic Bumbling Cop performance. I was trying to

853
00:48:30,440 --> 00:48:32,960
Speaker 1: find where to insert this in our outline, and I

854
00:48:33,040 --> 00:48:36,279
Speaker 1: feel like maybe that the best place is here. So

855
00:48:36,640 --> 00:48:39,759
Speaker 1: I came across a record that I just have to

856
00:48:39,840 --> 00:48:43,200
Speaker 1: get a copy of. It is Let's see what is

857
00:48:43,239 --> 00:48:46,640
Speaker 1: it called. It came out in nineteen ninety five or

858
00:48:46,760 --> 00:48:50,239
Speaker 1: ninety six, I think, and it's called Uncle Dale presents

859
00:48:50,440 --> 00:48:56,080
Speaker 1: Paul Marco as Kelton the Cop and Chriswell, and they're

860
00:48:56,160 --> 00:48:58,520
Speaker 1: performing two different songs. So it's like a single record

861
00:48:58,600 --> 00:49:01,120
Speaker 1: with a one song on each side, and one is

862
00:49:01,280 --> 00:49:04,719
Speaker 1: performed by Paul Marco singing a song called Home on

863
00:49:04,960 --> 00:49:08,600
Speaker 1: the Strange, which is like a sort of monologue song

864
00:49:08,680 --> 00:49:11,320
Speaker 1: about a bunch of horror stuff happening, and then the

865
00:49:11,480 --> 00:49:14,880
Speaker 1: other side is Chris Well doing a song that I

866
00:49:15,000 --> 00:49:17,400
Speaker 1: have to say Criswell sounds like he's real phoning it in.

867
00:49:17,560 --> 00:49:20,440
Speaker 1: It's called someone Walked Over My Grave and it's just

868
00:49:20,640 --> 00:49:24,480
Speaker 1: piano playing and he's going sub one walked over my Grave.

869
00:49:26,800 --> 00:49:28,839
Speaker 3: I think I've heard this in a weird mix at

870
00:49:28,880 --> 00:49:29,719
Speaker 3: some point as well.

871
00:49:30,840 --> 00:49:33,399
Speaker 1: But the Paul Marco song is better. I mean, it's

872
00:49:33,800 --> 00:49:35,640
Speaker 1: it's worth a listen. You should look it up Home

873
00:49:35,719 --> 00:49:36,480
Speaker 1: on the Strange.

874
00:49:37,000 --> 00:49:39,719
Speaker 3: All right, Well, I'll make sure I did listen to

875
00:49:40,400 --> 00:49:42,279
Speaker 3: someone Walk Over My Grave, but I'll listen to Home

876
00:49:42,320 --> 00:49:44,480
Speaker 3: on the Strange as well, and I'll put both of

877
00:49:44,520 --> 00:49:47,439
Speaker 3: these on the page for this episode at Sumuda music

878
00:49:47,480 --> 00:49:50,520
Speaker 3: dot com. All right, now, back into the celestial realm.

879
00:49:50,880 --> 00:49:55,840
Speaker 3: We have the Ruler a celestial played by John Breckinridge

880
00:49:55,960 --> 00:49:59,880
Speaker 3: who lived nineteen fourteen through nineteen ninety six. A very

881
00:50:00,120 --> 00:50:04,080
Speaker 3: fun screen presence in this film, a very very sassy performance.

882
00:50:05,640 --> 00:50:07,680
Speaker 3: But this is a guy who's just was a complete

883
00:50:07,800 --> 00:50:10,480
Speaker 3: non actor making a one time appearance in film. He

884
00:50:10,640 --> 00:50:13,160
Speaker 3: just happened to be a house guest of Paul Marco

885
00:50:13,600 --> 00:50:14,160
Speaker 3: at the time.

886
00:50:14,560 --> 00:50:17,000
Speaker 1: He's, well, he's got wonderful screen presence.

887
00:50:17,440 --> 00:50:20,719
Speaker 3: Yeah, he does, because he has he has he has

888
00:50:21,600 --> 00:50:24,360
Speaker 3: his performance, his his uh, his performance is such that

889
00:50:24,400 --> 00:50:27,720
Speaker 3: I feel like some of his lines are legitimately creepy,

890
00:50:27,840 --> 00:50:30,120
Speaker 3: like he's the he's the the actor who gets to

891
00:50:30,200 --> 00:50:30,919
Speaker 3: deliver the line.

892
00:50:31,200 --> 00:50:31,759
Speaker 4: H uh.

893
00:50:32,160 --> 00:50:35,920
Speaker 3: Plan nine deals with the resurrection of the dead and

894
00:50:36,080 --> 00:50:39,319
Speaker 3: so forth. So it's a it's a fun little role.

895
00:50:39,440 --> 00:50:42,040
Speaker 3: But but yeah, he's not an actor at all, and

896
00:50:42,200 --> 00:50:45,400
Speaker 3: just kind of, I guess, convinced to show up and

897
00:50:45,520 --> 00:50:49,440
Speaker 3: do this. He was French born, the great great great

898
00:50:49,520 --> 00:50:53,400
Speaker 3: grandson of US Attorney General John Breckenridge, born into a

899
00:50:53,480 --> 00:50:56,720
Speaker 3: wealthy family, and also the great grandson of Wells Fargo

900
00:50:56,880 --> 00:50:58,640
Speaker 3: Bank founder Lloyd Tevis.

901
00:50:58,680 --> 00:50:59,719
Speaker 1: Heir to the dynasty.

902
00:51:01,960 --> 00:51:04,080
Speaker 3: All right, and finally I want to just I want

903
00:51:04,120 --> 00:51:06,400
Speaker 3: to have a note here about the music, though, because

904
00:51:06,480 --> 00:51:10,080
Speaker 3: as with Tarantula, we're knee deep in fifty stock music here.

905
00:51:10,880 --> 00:51:13,640
Speaker 3: But I will say, in a movie that is so

906
00:51:13,840 --> 00:51:18,440
Speaker 3: well known for its ineptitude and in its amateur style

907
00:51:18,960 --> 00:51:22,080
Speaker 3: and the clunkiness of pieces coming together, this is a

908
00:51:22,160 --> 00:51:25,200
Speaker 3: film in which we have pieces of music from multiple sources,

909
00:51:25,840 --> 00:51:30,000
Speaker 3: compiled by one Gordon Zalar, and I feel like some

910
00:51:30,160 --> 00:51:32,120
Speaker 3: of these are just really great pieces of music.

911
00:51:32,200 --> 00:51:32,360
Speaker 4: You know.

912
00:51:32,360 --> 00:51:36,720
Speaker 3: They're that classic kind of horns blaring, monsters attacking music

913
00:51:36,800 --> 00:51:40,520
Speaker 3: from the day. And when you're watching the film, you

914
00:51:40,600 --> 00:51:43,480
Speaker 3: may be noticing all these other things that don't feel

915
00:51:43,600 --> 00:51:47,120
Speaker 3: right and are coming off weird and amateurish, but the

916
00:51:47,239 --> 00:51:49,880
Speaker 3: music isn't one of them. The music sounds really solid.

917
00:51:50,000 --> 00:51:52,960
Speaker 3: So I have to give Gordon credit for bringing in

918
00:51:53,160 --> 00:51:56,239
Speaker 3: these pieces, assembling them in such a way that they're

919
00:51:56,280 --> 00:51:58,560
Speaker 3: able to back the film up and make you and

920
00:51:59,680 --> 00:52:01,800
Speaker 3: you may be second guessing everything else, but you're not

921
00:52:01,880 --> 00:52:03,759
Speaker 3: really second guessing the music for the most part.

922
00:52:04,080 --> 00:52:08,960
Speaker 1: Yeah. I cannot hear those horns without thinking of Tor

923
00:52:09,120 --> 00:52:12,239
Speaker 1: Johnson's gaping mouth, like the sounds are coming out of

924
00:52:12,320 --> 00:52:12,800
Speaker 1: his mouth.

925
00:52:13,320 --> 00:52:13,560
Speaker 3: Yeah.

926
00:52:14,080 --> 00:52:16,760
Speaker 1: Now, I think we face a different kind of challenge

927
00:52:16,960 --> 00:52:19,400
Speaker 1: when breaking down the plot of this movie than we

928
00:52:19,520 --> 00:52:23,120
Speaker 1: normally do, which is that there is way too much

929
00:52:23,160 --> 00:52:28,000
Speaker 1: of a temptation to minutely describe and quote every single scene,

930
00:52:28,080 --> 00:52:30,920
Speaker 1: which we're gonna try not to do. But this movie,

931
00:52:31,800 --> 00:52:36,760
Speaker 1: like the weirdness and the double take inducing stuff that's happening,

932
00:52:36,960 --> 00:52:38,280
Speaker 1: is just non stop.

933
00:52:38,800 --> 00:52:42,000
Speaker 3: Yeah. It is relentless this film, and you definitely should

934
00:52:42,040 --> 00:52:44,480
Speaker 3: see it. It's one of these films it's rare to

935
00:52:44,560 --> 00:52:49,160
Speaker 3: find anyone who is not amused by it. This is

936
00:52:49,239 --> 00:52:51,520
Speaker 3: one that I would I would recommend to everyone out there,

937
00:52:51,680 --> 00:52:54,759
Speaker 3: and it's one that holds up to repeat viewing. I've

938
00:52:54,800 --> 00:52:57,000
Speaker 3: seen this a few different times. I've seen I think

939
00:52:57,000 --> 00:52:59,839
Speaker 3: I saw a riff track's presentation of at many many

940
00:53:00,080 --> 00:53:03,040
Speaker 3: years ago, and that's fine, or retracts. It can be

941
00:53:03,080 --> 00:53:04,320
Speaker 3: a lot of fun. But this is a film that

942
00:53:04,360 --> 00:53:08,400
Speaker 3: doesn't even need the riffing. Like it is, its energy

943
00:53:08,480 --> 00:53:11,719
Speaker 3: is such that you will do the riffing. You know

944
00:53:11,880 --> 00:53:14,920
Speaker 3: that the riffing occurs in your own head. It's brilliant.

945
00:53:15,239 --> 00:53:17,759
Speaker 1: But one thing we do have to talk about is

946
00:53:17,840 --> 00:53:21,880
Speaker 1: the introduction, because the movie begins. This is a fictional

947
00:53:21,960 --> 00:53:26,120
Speaker 1: movie that begins with a Chriswell predicts segment like the

948
00:53:26,200 --> 00:53:31,560
Speaker 1: Amazing Criswell did on TV, and he so it, you know,

949
00:53:31,680 --> 00:53:34,839
Speaker 1: the lights come up on Criswell and he goes into

950
00:53:35,040 --> 00:53:39,800
Speaker 1: a monologue that is so indescribably weird, Like the rambling,

951
00:53:40,000 --> 00:53:44,080
Speaker 1: nonsensical nature of it actually reminds me of you know,

952
00:53:44,120 --> 00:53:46,480
Speaker 1: when you're in high school and people have to do

953
00:53:46,640 --> 00:53:50,120
Speaker 1: class presentations and sometimes there's a kid in the class

954
00:53:50,520 --> 00:53:53,680
Speaker 1: who hasn't done any of the homework or any preparation,

955
00:53:54,000 --> 00:53:56,719
Speaker 1: but they're also kind of good at talking, and they

956
00:53:56,920 --> 00:53:58,520
Speaker 1: just start saying words.

957
00:53:59,080 --> 00:54:02,080
Speaker 3: Yeah, yeah, I think that's totally fair. And really it

958
00:54:02,120 --> 00:54:06,279
Speaker 3: seems like it would line up well with with Chriswell's

959
00:54:06,320 --> 00:54:10,040
Speaker 3: career here where he's essentially saying nothing, but the delivery

960
00:54:10,239 --> 00:54:12,280
Speaker 3: is good enough that it sounds profound.

961
00:54:12,800 --> 00:54:15,759
Speaker 1: I can't, I can't do. The Criswell voice is famously

962
00:54:15,960 --> 00:54:19,759
Speaker 1: the adjective I think is stentorian. You know, it's greetings,

963
00:54:19,880 --> 00:54:24,200
Speaker 1: my friend, and so he begins by saying, greeting's my friend.

964
00:54:24,440 --> 00:54:27,279
Speaker 1: We are all interested in the future, for that is

965
00:54:27,320 --> 00:54:29,720
Speaker 1: where you and I are going to spend the rest

966
00:54:29,800 --> 00:54:33,839
Speaker 1: of our lives. And remember, my friend, future events such

967
00:54:33,880 --> 00:54:37,840
Speaker 1: as these will affect you in the future. You with

968
00:54:38,000 --> 00:54:40,800
Speaker 1: it so far, okay? Future events will affect even you

969
00:54:40,960 --> 00:54:45,520
Speaker 1: in the future. You are interested in the unknown, the mysterious,

970
00:54:45,680 --> 00:54:49,359
Speaker 1: the unexplainable. That is why you are here. And now,

971
00:54:49,480 --> 00:54:52,239
Speaker 1: for the first time, we are bringing you the full

972
00:54:52,400 --> 00:54:56,000
Speaker 1: story of what happened on that fateful day. We are

973
00:54:56,080 --> 00:54:59,240
Speaker 1: bringing you all the evidence based only on the secret

974
00:54:59,360 --> 00:55:04,160
Speaker 1: testimony of the miserable souls who survived this terrifying ordeal,

975
00:55:04,640 --> 00:55:08,680
Speaker 1: the incidents, the places. My friend, we cannot keep this

976
00:55:08,800 --> 00:55:12,480
Speaker 1: a secret any longer. Let us punish the guilty, let

977
00:55:12,560 --> 00:55:16,160
Speaker 1: us reward the innocent, my friend, Can your heart stand

978
00:55:16,440 --> 00:55:20,800
Speaker 1: the shocking facts about grave robbers from outer space?

979
00:55:21,840 --> 00:55:25,359
Speaker 3: I absolutely love it, and it's so ridiculous, and yet

980
00:55:25,400 --> 00:55:27,160
Speaker 3: at the same time, one thing I was thinking about

981
00:55:27,280 --> 00:55:30,360
Speaker 3: is that if you compare this opening narration to the

982
00:55:30,640 --> 00:55:35,080
Speaker 3: John Leroquet opening narration on the original Texas Chainsaw Massacre,

983
00:55:35,600 --> 00:55:37,799
Speaker 3: they have a lot that lines up with each other,

984
00:55:37,920 --> 00:55:43,319
Speaker 3: like they're both presented to varying degrees of believability as

985
00:55:43,400 --> 00:55:45,759
Speaker 3: a statement of what you're about to see is real,

986
00:55:45,880 --> 00:55:49,800
Speaker 3: this really happened, this is really important. And then both

987
00:55:49,920 --> 00:55:53,000
Speaker 3: examples say the name of the picture at the very end,

988
00:55:53,680 --> 00:55:56,880
Speaker 3: the Texas Chainsaw Massacre. And even though Plan nine from

989
00:55:56,920 --> 00:55:59,839
Speaker 3: Outer Space is the final title for this picture, Grave

990
00:56:00,320 --> 00:56:03,160
Speaker 3: from Outer Space was like an alternate title or a

991
00:56:03,239 --> 00:56:04,880
Speaker 3: working title or something to that effect.

992
00:56:05,160 --> 00:56:05,359
Speaker 4: Yeah.

993
00:56:05,480 --> 00:56:07,560
Speaker 1: I don't know if this is historically true, but in

994
00:56:07,680 --> 00:56:11,320
Speaker 1: the movie Edwood, they explained the reason for the change

995
00:56:11,360 --> 00:56:13,800
Speaker 1: of name was that the film was at least partially

996
00:56:13,960 --> 00:56:17,960
Speaker 1: financed by a Baptist church in the Los Angeles area,

997
00:56:18,440 --> 00:56:21,400
Speaker 1: and they found the idea of grave robbing sacrilegious.

998
00:56:22,880 --> 00:56:26,320
Speaker 3: And it should be noted graves aren't really robbed. I

999
00:56:26,360 --> 00:56:30,560
Speaker 3: mean they're self robbing by real corpses. So it's really

1000
00:56:31,040 --> 00:56:34,440
Speaker 3: nitpicking at this point, there's so many other glaring errors.

1001
00:56:34,719 --> 00:56:37,200
Speaker 1: Well no, wait, actually to that point, there is an

1002
00:56:37,400 --> 00:56:42,360
Speaker 1: absolutely unbelievable scene that goes on for minutes of cops

1003
00:56:42,440 --> 00:56:45,640
Speaker 1: talking about standing over a grave, talking about whether or

1004
00:56:45,680 --> 00:56:48,040
Speaker 1: not they can go down into the grave to look

1005
00:56:48,120 --> 00:56:48,360
Speaker 1: at it.

1006
00:56:48,840 --> 00:56:52,400
Speaker 3: Right. It goes on forever and they're talking about do

1007
00:56:52,520 --> 00:56:55,440
Speaker 3: we have jurisdiction to go in there? But also it's

1008
00:56:55,480 --> 00:56:58,800
Speaker 3: like can we physically do it? Can't in here? And

1009
00:56:58,880 --> 00:57:01,080
Speaker 3: then one guy goes in and he's like, I can't

1010
00:57:01,120 --> 00:57:03,960
Speaker 3: read anything. It's like you're in an open grave and

1011
00:57:04,440 --> 00:57:06,560
Speaker 3: I think it's supposed to be night, and so they

1012
00:57:06,640 --> 00:57:08,719
Speaker 3: are like, well, we better get him a flashlight. And

1013
00:57:09,560 --> 00:57:12,160
Speaker 3: we mentioned that we have DeMarco playing a bumbling cop,

1014
00:57:12,239 --> 00:57:14,320
Speaker 3: but like all the cops are bumbling, and they're so

1015
00:57:14,560 --> 00:57:17,880
Speaker 3: blumb bumbling, Like this seems to be a picture in

1016
00:57:18,000 --> 00:57:21,280
Speaker 3: which the only understanding of law enforcement was based entirely

1017
00:57:21,400 --> 00:57:22,800
Speaker 3: on Laurel and Hardy movies.

1018
00:57:22,880 --> 00:57:26,920
Speaker 1: It's incredible, but I mean, there's so many levels of

1019
00:57:27,000 --> 00:57:30,320
Speaker 1: the Criswell monologue. So yes, it is like the Texas Chainsaw.

1020
00:57:30,400 --> 00:57:33,760
Speaker 1: It's like insisting this is real even though the events

1021
00:57:33,840 --> 00:57:38,960
Speaker 1: don't even have internal consistency, but also saying what is

1022
00:57:39,120 --> 00:57:41,320
Speaker 1: the relationship to time here?

1023
00:57:43,120 --> 00:57:46,080
Speaker 3: Like it seems to establish that causality is still in

1024
00:57:46,200 --> 00:57:49,680
Speaker 3: effect future events will only affect you in the future,

1025
00:57:50,160 --> 00:57:52,040
Speaker 3: which I guess is good, Like it's good to know

1026
00:57:52,120 --> 00:57:55,200
Speaker 3: there are some rules still in place here for this

1027
00:57:55,320 --> 00:57:55,960
Speaker 3: motion picture.

1028
00:57:56,240 --> 00:57:58,800
Speaker 1: But he's also saying that the events he's talking about

1029
00:57:58,880 --> 00:58:03,640
Speaker 1: are happening in the future, but also have already happened.

1030
00:58:04,040 --> 00:58:06,440
Speaker 3: Okay, well, yeah, now that just twists me all up.

1031
00:58:06,600 --> 00:58:10,280
Speaker 1: Okay, So we go from Criswell to Boom thundercrack credits

1032
00:58:10,400 --> 00:58:13,640
Speaker 1: etchings on a tombstone. You see tour Johnson. Just a

1033
00:58:13,680 --> 00:58:16,240
Speaker 1: little note. I remember thinking even back the first time

1034
00:58:16,280 --> 00:58:18,840
Speaker 1: I saw it. Wardrobe on this movie is by someone

1035
00:58:18,920 --> 00:58:21,480
Speaker 1: named Dick Cheney. I think it's not the same one.

1036
00:58:22,120 --> 00:58:22,600
Speaker 3: I miss that.

1037
00:58:23,680 --> 00:58:25,800
Speaker 1: But then so the credits finished, and then one of

1038
00:58:25,840 --> 00:58:28,360
Speaker 1: the funniest things is that it cuts to a funeral

1039
00:58:28,480 --> 00:58:30,840
Speaker 1: and then Criswell is still going. You think you're done

1040
00:58:30,880 --> 00:58:33,600
Speaker 1: with him, but he just comes back in. You're watching

1041
00:58:33,640 --> 00:58:36,040
Speaker 1: people in a graveyard, and he's all of us on

1042
00:58:36,200 --> 00:58:38,840
Speaker 1: earth know that there is a time to live and

1043
00:58:39,000 --> 00:58:43,120
Speaker 1: a time to die. And we see Bela Legosi, the

1044
00:58:43,240 --> 00:58:46,440
Speaker 1: real Bella Legosi in the sense he's crying into a

1045
00:58:46,520 --> 00:58:49,680
Speaker 1: handkerchief at a graveside and some guy's reading a Bible,

1046
00:58:50,080 --> 00:58:52,720
Speaker 1: and there are two grave diggers nearby who look like

1047
00:58:52,760 --> 00:58:56,720
Speaker 1: they belong in a commercial for baked beans. And the

1048
00:58:56,800 --> 00:59:00,400
Speaker 1: Criswell monologue just goes and goes and go. You know,

1049
00:59:00,480 --> 00:59:03,680
Speaker 1: he's talking about like the nature of death. He says, look,

1050
00:59:03,720 --> 00:59:09,280
Speaker 1: when death the proud brother comes suddenly without warning, and

1051
00:59:09,480 --> 00:59:12,880
Speaker 1: he says, oh. But he also gets very poetic. He's

1052
00:59:12,920 --> 00:59:16,560
Speaker 1: talking about like the sundown. You remember the sundown line.

1053
00:59:16,360 --> 00:59:19,440
Speaker 3: The sundown of the day, and yet also the sundown

1054
00:59:19,520 --> 00:59:22,280
Speaker 3: of the old man's heart, and you just like, you

1055
00:59:22,320 --> 00:59:26,520
Speaker 3: can just imagine Edward riding this and or Criswell riding

1056
00:59:26,600 --> 00:59:28,479
Speaker 3: with him, and they're just like, yeah, this is so good.

1057
00:59:28,600 --> 00:59:29,280
Speaker 3: It's so good.

1058
00:59:29,840 --> 00:59:32,440
Speaker 1: So here's where things begin. Bell Legosi's at a funeral

1059
00:59:32,560 --> 00:59:35,520
Speaker 1: for his wife. It doesn't show us this, but we

1060
00:59:35,600 --> 00:59:40,280
Speaker 1: find out later his wife was Vampira. And then the

1061
00:59:40,360 --> 00:59:42,840
Speaker 1: grave diggers start tossing dirt on the coffin, and then

1062
00:59:42,840 --> 00:59:45,920
Speaker 1: we cut to an airplane, and then we cut inside

1063
00:59:46,000 --> 00:59:48,840
Speaker 1: the airplane and wow, wow, this set.

1064
00:59:49,240 --> 00:59:54,120
Speaker 3: Yeah, it's it's a ludicrous set, they just said, so

1065
00:59:54,280 --> 00:59:57,800
Speaker 3: obviously a set like like Muppet Show level of set.

1066
00:59:58,120 --> 01:00:00,960
Speaker 1: It's just a room with a open door and a

1067
01:00:01,040 --> 01:00:03,120
Speaker 1: shower curtain and I guess that's supposed to go back

1068
01:00:03,200 --> 01:00:05,560
Speaker 1: into out of the cockpit. And then on the wall

1069
01:00:05,600 --> 01:00:08,240
Speaker 1: there's a clipboard and what is this circular thing? Is

1070
01:00:08,280 --> 01:00:10,280
Speaker 1: that supposed to be a thermometer or something.

1071
01:00:10,840 --> 01:00:12,360
Speaker 3: I guess it's supposed to be some sort of gauge,

1072
01:00:12,360 --> 01:00:16,960
Speaker 3: but it's clearly just some sort of a circular slidey

1073
01:00:17,080 --> 01:00:19,080
Speaker 3: reference tool that's just been pinned to the wall.

1074
01:00:19,760 --> 01:00:21,720
Speaker 1: So they're like looking out the window and saying, yep,

1075
01:00:21,760 --> 01:00:24,280
Speaker 1: that's the old San Fernando Valley right there, right where

1076
01:00:24,280 --> 01:00:26,480
Speaker 1: it's supposed to be. And then suddenly, zoom, you get

1077
01:00:26,800 --> 01:00:29,919
Speaker 1: a flying saucer goes by out the window and they're

1078
01:00:29,960 --> 01:00:33,440
Speaker 1: showing it off to the flight attendant and it kind

1079
01:00:33,480 --> 01:00:35,640
Speaker 1: of rocks the plane and they're like, wow, that was

1080
01:00:35,760 --> 01:00:39,120
Speaker 1: nothing from this world. And the pilot here is Gregory Walcott.

1081
01:00:39,280 --> 01:00:43,800
Speaker 1: That's Jeff Trent, our hero, and he's immediately very concerned

1082
01:00:43,800 --> 01:00:46,560
Speaker 1: that the passengers not find out about the flying saucer.

1083
01:00:46,920 --> 01:00:49,160
Speaker 1: But the flying saucer goes by and then it lands

1084
01:00:49,240 --> 01:00:52,880
Speaker 1: at the cemetery from earlier, and the grave diggers hear something.

1085
01:00:53,000 --> 01:00:56,760
Speaker 1: This is a dialogue exchange that must be quoted so

1086
01:00:56,880 --> 01:01:00,240
Speaker 1: the Grave Diggers say, you hear anything odd?

1087
01:01:00,280 --> 01:01:00,560
Speaker 4: I did.

1088
01:01:01,120 --> 01:01:04,080
Speaker 1: Don't like here and noises, especially when there ain't supposed

1089
01:01:04,080 --> 01:01:07,480
Speaker 1: to be any Yeah, kind of spooky like maybe we're

1090
01:01:07,520 --> 01:01:10,640
Speaker 1: getting old. Well, whatever it is, it's gone now that's

1091
01:01:10,720 --> 01:01:13,240
Speaker 1: the best thing for us too, gone. Yeah, let's go.

1092
01:01:15,800 --> 01:01:19,320
Speaker 3: It's just oh and then here comes Vampira. She shows up,

1093
01:01:20,200 --> 01:01:24,120
Speaker 3: comes lurching out of the darkness, and the mist looking

1094
01:01:24,240 --> 01:01:26,400
Speaker 3: just you know, completely put together, very much, has this

1095
01:01:26,880 --> 01:01:31,720
Speaker 3: this gothic queen looking down and yeah, we're off to

1096
01:01:31,800 --> 01:01:34,240
Speaker 3: the races here with the dead rising from the grave.

1097
01:01:34,600 --> 01:01:38,840
Speaker 1: Absolutely flagrant inner cutting between night shots and day shots

1098
01:01:39,000 --> 01:01:42,040
Speaker 1: in this sequence, continuity does not even seem to be attempted.

1099
01:01:42,640 --> 01:01:47,160
Speaker 1: And so Vampire walks up on them and she kills them.

1100
01:01:47,760 --> 01:01:50,720
Speaker 1: But how are you imagining she kills the grave diggers.

1101
01:01:50,840 --> 01:01:53,240
Speaker 1: What she does is she kind of stands in a

1102
01:01:54,040 --> 01:01:57,680
Speaker 1: pose like an idle video game character, like a te pose,

1103
01:01:58,400 --> 01:02:02,120
Speaker 1: and then suddenly raises her hands up while standing behind

1104
01:02:02,200 --> 01:02:05,120
Speaker 1: a shrub, and then the grave digger scream and die.

1105
01:02:05,680 --> 01:02:05,880
Speaker 4: Yeah.

1106
01:02:05,960 --> 01:02:07,840
Speaker 3: I think it's later in the picture we do have

1107
01:02:08,280 --> 01:02:13,080
Speaker 3: some police comparing bodies to wild animal kills, So I

1108
01:02:13,200 --> 01:02:15,680
Speaker 3: guess she's supposed to have used those really long nails

1109
01:02:15,720 --> 01:02:16,040
Speaker 3: of hers.

1110
01:02:16,280 --> 01:02:19,320
Speaker 1: I guess, so, yeah, the nails seem significant. But then

1111
01:02:19,680 --> 01:02:22,439
Speaker 1: after that we get the famous shot immortalized in Tim

1112
01:02:22,480 --> 01:02:25,280
Speaker 1: Burton's ed Wood of Bella Goosi coming out of a

1113
01:02:25,320 --> 01:02:28,480
Speaker 1: little house and standing in his front yard and stopping

1114
01:02:28,560 --> 01:02:33,520
Speaker 1: to smell a rose, apparently in grief. Meanwhile, Criswell is narrating,

1115
01:02:33,560 --> 01:02:35,840
Speaker 1: you know. Criswell's just going on about how the house

1116
01:02:36,040 --> 01:02:39,760
Speaker 1: that they win which they shared their love became a tomb.

1117
01:02:40,840 --> 01:02:45,680
Speaker 1: And then Bella wanders just out of frame, and then

1118
01:02:45,880 --> 01:02:49,120
Speaker 1: there is an immediate sound cue. He's the second he

1119
01:02:49,280 --> 01:02:55,760
Speaker 1: steps out of picture. Tire screech, scream, crash, sirens. Though

1120
01:02:55,800 --> 01:02:58,479
Speaker 1: I would like to stress obviously we're supposed to believe

1121
01:02:58,520 --> 01:03:01,360
Speaker 1: that Bella was crushed by runaway truck or something right

1122
01:03:01,440 --> 01:03:04,120
Speaker 1: after he left the shot, but actually you can see

1123
01:03:04,200 --> 01:03:07,320
Speaker 1: his shadow still falling on the grass, not moving, so

1124
01:03:07,440 --> 01:03:10,480
Speaker 1: he's just stepped out of view, is standing there casting

1125
01:03:10,520 --> 01:03:13,240
Speaker 1: a shadow. Robi did a picture for you to look at.

1126
01:03:13,360 --> 01:03:15,160
Speaker 1: You can see the shadow on the bottom left and

1127
01:03:15,200 --> 01:03:16,840
Speaker 1: then the screech and the scream.

1128
01:03:17,280 --> 01:03:20,800
Speaker 3: Brilliant Again, ed Wood was not going to let the

1129
01:03:20,920 --> 01:03:22,960
Speaker 3: death of a central character stand in the way of

1130
01:03:23,080 --> 01:03:26,840
Speaker 3: not only continuing production but also not redoing a single

1131
01:03:26,920 --> 01:03:28,000
Speaker 3: thing that he'd already shot.

1132
01:03:28,400 --> 01:03:31,960
Speaker 1: Right, So we go straight onto the funeral and then

1133
01:03:32,000 --> 01:03:34,720
Speaker 1: we see people coming out of what they call a crypt,

1134
01:03:35,000 --> 01:03:37,760
Speaker 1: but it's just like it looks like a cardboard box,

1135
01:03:38,280 --> 01:03:41,640
Speaker 1: and ooh, it is such a clown car situation. Many

1136
01:03:41,760 --> 01:03:44,120
Speaker 1: people coming out of this tiny box.

1137
01:03:44,720 --> 01:03:47,680
Speaker 3: Yeah, this tiny and you know, if you've ever been

1138
01:03:47,800 --> 01:03:49,160
Speaker 3: in a crib, I mean, I guess this is a

1139
01:03:49,240 --> 01:03:51,960
Speaker 3: movie crip. This is like like a Santo in the

1140
01:03:52,000 --> 01:03:54,600
Speaker 3: Tomb of Dracula crypt where I guess there's supposed to

1141
01:03:54,600 --> 01:03:57,040
Speaker 3: be a lot going on in there, but we don't

1142
01:03:57,040 --> 01:03:58,880
Speaker 3: see that on screen. It looks like a tiny little

1143
01:03:58,920 --> 01:04:03,040
Speaker 3: phone booth out of cardboard that's been sprayed gray to

1144
01:04:03,080 --> 01:04:06,200
Speaker 3: look kind of like granite. And is this the scene

1145
01:04:06,200 --> 01:04:08,720
Speaker 3: where they also they go ahead and establish well, due

1146
01:04:08,760 --> 01:04:13,800
Speaker 3: to their customs, the old man's wife was buried in

1147
01:04:13,880 --> 01:04:16,160
Speaker 3: the ground and he was buried inside of a tomb

1148
01:04:16,280 --> 01:04:20,280
Speaker 3: inside of this mausoleum type situation, which I love because

1149
01:04:20,320 --> 01:04:24,200
Speaker 3: it's clearly a situation where there was they at least realized, oh, yeah,

1150
01:04:24,240 --> 01:04:26,000
Speaker 3: well we have her. Why would why would she be

1151
01:04:26,080 --> 01:04:29,280
Speaker 3: buried there and he buried here. Should we reshoot anything, No,

1152
01:04:29,640 --> 01:04:32,760
Speaker 3: We'll just have a line or two that establishes that

1153
01:04:32,880 --> 01:04:35,439
Speaker 3: there is a reason for this. It's cultural. Don't worry

1154
01:04:35,440 --> 01:04:37,160
Speaker 3: about it. But it makes sense.

1155
01:04:37,600 --> 01:04:40,240
Speaker 1: Yeah, it's the mourners who climb out of the box

1156
01:04:40,360 --> 01:04:43,760
Speaker 1: and then the lady goes first, his wife, then he

1157
01:04:44,360 --> 01:04:48,080
Speaker 1: and then her husband goes tragic and yeah, they have

1158
01:04:48,200 --> 01:04:51,880
Speaker 1: the conversation about how it's due to an old family

1159
01:04:51,960 --> 01:04:54,360
Speaker 1: superstition that she had to be in the ground and

1160
01:04:54,480 --> 01:04:55,960
Speaker 1: he had to be in a crypt. But I think

1161
01:04:56,240 --> 01:04:58,400
Speaker 1: I think it's literally because they just already shot some

1162
01:04:58,520 --> 01:05:00,360
Speaker 1: of the shots and then they're like, we got to

1163
01:05:00,400 --> 01:05:00,800
Speaker 1: cover for that.

1164
01:05:01,520 --> 01:05:04,240
Speaker 3: I just had so many questions about this custom, like why,

1165
01:05:04,520 --> 01:05:06,920
Speaker 3: I mean, it's it's you know, it sounds kind of

1166
01:05:07,200 --> 01:05:10,680
Speaker 3: sexist obviously, but like what possible reason would there be,

1167
01:05:10,920 --> 01:05:13,000
Speaker 3: Like like, oh, you can't bury the men and the

1168
01:05:13,040 --> 01:05:15,320
Speaker 3: women in the same soil. It needs the soil that's

1169
01:05:15,320 --> 01:05:18,040
Speaker 3: where you bury women and men you bury in the TOEMM.

1170
01:05:18,080 --> 01:05:19,120
Speaker 3: It's just ridiculous.

1171
01:05:28,480 --> 01:05:30,200
Speaker 1: Uh. But we're about to get to the police because

1172
01:05:30,240 --> 01:05:32,720
Speaker 1: some mourners they get spooked seeing bodies of the grave.

1173
01:05:32,800 --> 01:05:35,320
Speaker 1: Diggers and they freak out and the police arrive and

1174
01:05:35,680 --> 01:05:38,320
Speaker 1: oh man, this is when we first meet Tor Johnson.

1175
01:05:38,640 --> 01:05:41,520
Speaker 1: Before he's a zombie. He's a human. He's in fact

1176
01:05:41,640 --> 01:05:42,840
Speaker 1: a police inspector.

1177
01:05:43,320 --> 01:05:47,360
Speaker 3: Yes, and there's yeah, there's some great dialogue here from him.

1178
01:05:49,160 --> 01:05:51,240
Speaker 1: This is a scene where the dialogue like it would

1179
01:05:51,280 --> 01:05:53,880
Speaker 1: have been funny even if it had been delivered well,

1180
01:05:54,480 --> 01:05:57,520
Speaker 1: but it's Tor Johnson saying it, so you know. He

1181
01:05:57,960 --> 01:06:00,200
Speaker 1: there's one part where I think the very first thing

1182
01:06:00,240 --> 01:06:03,560
Speaker 1: he says when he gets there, he's like a Melcal Examiner,

1183
01:06:03,680 --> 01:06:09,720
Speaker 1: been here yet, so it's the Melcal Examiner. And there's

1184
01:06:09,760 --> 01:06:11,680
Speaker 1: one part where he's like, I'm gonna go walk off

1185
01:06:11,720 --> 01:06:14,040
Speaker 1: in the dark and they're like be careful, it's dark,

1186
01:06:14,480 --> 01:06:17,120
Speaker 1: and then he's just like I'll be big boy now, Johnny.

1187
01:06:20,840 --> 01:06:26,440
Speaker 3: Yeah, Tor Johnson. Yeah, clearly not a not an actor

1188
01:06:27,400 --> 01:06:30,760
Speaker 3: in this sense. Why is a physical presence. But it's

1189
01:06:30,880 --> 01:06:33,080
Speaker 3: kind of cute though, because you get kind of maybe

1190
01:06:33,080 --> 01:06:34,959
Speaker 3: a sense of the real Tod Johnson in this shot,

1191
01:06:35,040 --> 01:06:36,920
Speaker 3: you know, because he's was supposedly like just kind of

1192
01:06:36,960 --> 01:06:38,760
Speaker 3: a big teddy bear. They didn't say much, but it

1193
01:06:38,840 --> 01:06:41,040
Speaker 3: was kind of a nice guy to be around.

1194
01:06:41,440 --> 01:06:45,040
Speaker 1: Yeah, So he goes wandering off into the darkness in

1195
01:06:45,120 --> 01:06:48,120
Speaker 1: the mist and then we finally we meet Paula Trant.

1196
01:06:48,200 --> 01:06:50,880
Speaker 1: So Jeff Trant is back home now, and he's hanging

1197
01:06:50,920 --> 01:06:53,040
Speaker 1: out on his porch with a bunch of wicker furniture,

1198
01:06:53,200 --> 01:06:57,640
Speaker 1: having a drink with his wife Paula, and they're commenting

1199
01:06:57,880 --> 01:07:00,440
Speaker 1: on how you remember Jeff Trant was the pie from

1200
01:07:00,480 --> 01:07:03,120
Speaker 1: the planet. So they're married. They apparently live in a

1201
01:07:03,160 --> 01:07:08,200
Speaker 1: house inside the cemetery. That's best I can tell, Like

1202
01:07:08,320 --> 01:07:12,640
Speaker 1: they talk about that fact and they are no Tor Johnson's.

1203
01:07:12,680 --> 01:07:15,360
Speaker 1: But this couple has really weird energy and some of

1204
01:07:15,400 --> 01:07:20,440
Speaker 1: the clunkiest dialogue in movie history. Uh it's again it's

1205
01:07:20,520 --> 01:07:23,520
Speaker 1: hard to explain without just watching the movie. But you know,

1206
01:07:23,960 --> 01:07:26,320
Speaker 1: like Paula says to him, I don't think I've ever

1207
01:07:26,440 --> 01:07:29,160
Speaker 1: seen you in this mood before, and he says, I

1208
01:07:29,280 --> 01:07:31,760
Speaker 1: guess it's because I've never been in this mood before.

1209
01:07:32,760 --> 01:07:36,400
Speaker 1: And Putty here explains that he's in this unfamiliar mood

1210
01:07:36,480 --> 01:07:39,400
Speaker 1: because he saw a flying saucer on his flight this morning,

1211
01:07:39,960 --> 01:07:41,800
Speaker 1: and she goes, you mean the kind from up to

1212
01:07:41,880 --> 01:07:45,480
Speaker 1: the from up there, and he goes, yeah, or it's counterpart,

1213
01:07:45,920 --> 01:07:48,160
Speaker 1: I didn't know what that meant this sequence.

1214
01:07:48,240 --> 01:07:49,800
Speaker 3: One of the things I love about it is that

1215
01:07:50,120 --> 01:07:53,640
Speaker 3: he Wood is trying to create what is essentially a

1216
01:07:53,680 --> 01:07:56,960
Speaker 3: realistic scene with a with with this whole speculative of

1217
01:07:56,960 --> 01:07:59,919
Speaker 3: the pic aspect to it, where it's a why fast

1218
01:08:00,440 --> 01:08:03,720
Speaker 3: her husband like, what's bothering you? There's something bothering you?

1219
01:08:04,240 --> 01:08:06,320
Speaker 3: And he is having to admit that it's something that

1220
01:08:06,400 --> 01:08:09,200
Speaker 3: I don't even feel but that comfortable talking about. And

1221
01:08:09,400 --> 01:08:13,960
Speaker 3: so this has tons of real world parallels obviously, and

1222
01:08:14,040 --> 01:08:18,160
Speaker 3: it's one of these great moments where it's like the writer, director,

1223
01:08:19,000 --> 01:08:22,760
Speaker 3: you know, filmmakers almost like aliens, trying to figure out

1224
01:08:22,920 --> 01:08:26,080
Speaker 3: how normal humans interact with each other. And then you

1225
01:08:26,200 --> 01:08:26,960
Speaker 3: kicked it on screen.

1226
01:08:27,320 --> 01:08:31,200
Speaker 1: Well he yeah, So it's trying to show that is

1227
01:08:31,280 --> 01:08:33,880
Speaker 1: the dynamic I think it's going for, but instead it

1228
01:08:34,000 --> 01:08:37,880
Speaker 1: just turns into Gregory Walcott having this rant about about

1229
01:08:37,920 --> 01:08:40,639
Speaker 1: a cover up. He's like, you know, big army brass

1230
01:08:40,760 --> 01:08:42,920
Speaker 1: grabbed us and made us swear to secrecy about the

1231
01:08:42,960 --> 01:08:45,800
Speaker 1: whole thing. And then he's just on the subject of

1232
01:08:45,880 --> 01:08:49,080
Speaker 1: big army brass, like he mentions it several more times.

1233
01:08:49,479 --> 01:08:52,679
Speaker 1: He's really upset. He's like people keep seeing these saucers,

1234
01:08:52,760 --> 01:08:55,200
Speaker 1: but but I can't say a word. I'm muzzled by

1235
01:08:55,360 --> 01:09:01,200
Speaker 1: army brass. Oh and then right then the flying saucers

1236
01:09:01,280 --> 01:09:03,919
Speaker 1: zooms over them and knocks over all their wicker furniture.

1237
01:09:05,160 --> 01:09:07,240
Speaker 1: So then we get a scene where Tor Johnson is

1238
01:09:07,400 --> 01:09:11,719
Speaker 1: attacked by Bella not Bela Lagosi, by the bell Legosi

1239
01:09:11,800 --> 01:09:14,800
Speaker 1: body double, and by Vampira. And I just wondered, what.

1240
01:09:15,040 --> 01:09:18,080
Speaker 1: So he's supposed to be investigating the graveyard for clues,

1241
01:09:18,160 --> 01:09:20,479
Speaker 1: but he's just walking around with his gun pointed in

1242
01:09:20,560 --> 01:09:21,120
Speaker 1: front of him.

1243
01:09:21,400 --> 01:09:24,280
Speaker 3: Yeah, yeah, well, and really this one, this is just

1244
01:09:24,360 --> 01:09:27,640
Speaker 3: a small thing when it comes to the depiction of

1245
01:09:27,680 --> 01:09:33,360
Speaker 3: firearms by law enforcement in this picture. Yeah, there was nobody.

1246
01:09:33,439 --> 01:09:37,120
Speaker 3: Clearly nobody had ever been around a gun before or

1247
01:09:37,200 --> 01:09:40,240
Speaker 3: had any idea about what gun safety was or what

1248
01:09:40,360 --> 01:09:44,600
Speaker 3: it might look like on the screen. It's so ridiculous.

1249
01:09:44,800 --> 01:09:47,880
Speaker 1: Well, so, yeah, Tour gets killed by the zombies. And

1250
01:09:48,000 --> 01:09:50,720
Speaker 1: then the other main cop who we follow after this

1251
01:09:50,920 --> 01:09:53,320
Speaker 1: is the police lieutenant I don't even remember his name,

1252
01:09:53,400 --> 01:09:57,880
Speaker 1: the police lieutenant who just uses his gun as like

1253
01:09:58,120 --> 01:10:02,519
Speaker 1: a like a pointer, so he whenever he's talking about

1254
01:10:02,560 --> 01:10:05,960
Speaker 1: something or about someone, he points then the gun at them.

1255
01:10:06,720 --> 01:10:09,320
Speaker 1: He also scratches his own head with the barrel of

1256
01:10:09,439 --> 01:10:12,799
Speaker 1: the gun and like holds it with the barrel pointed

1257
01:10:12,920 --> 01:10:14,080
Speaker 1: into his own chest.

1258
01:10:14,880 --> 01:10:16,799
Speaker 3: Yeah, if he had picked his nose with the barrel

1259
01:10:16,840 --> 01:10:18,800
Speaker 3: of the gun, it would not have been any more

1260
01:10:18,840 --> 01:10:21,320
Speaker 3: outrageous than everything else he does with it.

1261
01:10:21,720 --> 01:10:24,679
Speaker 1: But so they're walking around and they find they find

1262
01:10:24,720 --> 01:10:28,719
Speaker 1: Tor Johnson dead and they observe they said, Inspector Clay

1263
01:10:28,880 --> 01:10:34,439
Speaker 1: is dead, murdered, and somebody's responsible. So we get a

1264
01:10:34,520 --> 01:10:38,160
Speaker 1: funeral for Inspector Clay, and it seems Vampire is attending

1265
01:10:38,280 --> 01:10:41,360
Speaker 1: the funeral. She's just standing there watching, and then we

1266
01:10:41,479 --> 01:10:45,080
Speaker 1: cut to people seeing flying saucers over Hollywood Boulevardly there's

1267
01:10:45,120 --> 01:10:47,200
Speaker 1: like a car going by in a part where like

1268
01:10:47,320 --> 01:10:50,120
Speaker 1: three people suddenly point out the windows at the saucer,

1269
01:10:50,200 --> 01:10:55,400
Speaker 1: all in unison. And meanwhile we're getting Chriswell monologues over

1270
01:10:55,479 --> 01:10:58,040
Speaker 1: this where Qriswell's like, there comes a time in each

1271
01:10:58,240 --> 01:11:02,680
Speaker 1: man's life when he kind believe his own eyes. And

1272
01:11:03,400 --> 01:11:05,559
Speaker 1: here's where they decided got to pad this movie out.

1273
01:11:05,600 --> 01:11:08,439
Speaker 1: We got some stock military stock footage, so they show

1274
01:11:08,640 --> 01:11:14,080
Speaker 1: planes flying, rockets, launching, just military hardware doing stuff.

1275
01:11:14,560 --> 01:11:17,479
Speaker 3: Yeah, Yeah, there's all these shots of one Colonel Edwards

1276
01:11:17,600 --> 01:11:22,000
Speaker 3: just standing there basically a blank background, staring up supposedly

1277
01:11:22,120 --> 01:11:24,920
Speaker 3: the sky with the binoculars and just ordering all the

1278
01:11:25,080 --> 01:11:27,439
Speaker 3: rockets to be fired of these three UFOs. He doesn't

1279
01:11:27,439 --> 01:11:30,000
Speaker 3: even seem to care what continent these rockets are on.

1280
01:11:30,960 --> 01:11:33,639
Speaker 3: So we just get all this stock footage of rockets firing.

1281
01:11:34,080 --> 01:11:37,160
Speaker 1: What is the deal with the secrecy about the UFOs?

1282
01:11:37,240 --> 01:11:39,800
Speaker 1: This is completely inconsistent in the movie. So part of

1283
01:11:39,840 --> 01:11:42,760
Speaker 1: the movie they're saying Army Brass won't let anybody know

1284
01:11:43,160 --> 01:11:46,559
Speaker 1: that UFOs exist. But then also we hear we cut

1285
01:11:46,640 --> 01:11:49,439
Speaker 1: to Colonel Edwards and he's talking to just some soldier

1286
01:11:50,000 --> 01:11:52,759
Speaker 1: and they're talking about the flying saucers and the soldier

1287
01:11:53,040 --> 01:11:55,799
Speaker 1: is like, hey, what's the deal with these flying saucers

1288
01:11:55,840 --> 01:11:59,679
Speaker 1: And the Colonel's like, well, they attacked us. He says,

1289
01:11:59,760 --> 01:12:02,439
Speaker 1: they attacked a town, a small town, I'll admit it,

1290
01:12:02,600 --> 01:12:09,439
Speaker 1: but nevertheless a town of people. And he revealed, Edwards

1291
01:12:09,520 --> 01:12:12,960
Speaker 1: reveals that big Army Brass is covering up the alien menace.

1292
01:12:13,160 --> 01:12:13,280
Speaker 2: You know.

1293
01:12:13,680 --> 01:12:17,080
Speaker 1: He says, take any earthquake, any fire, any natural disaster.

1294
01:12:17,760 --> 01:12:20,639
Speaker 1: You think that's natural disasters? You know what it's probably

1295
01:12:20,720 --> 01:12:21,680
Speaker 1: actually aliens.

1296
01:12:22,000 --> 01:12:23,680
Speaker 3: Yeah, you drop aliens in the middle of this and

1297
01:12:23,760 --> 01:12:24,719
Speaker 3: everything makes sense.

1298
01:12:25,280 --> 01:12:27,200
Speaker 1: But I think it's time to meet some aliens. So

1299
01:12:27,280 --> 01:12:29,679
Speaker 1: let's go to the mothership in orbit around the Earth.

1300
01:12:29,840 --> 01:12:33,680
Speaker 3: A mothership which really just looks like a breast or

1301
01:12:33,680 --> 01:12:36,160
Speaker 3: a nipple. I mean, it's very glaring.

1302
01:12:36,720 --> 01:12:39,720
Speaker 1: But so we meet the aliens and these they do

1303
01:12:39,840 --> 01:12:42,519
Speaker 1: a salute where they like cross their arms on their

1304
01:12:42,640 --> 01:12:45,640
Speaker 1: chest and that's very funny. Kang and Codos do the

1305
01:12:45,680 --> 01:12:49,759
Speaker 1: same salute when they're on The Simpsons. But the Alien

1306
01:12:49,840 --> 01:12:53,880
Speaker 1: boss is played by Bunny Breckenridge, and here you he's

1307
01:12:53,920 --> 01:12:57,280
Speaker 1: wearing a medieval times tunic with a like a sigil

1308
01:12:57,320 --> 01:12:59,800
Speaker 1: of an axe on it. And then we see the

1309
01:13:00,040 --> 01:13:04,800
Speaker 1: Underling's Aerosentana and they're wearing their satin tunics and they

1310
01:13:04,880 --> 01:13:09,439
Speaker 1: have this bizarre conversation where they're talking about what plans

1311
01:13:09,520 --> 01:13:12,519
Speaker 1: they are going to enact on Earth. Breckenridge says, oh,

1312
01:13:12,600 --> 01:13:16,559
Speaker 1: what plan will you follow now? And Aero says, well,

1313
01:13:16,720 --> 01:13:18,880
Speaker 1: you know, we tried to contact Earth leaders, but they

1314
01:13:18,960 --> 01:13:22,479
Speaker 1: reject our existence. You just can't talk to these Earth humans.

1315
01:13:22,560 --> 01:13:25,320
Speaker 1: Their soul is too controlled, that's what he says. I

1316
01:13:25,360 --> 01:13:27,840
Speaker 1: don't know what that means. But here they say it's

1317
01:13:27,920 --> 01:13:31,000
Speaker 1: time to go with Plan nine. So what's Plan nine

1318
01:13:31,080 --> 01:13:31,360
Speaker 1: going to be?

1319
01:13:31,640 --> 01:13:34,720
Speaker 3: He says, Ah, Yes, Plan nine deals with the resurrection

1320
01:13:34,880 --> 01:13:39,360
Speaker 3: of the dead, long distance electrodes shot into the pinial

1321
01:13:39,479 --> 01:13:41,840
Speaker 3: and pituitary glands of recent dead.

1322
01:13:42,280 --> 01:13:44,960
Speaker 1: Okay, I guess that would explain the zombies we've seen.

1323
01:13:45,120 --> 01:13:47,760
Speaker 1: But what were Plans one through eight?

1324
01:13:48,400 --> 01:13:50,840
Speaker 3: I was thinking about this, so I guess Plan one

1325
01:13:51,040 --> 01:13:54,160
Speaker 3: was evidently just buzz major cities with UFOs and just

1326
01:13:54,240 --> 01:13:57,040
Speaker 3: kind of like freak people out a little bit. And

1327
01:13:57,280 --> 01:14:00,200
Speaker 3: I'm guessing that Plans two through eight were just kind

1328
01:14:00,240 --> 01:14:03,439
Speaker 3: of the stock plots of any other nineteen fifties film,

1329
01:14:03,560 --> 01:14:06,880
Speaker 3: you know. So it's like Plan two's giant animals attack,

1330
01:14:07,280 --> 01:14:11,560
Speaker 3: Plan three animals attack. Yeah, giant scorpions probably throw some

1331
01:14:11,720 --> 01:14:14,439
Speaker 3: robots and monsters in there. Maybe they get up to

1332
01:14:14,520 --> 01:14:19,160
Speaker 3: something like superviruses in space religion eventually, but by the

1333
01:14:19,240 --> 01:14:21,280
Speaker 3: time you get to Plan nine, it's the resurrection of

1334
01:14:21,320 --> 01:14:21,639
Speaker 3: the dead.

1335
01:14:21,880 --> 01:14:25,120
Speaker 1: Well, it's a great plan, and Dudley Manlove really sells it.

1336
01:14:25,280 --> 01:14:28,080
Speaker 1: He's like, we have risen two so far, we shall

1337
01:14:28,160 --> 01:14:30,000
Speaker 1: be just as successful on more.

1338
01:14:31,560 --> 01:14:34,599
Speaker 3: I do actually buy into Plan nine a bit when

1339
01:14:35,200 --> 01:14:37,240
Speaker 3: this scene and others where they discuss it, the aliens

1340
01:14:37,280 --> 01:14:39,120
Speaker 3: are discussing it because it's kind of like they won't

1341
01:14:39,160 --> 01:14:40,880
Speaker 3: see this coming. This is going to freak them out.

1342
01:14:41,320 --> 01:14:45,040
Speaker 3: Like there's a sense of psychological warfare to it that

1343
01:14:45,240 --> 01:14:48,720
Speaker 3: sounds sensible, Like if aliens had the ability to do

1344
01:14:48,880 --> 01:14:50,920
Speaker 3: this and they wanted to mess with us, yeah, make

1345
01:14:51,560 --> 01:14:54,519
Speaker 3: our dead come back to life now, maybe resurrect more

1346
01:14:54,560 --> 01:14:57,960
Speaker 3: than three of them, but you know, I don't know.

1347
01:14:58,400 --> 01:14:59,920
Speaker 3: They had to scale up from somewhere right.

1348
01:15:00,200 --> 01:15:04,000
Speaker 1: Well, So they explain that the purpose of Plan nine

1349
01:15:04,320 --> 01:15:08,240
Speaker 1: is to make the humans acknowledge their existence. They say,

1350
01:15:08,360 --> 01:15:11,640
Speaker 1: like they won't accept that we exist. You know, they

1351
01:15:11,760 --> 01:15:13,960
Speaker 1: just shoot at us when we come down there, and

1352
01:15:14,280 --> 01:15:16,760
Speaker 1: then they believe that we're not real. So we have

1353
01:15:16,880 --> 01:15:20,479
Speaker 1: to make them accept our existence by raising the dead.

1354
01:15:21,040 --> 01:15:23,880
Speaker 1: I don't know why that would be more effective than

1355
01:15:23,920 --> 01:15:25,000
Speaker 1: the flying saucers.

1356
01:15:25,360 --> 01:15:28,000
Speaker 3: Hmmm, yeah, I don't have an answer to that, okay,

1357
01:15:29,160 --> 01:15:31,000
Speaker 3: but I like, if I lean into it and I

1358
01:15:31,080 --> 01:15:33,320
Speaker 3: think about it, I can think of it as kind

1359
01:15:33,320 --> 01:15:39,000
Speaker 3: of a psychological attack as a way of causing panic

1360
01:15:39,040 --> 01:15:41,439
Speaker 3: among the humans, like more panic than just the UFOs.

1361
01:15:41,439 --> 01:15:43,680
Speaker 3: The UFOs are up there, but the dead are down here.

1362
01:15:44,200 --> 01:15:47,240
Speaker 1: There's a great scene aosentana like walk out of the room.

1363
01:15:47,960 --> 01:15:52,040
Speaker 1: They leave Breckinridge behind, and Aero says, you know, it's

1364
01:15:52,080 --> 01:15:55,400
Speaker 1: an interesting thing the earth. People who can think are

1365
01:15:55,479 --> 01:16:00,799
Speaker 1: so frightened by those who cannot the dead. Yes, well, anyway,

1366
01:16:00,880 --> 01:16:03,360
Speaker 1: they go back to Earth. We get another porch dialogue

1367
01:16:03,400 --> 01:16:07,479
Speaker 1: scene between Paula and Jeff. You know he's leaving. This

1368
01:16:07,640 --> 01:16:09,800
Speaker 1: is the scene with the whole like the saucers are

1369
01:16:09,880 --> 01:16:11,920
Speaker 1: up there and the cemeteries out there, but I'll be

1370
01:16:12,040 --> 01:16:16,320
Speaker 1: locked up in there and oh man. This is also

1371
01:16:16,360 --> 01:16:18,880
Speaker 1: the scene where they have the pillow conversation, because she's like,

1372
01:16:19,240 --> 01:16:22,000
Speaker 1: when you're gone, I need your pillow here because I

1373
01:16:22,040 --> 01:16:26,040
Speaker 1: can touch your pillow. And he seems kind of weirded

1374
01:16:26,080 --> 01:16:28,320
Speaker 1: out by it, you know. He he leaves being like, well,

1375
01:16:28,360 --> 01:16:30,840
Speaker 1: I love you, darling, but you're off your rocker. And

1376
01:16:30,920 --> 01:16:33,799
Speaker 1: then he gets back in the airplane and leaves Awome.

1377
01:16:35,280 --> 01:16:38,600
Speaker 1: So what We get a bunch of other shenanigans with

1378
01:16:38,840 --> 01:16:41,800
Speaker 1: Jeff on the plane and the co pilot and the

1379
01:16:42,120 --> 01:16:45,920
Speaker 1: stewardess talking about going to Albuquerque and trying to party there.

1380
01:16:46,080 --> 01:16:49,040
Speaker 1: I don't even we'll skip over all that, so we

1381
01:16:49,120 --> 01:16:52,559
Speaker 1: get Bella Lagosi in some actual shots where it's really him,

1382
01:16:53,360 --> 01:16:56,200
Speaker 1: but then other shots where it's the body double showing

1383
01:16:56,360 --> 01:17:01,320
Speaker 1: back up and essentially like creeping into the Trent house.

1384
01:17:02,080 --> 01:17:04,880
Speaker 3: Oh I love this scene because he's creeping around and

1385
01:17:04,960 --> 01:17:07,439
Speaker 3: then he's like coming up to the door and sort

1386
01:17:07,479 --> 01:17:10,120
Speaker 3: of jiggling it a little bit, but the no, no,

1387
01:17:10,320 --> 01:17:13,720
Speaker 3: he rings the doorbell and then he comes inside like

1388
01:17:13,960 --> 01:17:17,599
Speaker 3: he's just not cut out for this breaking and entering thing.

1389
01:17:17,960 --> 01:17:21,880
Speaker 1: Yeah. So Paula's in bed and then the old man

1390
01:17:22,000 --> 01:17:25,360
Speaker 1: walks into her bedroom. She screams, and then she just

1391
01:17:25,479 --> 01:17:28,120
Speaker 1: runs past him out the door. He's very slow moving.

1392
01:17:29,479 --> 01:17:32,360
Speaker 1: It makes me think of Night of the Living Dead actually,

1393
01:17:32,479 --> 01:17:35,320
Speaker 1: you know, like are these creatures slow moving? Oh? Yeah,

1394
01:17:35,479 --> 01:17:38,839
Speaker 1: they're dead, they're all missed up. I think that applies

1395
01:17:38,880 --> 01:17:40,880
Speaker 1: to Bella in this, and so she just runs past

1396
01:17:40,960 --> 01:17:43,680
Speaker 1: him and then runs out into the cemetery. We get

1397
01:17:43,720 --> 01:17:46,519
Speaker 1: a great shot of Tor Johnson rising from the grave

1398
01:17:46,760 --> 01:17:49,719
Speaker 1: and it's actually so good. Yeah, it does look pretty creepy.

1399
01:17:50,280 --> 01:17:52,680
Speaker 3: I remember seeing this as a kid and finding it

1400
01:17:52,800 --> 01:17:56,120
Speaker 3: pretty creepy, pretty disturbing because yeah, we've got the blaring

1401
01:17:56,280 --> 01:18:00,799
Speaker 3: horn music tour is just touring it up to to eleven.

1402
01:18:00,920 --> 01:18:02,160
Speaker 3: Here looks really good.

1403
01:18:02,320 --> 01:18:04,600
Speaker 1: We get a bunch of chasing around in the cemetery.

1404
01:18:05,040 --> 01:18:08,599
Speaker 1: The zombies are chasing Paula, cutting randomly back and forth

1405
01:18:08,640 --> 01:18:11,559
Speaker 1: between night time and daytime. And then eventually a random

1406
01:18:11,680 --> 01:18:15,760
Speaker 1: cowboy hat man in a convertible rescues Paula. She like

1407
01:18:15,840 --> 01:18:18,240
Speaker 1: faints by the road. He picks her up, puts her

1408
01:18:18,240 --> 01:18:20,200
Speaker 1: in the car, and drives away. For some reason, he

1409
01:18:20,320 --> 01:18:22,360
Speaker 1: knows who she is. I don't think we've ever met

1410
01:18:22,400 --> 01:18:25,559
Speaker 1: this character before. Oh but next we get a scene

1411
01:18:25,600 --> 01:18:29,200
Speaker 1: where okay, so Aerosentana the aliens. Now they're landing in

1412
01:18:29,280 --> 01:18:33,439
Speaker 1: the cemetery and they're gonna check out their monsters because

1413
01:18:33,439 --> 01:18:35,920
Speaker 1: they're going to take them up to show Breckinridge up

1414
01:18:35,960 --> 01:18:39,000
Speaker 1: in the mothership. And there's a great scene where like

1415
01:18:39,360 --> 01:18:41,920
Speaker 1: Tor Johnson and Vampire are trying to kill them, like

1416
01:18:42,040 --> 01:18:44,960
Speaker 1: they walk in the door and they're like reaching for them,

1417
01:18:45,040 --> 01:18:47,559
Speaker 1: and Arrows has to be like turn off the electrodes quickly.

1418
01:18:47,680 --> 01:18:50,280
Speaker 1: They can't tell us from anyone else. And this is

1419
01:18:50,320 --> 01:18:53,000
Speaker 1: not the only time they lose control of the zombies.

1420
01:18:53,040 --> 01:18:57,040
Speaker 1: The zombies are frequently just attacking the aliens themselves.

1421
01:18:57,600 --> 01:18:59,920
Speaker 3: Yeah, this is and you know this scene, I feel

1422
01:19:00,120 --> 01:19:03,200
Speaker 3: like man Love is able to really sell the threat,

1423
01:19:03,960 --> 01:19:06,040
Speaker 3: Like I buy into the fact that he's panicking, like

1424
01:19:06,320 --> 01:19:10,080
Speaker 3: he's losing it. He's at crashing Hindenburg level when it

1425
01:19:10,160 --> 01:19:13,439
Speaker 3: comes to his fear over the big one, the giant

1426
01:19:13,560 --> 01:19:17,599
Speaker 3: tor Johnson coming after his throat, and then afterwards he's

1427
01:19:17,600 --> 01:19:19,960
Speaker 3: still had a breath and he's like, that was too close.

1428
01:19:20,360 --> 01:19:20,559
Speaker 4: Yes.

1429
01:19:22,320 --> 01:19:24,679
Speaker 1: And there's also a scene in here where the cops

1430
01:19:24,720 --> 01:19:26,840
Speaker 1: are bumbling around in the graveyard. This is the one

1431
01:19:26,920 --> 01:19:30,000
Speaker 1: we mentioned earlier where they spend a long time talking

1432
01:19:30,160 --> 01:19:33,040
Speaker 1: about whether they can climb down into an open grave

1433
01:19:33,160 --> 01:19:36,479
Speaker 1: or not, and eventually one of them does get in there.

1434
01:19:36,520 --> 01:19:39,280
Speaker 1: I think it's Paul Marco and he goes it's Inspector

1435
01:19:39,360 --> 01:19:44,280
Speaker 1: Clay's grave, but he ain't in it. There's a oh.

1436
01:19:44,439 --> 01:19:47,879
Speaker 1: So we go to a totally different scene when in Washington,

1437
01:19:48,000 --> 01:19:50,479
Speaker 1: d C. Where it's time for more big army brass

1438
01:19:50,760 --> 01:19:55,840
Speaker 1: and this scene was also dumbfounding. So there's like a

1439
01:19:55,880 --> 01:19:58,640
Speaker 1: big commander and he gets Colonel Edwards, the guy we

1440
01:19:58,760 --> 01:20:00,920
Speaker 1: met earlier in there and he's like, oh, you know,

1441
01:20:01,040 --> 01:20:02,920
Speaker 1: so you've been in charge of fighting off all these

1442
01:20:03,000 --> 01:20:06,360
Speaker 1: flying saucer attacks, But do you really believe there are

1443
01:20:06,400 --> 01:20:10,400
Speaker 1: such things as flying saucers? And Colonel Edwards says, yes,

1444
01:20:10,520 --> 01:20:13,320
Speaker 1: I do, and then the boss is like, you can't

1445
01:20:13,400 --> 01:20:15,600
Speaker 1: say you believe in them. You'll be court martialed for

1446
01:20:15,680 --> 01:20:19,080
Speaker 1: believing in flying saucers. And then Colonel Edwards does some

1447
01:20:19,280 --> 01:20:23,160
Speaker 1: real like logic twisting on him. He's like, how could

1448
01:20:23,200 --> 01:20:26,439
Speaker 1: I defend the Earth against flying saucers if I didn't

1449
01:20:26,520 --> 01:20:29,640
Speaker 1: believe in what I saw and shot at. It's like,

1450
01:20:29,960 --> 01:20:32,360
Speaker 1: Mike drop, you can't beat that.

1451
01:20:32,520 --> 01:20:35,479
Speaker 3: It's the patriotism shining through, but I don't even understand.

1452
01:20:35,520 --> 01:20:37,800
Speaker 1: So his boss was trying to get him to say, well,

1453
01:20:37,840 --> 01:20:39,920
Speaker 1: you have to fight off the flying saucers, but you

1454
01:20:40,040 --> 01:20:43,200
Speaker 1: also can't tell me you believe in them. Anyway, This

1455
01:20:43,320 --> 01:20:48,240
Speaker 1: scene leads into a long aeros monologue where they're like, hey,

1456
01:20:48,320 --> 01:20:51,120
Speaker 1: we have a language computer that allows us to decode

1457
01:20:51,200 --> 01:20:54,559
Speaker 1: messages from the aliens, and so let's listen to aeros

1458
01:20:54,640 --> 01:20:57,960
Speaker 1: talk for ten minutes. So it's a very he's giving

1459
01:20:58,040 --> 01:21:01,679
Speaker 1: this whole conver monologue about how do you still believe

1460
01:21:01,720 --> 01:21:05,160
Speaker 1: it impossible we exist? You didn't actually think we were

1461
01:21:05,240 --> 01:21:07,800
Speaker 1: the only inhabited planet. You are stupid.

1462
01:21:08,560 --> 01:21:11,439
Speaker 3: Yeah, it's very smug, and it's all about just dissing

1463
01:21:11,520 --> 01:21:14,840
Speaker 3: on humanity, something he does quite a bit. First of all,

1464
01:21:14,880 --> 01:21:18,560
Speaker 3: you're the worst. Secondly, you're the worst. And then the

1465
01:21:18,640 --> 01:21:21,760
Speaker 3: third important fact here is you're on the verge of

1466
01:21:21,840 --> 01:21:28,080
Speaker 3: just destroying the entire universe. So late fifties Earth technology

1467
01:21:28,560 --> 01:21:32,840
Speaker 3: is on the verge of creating a catastrophe that will

1468
01:21:32,920 --> 01:21:37,200
Speaker 3: destroy the known universe. And you might think, well, they're

1469
01:21:37,240 --> 01:21:40,160
Speaker 3: not going to explain this, right, Oh, but they will.

1470
01:21:40,320 --> 01:21:43,240
Speaker 3: They will explain it, and it is dumbfounding.

1471
01:21:43,520 --> 01:21:46,000
Speaker 1: Yeah, yeah, we get some technical details on this, but

1472
01:21:46,120 --> 01:21:49,120
Speaker 1: he's like, you're about to do it. Your juvenile, stupid

1473
01:21:49,280 --> 01:21:53,240
Speaker 1: minds are creating too many explosives and you're going to

1474
01:21:53,320 --> 01:21:59,080
Speaker 1: blow up the universe. And oh and then later, let's

1475
01:21:59,080 --> 01:22:03,120
Speaker 1: see a big army brass scene where it's Colonel Edwards

1476
01:22:03,160 --> 01:22:06,120
Speaker 1: and his boss again, and Colonel Edwards is like, oh,

1477
01:22:06,320 --> 01:22:08,840
Speaker 1: his I think. His boss says to them these flying

1478
01:22:08,920 --> 01:22:12,040
Speaker 1: saucers they're attacking the Earth, and Colonel Edwards says yes,

1479
01:22:12,520 --> 01:22:16,600
Speaker 1: and then he says, you think they mean business. So

1480
01:22:17,960 --> 01:22:21,160
Speaker 1: he sends Colonel Edwards to Los Angeles to the cemetery

1481
01:22:21,360 --> 01:22:24,760
Speaker 1: to investigate the zombies and the saucer attacks there, and

1482
01:22:24,880 --> 01:22:28,320
Speaker 1: then we get the scene where where Breckinridge choose out

1483
01:22:28,520 --> 01:22:32,000
Speaker 1: arrows and they do the demonstration of tour Johnson where

1484
01:22:32,000 --> 01:22:36,439
Speaker 1: he is like choking arrows again. They're constantly losing control

1485
01:22:36,520 --> 01:22:41,519
Speaker 1: of him, and this demonstration scene is a lot of fun.

1486
01:22:41,800 --> 01:22:42,000
Speaker 4: Yeah.

1487
01:22:42,040 --> 01:22:43,880
Speaker 3: He also gets some of his ships taken away, right,

1488
01:22:44,479 --> 01:22:47,479
Speaker 3: the rule is like, you don't need all three UFOs

1489
01:22:47,560 --> 01:22:49,080
Speaker 3: now down to one. Yeah.

1490
01:22:49,160 --> 01:22:51,680
Speaker 1: Yeah. Arros gets chewed out big time, like it's a

1491
01:22:51,760 --> 01:22:55,920
Speaker 1: real dressing down by his boss, but he is impressed

1492
01:22:55,960 --> 01:22:57,920
Speaker 1: by Tor when he sees him. He goes, yes, he's

1493
01:22:57,960 --> 01:23:01,479
Speaker 1: a fine specimen. Are they all this powerful on planet Earth?

1494
01:23:03,080 --> 01:23:06,200
Speaker 3: He literally says, well, actually the other two are a

1495
01:23:06,280 --> 01:23:07,240
Speaker 3: woman and an old man.

1496
01:23:07,880 --> 01:23:11,720
Speaker 1: Yeah. He's like, oh okay, but they're like, oh, I

1497
01:23:11,800 --> 01:23:13,560
Speaker 1: know a good idea with the old man, so he

1498
01:23:13,640 --> 01:23:16,120
Speaker 1: has the The boss has the idea, what if you

1499
01:23:16,360 --> 01:23:20,400
Speaker 1: take bela Lagosi and you make him He literally explains

1500
01:23:20,479 --> 01:23:22,400
Speaker 1: that they should do all this. You should make him

1501
01:23:22,560 --> 01:23:26,800
Speaker 1: walk into somebody's house and then instantly decompose in front

1502
01:23:26,840 --> 01:23:29,880
Speaker 1: of them, and that will convince them that aliens exist.

1503
01:23:30,320 --> 01:23:32,240
Speaker 3: That'll do it. Yes, that has to work.

1504
01:23:42,200 --> 01:23:44,600
Speaker 1: So here we get the big army brass shows up

1505
01:23:44,680 --> 01:23:46,880
Speaker 1: at the Trent's house. So it's another porch scene. They're

1506
01:23:46,880 --> 01:23:50,000
Speaker 1: hanging out in the wicker furniture and Colonel Edwards walks

1507
01:23:50,080 --> 01:23:53,240
Speaker 1: in and is like, hello, how are you doing? And

1508
01:23:54,160 --> 01:23:56,720
Speaker 1: Bella Lagosi walks up on them while they're on the

1509
01:23:56,800 --> 01:23:59,560
Speaker 1: porch and they shoot at him to no avail. But

1510
01:23:59,600 --> 01:24:03,880
Speaker 1: then suddenly a ray is emitted from the spaceship at

1511
01:24:04,080 --> 01:24:07,679
Speaker 1: Bella Legosi and he just instantly turns into a skeleton.

1512
01:24:07,800 --> 01:24:08,639
Speaker 1: So turbo rot.

1513
01:24:09,320 --> 01:24:11,560
Speaker 3: Yeah, and it's one of those great scenes where he

1514
01:24:11,880 --> 01:24:16,519
Speaker 3: just turns into like a high school science classroom skeleton. Yeah,

1515
01:24:16,600 --> 01:24:18,000
Speaker 3: it's beautiful.

1516
01:24:17,760 --> 01:24:20,240
Speaker 1: And in a way, Plan nine kind of works because

1517
01:24:20,439 --> 01:24:22,760
Speaker 1: that makes everybody be like, wow, I guess we better

1518
01:24:22,840 --> 01:24:26,519
Speaker 1: go investigate that. I assume everybody else at this meeting

1519
01:24:26,600 --> 01:24:29,120
Speaker 1: already did believe in aliens. Maybe not the police lieutenant,

1520
01:24:29,240 --> 01:24:31,160
Speaker 1: but Edwards did, and Jeff Trent did.

1521
01:24:31,479 --> 01:24:33,439
Speaker 3: Yeah, and now they really I mean it kind of

1522
01:24:33,439 --> 01:24:35,040
Speaker 3: backfires on him though, because they're like, well, I guess

1523
01:24:35,080 --> 01:24:36,760
Speaker 3: we got to do something about this. Now, let's go

1524
01:24:36,920 --> 01:24:37,959
Speaker 3: arrest those aliens.

1525
01:24:38,240 --> 01:24:41,040
Speaker 1: Yeah, the police lieutenants like, we haven't seen the last

1526
01:24:41,120 --> 01:24:46,240
Speaker 1: of those weirdies. So they wander into the graveyard to investigate.

1527
01:24:46,280 --> 01:24:51,599
Speaker 1: They leave Paula in the car and the aliens. Meanwhile,

1528
01:24:51,640 --> 01:24:54,120
Speaker 1: we see Aeros Andtana talking about how their ship is

1529
01:24:54,160 --> 01:24:58,519
Speaker 1: about to be discovered and they can't allow that. So,

1530
01:24:58,800 --> 01:25:00,960
Speaker 1: like the purpose of creating zombies is to get the

1531
01:25:01,040 --> 01:25:04,439
Speaker 1: Earthlings to accept the existence of aliens, but they also

1532
01:25:04,600 --> 01:25:08,040
Speaker 1: can't allow the humans to see them or know about them. Yeah,

1533
01:25:09,320 --> 01:25:12,120
Speaker 1: So they leave Paula in the car, but then Tor

1534
01:25:12,360 --> 01:25:16,360
Speaker 1: attacks the car. He knocks down paul Marco by slapping

1535
01:25:16,439 --> 01:25:18,000
Speaker 1: him on the shoulders. I think this is what you

1536
01:25:18,120 --> 01:25:21,600
Speaker 1: called the double chop. And then he grabs Paula and

1537
01:25:21,680 --> 01:25:23,240
Speaker 1: carries her to the ship. So we do get the

1538
01:25:23,320 --> 01:25:26,160
Speaker 1: classic scene that's on the poster of Tor Johnson carrying

1539
01:25:26,439 --> 01:25:27,480
Speaker 1: Paula unconscious.

1540
01:25:27,760 --> 01:25:29,600
Speaker 3: Yeah. Like we said on the show before, this is

1541
01:25:29,640 --> 01:25:32,679
Speaker 3: an iconic image of the classic monster, the monster carrying

1542
01:25:32,680 --> 01:25:35,360
Speaker 3: the unconscious woman. Yeah, And of course Edwood does not

1543
01:25:35,479 --> 01:25:38,240
Speaker 3: shy away from creating this tableau for us.

1544
01:25:38,479 --> 01:25:41,320
Speaker 1: Though when Bride of the Monster on the poster, it

1545
01:25:41,400 --> 01:25:44,439
Speaker 1: shows Bella Lagosi carrying the lady, and he does not

1546
01:25:44,560 --> 01:25:46,519
Speaker 1: do that in the movie. I think Tor Johnson does

1547
01:25:46,600 --> 01:25:47,400
Speaker 1: in that one as well.

1548
01:25:47,720 --> 01:25:49,880
Speaker 3: Well. If you need somebody to carry another body around,

1549
01:25:49,880 --> 01:25:51,800
Speaker 3: I mean, Tour is your man, like, that's what he's

1550
01:25:51,840 --> 01:25:55,720
Speaker 3: been doing. He has a career based on carrying the

1551
01:25:56,000 --> 01:26:00,080
Speaker 3: very large humans around and also being carried himself to

1552
01:26:00,120 --> 01:26:02,000
Speaker 3: a certain extent, so he can probably help you out

1553
01:26:02,439 --> 01:26:05,599
Speaker 3: if you did need a scene where somebody's carrying an

1554
01:26:05,680 --> 01:26:06,759
Speaker 3: unconscious Tour around.

1555
01:26:07,360 --> 01:26:11,639
Speaker 1: So three lugs go into the spaceship. You got Jeff Trant,

1556
01:26:11,680 --> 01:26:14,519
Speaker 1: you got the police inspector or, the police lieutenant and

1557
01:26:14,960 --> 01:26:17,560
Speaker 1: Colonel Edwards, and they all have revolvers and they go

1558
01:26:17,680 --> 01:26:21,000
Speaker 1: into the spaceship and point them at the aliens. And

1559
01:26:21,120 --> 01:26:26,080
Speaker 1: then we get some villain monologue where Arrows he whinds

1560
01:26:26,160 --> 01:26:30,480
Speaker 1: a lot about how human governments refuse to accept their existence,

1561
01:26:31,800 --> 01:26:35,400
Speaker 1: and he says, and it's like why, And they ask, well,

1562
01:26:35,439 --> 01:26:37,679
Speaker 1: why do you care so much about governments of Earth

1563
01:26:37,760 --> 01:26:41,639
Speaker 1: accepting you? And he says, because of death, because all

1564
01:26:41,760 --> 01:26:45,439
Speaker 1: you of Earth are idiots. And then he goes into

1565
01:26:45,560 --> 01:26:51,800
Speaker 1: this this crazy series of monologues about how the Earthlings

1566
01:26:52,000 --> 01:26:56,320
Speaker 1: are building a bigger, bigger and bigger bombs. He says,

1567
01:26:56,720 --> 01:27:01,559
Speaker 1: first was your firecracker, a harmless explosive, then your hand grenade.

1568
01:27:01,720 --> 01:27:04,040
Speaker 1: You begin to kill your own people, a few at

1569
01:27:04,040 --> 01:27:08,080
Speaker 1: a time, then the bomb, then a larger bomb, many

1570
01:27:08,200 --> 01:27:11,679
Speaker 1: people are killed at one time. Then your scientists stumbled

1571
01:27:11,760 --> 01:27:15,880
Speaker 1: upon the atom bomb, split the atom, then the hydrogen bomb,

1572
01:27:16,000 --> 01:27:19,960
Speaker 1: where you actually explode the air itself. Now you can

1573
01:27:20,120 --> 01:27:23,599
Speaker 1: arrange the total destruction of the entire universe served by

1574
01:27:23,640 --> 01:27:27,880
Speaker 1: our sun. The only explosion left is the solar night

1575
01:27:30,080 --> 01:27:33,080
Speaker 1: and this, he explains, is a bomb that will explode

1576
01:27:33,240 --> 01:27:37,320
Speaker 1: the sunlight itself. And of course Jeff Trant likes that idea.

1577
01:27:37,400 --> 01:27:39,280
Speaker 1: He's like, well, if we had that, then we'd be

1578
01:27:39,360 --> 01:27:42,200
Speaker 1: an even stronger nation than we are now. And this

1579
01:27:42,360 --> 01:27:44,840
Speaker 1: is where Aros responds with the most maybe the most

1580
01:27:44,920 --> 01:27:45,839
Speaker 1: famous line.

1581
01:27:45,640 --> 01:27:46,080
Speaker 3: Of the movie.

1582
01:27:46,520 --> 01:27:53,320
Speaker 1: He says, stronger you see you see your stupid minds, stupid, stupid,

1583
01:27:53,720 --> 01:27:57,360
Speaker 1: And Jeff, as I mentioned, he gets offended when Earthlings

1584
01:27:57,400 --> 01:27:59,400
Speaker 1: are called stupid. He says, that's enough out of you.

1585
01:27:59,560 --> 01:28:11,280
Speaker 3: And it's a great moment in interplanetary communication. Here everyone

1586
01:28:11,400 --> 01:28:12,560
Speaker 3: is really terrible at it.

1587
01:28:12,920 --> 01:28:16,479
Speaker 1: We get a long explanation of how the solar night

1588
01:28:16,720 --> 01:28:20,320
Speaker 1: bomb works using metaphors of a can of gasoline. I'm

1589
01:28:20,360 --> 01:28:22,400
Speaker 1: not going to try to reproduce all of that. But

1590
01:28:22,479 --> 01:28:25,800
Speaker 1: they say essentially that it's a bomb that will allow

1591
01:28:25,840 --> 01:28:28,360
Speaker 1: you to blow up sunlight, and it will blow up

1592
01:28:28,400 --> 01:28:30,840
Speaker 1: the sun, and then it will blow up everything that

1593
01:28:30,960 --> 01:28:32,559
Speaker 1: the sunlight has ever touched.

1594
01:28:32,920 --> 01:28:35,800
Speaker 3: Yeah, like you split a photon, and it's going to

1595
01:28:35,880 --> 01:28:39,960
Speaker 3: cause like a photon splitting chain reaction where it's going

1596
01:28:40,040 --> 01:28:42,880
Speaker 3: to follow a beam of light back to its source,

1597
01:28:42,920 --> 01:28:46,560
Speaker 3: which is the Sun, but also travel out on the

1598
01:28:46,640 --> 01:28:50,200
Speaker 3: starlight from the Sun, and I guess reach anywhere that

1599
01:28:50,439 --> 01:28:53,679
Speaker 3: the light of our sun reaches. And I was thinking, well, okay,

1600
01:28:54,479 --> 01:28:57,200
Speaker 3: if this, if I am being generous here, if this

1601
01:28:57,280 --> 01:28:59,160
Speaker 3: were going to happen, that would still take a very

1602
01:28:59,200 --> 01:29:02,439
Speaker 3: long time. It's not going to be an instantaneous destroy

1603
01:29:02,479 --> 01:29:03,400
Speaker 3: the universe situation.

1604
01:29:05,200 --> 01:29:08,160
Speaker 1: People with better astrophysics knowledge, please correct me, because I

1605
01:29:08,200 --> 01:29:11,360
Speaker 1: haven't researched this, But my gut understanding of this, I

1606
01:29:11,479 --> 01:29:14,439
Speaker 1: think is that that would mean the it would take

1607
01:29:14,439 --> 01:29:16,719
Speaker 1: a long time, but it would mean the eventual destruction

1608
01:29:16,920 --> 01:29:20,559
Speaker 1: of our entire local galaxy. But I would also think

1609
01:29:20,680 --> 01:29:23,920
Speaker 1: that at this point other galaxies are probably moving away

1610
01:29:24,000 --> 01:29:27,040
Speaker 1: from us at such a rate that it would actually

1611
01:29:27,120 --> 01:29:29,240
Speaker 1: never catch up to them. So I think other galaxies

1612
01:29:29,320 --> 01:29:30,200
Speaker 1: might be Okay.

1613
01:29:30,800 --> 01:29:34,080
Speaker 3: Well, maybe we're to take everything that Aeros says here

1614
01:29:34,280 --> 01:29:38,720
Speaker 3: is truth, Like maybe other cultures have developed this technology

1615
01:29:38,840 --> 01:29:42,240
Speaker 3: and have used it, and so you have whole pockets

1616
01:29:42,720 --> 01:29:45,439
Speaker 3: of the universe that have been wiped out by it,

1617
01:29:45,880 --> 01:29:47,880
Speaker 3: and so they just want don't want to see large

1618
01:29:47,960 --> 01:29:51,160
Speaker 3: chunks of the universe continue to go this route.

1619
01:29:51,439 --> 01:29:54,519
Speaker 1: But I suspect that we would actually never be able

1620
01:29:54,640 --> 01:29:57,840
Speaker 1: to know that something like this was happening, because if

1621
01:29:57,920 --> 01:30:00,519
Speaker 1: the destruction is traveling at the speed of life, you

1622
01:30:00,560 --> 01:30:02,920
Speaker 1: would have no forewarning of it, right, Like, you wouldn't

1623
01:30:02,920 --> 01:30:05,000
Speaker 1: be by the time you saw it. It would arrive

1624
01:30:05,040 --> 01:30:05,240
Speaker 1: at you.

1625
01:30:05,880 --> 01:30:09,680
Speaker 3: Yeah, yeah, but I don't know. They're very advanced, these celestials,

1626
01:30:09,880 --> 01:30:15,960
Speaker 3: so they have tools we don't have. Resources we don't have. Again,

1627
01:30:16,040 --> 01:30:18,200
Speaker 3: one wonders what would have happened if they had a

1628
01:30:18,240 --> 01:30:20,840
Speaker 3: little more tact in approaching this instead of just showing up,

1629
01:30:21,000 --> 01:30:25,120
Speaker 3: insulting us, buzzing our cities and raising our dead. Come on,

1630
01:30:25,479 --> 01:30:26,559
Speaker 3: we're a sensitive people.

1631
01:30:28,320 --> 01:30:31,000
Speaker 1: Well anyway, so they have a big fight, big fist fight,

1632
01:30:31,840 --> 01:30:35,640
Speaker 1: Jeff Trend is like punching arros, and they slam and

1633
01:30:35,760 --> 01:30:39,240
Speaker 1: they like, they're smashing the equipment on the table. The

1634
01:30:39,320 --> 01:30:42,200
Speaker 1: ship is on fire, and eventually the humans get out

1635
01:30:42,240 --> 01:30:44,720
Speaker 1: of it. They're all right, and the aliens try to

1636
01:30:44,800 --> 01:30:47,200
Speaker 1: take off in their flying saucer, but it's on fire

1637
01:30:47,400 --> 01:30:48,520
Speaker 1: and then it explodes.

1638
01:30:49,120 --> 01:30:51,320
Speaker 3: And I found this to be kind of like a

1639
01:30:51,400 --> 01:30:54,880
Speaker 3: hauntingly nice scene. I mean, yes, the UFO's effects in

1640
01:30:54,920 --> 01:30:57,680
Speaker 3: this film are what they are, but the scene of

1641
01:30:57,800 --> 01:31:02,760
Speaker 3: the flying saucer on fire over the Hollywood lights at

1642
01:31:02,880 --> 01:31:05,120
Speaker 3: night and then it explodes, I don't know, there's something

1643
01:31:05,200 --> 01:31:06,120
Speaker 3: kind of poignant about it.

1644
01:31:06,360 --> 01:31:09,880
Speaker 1: Can you guess how the movie ends. It's a chrism

1645
01:31:09,920 --> 01:31:10,559
Speaker 1: Well monologue.

1646
01:31:10,560 --> 01:31:12,280
Speaker 3: I gotta go back to Criswell. He's gonna tie it

1647
01:31:12,320 --> 01:31:13,960
Speaker 3: all up in a neat little bow.

1648
01:31:14,479 --> 01:31:18,280
Speaker 1: He's gonna make sense of all this. Yeah, so Criswell says,

1649
01:31:18,479 --> 01:31:24,160
Speaker 1: my friend, you have seen this incident based on sworn testimony. Oh,

1650
01:31:24,240 --> 01:31:25,679
Speaker 1: I can't do the voice all the time, he says,

1651
01:31:26,000 --> 01:31:30,840
Speaker 1: can you prove it didn't happen? Perhaps on your way home,

1652
01:31:31,040 --> 01:31:33,360
Speaker 1: someone will pass you in the dark and you will

1653
01:31:33,439 --> 01:31:36,839
Speaker 1: never know it, for they will be from outer space.

1654
01:31:37,760 --> 01:31:41,080
Speaker 1: Many scientists believe that another world is watching us at

1655
01:31:41,160 --> 01:31:45,960
Speaker 1: this moment. We once laughed at the horseless carriage, the aeroplane,

1656
01:31:46,240 --> 01:31:51,800
Speaker 1: the telephone, the electric light, vitamins, radio and even television.

1657
01:31:52,200 --> 01:31:55,559
Speaker 1: And now some of us laugh at outer space. God

1658
01:31:55,760 --> 01:31:58,160
Speaker 1: help us in the future the end.

1659
01:32:00,120 --> 01:32:03,240
Speaker 3: That yeah, prove that it didn't happen. The burden of

1660
01:32:03,320 --> 01:32:04,799
Speaker 3: proof is on you, audience.

1661
01:32:05,280 --> 01:32:08,080
Speaker 1: Yes, yes, disprove or except.

1662
01:32:08,080 --> 01:32:10,240
Speaker 3: Oh yeah, there's just there is there's so much to

1663
01:32:10,320 --> 01:32:13,280
Speaker 3: love in this picture. Like, even if you took out

1664
01:32:13,320 --> 01:32:17,439
Speaker 3: everything we mentioned, there's still like three more bad movies

1665
01:32:17,479 --> 01:32:20,439
Speaker 3: worth of stuff here, you know, three more psychotronic film's

1666
01:32:20,520 --> 01:32:24,520
Speaker 3: worth of of like strange line deliveries and weird ideas

1667
01:32:24,880 --> 01:32:28,880
Speaker 3: and and jarring use of footage. It's just it's a

1668
01:32:28,960 --> 01:32:29,479
Speaker 3: gold mine.

1669
01:32:29,520 --> 01:32:32,040
Speaker 1: This picture one of the best of the best of

1670
01:32:32,160 --> 01:32:35,559
Speaker 1: all time. I love playing nine Yeah.

1671
01:32:35,439 --> 01:32:37,840
Speaker 3: And it's you know, it's ridiculous. But at the same

1672
01:32:37,920 --> 01:32:40,160
Speaker 3: time you have these scenes of these kind of like

1673
01:32:40,360 --> 01:32:45,000
Speaker 3: very dry looking exterior shots in in in Lost in

1674
01:32:45,000 --> 01:32:48,960
Speaker 3: the Los Angeles area, you know, tombstones and uh in

1675
01:32:49,200 --> 01:32:52,400
Speaker 3: in these you know, these very scraggly looking plants and trees.

1676
01:32:52,479 --> 01:32:56,000
Speaker 3: I don't know, there's there's there is some authenticity sprinkled

1677
01:32:56,040 --> 01:32:57,920
Speaker 3: in there as well, that kind of gives you a

1678
01:32:58,000 --> 01:33:01,040
Speaker 3: little peak into the world out of which it emerge.

1679
01:33:01,160 --> 01:33:04,439
Speaker 1: You know, one last question, do you think Edward when

1680
01:33:04,479 --> 01:33:08,920
Speaker 1: he wrote this sympathized with the Aeros monologue about our

1681
01:33:09,000 --> 01:33:11,960
Speaker 1: stupid Earth minds? Was he expressing his point of view

1682
01:33:12,600 --> 01:33:15,840
Speaker 1: or was Aero supposed to be the bad guy representing

1683
01:33:15,880 --> 01:33:17,280
Speaker 1: an incorrect point of view.

1684
01:33:17,960 --> 01:33:20,280
Speaker 3: I feel like he had to be sympathetic to this cause,

1685
01:33:20,320 --> 01:33:23,080
Speaker 3: I mean, it's given so much a monologue time in

1686
01:33:23,160 --> 01:33:25,240
Speaker 3: the picture, and there's this, and then of course we

1687
01:33:25,320 --> 01:33:27,519
Speaker 3: have the Chris Well stuff that is treating the film

1688
01:33:27,640 --> 01:33:31,080
Speaker 3: like prophecy. So yeah, he had to be There is

1689
01:33:31,160 --> 01:33:36,479
Speaker 3: this kind of cautionary tale that seems to be present,

1690
01:33:36,920 --> 01:33:40,160
Speaker 3: no matter how poorly it's ultimately presented or how whack

1691
01:33:40,200 --> 01:33:44,000
Speaker 3: adoodle the speculative of science is that's wrapped up in it.

1692
01:33:45,880 --> 01:33:47,559
Speaker 3: And also, I guess to be fair, this is also

1693
01:33:47,600 --> 01:33:50,559
Speaker 3: an idea that we see just spread out across science

1694
01:33:50,600 --> 01:33:53,759
Speaker 3: fiction in general. That's something maybe watching us and something

1695
01:33:54,040 --> 01:33:56,960
Speaker 3: may have an outsider perspective on where we are as

1696
01:33:57,000 --> 01:34:00,720
Speaker 3: a culture, and it may realize the the errors of

1697
01:34:00,800 --> 01:34:04,960
Speaker 3: our way, the dangers that we're bound to encounter, and

1698
01:34:05,200 --> 01:34:07,360
Speaker 3: that we're kind of looking to UFOs as kind of

1699
01:34:07,439 --> 01:34:13,160
Speaker 3: a divine entity or conversely an infernal entity that will

1700
01:34:13,240 --> 01:34:17,240
Speaker 3: either help us and help us choose the right direction

1701
01:34:17,560 --> 01:34:20,400
Speaker 3: or judge us for the direction we've chosen thus far.

1702
01:34:20,880 --> 01:34:23,040
Speaker 1: Yeah, I think I could get down with that. Another

1703
01:34:23,560 --> 01:34:25,240
Speaker 1: last thing I will have to say this time is

1704
01:34:25,320 --> 01:34:29,240
Speaker 1: that I really think you can't overstate the importance of

1705
01:34:29,400 --> 01:34:34,040
Speaker 1: the Chriswell framing in establishing the self important tone of

1706
01:34:34,160 --> 01:34:38,240
Speaker 1: the movie that like, the movie thinks that it is

1707
01:34:38,680 --> 01:34:42,679
Speaker 1: powerful and perhaps world changing. It's like I'm trying to imagine,

1708
01:34:42,840 --> 01:34:48,880
Speaker 1: like imagine if the Room started and ended with monologues

1709
01:34:49,160 --> 01:34:52,320
Speaker 1: about how this movie will change the world, and the

1710
01:34:52,360 --> 01:34:54,679
Speaker 1: monologues are from like the Long Island Medium.

1711
01:34:56,560 --> 01:35:00,960
Speaker 3: Yeah. Yeah, there's a self importance to the picture. It

1712
01:35:01,040 --> 01:35:04,400
Speaker 3: feels like it's tapping into the now that it's you know,

1713
01:35:04,479 --> 01:35:06,200
Speaker 3: it's like, this is stuff that's happening, and people are

1714
01:35:06,240 --> 01:35:09,560
Speaker 3: talking about UFOs. There's something going on. You know. We

1715
01:35:09,720 --> 01:35:13,200
Speaker 3: we have issues with with where we are as a people.

1716
01:35:13,280 --> 01:35:15,479
Speaker 3: We have concerns about the future and about the state

1717
01:35:15,520 --> 01:35:19,120
Speaker 3: of technology, and so this film is like, yeah, we're

1718
01:35:19,160 --> 01:35:21,840
Speaker 3: really tapping into all that. We have something to say.

1719
01:35:22,240 --> 01:35:25,200
Speaker 3: Get Dudley Man love on the phone. We're going to

1720
01:35:25,240 --> 01:35:26,240
Speaker 3: cast him in this picture.

1721
01:35:26,560 --> 01:35:29,479
Speaker 1: Okay, I think that's we've got to We've got to end.

1722
01:35:31,640 --> 01:35:33,880
Speaker 3: Yeah, there's so much here, and we'd love to hear

1723
01:35:33,920 --> 01:35:36,439
Speaker 3: from everyone out there, everyone who has loved plann NINGE

1724
01:35:36,479 --> 01:35:40,559
Speaker 3: from Outer Space in the past, and perhaps you haven't

1725
01:35:40,600 --> 01:35:42,680
Speaker 3: seen it before, like now's the time, and maybe you're

1726
01:35:42,720 --> 01:35:45,320
Speaker 3: inspired by our thoughts here. We would love to hear

1727
01:35:45,400 --> 01:35:48,200
Speaker 3: your thoughts on it as well. Perhaps there's some particular

1728
01:35:49,560 --> 01:35:53,240
Speaker 3: moment or line in the picture that really is close

1729
01:35:53,280 --> 01:35:56,120
Speaker 3: to your heart that we didn't mention write in. We'd

1730
01:35:56,160 --> 01:35:58,680
Speaker 3: love to hear from you, and we'll discuss this in

1731
01:35:58,760 --> 01:36:01,599
Speaker 3: a future episode of Your Male. Oh and I should

1732
01:36:01,600 --> 01:36:04,160
Speaker 3: point out when it comes to where to find Plan

1733
01:36:04,240 --> 01:36:05,920
Speaker 3: nine from Outer Space, Luckily you can find in a

1734
01:36:05,960 --> 01:36:09,000
Speaker 3: lot of places these days. There are various DVD and

1735
01:36:09,400 --> 01:36:12,479
Speaker 3: perhaps even Blu ray releases that are available. I know

1736
01:36:12,760 --> 01:36:16,400
Speaker 3: that there was a recent colorization of the picture, but

1737
01:36:16,880 --> 01:36:19,040
Speaker 3: I rewatched it in black and white. I feel like

1738
01:36:19,120 --> 01:36:21,519
Speaker 3: it needs to be in black and white. But hey,

1739
01:36:21,880 --> 01:36:24,599
Speaker 3: if colorization is what gets you there, then fair enough,

1740
01:36:24,680 --> 01:36:25,360
Speaker 3: go ahead and do it.

1741
01:36:25,920 --> 01:36:28,800
Speaker 1: I'm a purist about this, don't meddle with Plan nine.

1742
01:36:31,280 --> 01:36:34,040
Speaker 3: Yeah, I mean there's something about those gothic scenes in

1743
01:36:34,080 --> 01:36:36,720
Speaker 3: the cemetery, right, I mean those have to be in

1744
01:36:36,760 --> 01:36:39,080
Speaker 3: black and white. I mean I assume Vampira and Tor

1745
01:36:39,560 --> 01:36:42,280
Speaker 3: were in black and white in real life. I can't

1746
01:36:42,320 --> 01:36:45,679
Speaker 3: imagine them as flesh and blood color entities. It's certainly

1747
01:36:45,760 --> 01:36:48,479
Speaker 3: not in this picture, all right. As always, you can

1748
01:36:48,560 --> 01:36:50,720
Speaker 3: check out other episodes of Weird House Cinema in the

1749
01:36:50,720 --> 01:36:53,320
Speaker 3: Stuff to Blow your Mind podcast feed every Friday. We're

1750
01:36:53,400 --> 01:36:55,960
Speaker 3: primarily a science podcast, but Fridays are our time to

1751
01:36:56,000 --> 01:36:58,160
Speaker 3: set aside most serious concerns and just talk about a

1752
01:36:58,200 --> 01:37:01,519
Speaker 3: weird film again. And I'll post some of the various

1753
01:37:01,800 --> 01:37:05,719
Speaker 3: multimedia tie ins that we discussed here on the blog

1754
01:37:05,760 --> 01:37:08,800
Speaker 3: post for this episode at simmutemusic dot com. Also, if

1755
01:37:08,840 --> 01:37:11,240
Speaker 3: you are on letterboxed, and I recommend you get on

1756
01:37:11,280 --> 01:37:12,600
Speaker 3: there because it's a lot of fun. If you're a

1757
01:37:12,600 --> 01:37:15,760
Speaker 3: film fan, we are on letterboxed as well. Our user

1758
01:37:15,840 --> 01:37:18,240
Speaker 3: name is weird House, so you can follow us there.

1759
01:37:18,240 --> 01:37:20,200
Speaker 3: You can also pull up a cool list that has

1760
01:37:20,320 --> 01:37:23,640
Speaker 3: all of the movies that we've watched in order. You

1761
01:37:24,200 --> 01:37:26,040
Speaker 3: can do things like divide them up and look at

1762
01:37:26,080 --> 01:37:28,880
Speaker 3: them by genre. And decade and so forth, and you

1763
01:37:28,920 --> 01:37:30,680
Speaker 3: can often get a little peek ahead and see what

1764
01:37:30,800 --> 01:37:31,880
Speaker 3: we're discussing next.

1765
01:37:32,320 --> 01:37:35,400
Speaker 1: Huge thanks as always to our excellent audio producer Seth

1766
01:37:35,520 --> 01:37:37,920
Speaker 1: Nicholas Johnson. If you would like to get in touch

1767
01:37:38,000 --> 01:37:40,519
Speaker 1: with us with feedback on this episode or any other,

1768
01:37:40,840 --> 01:37:42,880
Speaker 1: to suggest a topic for the future, or just to

1769
01:37:42,920 --> 01:37:45,720
Speaker 1: say hello, you can email us at contact Stuff to

1770
01:37:45,760 --> 01:37:47,040
Speaker 1: Blow your Mind dot com.

1771
01:37:54,240 --> 01:37:57,160
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1772
01:37:57,280 --> 01:37:59,960
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app.

1773
01:38:00,240 --> 01:38:02,960
Speaker 2: Apple podcasts are wherever you listen to your favorite shows.