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

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Speaker 1: and we have an older episode for you here today.

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Speaker 1: This one originally published for 16, 2021. It is our

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Speaker 1: look at 1972's Frogs, starring a young, sexy Sam Elliott

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Speaker 1: and just a whole bunch of reptiles and amphibians. It

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Speaker 1: is a bona fide Florida movie. We really enjoyed watching

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Speaker 1: this one, recording this episode, and I just kind of

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Speaker 1: forgotten about it for a while. So happy to revisit

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Speaker 1: it here for you today.

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

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

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Speaker 3: And I'm Joe McCormick. And today we're going to wander

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Speaker 3: into the swamp and get a little bit muddy. Rob,

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Speaker 3: the movie that we're doing today, you picked out because

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Speaker 3: of some recent Florida Brain inspiration.

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Speaker 1: That's right. I was in Florida over spring break, and

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Speaker 1: it just got me inspired. I just really wanted to

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Speaker 1: do a Florida movie. Maybe it was driving through Tate's

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Speaker 1: Hell or driving out through Tate's Hell. I'm not sure

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Speaker 1: which of the two. But I started brainstorming. I was thinking, okay,

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Speaker 1: what are the Florida movies? And we may come back

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Speaker 1: to some of the other ones that were knocking around

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Speaker 1: in my head. But then I started thinking about and

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Speaker 1: reading about a particular 1972 film, titled Frogs. And when

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Speaker 1: I looked into it, I realized this is a movie

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Speaker 1: that is set in Florida. It was filmed in Florida

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Speaker 1: in its entirety. This is the film we have to do.

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Speaker 1: So this is our first Nature Strikes Back film, but

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Speaker 1: it's also our first Florida film. I think it's our

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Speaker 1: first Nature Strikes Back film.

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Speaker 3: I guess I can't think of another one, but I

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Speaker 3: find it hard to believe we've made it this far

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Speaker 3: on Weird House Cinema without doing a Nature Strikes Back movie.

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Speaker 3: The classic Nature Strikes Back movie has one sort of

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Speaker 3: giant animal that represents nature's revenge against humanity for, I

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Speaker 3: don't know, for having cities or for polluting nature or

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Speaker 3: something like that, for doing something that is violating the

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Speaker 3: sanctity of the natural world. And then we're punished by monsters.

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Speaker 3: This movie has more of a distributed strike back policy.

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Speaker 1: Yeah, that's right. Yeah, I would say, yeah, Nature Strikes

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Speaker 1: Back films tend to go either a swarm route or

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Speaker 1: a war by champion route. But this was a huge deal,

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Speaker 1: especially in the 70s. This was a decade that gave

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Speaker 1: us Piranha, Prophecy, that's a mutant bear film, Alligator, Grizzly,

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Speaker 1: Empire of the Ants, The Swarm, Killer Bees, Willard, that's

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Speaker 1: a Orca, that's a killer whale movie. Squirm, that's an

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Speaker 1: earthworm movie that's excellent. That's a Georgia movie, though. Maybe

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Speaker 1: we'll come back to that eventually. And, of course, we

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Speaker 1: also got Jaws out of this. So out of Nature

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Speaker 1: Strikes Back, the summer blockbuster itself was born.

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Speaker 3: Okay, yeah. Well, so I would say with Jaws, I

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Speaker 3: don't particularly see the element of, like, humanity provoking the thing. Like,

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Speaker 3: you know, you're seeing– Jaws would be a very different movie.

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Speaker 3: if it started by showing like radioactive barrels in the

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Speaker 3: surf and then everything else was the same. So I

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Speaker 3: think in Jaws, Jaws weirdly is like the best movie

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Speaker 3: of the bunch, but it's also like the least defensible

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Speaker 3: from a moral point of view because it's just like, well,

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Speaker 3: this shark's just, it's just an animal, but it's huge

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Speaker 3: and bad.

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Speaker 4: Yeah. Yeah.

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Speaker 3: But yeah, there are so many movies like this. And

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Speaker 3: I was actually just thinking while you were listing those

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Speaker 3: movies there, Have you ever seen the William Shatner tarantula

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Speaker 3: attack movie Kingdom of the Spiders?

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Speaker 1: I don't think I've seen it in its entirety, but

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Speaker 1: I'm sure I caught part of it on TNT back

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Speaker 1: in the day or something.

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Speaker 3: Yeah, I was trying to remember if that one has

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Speaker 3: any element of like nature being, if the spiders are

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Speaker 3: provoked by humanity in any way, or if they just start,

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Speaker 3: you know, multiplying out of nowhere.

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Speaker 1: Yeah, I guess in general, you might think of Nature

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Speaker 1: Strikes Back films as sort of being the cinematic outpouring

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Speaker 1: of of the public awakening to the damage that we

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Speaker 1: are doing to the planet and its natural environments and

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Speaker 1: the creatures and the various species that make it up. Though,

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Speaker 1: given that we're dealing with genre films and often be pictures,

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Speaker 1: it's sort of a, I don't know, you often get

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Speaker 1: the impression it's kind of a sense of like, oh, well,

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Speaker 1: let's explore this in B-movie so we don't have to

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Speaker 1: think about it anymore, you know? Or here's the imagined revenge. Okay,

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Speaker 1: now we're good. Now we can go back to the

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Speaker 1: polluting ways.

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Speaker 3: Yeah, I would say that it actually comes in a

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Speaker 3: couple of waves. So you see something that is like

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Speaker 3: a precursor to nature strikes back films in the 1950s,

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Speaker 3: but there it's all atomic panic. Like it's the... the

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Speaker 3: contaminating human behavior that precipitates the giant animal attack is

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Speaker 3: some kind of nuclear testing. It's nuclear research, nuclear waste dumping,

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Speaker 3: nuclear weapons testing. And for quite understandable reasons, that was

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Speaker 3: on people's mind in the 1950s. But I think there

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Speaker 3: was a shift in the 1960s away from the contamination

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Speaker 3: being nuclear in nature to being primarily chemical in nature.

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Speaker 3: And I think This probably had something to do with,

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Speaker 3: you know, Silent Spring came out in the 60s and

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Speaker 3: that sort of alerted people to ideas about pesticides and other,

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Speaker 3: you know, chemical contamination of nature. So the strain of

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Speaker 3: nature strikes back movies you start seeing in the 60s

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Speaker 3: and 70s, I think, is more like that. There's like

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Speaker 3: pollution of various kinds. There's smog. There's like something gross

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Speaker 3: running out of a pipe. And then you get giant

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Speaker 3: alligators that eat people or something.

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Speaker 4: Yeah.

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Speaker 1: And I would say that ultimately the film we're going

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Speaker 1: to discuss today, Frogs, is probably one of the more

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Speaker 1: intelligent versions of this in that it is not a

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Speaker 1: single incident causing a single incident of nature strikes back.

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Speaker 1: It is, as we grow to learn throughout the film,

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Speaker 1: seems to be a global reaction event. to not a

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Speaker 1: specific event or even a specific technology, but to our

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Speaker 1: way of life. And in that, it ultimately is perhaps

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Speaker 1: a more nuanced commentary on our relationship with the natural world.

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Speaker 3: Yeah, yeah, yeah. I like it. The way I was

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Speaker 3: thinking of it was it's bio maximum overdrive.

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Speaker 4: Yeah.

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Speaker 3: Oh, yeah.

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Speaker 1: I read somewhere, it wasn't in reference to maximum overdrive,

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Speaker 1: but I know Stephen King saw frogs and I believe

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Speaker 1: he was a fan of it. I think Oh, now

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Speaker 1: I remember what it was. It was something about when

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Speaker 1: he was writing The Shining, he was trying to decide

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Speaker 1: between doing topiary animals and a hedge maze. And frogs

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Speaker 1: was what convinced him that it needed to be topiary

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Speaker 1: animals chasing people. Something about like you look around and

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Speaker 1: there are animals everywhere, I guess.

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Speaker 3: Wait, what was the other option? You said topiary animals

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Speaker 3: and a hedge maze, but the book has both.

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Speaker 1: Or a hedge maze.

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Speaker 3: Wait, doesn't the book have both?

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Speaker 1: I mainly remember the topiary animals from the book. I

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Speaker 1: don't remember. It's been a long time. I was basically

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Speaker 1: a kid when I read The Shining.

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Speaker 3: Yeah, me too.

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Speaker 1: I believe it was lacking a maze, or at least

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Speaker 1: the maze was not the central threat. And then of Kubrick,

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Speaker 1: in his adaptation, decided to go full maze.

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Speaker 3: That makes sense. OK, yeah. But the topiary animals, they're

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Speaker 3: like bushes that are shaped like lions and stuff that

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Speaker 3: literally like they come after Danny in the book to

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Speaker 3: attack him.

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Speaker 1: And somehow the frogs helped inspire King to go in

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Speaker 1: the animal bush direction. Very good.

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Speaker 3: Very good choice, Stephen. Okay, so I guess we've done

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Speaker 3: enough setup to hit the trailer audio. Florida's natural wildlife

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Speaker 3: rebels against humanity in its early 70s environmental horror film.

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Speaker 3: Let's hear that audio.

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Speaker 4: Suppose nature gave a war and everybody came. The snakes,

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Speaker 4: the birds, the lizards and frogs. And suppose that the polluters,

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Speaker 4: the species on earth called man, were the enemy in

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Speaker 4: that war. I still believe man is master of the world.

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Speaker 4: And then, suppose that the human race lost. Help!

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Speaker 1: Oh, yeah, that's so good. I'm going to grab my

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Speaker 1: thermos here of Florida tap water that I brought back

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Speaker 1: from the beach. Delicious. All right. Well, let's talk about

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Speaker 1: some of the people involved in this film. Let's start

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Speaker 1: where we tend to start. Let's start talking about the director.

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Speaker 1: It is a Canadian director. uh, this time, which on

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Speaker 1: one hand you might say, well, why not a Floridian?

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Speaker 1: Why is a Florida Floridian not directing this thing? But

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Speaker 1: then on the other hand, I feel like it makes

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Speaker 1: sense that a Canadian would come to Florida and perhaps

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Speaker 1: that would, uh, that would enable this like leaning into the,

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Speaker 1: the ravenous nature of the Floridian wildlife, you know, uh,

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Speaker 1: not that you don't have some pretty rough and buggy

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Speaker 1: environments in Canada. You certainly do. Uh, but I don't know,

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Speaker 1: in my back of my mind, I'm thinking like, here's this, uh,

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Speaker 1: This Canadian director, George McCowan, showing up and he's just like, oh,

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Speaker 1: my God, this this place is is hellish. This is

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Speaker 1: the perfect setting. It seems like the wild, the wilderness

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Speaker 1: is just trying to consume me at all times.

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Speaker 4: Right.

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Speaker 3: Mosquitoes the size of hummingbirds, just like gators at every turn.

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Speaker 3: You can imagine the the like, uh, sort of the anthropologists'

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Speaker 3: level of distance and remove from looking at Florida like that,

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Speaker 3: but also with an added sense of horror in this lush, wet,

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Speaker 3: humid environment that's full of beasts.

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Speaker 1: Yeah, because I love Florida, and Florida has tremendous wildlife,

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Speaker 1: but I've gone on nature walks in the heat of

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Speaker 1: the summer in Florida before, and it is kind of

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Speaker 1: frightening at times. Oppressive might be a better word.

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Speaker 3: You know, sometimes this movie has a ridiculous amount of

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Speaker 3: like large tetrapod animals in various scenes, like, you know,

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Speaker 3: a number of frogs that I'm sorry is implausible, but

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Speaker 3: that's OK. But but the other end of it is

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Speaker 3: that it doesn't have enough insects. There are like scenes

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Speaker 3: where people are eating outdoors and it's July in Florida

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Speaker 3: and they're not being swarmed by insects. You don't see anything.

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Speaker 1: Yeah.

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Speaker 3: Yeah.

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Speaker 1: I couldn't find anything about when they exactly filmed this

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Speaker 1: in Florida. It is set on the July 4th weekend

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Speaker 1: or something. But there's no way this is this is

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Speaker 1: July in Florida like this. Again, like you say, these

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Speaker 1: scenes with people outside, there would just be bugs everywhere

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Speaker 1: like you wouldn't be able to film it. They must

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Speaker 1: have they must have filmed this in one of the

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Speaker 1: cooler months for sure. Also, there's not a steady sheen

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Speaker 1: of sweat on all the actors at all times.

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Speaker 3: Oh, yeah, that's funny, too. Yeah, they're all relatively dry,

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Speaker 3: except when they're supposed to be wet from having fallen

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Speaker 3: in the disgusting lake water.

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Speaker 1: Yes.

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Speaker 3: But, okay, so who's this guy, George McCowan, the director?

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Speaker 1: All right, he lived 1927 through 1995. He did a

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Speaker 1: lot of TV work. He also directed the 1979 sci-fi

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Speaker 1: film The Shape of Things to Come, starring Jack Palance.

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Speaker 1: I think I watched a riff track version of this. I,

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Speaker 1: or maybe it was something else I thought, but I've

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Speaker 1: seen this when one form or another, uh.

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Speaker 3: Just makes me think of the, the line in the

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Speaker 3: mortal combat movie, the Paul WS Anderson one from the

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Speaker 3: nineties where, where Shang Tsung says now for a taste

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Speaker 3: of things to come. Do you remember that scene?

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Speaker 1: Yeah.

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Speaker 3: The drums going and the guy with the sock on

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Speaker 3: his head gets shattered.

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Speaker 1: It's a great, great sample too. Um, So now here's

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Speaker 1: the main thing I knew McGowan from. He directed a

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Speaker 1: lot of, if not all, the episodes of the Canadian

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Speaker 1: broadcasting series Seeing Things, which ran on CBC from 1981

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Speaker 1: through 1987. And as a kid in Canada, I remember

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Speaker 1: watching this show with my family. It was basically a

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Speaker 1: murder mystery of the week show with a psychic reporter

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Speaker 1: doing all of the crime-solving. It's funny.

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Speaker 3: I clicked through to this on IMDb. I've never seen this,

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Speaker 3: but immediately it just showed me a gigantic picture of

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Speaker 3: the guy from Scanners.

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Speaker 4: Yep.

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Speaker 1: Louis Del Grande, a Canadian actor best known as that bald,

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Speaker 1: mustachioed guy whose head gets blown up in that one scene.

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Speaker 1: Blown up by John– not John Saxon. Michael Ironside.

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Speaker 3: Michael Ironside, yeah.

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Speaker 4: Yeah.

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Speaker 1: Both very strong names, you know.

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Speaker 3: Yeah.

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Speaker 1: But yeah, he was also in this show and was

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Speaker 1: one of the creators of this series, Seeing Things. It

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Speaker 1: had a really snazzy theme song. That's the main thing

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Speaker 1: I remember from when I was a kid. And I

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Speaker 1: was trying to figure this out. Scanners and Seeing Things

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Speaker 1: both debuted in 1981, both about psychics, both with this

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Speaker 1: same actor. But I don't know how the connective tissue

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Speaker 1: between the two shows worked. I always kind of assumed

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Speaker 1: that this dude's head blew up in scanners and he's like,

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Speaker 1: I can turn this into a six season series on

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Speaker 1: CPC and pitched it as such. I suspect that might

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Speaker 1: be how it went, but I don't know. The timing

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Speaker 1: is very close.

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Speaker 3: Wait, there's no heads blowing up in the show. It's

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Speaker 3: just that he would be playing a psychic of some kind.

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Speaker 1: You mean? Yeah. He would like try and solve a

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Speaker 1: mystery and then he'd get a, like a premonition. He'd

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Speaker 1: get like a vision and then he'd keep solving the mystery.

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Speaker 1: And then there'd be another vision. Um, That seemed to

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Speaker 1: be how things worked. And I remember digging it for

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Speaker 1: some reason as a child, but I was like in kindergarten.

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Speaker 3: Wait, if he's a psychic reporter, how does that work

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Speaker 3: at the newspaper? Like, can he just get a vision

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Speaker 3: and then report that in his column or does he

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Speaker 3: have to source it somehow?

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Speaker 1: You've got to get a second source on that. I

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Speaker 1: think that's the standard AP route to take. All right.

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Speaker 1: Writers on this piece, getting back to frogs here. Mm-hmm.

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Speaker 1: Robert Hutchison and Robert Bleas. Not much really to report here,

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Speaker 1: but Bleas wrote a bit for TV, Project UFO, and

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Speaker 1: he wrote Dr. Fibes Rises Again. So that's worth noting.

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Speaker 3: I think several listeners have asked us to feature Dr.

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Speaker 3: Fibes on Weird House at some point.

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Speaker 1: So yeah, maybe we'll have to come back to that.

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Speaker 4: All right.

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Speaker 1: But let's get to the main beefcake in this particular movie.

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Speaker 3: Well, it's our hero. The character's name is Pickett Smith,

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Speaker 3: and he is played by the one, the only, the stranger,

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Speaker 3: Sam Elliott.

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Speaker 1: That is right. Yeah. So Sam Elliott, born in 1941,

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Speaker 1: very much still active and getting Oscar nominations and the

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Speaker 1: like in recent years. Um, but in this picture, he

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Speaker 1: was only 31 years old. He was just full of

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Speaker 1: handsome and swagger, occasionally shirtless and with no mustache whatsoever.

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Speaker 1: So if you're, if you're afraid of seeing Sam Elliott

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Speaker 1: without a mustache, um, I don't know, I guess you

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Speaker 1: might want to steer clear of this picture, but there's

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Speaker 1: nothing to be afraid of. He's still, he's still the

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Speaker 1: Sam Elliott, you know, in love. He's still got that charm.

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Speaker 1: He's got that swagger. Um, He was previously in a

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Speaker 1: string before this. He was in a string of TV

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Speaker 1: movies and TV series. He had a bit role in

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Speaker 1: 1969's Butch Cassidy and the Sundance Kid as his card

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Speaker 1: player number two. But but this was one of his

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Speaker 1: his early starring roles.

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Speaker 3: He's so handsome in this movie. It's hilarious.

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Speaker 1: Yeah. I mean, he's just he's just really cool in

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Speaker 1: the film. Like he's. There are a lot of other

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Speaker 1: performances in the film that are maybe a little bit

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Speaker 1: more mixed. Either they're too hammy or they're they're too dry.

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Speaker 1: You know, they're a little bit too non-actory. But Elliot

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Speaker 1: just strives with confidence through this picture. And you buy

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Speaker 1: everything he's saying, every scene he's in. He helps hold

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Speaker 1: the film together.

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Speaker 3: There really are no characters with any complexity in this movie,

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Speaker 3: but I would say that the characterizations in a very

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Speaker 3: shallow horror movie way are very fun. They're like good

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Speaker 3: in that two-dimensional sense or one-dimensional. What's the term there?

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Speaker 3: One-dimensional sense. Like it doesn't have character complexity, but it

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Speaker 3: has very well-drawn shallow horror characters.

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Speaker 1: Yeah. Sam Elliott is not a cowboy in this, nor

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Speaker 1: is he a philosophic bouncer like we would see in

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Speaker 1: 1989's Roadhouse. But he is a freelance photographer, nature photographer.

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Speaker 1: And that is it's kind of like being a cowboy.

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Speaker 1: So he still has that that kind of free range

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Speaker 1: and vibe in it when it works. Yeah, yeah.

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Speaker 3: He's a loner. He doesn't need anybody's help. He's the strong,

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Speaker 3: silent type. I mean, he Most of his lines in

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Speaker 3: this movie barely register if you were to look at

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Speaker 3: an audiogram of them. The character says something to Sam

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Speaker 3: Elliott and he's like, mm-hmm.

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Speaker 4: Yeah.

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Speaker 1: Yeah, yeah. A bit monotone, I guess. But yet there's

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Speaker 1: still a lot of personality there. I don't know. He's

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Speaker 1: able to pull it off. I mean, that's probably the

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Speaker 1: key here. That's why he went on to become such

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Speaker 1: a cinematic icon.

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Speaker 3: Oh, yeah. I mean, he's just got like pyramids of charisma.

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Speaker 4: Yeah.

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Speaker 1: So we should note that he's really busting out all

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Speaker 1: the the 1972 fashions in this one He spends a

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Speaker 1: lot of the time in the film strolling around in

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Speaker 1: an all denim wardrobe. So denim long-sleeve shirt Denim pants

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Speaker 1: no belt and the pants are just are so tight

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Speaker 1: that he's essentially naked like if he had a if

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Speaker 1: he had a set of car keys or a set

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Speaker 1: of house keys in his pocket you could have taken

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Speaker 1: a still from this picture and to your local Lowe's

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Speaker 1: or Home Depot, and they could have reproduced the key

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Speaker 1: for you.

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Speaker 3: Yes.

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Speaker 4: Yeah.

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Speaker 3: You're wondering like, are those jeans or is that just

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Speaker 3: body paint?

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Speaker 1: Yeah, exactly. All right. We'll have more to say on

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Speaker 1: Sam Elliott throughout this episode, but let's get on to

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Speaker 1: the villain of the piece. Not the frogs, but Ray Milland.

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Speaker 3: He's perfect. He's just this grumpy, nasty, hateful old creep.

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Speaker 4: Yep.

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Speaker 1: Yep. Wealthy patriarch of this Floridian family. Um, Hates nature

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Speaker 1: unless it looks good on a wall in his trophy room,

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Speaker 1: that sort of thing. Very much thinks that nature should

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Speaker 1: be crushed under the heel of human progress and wealthy excess.

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Speaker 1: So it's, again, a very cardboard role, but he does

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Speaker 1: it well. Milan is another screen legend. He's done a

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Speaker 1: ton of pictures in TV shows over the years. His

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Speaker 1: biggest roles were probably 1945's The Lost Weekend, 1954's Dial

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Speaker 1: M for Murder, 1944's The Uninvited, but he also did

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Speaker 1: some really choice genre picture work as well. He was

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Speaker 1: in 73's Terror in the Wax Museum. And he was

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Speaker 1: in Roger Corman's 1963 film X, The Man with the

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Speaker 1: X-Ray Eyes.

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Speaker 3: Ah, I've watched this movie on mute before. I've been

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Speaker 3: thinking we should maybe come back to it and watch

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Speaker 3: it with the sound. It's pretty fun, or at least

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Speaker 3: looks fun. I don't know what they say.

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Speaker 1: Yeah. I did read that apparently Ray Milan did not

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Speaker 1: enjoy making this picture.

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Speaker 4: Oh, really?

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Speaker 1: Yeah, he wore a hairpiece for it and was like

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Speaker 1: sweating constantly. And I think actually they left the production early.

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Speaker 1: So there's a pivotal scene at the very end, which

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Speaker 1: I think they had to depend on a lot of

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Speaker 1: body doubles for.

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Speaker 3: Oh, it's like the Marlboro Man in Not of This Earth, right?

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Speaker 3: He got mad. at his prosthetics and the shooting conditions

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Speaker 3: and just left. But they're like, yeah, we'll work around it.

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Speaker 1: But maybe that's I mean, he's so good in this.

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Speaker 1: Perhaps part of it is he was using his actual

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Speaker 1: irritation and rage at being stuck in Florida doing this picture.

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Speaker 4: I don't know.

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Speaker 3: Yeah, so he plays this guy named Jason Crockett who

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Speaker 3: is the grandpa of this giant family who provide most

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Speaker 3: of the characters in the film who live in a

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Speaker 3: mansion at the side of a– I don't know if

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Speaker 3: it's a lake or a river. It's in the swamp

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Speaker 3: in Florida. And I don't know why exactly you would

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Speaker 3: decide to live at a lakeside mansion in a swamp

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Speaker 3: in Florida if your main character traits– well, I mean

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Speaker 3: I guess his main character trait is just that he's

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Speaker 3: grumpy and he hates everything and everyone. But on top

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Speaker 3: of that, his next major character trait is that he

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Speaker 3: hates nature.

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Speaker 1: Yeah.

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Speaker 3: What are you doing out there?

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Speaker 4: Yeah.

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Speaker 1: Well, I mean, I think you'll find examples of this everywhere, though, right?

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Speaker 1: You know, somebody builds a mansion in a swamp and

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Speaker 1: then expects that nature is just going to cooperate with

396
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Speaker 1: your presence and the degree to which you've unbalanced the

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Speaker 1: immediate surroundings.

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Speaker 4: Yeah.

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Speaker 1: All right. Next actor of note, Joan Van Ark is

400
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Speaker 1: in this playing Karen Crockett, one of the Crockett children

401
00:21:08,040 --> 00:21:11,060
Speaker 1: in this family. She was a Knott's Landing actor who

402
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Speaker 1: was also in 1977's The Last Dinosaur.

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Speaker 3: Yeah, I guess here we're getting into the segment of

404
00:21:16,980 --> 00:21:19,859
Speaker 3: the cast where there are a lot of cousins. I mean,

405
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Speaker 3: as the tarantulas and gators and frogs swarm in this movie,

406
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Speaker 3: so does the movie Swarm with Cousins. There are too

407
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Speaker 3: many cousins and you lose track of the cousins, but

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Speaker 3: Karen is one of them.

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Speaker 4: Yeah.

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00:21:31,119 --> 00:21:34,240
Speaker 1: Yeah. You get them confused. I couldn't keep everybody straight.

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Speaker 3: But she's part of the Crockett brood here. She's one

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Speaker 3: of the many cousins. And this actress, Joan Van Ark,

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Speaker 3: I was looking her up. She did a lot of

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Speaker 3: TV work. She did like soap operas and some mainstream

415
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Speaker 3: TV stuff like that. The same year she was in Frogs, though,

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Speaker 3: I found that she was also in an episode of

417
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Speaker 3: The Night Gallery. It was an episode called The Ring

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Speaker 3: with the Red Velvet Ropes. You know this one, Rob?

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Speaker 1: I don't know this one. You mentioned this one's a

420
00:22:01,840 --> 00:22:02,459
Speaker 1: boxing one?

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00:22:02,940 --> 00:22:03,200
Speaker 4: Yeah.

422
00:22:03,240 --> 00:22:03,939
Speaker 1: Boxing episode?

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00:22:04,140 --> 00:22:07,390
Speaker 3: So the premise is there. Oh, I've forgotten the main

424
00:22:07,450 --> 00:22:09,850
Speaker 3: actor's name. There's a guy who plays a boxer in

425
00:22:09,910 --> 00:22:12,410
Speaker 3: it who is either right before or right after a match.

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Speaker 3: I don't remember. He's like in his locker room. And

427
00:22:14,410 --> 00:22:17,950
Speaker 3: then somehow he gets magically transported to this eerie other

428
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Speaker 3: dimension with a hotel in it where he is approached

429
00:22:21,750 --> 00:22:25,080
Speaker 3: by Chuck Connors and his wife played by Joan Van Arck.

430
00:22:25,500 --> 00:22:28,359
Speaker 3: And they are trying to convince him to box Chuck

431
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Speaker 3: Connors in this other dimension. And I don't know why.

432
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Speaker 3: I think there's a twist ending. It's probably like, oh,

433
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Speaker 3: he's in purgatory or something. You know, one of those.

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Speaker 1: Ah, well, you know who it is. I just looked

435
00:22:38,640 --> 00:22:41,869
Speaker 1: it up. It's Gary Lockwood playing the central character in

436
00:22:41,910 --> 00:22:43,770
Speaker 1: that Night Gallery episode. So neat.

437
00:22:43,790 --> 00:22:45,350
Speaker 3: I don't know. Wait, who's Gary Lockwood?

438
00:22:46,010 --> 00:22:48,630
Speaker 1: He was in 2001 A Space Odyssey. He played Dr.

439
00:22:48,670 --> 00:22:49,369
Speaker 1: Frank Poole.

440
00:22:50,150 --> 00:22:53,290
Speaker 3: Oh, okay. All right now. Yeah, well, so he's punching

441
00:22:53,330 --> 00:22:53,810
Speaker 3: in this one.

442
00:22:54,170 --> 00:22:54,470
Speaker 1: All right.

443
00:22:54,950 --> 00:22:57,130
Speaker 3: Oh, but one last thing. Joan Van Ark, I also

444
00:22:57,190 --> 00:22:59,630
Speaker 3: found a credit where she was apparently doing some voice

445
00:22:59,730 --> 00:23:02,969
Speaker 3: acting in Fallout 4. Like she plays several characters, including

446
00:23:03,040 --> 00:23:06,460
Speaker 3: some character named Dr. Rosalind Chambers. You remember her? I don't.

447
00:23:06,619 --> 00:23:09,200
Speaker 1: I don't remember her. I played Fallout 4, but yeah,

448
00:23:09,500 --> 00:23:12,800
Speaker 1: good for her. Get that voice acting money. So it's funny.

449
00:23:12,820 --> 00:23:15,420
Speaker 3: She was in Frogs, but then we also have plenty

450
00:23:15,460 --> 00:23:18,230
Speaker 3: of audio of her talking about synths and stuff.

451
00:23:20,369 --> 00:23:23,510
Speaker 1: All right. Let's hit another member of the Crockett family here.

452
00:23:23,550 --> 00:23:24,290
Speaker 3: Cousin number two.

453
00:23:24,830 --> 00:23:29,020
Speaker 1: Yeah, this is Clint, played by Adam Rourke. This is

454
00:23:29,100 --> 00:23:31,080
Speaker 1: basically a Brooklyn tough guy actor who did a lot

455
00:23:31,119 --> 00:23:33,720
Speaker 1: of work in the 60s, especially. In this, he plays

456
00:23:33,780 --> 00:23:37,859
Speaker 1: a speedboat-driving, beer-chugging, meathead son of the Crockett patriarch.

457
00:23:38,260 --> 00:23:42,409
Speaker 3: He's like the uncle character in Napoleon Dynamite, right? He's

458
00:23:42,470 --> 00:23:45,310
Speaker 3: obsessed with his former football career, and he goes around

459
00:23:45,350 --> 00:23:50,030
Speaker 3: trying to bully people. He seems to want to be

460
00:23:50,090 --> 00:23:53,700
Speaker 3: the alpha who dominates all of his other cousins, right?

461
00:23:54,190 --> 00:23:57,639
Speaker 1: Yeah, and is just waiting for the day when he

462
00:23:57,680 --> 00:23:59,480
Speaker 1: can inherit something from Grandpa.

463
00:23:59,619 --> 00:24:01,420
Speaker 3: That's right, too. Yeah, he's like, we got to play

464
00:24:01,480 --> 00:24:04,980
Speaker 3: our cards right to get stuff. But I remember there's

465
00:24:05,020 --> 00:24:07,660
Speaker 3: a scene where he starts saying, I got to play

466
00:24:07,680 --> 00:24:09,510
Speaker 3: my cards right so I can get that money when

467
00:24:09,550 --> 00:24:13,910
Speaker 3: Grandpa dies. But the thing he's explaining by saying that

468
00:24:14,070 --> 00:24:16,629
Speaker 3: is why he's got to be out in the boat

469
00:24:16,850 --> 00:24:19,810
Speaker 3: drunk on beer all day. So I don't know why.

470
00:24:20,130 --> 00:24:22,510
Speaker 3: That's what he thinks Grandpa expects of him in order

471
00:24:22,530 --> 00:24:23,490
Speaker 3: to get his inheritance.

472
00:24:23,520 --> 00:24:23,619
Speaker 1: Yeah.

473
00:24:24,500 --> 00:24:27,120
Speaker 3: I will also say in this movie, sometimes Adam Rourke

474
00:24:27,240 --> 00:24:28,320
Speaker 3: sort of looks like a Baldwin.

475
00:24:28,700 --> 00:24:30,920
Speaker 1: Yeah, yeah. At times he does have that Baldwin look.

476
00:24:31,460 --> 00:24:31,659
Speaker 4: All right.

477
00:24:31,680 --> 00:24:33,620
Speaker 1: Who else we got? Lay out some more Crockett's for

478
00:24:33,680 --> 00:24:34,109
Speaker 1: us here, Joe.

479
00:24:34,140 --> 00:24:37,520
Speaker 3: Okay. Cousin number three. We got Ginny Crockett. Oh, wait. No,

480
00:24:37,540 --> 00:24:39,080
Speaker 3: I think this is not a cousin, but for all

481
00:24:39,100 --> 00:24:41,930
Speaker 3: intents and purposes, she's a cousin. She is, I believe, the...

482
00:24:42,600 --> 00:24:46,280
Speaker 3: Jenny Crockett is married to Clint in the movie, if

483
00:24:46,320 --> 00:24:47,980
Speaker 3: this matters. You're not going to keep track of this.

484
00:24:48,020 --> 00:24:51,260
Speaker 3: But it's played by Lynn Borden. Lynn Borden did some

485
00:24:51,280 --> 00:24:54,139
Speaker 3: TV and B-movie work. She was in Walking Tall with

486
00:24:54,180 --> 00:24:57,080
Speaker 3: Joe Don Baker, the original one in the 70s. And

487
00:24:57,140 --> 00:25:00,540
Speaker 3: I found she was in a begrimed drag racing movie

488
00:25:00,580 --> 00:25:04,120
Speaker 3: starring Peter Fonda called Dirty Mary, Crazy Larry. I've never

489
00:25:04,140 --> 00:25:07,580
Speaker 3: seen this one, but it's a 70s racer film. She

490
00:25:07,600 --> 00:25:09,840
Speaker 3: was also part of the main cast of a 60s

491
00:25:09,920 --> 00:25:16,020
Speaker 3: TV show called Hazel. Which looks like a horrid, in-color, 60s,

492
00:25:16,080 --> 00:25:20,340
Speaker 3: leave-it-to-beaver type show. It appears to be about a housekeeper

493
00:25:20,440 --> 00:25:24,590
Speaker 3: named Hazel, played by Shirley Booth, who is apparently just

494
00:25:24,650 --> 00:25:28,929
Speaker 3: borderline omnipotent. She can solve every problem. I think this

495
00:25:28,990 --> 00:25:31,770
Speaker 3: used to be a type of TV show where there's

496
00:25:31,810 --> 00:25:35,600
Speaker 3: just a magic person who's very wise and can do everything.

497
00:25:35,980 --> 00:25:38,020
Speaker 1: Sort of a bewitched kind of a thing, then.

498
00:25:38,550 --> 00:25:41,050
Speaker 3: Well, except I don't think she's actually magic. I think it's,

499
00:25:41,690 --> 00:25:43,350
Speaker 3: you know, the other version of this where there's just

500
00:25:43,369 --> 00:25:46,570
Speaker 3: like a character who's just very wise and knows what

501
00:25:46,590 --> 00:25:47,490
Speaker 3: to do about everything.

502
00:25:47,510 --> 00:25:48,590
Speaker 1: Okay, gotcha.

503
00:25:49,190 --> 00:25:50,540
Speaker 3: Now, I guess we're going to skip over a bunch

504
00:25:50,560 --> 00:25:52,500
Speaker 3: of the other cousin actors. I looked up a lot

505
00:25:52,540 --> 00:25:54,720
Speaker 3: of them and didn't really recognize anything they had done.

506
00:25:55,340 --> 00:25:57,180
Speaker 3: There was one actor in this movie, though, when I

507
00:25:57,220 --> 00:25:59,720
Speaker 3: started digging into her work, I think she's really worth

508
00:25:59,780 --> 00:26:02,320
Speaker 3: a mention. It's a fairly small part in the film.

509
00:26:03,000 --> 00:26:06,260
Speaker 3: But the actress's name is May Mercer, and she plays

510
00:26:06,300 --> 00:26:09,619
Speaker 3: a character named Maybel, who works in the household staff

511
00:26:09,840 --> 00:26:13,400
Speaker 3: in the movie. And May Mercer wasn't just an actress.

512
00:26:13,440 --> 00:26:16,179
Speaker 3: She was actually a blues singer. And I looked up

513
00:26:16,340 --> 00:26:19,540
Speaker 3: her music, and she was an excellent blues singer. So

514
00:26:19,980 --> 00:26:23,920
Speaker 3: she lived from 1932 until 2008. And I found a

515
00:26:23,940 --> 00:26:27,220
Speaker 3: couple of recordings of her music from the 60s on YouTube.

516
00:26:27,380 --> 00:26:31,250
Speaker 3: One is a song that she performs with a blues

517
00:26:31,310 --> 00:26:35,399
Speaker 3: harmonica player named Sunny Boy Williamson called Careless Love. And

518
00:26:35,420 --> 00:26:39,160
Speaker 3: I think this is from 1965, which is fantastic. Another

519
00:26:39,359 --> 00:26:41,460
Speaker 3: recording I found of hers was of a song called

520
00:26:41,560 --> 00:26:44,359
Speaker 3: Sweet Little Angel, also really good. And so I was

521
00:26:44,380 --> 00:26:47,400
Speaker 3: trying to get some biographical information about her. I found

522
00:26:47,440 --> 00:26:51,410
Speaker 3: her LA Times obituary from when she passed away in 2008.

523
00:26:51,410 --> 00:26:56,190
Speaker 3: So apparently she was born in 1932 in Battleboro, North Carolina,

524
00:26:56,250 --> 00:26:59,869
Speaker 3: to a family who worked as tobacco sharecroppers. And she

525
00:26:59,910 --> 00:27:02,429
Speaker 3: started singing in church when she was a teenager and

526
00:27:02,470 --> 00:27:05,320
Speaker 3: then ran away to New York in 1947 to become

527
00:27:05,359 --> 00:27:09,520
Speaker 3: a professional singer. And she became successful not just in

528
00:27:09,560 --> 00:27:12,899
Speaker 3: New York, but eventually internationally. She got well known as

529
00:27:12,940 --> 00:27:16,419
Speaker 3: a blues performer in Paris. Like I was looking through

530
00:27:16,440 --> 00:27:18,760
Speaker 3: Google Books and I found her name turning up a

531
00:27:18,820 --> 00:27:23,260
Speaker 3: lot in issues of Jet magazine from the 1960s on

532
00:27:23,300 --> 00:27:26,080
Speaker 3: the Paris scratchpad, where she seems to have been a

533
00:27:26,260 --> 00:27:29,879
Speaker 3: very recognizable figure in the Paris scene. So she was

534
00:27:29,920 --> 00:27:32,770
Speaker 3: based out of Paris. She sang at a club called

535
00:27:32,810 --> 00:27:35,230
Speaker 3: the Blues Bar, and then later she actually ran the club.

536
00:27:35,730 --> 00:27:37,930
Speaker 3: But she also would tour Europe sometimes with a group

537
00:27:37,970 --> 00:27:42,010
Speaker 3: called the Keith Smith Climax Jazz Band. She also has

538
00:27:42,050 --> 00:27:44,149
Speaker 3: a couple of acting credits from the 60s, but it

539
00:27:44,170 --> 00:27:46,220
Speaker 3: looks like she started acting a lot more in the 1970s,

540
00:27:47,730 --> 00:27:49,490
Speaker 3: And it's not just stuff like frogs. She was in

541
00:27:49,550 --> 00:27:53,389
Speaker 3: some hit movies. She was in Dirty Harry with Clint Eastwood.

542
00:27:54,050 --> 00:27:57,420
Speaker 3: And in 1971, she was a producer on a documentary

543
00:27:57,480 --> 00:28:02,240
Speaker 3: film about Angela Davis. So she passed away in 2008.

544
00:28:02,240 --> 00:28:04,120
Speaker 3: But I will say her music is really good, really

545
00:28:04,140 --> 00:28:06,919
Speaker 3: worth looking up. Mae Mercer, Mae spelled M-A-E.

546
00:28:07,540 --> 00:28:10,920
Speaker 1: All right. Well, you know, another actor who brings some

547
00:28:11,400 --> 00:28:16,730
Speaker 1: much needed diversity to this otherwise undiverse film. is Judy Pace,

548
00:28:17,070 --> 00:28:22,750
Speaker 1: who plays Bella Garrington in this. Born 1942, still around,

549
00:28:23,130 --> 00:28:25,940
Speaker 1: mainstream TV actor and film actor of the day. She

550
00:28:25,980 --> 00:28:29,919
Speaker 1: appeared in this film on the heels of Brian's Song,

551
00:28:30,300 --> 00:28:33,540
Speaker 1: which is a famous football film. If you've ever been

552
00:28:33,760 --> 00:28:37,409
Speaker 1: in or around football culture, this one is often held up.

553
00:28:37,450 --> 00:28:40,570
Speaker 1: And I think maybe I've seen it and I've just

554
00:28:40,670 --> 00:28:43,630
Speaker 1: forgotten all of it. But it has James Caan and

555
00:28:43,650 --> 00:28:46,080
Speaker 1: Billy Dee Williams in it. So it's got a solid cast.

556
00:28:46,920 --> 00:28:48,460
Speaker 3: I've never seen it, but I know it's one of

557
00:28:48,500 --> 00:28:51,120
Speaker 3: those movies that people talk about, you know, makes the

558
00:28:51,140 --> 00:28:52,160
Speaker 3: football boys cry.

559
00:28:52,180 --> 00:28:52,720
Speaker 4: Yeah.

560
00:28:52,820 --> 00:28:52,980
Speaker 3: Yeah.

561
00:28:53,020 --> 00:28:56,560
Speaker 1: This is one of those films that you are legally

562
00:28:56,680 --> 00:28:59,390
Speaker 1: allowed to cry while viewing. This is one of the

563
00:28:59,410 --> 00:29:03,680
Speaker 1: few times– in some circles where men are allowed to cry.

564
00:29:04,040 --> 00:29:06,500
Speaker 3: So I will say Judy Pace and Sam Elliott, I think,

565
00:29:06,540 --> 00:29:08,920
Speaker 3: are the two most likable actors in this movie. I mean,

566
00:29:09,220 --> 00:29:11,360
Speaker 3: Ray Milland is good too, but he's playing this nasty,

567
00:29:11,380 --> 00:29:11,960
Speaker 3: hateable guy.

568
00:29:11,980 --> 00:29:13,600
Speaker 1: Yeah, you're not supposed to like Ray Milland.

569
00:29:13,780 --> 00:29:16,760
Speaker 3: Right, right, right. She and Sam Elliott, though, are just

570
00:29:17,620 --> 00:29:21,200
Speaker 3: lovely and wonderful. They've got great charisma in the scenes

571
00:29:21,260 --> 00:29:24,660
Speaker 3: they're in. She plays, I think, the girlfriend of one

572
00:29:24,680 --> 00:29:26,270
Speaker 3: of the cousins, I think one of the cousins that

573
00:29:26,310 --> 00:29:29,520
Speaker 3: we haven't talked about, But she's there at the mansion

574
00:29:29,620 --> 00:29:33,070
Speaker 3: with the family, and it's otherwise, obviously, this, like, you know,

575
00:29:33,130 --> 00:29:36,190
Speaker 3: all-white Southern family. And I think the implication is that

576
00:29:36,250 --> 00:29:38,969
Speaker 3: Grandpa is racist and is giving her the side eye,

577
00:29:39,330 --> 00:29:42,960
Speaker 3: but she... has a very, like, eye-roll posture against Grandpa

578
00:29:43,000 --> 00:29:43,560
Speaker 3: and the others.

579
00:29:44,280 --> 00:29:50,070
Speaker 1: Yeah, they never really overtly explore this area. And to

580
00:29:50,090 --> 00:29:53,970
Speaker 1: a certain extent, it's probably for the best, given the

581
00:29:53,990 --> 00:29:56,969
Speaker 1: way a picture of this period might have handled it before.

582
00:29:57,300 --> 00:29:59,460
Speaker 1: But it does show that there was a there's a

583
00:29:59,480 --> 00:30:02,010
Speaker 1: lot of potential in this picture as well. Like what

584
00:30:02,030 --> 00:30:05,810
Speaker 1: if they had really gone in like almost you could

585
00:30:05,830 --> 00:30:08,670
Speaker 1: almost gone in like a Jordan Peele direction with this

586
00:30:08,970 --> 00:30:11,130
Speaker 1: with this sort of picture. You know, there are a

587
00:30:11,130 --> 00:30:14,530
Speaker 1: lot of interesting cultural elements on the table. But in

588
00:30:14,570 --> 00:30:16,410
Speaker 1: this picture, you got to save room on the table

589
00:30:16,430 --> 00:30:17,050
Speaker 1: for the frogs.

590
00:30:17,250 --> 00:30:20,280
Speaker 3: So, yeah, I mean, yeah, the frogs are the real star.

591
00:30:20,440 --> 00:30:23,080
Speaker 3: And I think it's literally true that I think the

592
00:30:23,140 --> 00:30:25,880
Speaker 3: frogs get more screen time than any actor in this film.

593
00:30:26,560 --> 00:30:27,040
Speaker 1: I think so.

594
00:30:27,600 --> 00:30:30,740
Speaker 3: There's more time where we're just looking at cutaways of

595
00:30:30,800 --> 00:30:34,440
Speaker 3: frogs hopping around or close-ups of bullfrogs than, I don't know,

596
00:30:34,500 --> 00:30:36,200
Speaker 3: than seeing Sam Elliott on screen.

597
00:30:36,420 --> 00:30:40,820
Speaker 1: You can imagine the director watching different cuts of the

598
00:30:40,860 --> 00:30:42,280
Speaker 1: film and being like, I don't know, I think we

599
00:30:42,320 --> 00:30:45,180
Speaker 1: need more frogs in there. Do we have more of

600
00:30:45,200 --> 00:30:48,420
Speaker 1: that great frog footage that we got? We got some

601
00:30:48,440 --> 00:30:50,910
Speaker 1: more alligator snapping turtle, got some more lizards. Let's get

602
00:30:50,950 --> 00:30:51,330
Speaker 1: it in there.

603
00:30:51,850 --> 00:30:53,670
Speaker 3: This is maybe one of those movies where the second

604
00:30:53,790 --> 00:30:55,470
Speaker 3: unit director is the real director.

605
00:30:56,110 --> 00:30:58,380
Speaker 4: Yeah. All right.

606
00:30:59,360 --> 00:31:02,300
Speaker 1: Another big name to mention here is the composer on

607
00:31:02,340 --> 00:31:07,060
Speaker 1: this film, Les Baxter. So despite all the other elements

608
00:31:07,100 --> 00:31:09,260
Speaker 1: of the film, I have to say it was Les

609
00:31:09,320 --> 00:31:11,590
Speaker 1: Baxter's presence that kind of sealed the deal for me.

610
00:31:12,160 --> 00:31:15,450
Speaker 1: So let's start by reminding everyone just who Les Baxter was.

611
00:31:16,070 --> 00:31:19,290
Speaker 1: He lived 1922 through 1996, and he's pretty much the

612
00:31:19,350 --> 00:31:23,380
Speaker 1: godfather of exotica music. So If you've ever tuned in

613
00:31:23,420 --> 00:31:28,709
Speaker 1: for some retro, nostalgic lounge or tiki music, you've probably

614
00:31:28,810 --> 00:31:31,490
Speaker 1: listened to the music of Les Baxter. If not, look

615
00:31:31,510 --> 00:31:34,230
Speaker 1: him up on your streaming source of choice. Most of

616
00:31:34,270 --> 00:31:36,700
Speaker 1: his material is out there, and it's really good stuff.

617
00:31:36,740 --> 00:31:39,960
Speaker 1: It's just really great, easy listening music if you want

618
00:31:40,000 --> 00:31:44,480
Speaker 1: some sort of nostalgic kind of lounge, tiki vibe.

619
00:31:44,500 --> 00:31:44,640
Speaker 3: However.

620
00:31:49,370 --> 00:31:52,450
Speaker 1: That whole genre has nothing to do with frogs. Don't

621
00:31:52,750 --> 00:31:54,830
Speaker 1: watch frogs thinking you're going to get that kind of music.

622
00:31:55,210 --> 00:31:58,830
Speaker 1: It's not an Exotica score in the slightest. So first

623
00:31:58,870 --> 00:32:03,710
Speaker 1: of all, Baxter was no stranger to doing film scores.

624
00:32:04,090 --> 00:32:06,090
Speaker 1: He'd done quite a bit of work in the film

625
00:32:06,110 --> 00:32:10,010
Speaker 1: score business over the years, mostly B-movies. For instance, he

626
00:32:10,090 --> 00:32:12,810
Speaker 1: scored such films as X, The Man with the X-Ray

627
00:32:13,010 --> 00:32:15,830
Speaker 1: Eyes that we mentioned earlier. He worked with names like

628
00:32:15,930 --> 00:32:19,870
Speaker 1: Roger Corman and William Castle. He scored Dr. Goldfoot in

629
00:32:19,890 --> 00:32:24,900
Speaker 1: The Bikini Machine in 1965, The Dunwich Horror in 1970.

630
00:32:24,900 --> 00:32:27,040
Speaker 1: He did 1963's Black Sabbath.

631
00:32:27,560 --> 00:32:31,300
Speaker 3: Yeah, he scored a bunch of AIP movies, American International Pictures.

632
00:32:31,320 --> 00:32:33,410
Speaker 3: I think we haven't talked about that yet, but this

633
00:32:33,490 --> 00:32:36,270
Speaker 3: is an AIP movie. So like a lot of the 50s,

634
00:32:36,310 --> 00:32:40,070
Speaker 3: 60s and 70s Roger Corman movies were AIP movies, you know,

635
00:32:40,510 --> 00:32:43,210
Speaker 3: all the Edgar Allan Poe movies that Corman did and

636
00:32:43,250 --> 00:32:46,130
Speaker 3: stuff like that. But it wasn't just horror. So, you know,

637
00:32:46,230 --> 00:32:50,210
Speaker 3: AIP released and Les Baxter did the music for, you

638
00:32:50,250 --> 00:32:53,150
Speaker 3: already mentioned, one of them, of course, the peak subgenre

639
00:32:53,190 --> 00:32:56,780
Speaker 3: of film innovation, the bikini movies of the 1960s. It

640
00:32:57,360 --> 00:33:01,000
Speaker 3: really doesn't get more creative and subversive than, you know,

641
00:33:01,100 --> 00:33:03,740
Speaker 3: the ghost in the invisible bikini in films like that.

642
00:33:05,180 --> 00:33:09,460
Speaker 1: So Frogs is notable because it was Baxter's first entirely

643
00:33:09,560 --> 00:33:12,890
Speaker 1: electronic score. So that was the thing that really got

644
00:33:12,930 --> 00:33:16,170
Speaker 1: me excited about it. So Baxter was already into the

645
00:33:16,210 --> 00:33:20,340
Speaker 1: electronic sound. He'd worked with an early electronic organ called

646
00:33:20,360 --> 00:33:23,400
Speaker 1: the Nova Chord in the very early 60s, and he

647
00:33:23,420 --> 00:33:27,280
Speaker 1: put out an album called Moog Rock in 1969, which

648
00:33:27,360 --> 00:33:31,530
Speaker 1: is a synth-powered, easy-listening album that's quite good. I was

649
00:33:31,570 --> 00:33:35,850
Speaker 1: just listening to it yesterday while putting together some notes. Frogs, however,

650
00:33:35,910 --> 00:33:40,670
Speaker 1: takes things into equally synthy, but certainly more terror-driven territory.

651
00:33:40,730 --> 00:33:43,690
Speaker 1: So it has a lot of like eerie synth chords

652
00:33:43,750 --> 00:33:44,290
Speaker 1: going on.

653
00:33:44,780 --> 00:33:48,040
Speaker 3: It doesn't actually, a lot of it is not very musical.

654
00:33:48,360 --> 00:33:50,860
Speaker 3: There's not much melody to the music in the film.

655
00:33:50,920 --> 00:33:55,880
Speaker 3: It is more like synthesizers producing almost a sound that

656
00:33:55,940 --> 00:34:00,410
Speaker 3: is somewhere between sort of crickets or cicadas and like

657
00:34:00,910 --> 00:34:03,190
Speaker 3: servos whirring inside a robot.

658
00:34:03,910 --> 00:34:06,950
Speaker 1: Yeah, yeah. So it's an interesting score. And that's probably

659
00:34:06,970 --> 00:34:08,799
Speaker 1: one of the reasons that I don't think this was

660
00:34:08,840 --> 00:34:12,219
Speaker 1: ever released in full as an album or anything, though

661
00:34:12,260 --> 00:34:14,719
Speaker 1: I know there have been at least there's been at

662
00:34:14,739 --> 00:34:20,109
Speaker 1: least one compilation of certain pieces from Baxter's soundtrack work.

663
00:34:20,150 --> 00:34:21,650
Speaker 1: So it might show up there. But as far as

664
00:34:21,690 --> 00:34:24,390
Speaker 1: I know, there is never a like a or there

665
00:34:24,410 --> 00:34:27,170
Speaker 1: at least there has yet to be like a lime

666
00:34:27,270 --> 00:34:31,279
Speaker 1: green frogs vinyl release where you get the full Les

667
00:34:31,320 --> 00:34:32,700
Speaker 1: Baxter soundtrack. Yeah.

668
00:34:33,090 --> 00:34:34,950
Speaker 3: All right. I just wanted to mention a couple more

669
00:34:35,010 --> 00:34:38,180
Speaker 3: names that I happened to find something interesting about as

670
00:34:38,260 --> 00:34:40,940
Speaker 3: they came up in the credits. It is impossible to

671
00:34:40,980 --> 00:34:43,819
Speaker 3: get into all the cousins in this movie. But one

672
00:34:43,840 --> 00:34:45,779
Speaker 3: of the cousins I also wanted to mention is this

673
00:34:45,900 --> 00:34:50,739
Speaker 3: actor named George Scaff, who plays Stuart Martindale. He's an

674
00:34:50,880 --> 00:34:54,280
Speaker 3: uncle or a cousin or something. But according to IMDb,

675
00:34:54,390 --> 00:34:57,489
Speaker 3: he had a small part in The Exorcist II, The Heretic,

676
00:34:57,530 --> 00:35:01,340
Speaker 3: which is a wonderful connection. In Frogs, he's kind of

677
00:35:01,380 --> 00:35:04,100
Speaker 3: a sketchy Lee Van Cleef style cousin.

678
00:35:04,440 --> 00:35:09,149
Speaker 1: Yeah, not nearly as intimidating as Old Angel Eyes, but yeah,

679
00:35:09,190 --> 00:35:10,350
Speaker 1: has that kind of look to him.

680
00:35:10,710 --> 00:35:12,450
Speaker 3: I mean, he always kind of looks like he's hatching

681
00:35:12,489 --> 00:35:13,510
Speaker 3: a sneaky plan.

682
00:35:13,850 --> 00:35:18,890
Speaker 1: Yeah, because he is. He's like a long time. You

683
00:35:18,910 --> 00:35:21,890
Speaker 1: get the impression that he's earned his place in the family.

684
00:35:23,380 --> 00:35:27,819
Speaker 1: It's more about loyalty than blood, certainly when it comes

685
00:35:27,860 --> 00:35:29,440
Speaker 1: to the Crockett patriarch here.

686
00:35:29,680 --> 00:35:29,899
Speaker 4: Yeah.

687
00:35:30,620 --> 00:35:34,460
Speaker 3: Another actor is Lance Taylor Sr., who plays Charles. He

688
00:35:34,940 --> 00:35:36,920
Speaker 3: works for the family in the movie. And he was

689
00:35:36,980 --> 00:35:40,219
Speaker 3: in Blackula the same year as Frogs. He also did

690
00:35:40,280 --> 00:35:42,960
Speaker 3: some TV work on shows like The Mod Squad, Sanford

691
00:35:43,000 --> 00:35:47,009
Speaker 3: and Son, and Police Story. But then one name that

692
00:35:47,050 --> 00:35:48,890
Speaker 3: came up in the credits that I thought was interesting

693
00:35:48,910 --> 00:35:51,770
Speaker 3: was Gene Corso, who did sound effects for the movie.

694
00:35:52,190 --> 00:35:54,629
Speaker 3: And he also did sound effects and sound editing for

695
00:35:54,670 --> 00:35:57,770
Speaker 3: some very mainstream films that would come later, such as

696
00:35:57,830 --> 00:36:03,360
Speaker 3: Star Wars A New Hope. Phantasm, Predator, and Deep Star Six,

697
00:36:03,440 --> 00:36:07,280
Speaker 3: because all roads lead back to the 1989 underwater movies.

698
00:36:07,820 --> 00:36:09,660
Speaker 1: Well, you know, it was frogs that got him work

699
00:36:09,920 --> 00:36:13,080
Speaker 1: in all those pictures. So he gave him his demo

700
00:36:13,120 --> 00:36:16,980
Speaker 1: reel of all the awesome frog sound effects from this picture.

701
00:36:17,120 --> 00:36:18,980
Speaker 1: And they were like, let's get him. This is how

702
00:36:19,219 --> 00:36:22,460
Speaker 1: we imagine the the sonic universe beyond our world.

703
00:36:22,560 --> 00:36:25,460
Speaker 3: You know, a number of sound effects from this film

704
00:36:25,520 --> 00:36:27,480
Speaker 3: did really stick with me. And it wasn't just the

705
00:36:27,520 --> 00:36:31,319
Speaker 3: frogs croaking or the gators bellowing. It was also the

706
00:36:31,380 --> 00:36:34,819
Speaker 3: sound of when the giant frogs are thumping against the

707
00:36:34,900 --> 00:36:38,840
Speaker 3: glass in the scene when Sam Elliott and Ray Milland

708
00:36:38,940 --> 00:36:41,360
Speaker 3: are like talking in private about what's going on on

709
00:36:41,380 --> 00:36:43,739
Speaker 3: the island. And suddenly you just hear this kind of

710
00:36:43,800 --> 00:36:47,530
Speaker 3: thunk thunk and what's happening. Well, that's frogs at your window, buddy.

711
00:36:47,550 --> 00:36:47,620
Speaker 4: Yeah.

712
00:36:57,160 --> 00:37:00,250
Speaker 1: All right, well, let's jump into this picture here. Let's

713
00:37:00,290 --> 00:37:01,210
Speaker 1: talk about the plot.

714
00:37:01,530 --> 00:37:05,450
Speaker 3: All right, well, the opening credits, as we said, it

715
00:37:05,810 --> 00:37:08,630
Speaker 3: has this score by Les Baxter, but it's very light

716
00:37:08,830 --> 00:37:12,990
Speaker 3: on things that are recognizable as melodies. Instead, it's ominous

717
00:37:13,270 --> 00:37:18,040
Speaker 3: ambient electronic sounds, while Sam Elliott paddles around the swamp

718
00:37:18,100 --> 00:37:21,160
Speaker 3: in a red canoe. basically just doing it for the gram.

719
00:37:21,260 --> 00:37:23,980
Speaker 3: He is out there in the, in the canoe taking

720
00:37:24,040 --> 00:37:27,739
Speaker 3: pictures of everything. And I mean, like it in, in

721
00:37:27,780 --> 00:37:29,979
Speaker 3: the kind of way that you don't actually see real

722
00:37:30,020 --> 00:37:32,620
Speaker 3: photographers doing it, where he's just like aiming the camera

723
00:37:32,640 --> 00:37:36,900
Speaker 3: in every direction and taking pictures all over the place. Like, uh, Rob,

724
00:37:37,000 --> 00:37:39,140
Speaker 3: I know, uh, you know, you know, a bit about, uh,

725
00:37:39,239 --> 00:37:40,879
Speaker 3: more about photography that you kind of have to like

726
00:37:40,960 --> 00:37:43,020
Speaker 3: set up a good shot. You don't just sort of

727
00:37:43,040 --> 00:37:44,840
Speaker 3: like turn the camera in every direction.

728
00:37:45,140 --> 00:37:45,420
Speaker 4: Yeah.

729
00:37:45,480 --> 00:37:48,100
Speaker 1: Like there, there are no, you don't see, um, uh,

730
00:37:48,160 --> 00:37:51,870
Speaker 1: Sam Elliott here, like holding himself in place by grabbing

731
00:37:51,930 --> 00:37:55,210
Speaker 1: onto a branch and then taking several shots at the

732
00:37:55,270 --> 00:37:57,610
Speaker 1: same thing. It's a much more casual affair.

733
00:37:57,770 --> 00:37:57,989
Speaker 4: Yeah.

734
00:37:58,710 --> 00:38:00,550
Speaker 3: One of the funny things is the way the title

735
00:38:00,630 --> 00:38:03,720
Speaker 3: comes in. So Sam Elliott, he's wandering around the swamp,

736
00:38:03,780 --> 00:38:06,360
Speaker 3: taking photos. He's in the canoe. And then there's a

737
00:38:06,420 --> 00:38:10,080
Speaker 3: close-up on a frog. The frog ribbits twice. And then

738
00:38:10,120 --> 00:38:14,420
Speaker 3: you get sound effect. And then frogs, the title comes in.

739
00:38:14,440 --> 00:38:17,760
Speaker 3: And all of the credits are in a really funny font.

740
00:38:17,860 --> 00:38:21,190
Speaker 3: It's like a blue... what would you call this font?

741
00:38:21,670 --> 00:38:23,620
Speaker 1: I feel like it's something I would say blue drippy

742
00:38:23,660 --> 00:38:25,580
Speaker 1: horror font is what it is. Yes.

743
00:38:25,960 --> 00:38:28,000
Speaker 3: That's on the title for frogs, but I mean the

744
00:38:28,040 --> 00:38:30,400
Speaker 3: rest of the credits that are just like listing people's names.

745
00:38:30,620 --> 00:38:33,020
Speaker 3: I feel like it's a font that I saw I've

746
00:38:33,100 --> 00:38:36,569
Speaker 3: seen in other like sixties and seventies movie credits, but

747
00:38:36,590 --> 00:38:39,330
Speaker 3: it looks kind of like comic sands. It's not exactly.

748
00:38:39,770 --> 00:38:39,989
Speaker 4: Yeah.

749
00:38:40,030 --> 00:38:44,190
Speaker 1: It's something like times American international pictures or something.

750
00:38:44,290 --> 00:38:47,790
Speaker 3: Yeah, exactly. Uh, but I don't know, for some reason,

751
00:38:47,830 --> 00:38:49,890
Speaker 3: the credits in this were making me laugh a lot.

752
00:38:49,930 --> 00:38:52,790
Speaker 3: Like I liked the quotation marks or like some of

753
00:38:52,830 --> 00:38:54,990
Speaker 3: the actors just get a name credit, you know, with

754
00:38:55,070 --> 00:38:57,569
Speaker 3: Sam Elliott and so forth. Uh, but then there's one

755
00:38:57,610 --> 00:39:01,620
Speaker 3: part where it says, and Adam Rourke as so-called Clint,

756
00:39:01,739 --> 00:39:04,540
Speaker 3: it's got these quotation marks around Clint that I found

757
00:39:04,580 --> 00:39:05,820
Speaker 3: very funny for some reason.

758
00:39:06,219 --> 00:39:08,799
Speaker 1: I also liked how they keep, they keep giving these

759
00:39:08,860 --> 00:39:12,880
Speaker 1: credits over pictures of various, um, reptiles and amphibians in nature.

760
00:39:12,900 --> 00:39:12,970
Speaker 4: Yes.

761
00:39:13,340 --> 00:39:16,180
Speaker 1: And it kind of implies that that snake is Adam

762
00:39:16,239 --> 00:39:19,390
Speaker 1: Rourke as Clint. Like, I don't know. It's just kind

763
00:39:19,410 --> 00:39:20,650
Speaker 1: of a weird juxtaposition.

764
00:39:21,570 --> 00:39:24,330
Speaker 3: Yeah, this is our water viper. His name is Clint.

765
00:39:25,230 --> 00:39:27,870
Speaker 3: But anyway, another thing, there are way too many animals

766
00:39:27,930 --> 00:39:31,060
Speaker 3: in the swamp. It's just panning around. There's just animals. everywhere.

767
00:39:31,200 --> 00:39:35,240
Speaker 3: And I know Florida is lush and its wildlife is bountiful,

768
00:39:35,260 --> 00:39:38,830
Speaker 3: but no swamp has this much wildlife in it. It's

769
00:39:38,870 --> 00:39:40,750
Speaker 3: just snakes everywhere you turn.

770
00:39:40,770 --> 00:39:43,050
Speaker 1: It is a lot of snakes and a lot of

771
00:39:43,110 --> 00:39:47,650
Speaker 1: frogs and toads. This movie is just jam packed. with

772
00:39:47,710 --> 00:39:50,590
Speaker 1: reptiles and amphibians. And in fact, it's one of the

773
00:39:50,630 --> 00:39:52,410
Speaker 1: things that's worth watching about it. A lot of times

774
00:39:52,469 --> 00:39:57,690
Speaker 1: I just enjoyed watching really good footage of reptiles and amphibians,

775
00:39:58,190 --> 00:40:01,089
Speaker 1: either moving about in a natural way or certainly later

776
00:40:01,110 --> 00:40:03,330
Speaker 1: in the picture, invading human spaces.

777
00:40:04,969 --> 00:40:06,940
Speaker 3: Yeah, yeah. So there's a lot of that. I mean,

778
00:40:07,080 --> 00:40:09,180
Speaker 3: I guess, I don't know why I'm saying there's too many.

779
00:40:09,239 --> 00:40:11,380
Speaker 3: I mean, would I want there to be fewer reptiles

780
00:40:11,440 --> 00:40:13,239
Speaker 3: in this movie? No. I mean, I'm just saying like,

781
00:40:13,790 --> 00:40:16,569
Speaker 3: At the very beginning when it hasn't yet introduced the

782
00:40:16,670 --> 00:40:20,279
Speaker 3: idea that the island is being swarmed with reptiles because

783
00:40:20,340 --> 00:40:23,319
Speaker 3: nature is striking back, it seems like a ridiculous amount

784
00:40:23,360 --> 00:40:23,880
Speaker 3: of animals.

785
00:40:25,020 --> 00:40:27,100
Speaker 1: I think the question you need to ask, Joe, is

786
00:40:27,180 --> 00:40:28,720
Speaker 1: could it possibly have more?

787
00:40:29,340 --> 00:40:33,540
Speaker 3: Right, yeah. Well, speaking of beasts, actually it does have

788
00:40:33,580 --> 00:40:35,900
Speaker 3: more because it's not just the reptiles that are the

789
00:40:35,940 --> 00:40:39,379
Speaker 3: beasts in this film. Looking at Sam Elliott in these

790
00:40:39,460 --> 00:40:43,300
Speaker 3: opening credits... He is just an off the charts cool beast.

791
00:40:43,360 --> 00:40:47,450
Speaker 3: Like I said, he has so much animal charisma. It's funny.

792
00:40:47,820 --> 00:40:48,050
Speaker 4: Yeah.

793
00:40:48,210 --> 00:40:49,509
Speaker 3: Look at this dude. Yeah.

794
00:40:49,650 --> 00:40:53,810
Speaker 1: And again, I was prepared to be creeped out by

795
00:40:53,830 --> 00:40:56,149
Speaker 1: his lack of a mustache because I often find that's

796
00:40:56,170 --> 00:40:59,870
Speaker 1: the case with iconic mustachioed actors is you see him

797
00:40:59,910 --> 00:41:01,730
Speaker 1: without the mustache. It's like, what are you doing, man?

798
00:41:01,850 --> 00:41:07,469
Speaker 1: With that giant lip or giant four lip area. But no,

799
00:41:07,870 --> 00:41:10,230
Speaker 1: he's just as charming without it.

800
00:41:11,650 --> 00:41:14,330
Speaker 3: So he's paddling around the swamp. So first he's taking

801
00:41:14,350 --> 00:41:16,430
Speaker 3: pictures of animals. But then after that, it seems like

802
00:41:16,469 --> 00:41:20,589
Speaker 3: he's mainly taking pictures of litter. There are just sort

803
00:41:20,640 --> 00:41:24,900
Speaker 3: of barges of litter that are, you know, clogging up

804
00:41:24,960 --> 00:41:28,160
Speaker 3: the byways of the swamp. So I would say this

805
00:41:28,219 --> 00:41:30,359
Speaker 3: movie has an example of something that's actually a kind

806
00:41:30,380 --> 00:41:34,070
Speaker 3: of common problem with set dressing, especially in lower budget movies.

807
00:41:34,560 --> 00:41:37,420
Speaker 3: which is the lack of a history to the objects

808
00:41:37,440 --> 00:41:39,160
Speaker 3: you're looking at. And what I mean by that is

809
00:41:39,219 --> 00:41:41,840
Speaker 3: the garbage in this movie that is littering the swamp

810
00:41:42,160 --> 00:41:45,580
Speaker 3: looks incredibly fresh. All of the paper garbage is still

811
00:41:45,680 --> 00:41:48,640
Speaker 3: crisp and white and the cans are clean and they're

812
00:41:48,660 --> 00:41:52,100
Speaker 3: not like oxidized or covered in mold. You know, it's

813
00:41:52,120 --> 00:41:54,140
Speaker 3: been pointed out that one of the great innovations of

814
00:41:54,200 --> 00:41:58,239
Speaker 3: those beloved late 70s sci-fi movies like Blade Runner and

815
00:41:58,400 --> 00:42:02,609
Speaker 3: Alien and Star Wars was that they made spaceships and

816
00:42:02,640 --> 00:42:07,450
Speaker 3: the future generally lived in, meaning dirty, worn in and

817
00:42:07,489 --> 00:42:10,410
Speaker 3: worn out, as opposed to what had been, you know,

818
00:42:10,469 --> 00:42:13,950
Speaker 3: the previous style for futuristic sci-fi, which is like everything

819
00:42:14,010 --> 00:42:17,090
Speaker 3: is clean and fresh and the spaces look like nobody's

820
00:42:17,130 --> 00:42:20,170
Speaker 3: ever been in them before. In Frogs, I must accuse

821
00:42:20,210 --> 00:42:23,009
Speaker 3: them of having failed to make the trash look lived in.

822
00:42:24,190 --> 00:42:27,010
Speaker 1: Yeah, I guess part of it is that this film

823
00:42:27,350 --> 00:42:30,770
Speaker 1: was filmed in its entirety at Eden Garden State Park

824
00:42:31,270 --> 00:42:35,270
Speaker 1: in Florida, which is in Santa Rosa Beach. which I

825
00:42:35,310 --> 00:42:37,110
Speaker 1: haven't been there, but now it is definitely on my

826
00:42:37,150 --> 00:42:39,759
Speaker 1: list of places to go. You can look it up,

827
00:42:40,080 --> 00:42:43,280
Speaker 1: Eden Garden State Park. You can visit it. You can

828
00:42:44,060 --> 00:42:46,700
Speaker 1: be married here. You know, you can paddle around. A

829
00:42:46,760 --> 00:42:50,110
Speaker 1: frogs-themed wedding? Yeah, you can paddle around in canoes. You

830
00:42:50,120 --> 00:42:53,490
Speaker 1: can do everything that our hero does in the film.

831
00:42:53,890 --> 00:42:57,529
Speaker 1: But it makes me suspect that perhaps it was not

832
00:42:57,590 --> 00:43:01,360
Speaker 1: the best place to catch the actual footage of real litter.

833
00:43:03,280 --> 00:43:04,890
Speaker 1: Even at the time, it was maybe just really well

834
00:43:04,930 --> 00:43:06,890
Speaker 1: cared for. And so, yeah, they had to bring their

835
00:43:06,969 --> 00:43:09,569
Speaker 1: own litter for this shoot, for this part of the film.

836
00:43:09,770 --> 00:43:12,170
Speaker 3: I can't stop thinking about a wedding at this place now.

837
00:43:12,190 --> 00:43:14,590
Speaker 3: You could walk down the aisle to the cricket servos.

838
00:43:16,230 --> 00:43:19,080
Speaker 1: Yeah. The big old house that features into this and

839
00:43:19,320 --> 00:43:21,840
Speaker 1: all the outdoor scenes, it's all at Eden Garden State Park.

840
00:43:22,280 --> 00:43:23,780
Speaker 3: The ring bearer is an alligator.

841
00:43:23,800 --> 00:43:23,880
Speaker 1: Yeah.

842
00:43:26,219 --> 00:43:29,870
Speaker 3: But so several things about the trash here also. One

843
00:43:29,910 --> 00:43:31,969
Speaker 3: of the things is, do you think Coca-Cola paid to

844
00:43:32,010 --> 00:43:34,670
Speaker 3: have their logo shown among all the trash in the swamp?

845
00:43:35,550 --> 00:43:36,450
Speaker 3: Because it's there.

846
00:43:36,810 --> 00:43:38,969
Speaker 1: I don't know. I mean, it's product placement, even if

847
00:43:39,010 --> 00:43:39,489
Speaker 1: it is litter.

848
00:43:41,630 --> 00:43:41,810
Speaker 4: Yeah.

849
00:43:42,250 --> 00:43:45,529
Speaker 3: Also, one thing that's funny is the swamp here has

850
00:43:45,610 --> 00:43:49,410
Speaker 3: the single piece of movie garbage that best represents Ultimate Squalor,

851
00:43:49,890 --> 00:43:52,440
Speaker 3: the discarded plastic baby doll. You know the trope I'm

852
00:43:52,480 --> 00:43:53,040
Speaker 3: talking about?

853
00:43:53,560 --> 00:43:53,719
Speaker 4: Yep.

854
00:43:54,050 --> 00:43:56,640
Speaker 3: Like that's how you know that a place is really

855
00:43:56,840 --> 00:43:59,460
Speaker 3: abject in a film is it's not just litter. It's

856
00:43:59,500 --> 00:44:02,040
Speaker 3: not just trash. It's a discarded baby doll.

857
00:44:02,820 --> 00:44:05,640
Speaker 1: It's interesting, too, given that here in Atlanta we have

858
00:44:05,680 --> 00:44:06,600
Speaker 1: Dolls Head Trail.

859
00:44:06,680 --> 00:44:07,020
Speaker 4: Yeah.

860
00:44:07,160 --> 00:44:12,120
Speaker 1: Which I know you've been to as well where an

861
00:44:12,160 --> 00:44:16,950
Speaker 1: individual has taken to using found garbage from the park itself.

862
00:44:17,989 --> 00:44:21,569
Speaker 1: And in many cases, toys and baby dolls. Yeah. and

863
00:44:21,670 --> 00:44:24,750
Speaker 1: recreate them, like rearrange them to create art in the

864
00:44:24,790 --> 00:44:28,460
Speaker 1: natural environment. And it works. But part of that is

865
00:44:28,560 --> 00:44:30,640
Speaker 1: it's stuff that was already there. He's not bringing in

866
00:44:30,680 --> 00:44:34,319
Speaker 1: baby dolls. And indeed, I will advise everyone, please do

867
00:44:34,380 --> 00:44:39,560
Speaker 1: not bring baby dolls into parks to create things. Also,

868
00:44:39,640 --> 00:44:42,920
Speaker 1: don't bring Christmas ornaments in on your nature trails and

869
00:44:43,060 --> 00:44:46,220
Speaker 1: start decorating Christmas trees on the nature trails. Yeah, I

870
00:44:46,239 --> 00:44:49,520
Speaker 1: saw that over the break. And granted, you know, people...

871
00:44:50,300 --> 00:44:52,760
Speaker 1: People need things to do during the pandemic, and they're

872
00:44:52,800 --> 00:44:55,440
Speaker 1: getting more into nature walking. But don't bring out a

873
00:44:55,580 --> 00:45:00,480
Speaker 1: bunch of Christmas garbage onto the nature trail and decorate something.

874
00:45:00,840 --> 00:45:03,819
Speaker 1: Let's keep the artistic expression to a limit.

875
00:45:04,760 --> 00:45:06,300
Speaker 3: You can decorate trees at home.

876
00:45:06,500 --> 00:45:08,879
Speaker 1: Yeah, decorate trees at home all you want, but I'm

877
00:45:08,920 --> 00:45:12,760
Speaker 1: here to see the actual trees. Doll's Head Trail is fine, though.

878
00:45:12,800 --> 00:45:15,719
Speaker 3: Okay, anyway, that's just the opening credits. We get Sam

879
00:45:15,760 --> 00:45:18,799
Speaker 3: Elliott taking pictures of all the trash in the swamp.

880
00:45:19,290 --> 00:45:23,350
Speaker 3: Then we immediately cut to jerks in a speedboat. And

881
00:45:23,410 --> 00:45:25,380
Speaker 3: this is a couple of cousins here, a couple of

882
00:45:25,390 --> 00:45:28,419
Speaker 3: the main cousins. We get Clint, who is Adam Rourke again,

883
00:45:28,440 --> 00:45:31,379
Speaker 3: and we get Karen, who is Joan Van Ark. And

884
00:45:31,420 --> 00:45:34,760
Speaker 3: they're cutting around the water in a powerboat, and Clint

885
00:45:34,900 --> 00:45:37,070
Speaker 3: is chugging a cold one while driving.

886
00:45:37,090 --> 00:45:37,570
Speaker 4: Yep.

887
00:45:38,010 --> 00:45:39,630
Speaker 3: Anyway, I don't know if it's supposed to be that

888
00:45:39,710 --> 00:45:42,370
Speaker 3: Clint is just a bad boat driver in general or

889
00:45:42,410 --> 00:45:44,509
Speaker 3: if it's because he's been drinking the beer. But he

890
00:45:45,030 --> 00:45:47,790
Speaker 3: does not see Sam Elliott in his canoe and he

891
00:45:47,830 --> 00:45:51,550
Speaker 3: just drives right by him, capsizes him, and Sam Elliott's

892
00:45:51,610 --> 00:45:54,950
Speaker 3: all wet. And, of course, Sam Elliott is not amused.

893
00:45:55,239 --> 00:45:58,660
Speaker 3: They circle back and they give him a ride and

894
00:45:58,700 --> 00:46:00,180
Speaker 3: they say, you know, we'll tow you back to the

895
00:46:00,219 --> 00:46:02,560
Speaker 3: house tomorrow. which is a big old mansion with a

896
00:46:02,660 --> 00:46:05,880
Speaker 3: waterside backyard. And they invite him to stay for the

897
00:46:06,040 --> 00:46:08,400
Speaker 3: fun and games, which sounds kind of sinister.

898
00:46:08,420 --> 00:46:09,100
Speaker 4: Yeah.

899
00:46:09,580 --> 00:46:12,000
Speaker 3: And it is not subtle with the frogs at all.

900
00:46:12,080 --> 00:46:14,620
Speaker 3: Like we, you know, we get to the dock and

901
00:46:14,680 --> 00:46:17,640
Speaker 3: it's just cutting to frogs constantly. You know, the characters

902
00:46:17,680 --> 00:46:20,260
Speaker 3: say a couple of lines cut to frogs and they're

903
00:46:20,280 --> 00:46:22,910
Speaker 3: just sitting there with their eyes being ribbiting and the,

904
00:46:22,950 --> 00:46:26,129
Speaker 3: you know, the throat sacks bulging. And then they're like, Hey,

905
00:46:26,150 --> 00:46:28,049
Speaker 3: would you like to stay at our creepy mansion? And

906
00:46:28,070 --> 00:46:29,890
Speaker 3: then the frogs, but, but.

907
00:46:30,310 --> 00:46:34,299
Speaker 1: Yeah, the frogs are massing, and there is an overwhelming

908
00:46:34,360 --> 00:46:36,640
Speaker 1: sense that the frogs are watching. Yes.

909
00:46:37,719 --> 00:46:40,020
Speaker 3: So we learn some things. We learn the characters' names.

910
00:46:40,140 --> 00:46:43,939
Speaker 3: Of course, Sam Elliott introduces himself. His character's name, once again,

911
00:46:44,000 --> 00:46:50,680
Speaker 3: is Pickett Smith. And Adam Rourke is Clint, and Joan

912
00:46:50,719 --> 00:46:54,530
Speaker 3: Van Allen is Karen. And so Karen takes Pickett Smith

913
00:46:54,590 --> 00:46:58,169
Speaker 3: to meet Grandpa Crockett. They also meet a guy named,

914
00:46:58,310 --> 00:47:01,090
Speaker 3: she introduces as my cousin, Michael Martindale, one of the

915
00:47:01,130 --> 00:47:03,550
Speaker 3: mini cousins. This guy looks kind of like a fascist

916
00:47:03,650 --> 00:47:07,290
Speaker 3: pool attendant. Like he's got this cool sort of, I

917
00:47:07,310 --> 00:47:11,880
Speaker 3: don't know, like single color resort wear outfit with a

918
00:47:11,900 --> 00:47:15,560
Speaker 3: big collar. But he's also got the cool hand Luke sunglasses.

919
00:47:16,040 --> 00:47:16,239
Speaker 1: Yeah.

920
00:47:16,680 --> 00:47:20,359
Speaker 3: But then, my God, the picket Smith chest hair. Like

921
00:47:20,420 --> 00:47:23,940
Speaker 3: everybody in this movie wears their shirt unbuttoned a few

922
00:47:23,989 --> 00:47:27,600
Speaker 3: buttons down. And Sam Elliott's chest hair could be put

923
00:47:27,660 --> 00:47:32,160
Speaker 3: in a ponytail. It's unbelievable. But anyway, so there's an

924
00:47:32,200 --> 00:47:35,969
Speaker 3: introduction scene. We meet Grandpa Crockett. He is ornery from

925
00:47:36,050 --> 00:47:40,130
Speaker 3: word one. He saw Sam Elliott paddling around and taking pictures,

926
00:47:40,170 --> 00:47:42,850
Speaker 3: he says, and he does not appreciate the taking of

927
00:47:42,890 --> 00:47:45,520
Speaker 3: the pictures. He's like, there's a sign out there. It

928
00:47:45,560 --> 00:47:48,879
Speaker 3: says private property. And he says that it's illegal for

929
00:47:48,960 --> 00:47:50,980
Speaker 3: Sam Elliott to have been taking pictures. I don't know

930
00:47:51,000 --> 00:47:54,890
Speaker 3: why that would be illegal. But we learn that Sam Elliott,

931
00:47:54,969 --> 00:47:59,090
Speaker 3: in fact, is here as a private freelance photographer. Actually,

932
00:47:59,170 --> 00:48:02,779
Speaker 3: he calls it a furtographer. And he's taking pictures of

933
00:48:02,880 --> 00:48:06,920
Speaker 3: pollution for an ecology magazine. And the funny thing is,

934
00:48:06,960 --> 00:48:10,200
Speaker 3: so he says this, and this gets Cousin Michael immediately

935
00:48:10,239 --> 00:48:13,570
Speaker 3: going on about frogs. So he's like, I've taken pictures.

936
00:48:13,630 --> 00:48:17,109
Speaker 3: I'm a freelance photographer for an ecology magazine. And Michael's like,

937
00:48:17,190 --> 00:48:19,550
Speaker 3: take any pictures of frogs lately? I saw the biggest

938
00:48:19,610 --> 00:48:22,790
Speaker 3: bullfrog earlier. And it just makes you wonder what other

939
00:48:22,830 --> 00:48:25,740
Speaker 3: topics of conversation cousin Michael will try to steer back

940
00:48:25,800 --> 00:48:29,660
Speaker 3: to the bullfrog anecdote. Somebody's like, would you like to

941
00:48:29,700 --> 00:48:32,299
Speaker 3: put on some music? Hey, speaking of music, have you

942
00:48:32,340 --> 00:48:34,660
Speaker 3: ever heard what a bullfrog sounds like? I caught the

943
00:48:34,739 --> 00:48:39,270
Speaker 3: biggest bullfrog. But we also learn from this conversation that

944
00:48:39,310 --> 00:48:43,170
Speaker 3: Grandpa Crockett has been spraying poison all around his property

945
00:48:43,230 --> 00:48:46,259
Speaker 3: to try to keep all this disgusting wildlife at bay,

946
00:48:46,340 --> 00:48:50,779
Speaker 3: because there is nothing worse than animals. And so he's

947
00:48:50,800 --> 00:48:56,220
Speaker 3: been using, I guess, poisons and insecticides to the absolute

948
00:48:56,280 --> 00:48:58,509
Speaker 3: max to try to put an end to it, and

949
00:48:58,530 --> 00:49:01,410
Speaker 3: it is not working. But anyway, so Sam Elliott and

950
00:49:01,430 --> 00:49:03,870
Speaker 3: Karen go back to the house, and then there's a

951
00:49:03,910 --> 00:49:06,590
Speaker 3: funny moment where Sam Elliott, who again is a freelance

952
00:49:06,690 --> 00:49:10,640
Speaker 3: photographer for an ecology magazine... He has to call his

953
00:49:10,800 --> 00:49:13,040
Speaker 3: editor immediately from this dude's house.

954
00:49:15,120 --> 00:49:18,850
Speaker 1: Well, you know, freelancing can be a little lonely sometimes.

955
00:49:18,870 --> 00:49:22,660
Speaker 1: Sometimes you just check in. with your editor just to

956
00:49:22,719 --> 00:49:23,120
Speaker 1: say hi.

957
00:49:23,570 --> 00:49:25,489
Speaker 3: Oh, that's a good, I didn't think about it like that.

958
00:49:25,530 --> 00:49:28,290
Speaker 3: Maybe he's just being polite and actually he's calling somebody

959
00:49:28,310 --> 00:49:32,469
Speaker 3: to be like, send help. I'm at this creepy house. But,

960
00:49:32,510 --> 00:49:34,890
Speaker 3: of course, the phone doesn't work because that's a standard

961
00:49:34,930 --> 00:49:38,250
Speaker 3: feature of Nature Strikes Back movies is that our technological

962
00:49:38,310 --> 00:49:41,350
Speaker 3: infrastructure fails us when the animals begin to rise up.

963
00:49:41,989 --> 00:49:44,350
Speaker 1: Yeah, the frogs are, I guess, we never see them

964
00:49:44,489 --> 00:49:47,129
Speaker 1: actually cut a phone line, but it's implied that they're

965
00:49:47,150 --> 00:49:47,730
Speaker 1: out there doing it.

966
00:49:47,989 --> 00:49:48,250
Speaker 4: Yes.

967
00:49:49,110 --> 00:49:51,989
Speaker 3: So, anyway, in the meantime, we get a little walkthrough

968
00:49:52,050 --> 00:49:53,710
Speaker 3: to meet a bunch of the rest of the cast.

969
00:49:53,790 --> 00:49:57,770
Speaker 3: We meet Ginny, who is played by Lynn Borden. This

970
00:49:57,810 --> 00:50:00,759
Speaker 3: is Clint's wife, who she's showing off some cute drawings

971
00:50:00,780 --> 00:50:05,010
Speaker 3: by the kids. She seems generally irritated. She is short-tempered,

972
00:50:05,250 --> 00:50:07,750
Speaker 3: and she is irritated by the news that Clint is

973
00:50:07,850 --> 00:50:09,950
Speaker 3: wet from the water. Oh, yeah, because we didn't mention that.

974
00:50:10,610 --> 00:50:13,180
Speaker 3: Sam Elliott pulls Clint into the water when they go

975
00:50:13,200 --> 00:50:14,560
Speaker 3: to help him out of the water, I guess as

976
00:50:14,620 --> 00:50:16,380
Speaker 3: revenge for capsizing his canoe.

977
00:50:16,940 --> 00:50:18,520
Speaker 1: Kind of smacks him one, too, I think.

978
00:50:19,800 --> 00:50:23,960
Speaker 3: Yeah. Then we also meet Aunt Iris, who appears eccentric.

979
00:50:24,080 --> 00:50:27,240
Speaker 3: She enjoys trapping butterflies in a glass bell jar, and

980
00:50:27,420 --> 00:50:30,810
Speaker 3: that lust for butterflies will be her undoing later on.

981
00:50:31,130 --> 00:50:31,669
Speaker 1: Yes, it will.

982
00:50:32,400 --> 00:50:35,399
Speaker 3: We meet Cousin Kenneth, who is another cousin who has

983
00:50:36,239 --> 00:50:39,089
Speaker 3: no identifying features whatsoever, except that he's another one who

984
00:50:39,120 --> 00:50:41,089
Speaker 3: cannot button up his shirt. I guess the only thing

985
00:50:41,130 --> 00:50:44,870
Speaker 3: interesting about Cousin Kenneth is that he is the boyfriend

986
00:50:45,150 --> 00:50:48,190
Speaker 3: of Bella Garrington, who is played by Judy Pace, who

987
00:50:48,250 --> 00:50:50,130
Speaker 3: I said, you know, other than Sam Elliott, the most

988
00:50:50,190 --> 00:50:53,680
Speaker 3: likable actor in the movie. And I think she and

989
00:50:53,739 --> 00:50:57,739
Speaker 3: Cousin Kenneth, they're supposed to be an item. And like

990
00:50:57,820 --> 00:51:01,489
Speaker 3: several other characters, Bella Garrington here seems dressed a little

991
00:51:01,590 --> 00:51:04,390
Speaker 3: warm for July in Florida. She's wearing like this kind

992
00:51:04,410 --> 00:51:08,569
Speaker 3: of long sleeve, long pants, like rock star outfit when

993
00:51:08,610 --> 00:51:11,430
Speaker 3: we first meet her. Also, did you notice that when

994
00:51:11,489 --> 00:51:15,120
Speaker 3: we first meet Cousin Kenneth and Bella, they are playing

995
00:51:15,140 --> 00:51:16,060
Speaker 3: with a Ouija board?

996
00:51:16,880 --> 00:51:17,520
Speaker 1: I missed that.

997
00:51:17,600 --> 00:51:19,259
Speaker 3: Yeah, it's on the table between them. They've got their

998
00:51:19,300 --> 00:51:21,360
Speaker 3: hands on the, what do you call it, the planchette,

999
00:51:21,380 --> 00:51:21,959
Speaker 3: the little thing.

1000
00:51:21,980 --> 00:51:22,779
Speaker 4: Yeah, yeah.

1001
00:51:22,820 --> 00:51:24,880
Speaker 3: I don't know what spirits, and maybe they're trying to

1002
00:51:24,900 --> 00:51:26,880
Speaker 3: get messages from the frogs or something.

1003
00:51:27,880 --> 00:51:30,720
Speaker 1: It's just spelling out ribbit, ribbit on the board, yeah.

1004
00:51:30,780 --> 00:51:33,609
Speaker 3: Yeah, I don't know what it means. But so Sam

1005
00:51:33,650 --> 00:51:36,750
Speaker 3: Elliott and Clint then take showers to wash the lake off,

1006
00:51:36,790 --> 00:51:38,590
Speaker 3: and then there's a great scene where they just stand

1007
00:51:38,630 --> 00:51:42,110
Speaker 3: around toweling off and talking about Clint's football days.

1008
00:51:42,510 --> 00:51:46,580
Speaker 1: Yeah, because that's all Clint has are the old football days. Uh, the,

1009
00:51:46,620 --> 00:51:49,640
Speaker 1: the beer, the speed boats in the dream of one day, uh,

1010
00:51:49,760 --> 00:51:51,700
Speaker 1: inheriting some money from the patriarch.

1011
00:51:52,100 --> 00:51:55,009
Speaker 3: That's right. So, uh, grandpa Crockett, and then there are

1012
00:51:55,090 --> 00:51:59,990
Speaker 3: other uncles and cousins that I didn't even get into yet, but, uh,

1013
00:52:00,030 --> 00:52:03,190
Speaker 3: too many to talk about. So grandpa Crockett assembles everybody

1014
00:52:03,230 --> 00:52:05,810
Speaker 3: for a buffet lunch on the lawn. And this is

1015
00:52:05,850 --> 00:52:08,990
Speaker 3: another scene that in reality would be swarming with insects.

1016
00:52:09,050 --> 00:52:12,060
Speaker 3: I've been to Florida in the summer. But of course,

1017
00:52:12,440 --> 00:52:14,500
Speaker 3: it's not. At least we don't see any insects. We

1018
00:52:14,540 --> 00:52:16,680
Speaker 3: do cut away to frogs a lot. But I liked

1019
00:52:16,719 --> 00:52:19,660
Speaker 3: how this buffet lunch is complete with at least five

1020
00:52:19,739 --> 00:52:22,580
Speaker 3: different kinds of liquor that we can see on camera

1021
00:52:23,050 --> 00:52:27,410
Speaker 3: and a bunch of logo-facing bottles of Coke. So again,

1022
00:52:27,430 --> 00:52:31,270
Speaker 3: I'm wondering what's going on there. But we see Gordon's vodka.

1023
00:52:31,310 --> 00:52:34,130
Speaker 3: We see some kind of scotch and then multiple glass

1024
00:52:34,190 --> 00:52:36,190
Speaker 3: decanters with other liquors in them.

1025
00:52:36,700 --> 00:52:40,090
Speaker 1: I have to say it's refreshing to see forward-facing labels

1026
00:52:40,290 --> 00:52:43,390
Speaker 1: on beverage bottles in a motion picture because at times

1027
00:52:43,469 --> 00:52:46,100
Speaker 1: it can get a little obnoxious where you're like, come on, movie.

1028
00:52:46,440 --> 00:52:48,100
Speaker 1: I know you don't want to show me that that's

1029
00:52:48,200 --> 00:52:51,419
Speaker 1: a Coca-Cola or show me that that is this other

1030
00:52:51,460 --> 00:52:57,020
Speaker 1: brand of beverage. it gets a little too precise at times.

1031
00:52:57,120 --> 00:53:00,569
Speaker 1: So I'm happy to see the beverage logos here for

1032
00:53:00,640 --> 00:53:01,450
Speaker 1: a change. Yeah.

1033
00:53:01,650 --> 00:53:05,250
Speaker 3: Oh, also the scene has some good Ginny chewing Clint

1034
00:53:05,410 --> 00:53:08,229
Speaker 3: out for drinking a fifth of vodka every night.

1035
00:53:08,810 --> 00:53:09,890
Speaker 1: Yeah.

1036
00:53:09,930 --> 00:53:13,450
Speaker 3: But somehow conversation just keeps coming back to frogs. Everybody's

1037
00:53:13,489 --> 00:53:15,279
Speaker 3: trying to talk it. So she's like chewing him out

1038
00:53:15,320 --> 00:53:18,400
Speaker 3: for drinking vodka, but somehow this gets related to frogs.

1039
00:53:18,840 --> 00:53:21,299
Speaker 3: And then grandpa says to Sam Elliott, you see more

1040
00:53:21,380 --> 00:53:25,090
Speaker 3: frogs than usual this year. And And Sam Elliott's like, well, yeah,

1041
00:53:25,130 --> 00:53:28,310
Speaker 3: sometimes animals overpopulate, but they'll die off by next year.

1042
00:53:28,390 --> 00:53:30,529
Speaker 3: And Grandpa, of course, is like, what are you, some

1043
00:53:30,550 --> 00:53:35,259
Speaker 3: kind of ecologist? And then there's broader discussion on why

1044
00:53:35,280 --> 00:53:37,460
Speaker 3: frogs are bad and what would be the best ways

1045
00:53:37,520 --> 00:53:38,340
Speaker 3: to kill frogs.

1046
00:53:39,120 --> 00:53:41,380
Speaker 1: And this is all great because it's ultimately leading up

1047
00:53:41,400 --> 00:53:45,540
Speaker 1: to something. Like, why is Grandpa even remotely tolerating this

1048
00:53:45,600 --> 00:53:49,109
Speaker 1: stranger here who has– you know, already seems to have

1049
00:53:49,230 --> 00:53:54,610
Speaker 1: unsavory connections to environmentalism. Well, it's because he has a

1050
00:53:54,710 --> 00:53:56,750
Speaker 1: need of him. He has a task for him.

1051
00:53:56,870 --> 00:54:00,380
Speaker 3: That's right. So Grandpa Crockett wants, he takes Sam Elliott

1052
00:54:00,440 --> 00:54:02,540
Speaker 3: aside and he's like, I want you to take a

1053
00:54:02,540 --> 00:54:06,279
Speaker 3: look around and investigate the frogs, apparently so he can

1054
00:54:06,360 --> 00:54:10,100
Speaker 3: put the family's minds that he is about frogs, I think.

1055
00:54:10,400 --> 00:54:13,739
Speaker 3: Plenty more cutaways to frogs, ribbit, ribbit. But then also

1056
00:54:13,780 --> 00:54:16,319
Speaker 3: we get a little secret meeting on the side where

1057
00:54:16,360 --> 00:54:19,939
Speaker 3: Grandpa also wants Sam Elliott to go looking for his

1058
00:54:20,480 --> 00:54:24,590
Speaker 3: professional frog executioner, Grover, who had been sent out earlier

1059
00:54:24,630 --> 00:54:27,850
Speaker 3: that morning to spray for frogs, but who never returned.

1060
00:54:29,570 --> 00:54:32,610
Speaker 3: And when he sends Sam Elliott out on this mission

1061
00:54:32,670 --> 00:54:35,140
Speaker 3: to find Grover, Grandpa's like, do you want to take

1062
00:54:35,200 --> 00:54:37,100
Speaker 3: along a gun? He's just got a room full of

1063
00:54:37,180 --> 00:54:40,630
Speaker 3: guns and animal heads mounted on the wall. And he's like,

1064
00:54:40,650 --> 00:54:42,410
Speaker 3: you want one of these rifles? And of course not.

1065
00:54:42,450 --> 00:54:44,710
Speaker 3: Sam Elliott is far too cool to shoot at a

1066
00:54:44,770 --> 00:54:45,750
Speaker 3: frog with a rifle.

1067
00:54:46,610 --> 00:54:48,800
Speaker 1: And he also lays out a sick burn on Grandpa's

1068
00:54:48,840 --> 00:54:52,260
Speaker 1: trophy room. He's like, no, I don't believe a frog

1069
00:54:52,320 --> 00:54:54,780
Speaker 1: head would much improve the space or something to that effect.

1070
00:54:54,800 --> 00:54:57,460
Speaker 3: Yeah, except he says it in fewer words somehow.

1071
00:54:58,120 --> 00:55:01,780
Speaker 1: Yeah, yeah. And, you know, it's got that Sam Elliott

1072
00:55:01,820 --> 00:55:06,890
Speaker 1: charm to it. So it doesn't feel particularly thorny, you know. again,

1073
00:55:06,930 --> 00:55:09,330
Speaker 1: he just plays it so cool in this film.

1074
00:55:09,370 --> 00:55:11,880
Speaker 3: Sam Elliott, I wonder if he just went through the

1075
00:55:11,910 --> 00:55:15,259
Speaker 3: script with a red pen and he took every time

1076
00:55:15,320 --> 00:55:19,279
Speaker 3: his character spoke and reduced the number of words in

1077
00:55:19,320 --> 00:55:23,700
Speaker 3: the line by half or even more. He's very laconic.

1078
00:55:24,110 --> 00:55:24,280
Speaker 4: Yeah.

1079
00:55:24,760 --> 00:55:27,570
Speaker 3: Okay. So anyway, Sam Elliott, he wanders through the woods

1080
00:55:27,670 --> 00:55:30,230
Speaker 3: and he stumbles across a big canister of poison and

1081
00:55:30,290 --> 00:55:33,549
Speaker 3: then This part's great. There's like a parade of dead

1082
00:55:33,670 --> 00:55:37,050
Speaker 3: animals of every kind. So you see dead frog, dead snake,

1083
00:55:37,110 --> 00:55:40,410
Speaker 3: dead eagle. And then like I thought he was going

1084
00:55:40,430 --> 00:55:42,730
Speaker 3: to come across a penguin next, but then it just

1085
00:55:42,750 --> 00:55:44,430
Speaker 3: gets into a lot of frogs and snakes. And he

1086
00:55:44,469 --> 00:55:48,489
Speaker 3: eventually finds Grover face down in a puddle. Is he

1087
00:55:48,530 --> 00:55:51,060
Speaker 3: alive or dead? I guess he is whatever you are

1088
00:55:51,180 --> 00:55:53,800
Speaker 3: when the script says you're dead, but you are obviously

1089
00:55:53,860 --> 00:55:54,560
Speaker 3: still breathing.

1090
00:55:54,580 --> 00:55:57,520
Speaker 1: Yeah. The movie makeup says he's dead, though, because he

1091
00:55:57,540 --> 00:55:59,379
Speaker 1: had like a big old chunk taken out of his face.

1092
00:55:59,460 --> 00:55:59,680
Speaker 4: Right.

1093
00:55:59,760 --> 00:56:00,680
Speaker 3: And his face is blue.

1094
00:56:00,700 --> 00:56:00,779
Speaker 1: Yeah.

1095
00:56:01,400 --> 00:56:01,560
Speaker 2: Yeah.

1096
00:56:01,980 --> 00:56:05,060
Speaker 1: Though I should again stress, you know, this film is

1097
00:56:05,100 --> 00:56:09,520
Speaker 1: not particularly grisly. It is actually rated PG. So any

1098
00:56:09,580 --> 00:56:12,399
Speaker 1: scene like this, it's not as horrific as it would

1099
00:56:12,440 --> 00:56:15,080
Speaker 1: be in other films, not to say horrific as Squirm is,

1100
00:56:15,100 --> 00:56:18,260
Speaker 1: where you have a lot of really, really gross special

1101
00:56:18,300 --> 00:56:23,140
Speaker 1: effects to drive home nature's vengeance. It's pretty tame in

1102
00:56:23,180 --> 00:56:25,719
Speaker 1: this film, but it works. You know, it's shot and

1103
00:56:25,739 --> 00:56:26,319
Speaker 1: presented well.

1104
00:56:26,580 --> 00:56:28,540
Speaker 3: Yeah, yeah. The gore is relatively tame.

1105
00:56:28,560 --> 00:56:28,700
Speaker 4: Yeah.

1106
00:56:29,390 --> 00:56:33,370
Speaker 3: Though sometimes the deaths, like if you were to imagine them,

1107
00:56:33,450 --> 00:56:36,510
Speaker 3: the implications are really awful. But yeah, they don't.

1108
00:56:36,390 --> 00:56:38,060
Speaker 1: Show it on screen. It does a good job with that,

1109
00:56:38,100 --> 00:56:43,920
Speaker 1: you know, implying the death, at least non-frog related deaths anyway.

1110
00:56:44,620 --> 00:56:45,480
Speaker 1: We'll get to that in a bit.

1111
00:56:45,800 --> 00:56:47,319
Speaker 3: But anyway, so we come back to the house and

1112
00:56:47,360 --> 00:56:49,500
Speaker 3: check in with the other characters. There was a nice

1113
00:56:49,540 --> 00:56:53,189
Speaker 3: little scene with May Mercer, who plays Maybel, who works

1114
00:56:53,230 --> 00:56:55,250
Speaker 3: at the house, and then Judy Pace, who again plays

1115
00:56:55,290 --> 00:56:57,819
Speaker 3: Bella Harrington. They have a nice little scene where they

1116
00:56:57,860 --> 00:57:00,120
Speaker 3: share a drink together and they sort of commiserate with

1117
00:57:00,360 --> 00:57:03,120
Speaker 3: a great big eye roll about the family. And we

1118
00:57:03,140 --> 00:57:06,360
Speaker 3: find out that Bella Harrington's birth name is also Maybel.

1119
00:57:07,440 --> 00:57:10,569
Speaker 3: But anyway, we get to all of the floristocrats who

1120
00:57:10,610 --> 00:57:14,569
Speaker 3: are sitting around in the mansion gabbing. And Grandpa says

1121
00:57:14,610 --> 00:57:16,970
Speaker 3: he thinks Grover deserves to be dead in a ditch.

1122
00:57:17,470 --> 00:57:19,750
Speaker 3: They have not gotten the news that he is dead

1123
00:57:19,790 --> 00:57:22,010
Speaker 3: in a ditch. They're just imagining, I wonder if he's

1124
00:57:22,050 --> 00:57:24,270
Speaker 3: dead in a ditch, which will turn out to be true.

1125
00:57:24,990 --> 00:57:27,669
Speaker 3: And he's like, well, I hope he is because he's

1126
00:57:27,730 --> 00:57:32,170
Speaker 3: late coming back. And then Karen is like, Grandpa, that's awful.

1127
00:57:32,230 --> 00:57:34,550
Speaker 3: You make us sound like the worst of the ugly rich.

1128
00:57:35,010 --> 00:57:37,760
Speaker 1: Yeah, to which he replies, we are the ugly rich.

1129
00:57:39,140 --> 00:57:41,820
Speaker 3: But then we get a great speech by Aunt Iris

1130
00:57:41,840 --> 00:57:44,380
Speaker 3: where she's like, we're entitled to be ugly, Karen. We

1131
00:57:44,440 --> 00:57:47,600
Speaker 3: pay so many taxes. And then she starts going on

1132
00:57:47,620 --> 00:57:51,160
Speaker 3: this rant about environmental regulations on her paper mills that

1133
00:57:51,180 --> 00:57:54,860
Speaker 3: are costing her a fortune. And anyway, Sam Elliott comes

1134
00:57:54,910 --> 00:57:57,780
Speaker 3: back and he informs Grandpa Crockett that Grover is dead.

1135
00:57:58,120 --> 00:58:02,220
Speaker 3: And their conversation is interrupted when frogs are thumping against

1136
00:58:02,260 --> 00:58:04,380
Speaker 3: the windowsill. That was the sound effect I was talking

1137
00:58:04,420 --> 00:58:08,510
Speaker 3: about earlier with the thump thump. And then somebody screams

1138
00:58:08,570 --> 00:58:10,670
Speaker 3: from the other room. It was a Maybel. So what

1139
00:58:10,710 --> 00:58:13,550
Speaker 3: could it be? And everybody runs in and there is

1140
00:58:13,590 --> 00:58:17,140
Speaker 3: a snake hanging from the chandelier in the dining room.

1141
00:58:17,630 --> 00:58:21,820
Speaker 3: Everybody just crowds in while ominous music throbs on the soundtrack.

1142
00:58:22,060 --> 00:58:25,120
Speaker 3: Snake's right there over the dinner table. And then I

1143
00:58:25,180 --> 00:58:28,200
Speaker 3: laughed out loud at this. Grandpa Crockett whips out a revolver,

1144
00:58:28,720 --> 00:58:32,320
Speaker 3: shoots the snake. The snake falls dead on the dinner table.

1145
00:58:33,080 --> 00:58:36,000
Speaker 3: And then he asks Charles to remove the snake. And

1146
00:58:36,020 --> 00:58:38,820
Speaker 3: then he's like, all right, everybody, let's eat. Yeah.

1147
00:58:40,390 --> 00:58:43,940
Speaker 1: Yeah, it's ridiculous. Because, of course, there's no reason that

1148
00:58:43,980 --> 00:58:46,720
Speaker 1: a snake would be in your chandelier. It's a real

1149
00:58:46,780 --> 00:58:48,260
Speaker 1: turtle on a fence post kind of moment.

1150
00:58:48,600 --> 00:58:50,520
Speaker 3: But then we get into a bunch of just little

1151
00:58:50,580 --> 00:58:54,940
Speaker 3: conversation scenes. There's this philosophical debate between Sam Elliott and

1152
00:58:55,000 --> 00:58:58,430
Speaker 3: Grandpa Crockett about whether man is the master of nature

1153
00:58:58,490 --> 00:59:01,550
Speaker 3: or not. Sam Elliott seems to believe that humans and

1154
00:59:01,590 --> 00:59:04,490
Speaker 3: frogs can coexist peacefully. How naive he is.

1155
00:59:05,230 --> 00:59:06,630
Speaker 1: Yeah, this is a great scene. I think I ended

1156
00:59:06,650 --> 00:59:08,590
Speaker 1: up watching this one twice. Yeah. I didn't have to

1157
00:59:08,630 --> 00:59:10,430
Speaker 1: rerun just to get it because I could tell like

1158
00:59:10,490 --> 00:59:12,940
Speaker 1: this is the heart of the movie. This is where

1159
00:59:12,960 --> 00:59:15,340
Speaker 1: the central argument is being played out.

1160
00:59:15,580 --> 00:59:18,260
Speaker 3: Yeah. And then there's a great part where Sam Elliott,

1161
00:59:18,320 --> 00:59:20,900
Speaker 3: Sam Elliott seems to get what's going on. He's like, oh,

1162
00:59:20,980 --> 00:59:23,620
Speaker 3: I see. This is a nature strikes back film. So

1163
00:59:23,700 --> 00:59:26,520
Speaker 3: he's like, what if nature were trying to get back

1164
00:59:26,580 --> 00:59:28,940
Speaker 3: at us for all of the pollution and the littering?

1165
00:59:29,780 --> 00:59:33,140
Speaker 3: And the response is nonsense. And Sam Elliott says, well,

1166
00:59:33,160 --> 00:59:35,360
Speaker 3: then how do you explain it? But note that the

1167
00:59:35,640 --> 00:59:38,100
Speaker 3: it that Sam Elliott seems to be at a loss

1168
00:59:38,120 --> 00:59:42,260
Speaker 3: to explain otherwise is so far Grover was bitten by

1169
00:59:42,300 --> 00:59:45,030
Speaker 3: a snake and died. There are a lot of frogs

1170
00:59:45,070 --> 00:59:47,760
Speaker 3: hopping around and there was a snake on the chandelier.

1171
00:59:50,010 --> 00:59:53,650
Speaker 1: Well, still, it's all adding up to something. I guess so.

1172
00:59:53,690 --> 00:59:56,870
Speaker 1: But yes, Sam Elliott is his whole presentation in this, though,

1173
00:59:56,910 --> 00:59:59,150
Speaker 1: is like another actor in this role might have. been

1174
00:59:59,210 --> 01:00:03,070
Speaker 1: more insistent you know and more um you know argumentative

1175
01:00:03,130 --> 01:00:04,670
Speaker 1: on this point but he's just kind of he's like

1176
01:00:04,690 --> 01:00:06,810
Speaker 1: laying it out there he's like well you know what

1177
01:00:06,830 --> 01:00:08,670
Speaker 1: do you think's happening you know look around us look

1178
01:00:08,690 --> 01:00:10,690
Speaker 1: at how we're treating the world you know this this

1179
01:00:10,710 --> 01:00:12,130
Speaker 1: is what this is what it is man.

1180
01:00:12,610 --> 01:00:15,480
Speaker 3: Gentle wise and charming he sells it so good yeah

1181
01:00:16,320 --> 01:00:18,440
Speaker 3: uh and a bunch of other conversations going on we

1182
01:00:18,480 --> 01:00:21,360
Speaker 3: learned oh there's a scene with clint and jenny arguing

1183
01:00:21,440 --> 01:00:24,180
Speaker 3: they're you know uh they're they're talking about how jenny

1184
01:00:24,260 --> 01:00:27,420
Speaker 3: resents that clint spends all day drunk driving a speedboat

1185
01:00:28,170 --> 01:00:29,910
Speaker 3: And this is the part where he retorts that he

1186
01:00:29,950 --> 01:00:31,870
Speaker 3: needs to play his cards right so that he can

1187
01:00:31,890 --> 01:00:33,030
Speaker 3: get his inheritance.

1188
01:00:33,410 --> 01:00:37,430
Speaker 1: Yeah. Life is hard for old Clint here.

1189
01:00:37,490 --> 01:00:42,090
Speaker 3: Yeah. There's some very hardcore flirting between Sam Elliott and

1190
01:00:42,110 --> 01:00:47,900
Speaker 3: Joan Van Ark. Clearly there's an attraction there. And then meanwhile,

1191
01:00:47,920 --> 01:00:51,460
Speaker 3: I was noticing there is such creepy decor in this house.

1192
01:00:51,720 --> 01:00:53,850
Speaker 3: I feel like this about a lot of I think

1193
01:00:53,890 --> 01:00:58,870
Speaker 3: especially like Southern American houses from the like, you know,

1194
01:00:58,970 --> 01:01:02,940
Speaker 3: sixties and seventies where you see this like mixture of

1195
01:01:04,020 --> 01:01:09,720
Speaker 3: sometimes like more modern furniture decorations, but also just like weird, creepy,

1196
01:01:09,960 --> 01:01:14,610
Speaker 3: old antebellum looking stuff. Everything is just like haunted daguerreotypes

1197
01:01:14,670 --> 01:01:18,689
Speaker 3: of 19th century Florida vampires up on the wall. There's

1198
01:01:18,750 --> 01:01:21,670
Speaker 3: this guy, I captured one of the, one of these

1199
01:01:21,710 --> 01:01:24,580
Speaker 3: for us to look at. There's just some, creep staring

1200
01:01:24,680 --> 01:01:27,300
Speaker 3: at us from a daguerreotype from 1954 or 1854. And

1201
01:01:28,460 --> 01:01:31,800
Speaker 3: I don't know, he looks like he wants my blood.

1202
01:01:31,840 --> 01:01:32,900
Speaker 3: He wants my life force.

1203
01:01:33,360 --> 01:01:35,200
Speaker 1: Well, some of this, I don't know, they might have

1204
01:01:35,220 --> 01:01:36,370
Speaker 1: dressed it up a little bit. I couldn't get a

1205
01:01:36,390 --> 01:01:41,090
Speaker 1: lot of interior photos online of the mansion here. But yeah,

1206
01:01:41,130 --> 01:01:44,790
Speaker 1: this is the Wesley Homestead from Eden Garden State Park.

1207
01:01:44,990 --> 01:01:45,190
Speaker 3: Oh, okay.

1208
01:01:45,350 --> 01:01:47,270
Speaker 1: And it was apparently built in 1897. And then in 1963,

1209
01:01:47,250 --> 01:01:55,150
Speaker 1: Louis Maxon bought and renovated the house. quote, creating a

1210
01:01:55,210 --> 01:01:57,850
Speaker 1: showplace for her family heirlooms and antiques.

1211
01:01:58,410 --> 01:02:02,760
Speaker 3: OK, so maybe this Dementor is a is a family heirloom.

1212
01:02:03,160 --> 01:02:05,220
Speaker 1: Yeah. Or maybe they felt like they needed to night

1213
01:02:05,260 --> 01:02:08,360
Speaker 1: gallery up the picture. I don't know. I can see

1214
01:02:08,380 --> 01:02:09,200
Speaker 1: it going either way.

1215
01:02:11,200 --> 01:02:13,700
Speaker 3: So, yeah, there's a bunch of other just sort of like.

1216
01:02:14,130 --> 01:02:15,970
Speaker 3: social stuff going on. There's not a lot of depth

1217
01:02:16,030 --> 01:02:18,150
Speaker 3: to any of it. There's a sequence where Clint is

1218
01:02:18,190 --> 01:02:21,170
Speaker 3: just wandering around bullying people and trying to get somebody

1219
01:02:21,190 --> 01:02:24,030
Speaker 3: to play this log jousting game with him. I don't

1220
01:02:24,050 --> 01:02:25,990
Speaker 3: know if you could explain this. They're like trying to

1221
01:02:26,470 --> 01:02:28,650
Speaker 3: stand on a log and hit each other with pillows,

1222
01:02:28,710 --> 01:02:30,670
Speaker 3: but nobody wants to play with Clint because he is

1223
01:02:30,710 --> 01:02:31,630
Speaker 3: drunk and abusive.

1224
01:02:32,050 --> 01:02:33,630
Speaker 1: Well, yeah, I think part of it is just like

1225
01:02:33,710 --> 01:02:35,970
Speaker 1: Clint sucks and you should be okay with it when

1226
01:02:36,290 --> 01:02:39,030
Speaker 1: the animals kill him later. But also this is a

1227
01:02:39,050 --> 01:02:41,590
Speaker 1: scene where I had a laugh at it because Yeah,

1228
01:02:41,740 --> 01:02:44,070
Speaker 1: he's horsing around in this log, pushing people over and

1229
01:02:44,110 --> 01:02:46,370
Speaker 1: proclaiming himself to be the king of the log. And

1230
01:02:46,410 --> 01:02:49,790
Speaker 1: then this is juxtaposed with an image of like a

1231
01:02:49,870 --> 01:02:52,950
Speaker 1: gecko or something walking on a limb as if the

1232
01:02:53,210 --> 01:02:56,250
Speaker 1: gecko is interjecting and saying, ah, foolish human, I am

1233
01:02:56,290 --> 01:03:00,090
Speaker 1: the king of the log. Clearly, look at my appendages

1234
01:03:00,130 --> 01:03:01,340
Speaker 1: and how easily I cling.

1235
01:03:01,360 --> 01:03:04,860
Speaker 3: Yeah, you know nothing about stick dominance.

1236
01:03:05,240 --> 01:03:05,500
Speaker 4: Yes.

1237
01:03:14,910 --> 01:03:17,160
Speaker 3: But so it's right about so we're here at like

1238
01:03:17,240 --> 01:03:19,800
Speaker 3: halfway through the movie and it's right here that nature

1239
01:03:19,920 --> 01:03:23,260
Speaker 3: really starts striking back I would say up until now

1240
01:03:23,300 --> 01:03:25,890
Speaker 3: it's been mostly set up but now it just sort

1241
01:03:25,930 --> 01:03:28,350
Speaker 3: of turns into a nature kill spree at about the

1242
01:03:28,350 --> 01:03:31,090
Speaker 3: 45 minute mark and that doesn't stop until the movie's

1243
01:03:31,170 --> 01:03:32,030
Speaker 3: over Right.

1244
01:03:32,510 --> 01:03:36,050
Speaker 1: The frogs have announced the first wave to begin.

1245
01:03:36,110 --> 01:03:36,330
Speaker 4: Yes.

1246
01:03:36,730 --> 01:03:37,630
Speaker 1: And so it does.

1247
01:03:37,870 --> 01:03:38,070
Speaker 4: Right.

1248
01:03:38,110 --> 01:03:41,110
Speaker 3: So we get Michael Martindale, one of the many cousins,

1249
01:03:41,190 --> 01:03:44,440
Speaker 3: after being bullied by Clint. So he gets bullied by Clint,

1250
01:03:44,480 --> 01:03:47,120
Speaker 3: knocked off the log. And then he's like, well, I'll

1251
01:03:47,160 --> 01:03:49,460
Speaker 3: show everybody. And he goes and he gets a shotgun,

1252
01:03:49,620 --> 01:03:53,860
Speaker 3: drives off in a Jeep. And I guess maybe this

1253
01:03:53,920 --> 01:03:56,970
Speaker 3: is his favorite hobby. He just starts shooting at random birds.

1254
01:03:57,570 --> 01:03:57,790
Speaker 1: Mm-hmm.

1255
01:03:58,490 --> 01:03:59,990
Speaker 3: I didn't really get what was going on here. It

1256
01:04:00,030 --> 01:04:02,690
Speaker 3: does not seem to be an organized hunting expedition. It

1257
01:04:03,370 --> 01:04:05,110
Speaker 3: looks more like he's just sort of like working out

1258
01:04:05,150 --> 01:04:06,820
Speaker 3: his frustrations on the birds.

1259
01:04:07,280 --> 01:04:07,500
Speaker 4: Yeah.

1260
01:04:07,680 --> 01:04:12,420
Speaker 1: Yeah. Just generally being a jerk to nature. Yeah.

1261
01:04:12,460 --> 01:04:16,400
Speaker 3: But also while this is going on, we get– Sam Elliott,

1262
01:04:16,700 --> 01:04:19,440
Speaker 3: he goes walking in the woods. He sees many, many reptiles.

1263
01:04:20,140 --> 01:04:23,150
Speaker 3: And then we see Cousin Michael. He starts running for

1264
01:04:23,190 --> 01:04:24,970
Speaker 3: some reason. I don't remember why he starts running. I

1265
01:04:24,990 --> 01:04:26,850
Speaker 3: guess he sees an animal that scares him. And he

1266
01:04:26,950 --> 01:04:30,230
Speaker 3: shoots himself in the leg. And then there is, I

1267
01:04:30,570 --> 01:04:33,670
Speaker 3: don't know, there are many glorious nature attack scenes in

1268
01:04:33,710 --> 01:04:36,709
Speaker 3: this film. But one of the best is what happens here.

1269
01:04:36,830 --> 01:04:38,830
Speaker 3: It is a Spanish moss attack. I don't know how

1270
01:04:38,890 --> 01:04:39,900
Speaker 3: else to describe it.

1271
01:04:40,560 --> 01:04:42,600
Speaker 1: Yeah, it is a straight up Spanish moss attack. Like

1272
01:04:42,640 --> 01:04:44,280
Speaker 1: at first, it just seems like, oh, he fell in

1273
01:04:44,300 --> 01:04:47,160
Speaker 1: the Spanish moss and now he's gotten entangled in it.

1274
01:04:47,470 --> 01:04:50,010
Speaker 1: But no, like the Spanish moss seems to be crawling

1275
01:04:50,090 --> 01:04:51,750
Speaker 1: around him. It seems to be animate.

1276
01:04:52,170 --> 01:04:53,670
Speaker 3: It's sentient Spanish moss.

1277
01:04:53,970 --> 01:04:57,930
Speaker 1: Yeah. So the Spanish moss kill scene here is just wonderful.

1278
01:04:58,790 --> 01:05:01,430
Speaker 1: It seems to indicate that Spanish moss is just teeming

1279
01:05:01,490 --> 01:05:05,530
Speaker 1: with tarantulas, which it is not. Though I should note,

1280
01:05:05,590 --> 01:05:07,800
Speaker 1: there is an old wives tale that Spanish moss is

1281
01:05:07,860 --> 01:05:13,300
Speaker 1: filled with... trombiculatae, red bugs, or chiggers, as they're often called.

1282
01:05:14,040 --> 01:05:18,500
Speaker 1: But apparently there's no truth to this. These creatures prefer

1283
01:05:18,540 --> 01:05:21,930
Speaker 1: the tall grass. But weirdly, you still see this association

1284
01:05:21,970 --> 01:05:26,250
Speaker 1: repeated all over the place, despite scientific research to the contrary.

1285
01:05:27,170 --> 01:05:30,320
Speaker 1: The only possible connection I can find is that perhaps

1286
01:05:30,390 --> 01:05:33,240
Speaker 1: after the moss has touched the ground or fallen onto

1287
01:05:33,260 --> 01:05:37,380
Speaker 1: the ground, then you can have the red bugs, the chiggers,

1288
01:05:37,660 --> 01:05:39,980
Speaker 1: crawl into the Spanish moss, and that's how people could

1289
01:05:40,040 --> 01:05:42,500
Speaker 1: potentially get them. But for the most part, these parasites

1290
01:05:42,760 --> 01:05:45,140
Speaker 1: are going to be on the grass where they reach out,

1291
01:05:45,480 --> 01:05:49,680
Speaker 1: questing for humans or other animals to latch onto.

1292
01:05:50,000 --> 01:05:51,500
Speaker 3: Oh, that's the scientific term, isn't it?

1293
01:05:51,560 --> 01:05:54,770
Speaker 1: Questing? Yes, yeah. I always, because it's such a creepy term,

1294
01:05:54,790 --> 01:05:59,330
Speaker 1: just imagining them moving their little appendages, just questing for flesh.

1295
01:05:59,710 --> 01:06:02,470
Speaker 3: But here it's tarantulas. So the Spanish moss, the sentient

1296
01:06:02,510 --> 01:06:08,160
Speaker 3: Spanish moss- It envelops Cousin Michael, whichever cousin this is.

1297
01:06:08,480 --> 01:06:12,160
Speaker 3: He drowns in the moss, and then tarantulas just swarm

1298
01:06:12,300 --> 01:06:14,020
Speaker 3: out of it. And I think one of them maybe

1299
01:06:14,080 --> 01:06:17,180
Speaker 3: crawls into his mouth. They just attack him, and he dies.

1300
01:06:17,540 --> 01:06:19,240
Speaker 1: Yeah, one of the things about this film, and it's

1301
01:06:19,260 --> 01:06:21,280
Speaker 1: also been one of the things that's really great, is

1302
01:06:21,360 --> 01:06:25,800
Speaker 1: that all the animals are alive. I don't think we

1303
01:06:25,860 --> 01:06:29,220
Speaker 1: really see any prop animals or puppet animals used.

1304
01:06:29,470 --> 01:06:30,750
Speaker 3: I think there's some of the dead ones.

1305
01:06:30,770 --> 01:06:30,850
Speaker 4: Yeah.

1306
01:06:31,230 --> 01:06:33,130
Speaker 1: Maybe, yeah, for the dead ones. But in terms of like,

1307
01:06:33,250 --> 01:06:35,430
Speaker 1: there is no cutaway and then like a puppet biting

1308
01:06:35,470 --> 01:06:38,210
Speaker 1: somebody on the neck, which is one of the reasons

1309
01:06:38,550 --> 01:06:41,700
Speaker 1: probably you don't see any grislier death scenes in this.

1310
01:06:41,720 --> 01:06:44,380
Speaker 1: You know, a lot of the gore and violence is implied.

1311
01:06:45,440 --> 01:06:47,860
Speaker 1: But it also means you don't have any cheesy puppets. Like,

1312
01:06:48,320 --> 01:06:50,660
Speaker 1: those are some straight up tarantulas crawling around on him.

1313
01:06:50,680 --> 01:06:51,900
Speaker 1: And at one point, a scorpion.

1314
01:06:52,400 --> 01:06:54,540
Speaker 3: Oh, yeah, that's right. A scorpion crawls over his hand.

1315
01:06:55,240 --> 01:06:57,180
Speaker 1: Super late, though. It's like, come on, scorpion.

1316
01:06:57,240 --> 01:06:57,439
Speaker 4: Yeah.

1317
01:06:57,980 --> 01:07:01,530
Speaker 1: Didn't you read the schedule for the animal uprising? Arriving

1318
01:07:01,590 --> 01:07:02,300
Speaker 1: late to everything.

1319
01:07:02,340 --> 01:07:04,700
Speaker 3: He shows up after the cousin slaying has finished.

1320
01:07:04,760 --> 01:07:05,040
Speaker 4: Yes.

1321
01:07:05,380 --> 01:07:05,580
Speaker 1: Yeah.

1322
01:07:06,900 --> 01:07:08,940
Speaker 3: Oh, and all the while, it's great that also the

1323
01:07:08,980 --> 01:07:11,200
Speaker 3: frogs are not getting in on the action. They are

1324
01:07:11,240 --> 01:07:14,740
Speaker 3: not in the Spanish moss, but they're around, you know.

1325
01:07:15,000 --> 01:07:17,780
Speaker 1: Yeah. Yeah. They're not the direct perpetrators of the violence.

1326
01:07:18,980 --> 01:07:21,900
Speaker 1: Despite the title of the picture and the poster art,

1327
01:07:21,980 --> 01:07:23,740
Speaker 1: which I don't think we've mentioned, the poster art for

1328
01:07:23,760 --> 01:07:26,620
Speaker 1: this film features a frog with a human hand coming

1329
01:07:26,640 --> 01:07:29,490
Speaker 1: out of its mouth, like a giant frog. There are

1330
01:07:29,590 --> 01:07:33,270
Speaker 1: no giant frogs in this movie, but that was the poster. No,

1331
01:07:33,490 --> 01:07:37,340
Speaker 1: but the frogs are normal sized, and they're just in

1332
01:07:37,380 --> 01:07:40,700
Speaker 1: the background watching, perhaps directing. They're kind of like the

1333
01:07:40,780 --> 01:07:42,940
Speaker 1: generals of the animal uprising.

1334
01:07:43,040 --> 01:07:43,780
Speaker 4: Yeah, yeah, yeah.

1335
01:07:43,840 --> 01:07:46,800
Speaker 3: You get the sense that they're the brains behind the operation.

1336
01:07:46,820 --> 01:07:51,330
Speaker 1: Yeah, and they're not inherently scary animals. Which I think

1337
01:07:51,350 --> 01:07:54,110
Speaker 1: is maybe one of the main flaws of the picture.

1338
01:07:54,670 --> 01:07:56,890
Speaker 1: But on the other hand, it starts to work after

1339
01:07:56,930 --> 01:07:58,970
Speaker 1: a while where it's like the frogs are watching. The

1340
01:07:59,010 --> 01:08:02,730
Speaker 1: frogs are watching. And they're kind of watching on approvingly

1341
01:08:02,770 --> 01:08:05,380
Speaker 1: as if to say, yes, this is good. Everything is

1342
01:08:05,410 --> 01:08:06,050
Speaker 1: going to plan.

1343
01:08:06,110 --> 01:08:06,360
Speaker 3: Yeah.

1344
01:08:06,580 --> 01:08:06,800
Speaker 4: Yeah.

1345
01:08:07,140 --> 01:08:11,120
Speaker 3: That's exactly right. Okay. So then more of the cousin

1346
01:08:11,140 --> 01:08:13,960
Speaker 3: slaying continues. There's another cousin. I think maybe this one

1347
01:08:14,020 --> 01:08:20,200
Speaker 3: is cousin Kenneth. This is the one who's Judy Pace's boyfriend.

1348
01:08:20,770 --> 01:08:24,300
Speaker 3: And he goes to the greenhouse. He's just swaggering around

1349
01:08:24,340 --> 01:08:26,140
Speaker 3: in the greenhouse. I don't remember what he's doing there.

1350
01:08:26,160 --> 01:08:28,640
Speaker 3: He's maybe like looking for something in the greenhouse.

1351
01:08:29,000 --> 01:08:32,000
Speaker 1: Oh, I think, what's her name, sent him off to

1352
01:08:32,020 --> 01:08:34,939
Speaker 1: get a particular herb from the greenhouse for something. Like,

1353
01:08:34,979 --> 01:08:36,160
Speaker 1: I don't know if she's going to make a cocktail

1354
01:08:36,200 --> 01:08:39,000
Speaker 1: or something. And so he's in there looking around for it.

1355
01:08:39,320 --> 01:08:41,920
Speaker 1: But after the door didn't close all the way and

1356
01:08:41,979 --> 01:08:44,979
Speaker 1: in come the lizards, especially the Tegu lizards.

1357
01:08:45,090 --> 01:08:45,620
Speaker 3: Yes.

1358
01:08:45,689 --> 01:08:47,510
Speaker 1: Which are some, these are some big boys. We'll talk

1359
01:08:47,530 --> 01:08:49,790
Speaker 1: about them in a bit, but they start crawling around

1360
01:08:49,850 --> 01:08:52,310
Speaker 1: everywhere and they start knocking over the chemicals.

1361
01:08:52,689 --> 01:08:53,189
Speaker 4: Yep. Yep.

1362
01:08:53,290 --> 01:08:55,050
Speaker 3: That's right. So I can imagine he was in there

1363
01:08:55,070 --> 01:08:57,410
Speaker 3: looking for an herb for a cocktail because grandpa needs

1364
01:08:57,470 --> 01:08:58,730
Speaker 3: his cocktails in this movie.

1365
01:08:58,750 --> 01:08:58,890
Speaker 1: He does.

1366
01:08:58,910 --> 01:09:01,980
Speaker 3: There are multiple times that he demands. cocktails. They're really

1367
01:09:02,120 --> 01:09:06,280
Speaker 3: inopportune moments. But the greenhouse death scene is great.

1368
01:09:06,560 --> 01:09:08,340
Speaker 1: Yeah, because basically they just knock over a bunch of

1369
01:09:08,380 --> 01:09:13,120
Speaker 1: chemicals and then the chemicals overwhelm this particular Crockett kid

1370
01:09:13,680 --> 01:09:17,300
Speaker 1: and he just dies. He just falls out and then immediately-

1371
01:09:17,689 --> 01:09:21,980
Speaker 1: geckos and other lizards are celebrating by climbing on his face.

1372
01:09:22,979 --> 01:09:24,680
Speaker 1: Like clearly they were like, all right, you lay here

1373
01:09:24,800 --> 01:09:27,080
Speaker 1: and then we're going to, our lizard wrangler is going

1374
01:09:27,100 --> 01:09:29,240
Speaker 1: to place some lizards on you and then we're going

1375
01:09:29,260 --> 01:09:32,720
Speaker 1: to shoot again. But now it's time for the, yeah,

1376
01:09:32,740 --> 01:09:35,720
Speaker 1: the invasion, like you say, is really heating up now.

1377
01:09:36,060 --> 01:09:37,930
Speaker 1: This is where we get one of my favorite scenes

1378
01:09:37,970 --> 01:09:40,970
Speaker 1: where there's an American flag birthday cake out there because

1379
01:09:41,010 --> 01:09:44,990
Speaker 1: it's grandpa's birthday and it's 4th of July and And

1380
01:09:45,050 --> 01:09:49,350
Speaker 1: as the frogs start invading, the frogs are treading on

1381
01:09:49,410 --> 01:09:51,389
Speaker 1: the flag, on the birthday cake.

1382
01:09:51,430 --> 01:09:54,269
Speaker 3: Yes. And I got to say, that is some stiff icing.

1383
01:09:54,310 --> 01:09:56,650
Speaker 3: Like it really holds up to a big old frog

1384
01:09:56,710 --> 01:09:59,849
Speaker 3: crawling over it. It just makes me think that should

1385
01:09:59,880 --> 01:10:02,400
Speaker 3: be like a, I don't know, a category of directions

1386
01:10:02,450 --> 01:10:05,000
Speaker 3: in how to whip egg whites. So you got your

1387
01:10:05,060 --> 01:10:07,000
Speaker 3: soft peaks, you got your stiff peaks, and then you

1388
01:10:07,040 --> 01:10:08,759
Speaker 3: got your bullfrog supporting peaks.

1389
01:10:09,220 --> 01:10:12,050
Speaker 1: Yeah. This would indeed make a great wedding cake for

1390
01:10:12,110 --> 01:10:15,530
Speaker 1: anybody who gets married at this location. Get yourself an

1391
01:10:15,570 --> 01:10:19,870
Speaker 1: American flag sheet cake with a fancy cake frog on

1392
01:10:19,930 --> 01:10:22,130
Speaker 1: top of it. Maybe cake cupcakes on top of it.

1393
01:10:22,200 --> 01:10:22,540
Speaker 3: I don't know.

1394
01:10:23,320 --> 01:10:25,120
Speaker 1: I'll let the cake people figure it out.

1395
01:10:25,200 --> 01:10:30,220
Speaker 3: Here comes the frog. So at this point, it seems

1396
01:10:30,240 --> 01:10:33,710
Speaker 3: like people start to kind of take things seriously. They're like, oh, yeah,

1397
01:10:33,729 --> 01:10:36,570
Speaker 3: it looks like people are dying. Sam Elliott starts to

1398
01:10:36,650 --> 01:10:40,490
Speaker 3: lead the charge to investigate what's going on. Meanwhile, Aunt

1399
01:10:40,650 --> 01:10:43,340
Speaker 3: Iris is wandering around in the woods. Of course, you know,

1400
01:10:43,350 --> 01:10:46,240
Speaker 3: she's going to her doom with a butterfly net. We

1401
01:10:46,280 --> 01:10:48,540
Speaker 3: saw her with the butterfly in the bell jar earlier,

1402
01:10:48,580 --> 01:10:50,979
Speaker 3: and I guess she's just going out to catch more.

1403
01:10:51,360 --> 01:10:54,420
Speaker 1: Yeah, this is, I think, the first real victim in

1404
01:10:54,439 --> 01:10:57,880
Speaker 1: the film where you begin to question whose side you're on. Because,

1405
01:10:58,220 --> 01:11:01,460
Speaker 1: you know, she's sure she catches butterflies, but she's not

1406
01:11:01,500 --> 01:11:04,300
Speaker 1: really bad. She's been nice to everybody.

1407
01:11:05,240 --> 01:11:08,700
Speaker 3: Well, she did give that really ignorant rant earlier about like,

1408
01:11:08,760 --> 01:11:10,580
Speaker 3: I should be able to pollute however much I want.

1409
01:11:10,600 --> 01:11:11,200
Speaker 1: Oh, well, that's true.

1410
01:11:11,400 --> 01:11:11,780
Speaker 4: That's true.

1411
01:11:11,850 --> 01:11:14,050
Speaker 1: Okay. So maybe she had it coming. At any rate,

1412
01:11:14,130 --> 01:11:16,410
Speaker 1: nature really puts her through the ringer here because she's

1413
01:11:16,689 --> 01:11:19,290
Speaker 1: just one of these scenes where like nature moves in

1414
01:11:19,410 --> 01:11:22,630
Speaker 1: on her and then she's falling. She's screaming. Things are

1415
01:11:22,729 --> 01:11:23,670
Speaker 1: crawling on her.

1416
01:11:24,090 --> 01:11:27,129
Speaker 3: Yes, though. The funny thing is the majority of her suffering,

1417
01:11:27,189 --> 01:11:29,090
Speaker 3: at least early on in the sequence, seems to be

1418
01:11:29,110 --> 01:11:31,950
Speaker 3: at the hands of vines. And it makes you wonder, okay.

1419
01:11:32,590 --> 01:11:35,920
Speaker 3: So are the plants also taking part in this nature

1420
01:11:35,960 --> 01:11:40,320
Speaker 3: striking back? It's mostly animals, but the Spanish moss descends

1421
01:11:40,460 --> 01:11:45,019
Speaker 3: on one of the earlier cousins. And Iris really, she's

1422
01:11:45,040 --> 01:11:48,460
Speaker 3: like getting choked by vines as she runs through the trees.

1423
01:11:48,939 --> 01:11:50,570
Speaker 1: Yeah, I think they're in on it. I think this

1424
01:11:50,590 --> 01:11:51,810
Speaker 1: is an all nature uprising.

1425
01:11:51,830 --> 01:11:54,389
Speaker 3: Yeah, okay. But then after that, it's one of those movies,

1426
01:11:54,550 --> 01:11:56,389
Speaker 3: like the wet pit of death. You know, she falls

1427
01:11:56,430 --> 01:11:58,850
Speaker 3: in a puddle. And you just know that that's a

1428
01:11:58,890 --> 01:12:01,590
Speaker 3: death sentence in a horror movie chase scene in the woods.

1429
01:12:01,630 --> 01:12:05,010
Speaker 3: If you fall in a puddle, it's over. So she's

1430
01:12:05,050 --> 01:12:07,770
Speaker 3: in a puddle. She's all wet. She's got leeches all

1431
01:12:07,830 --> 01:12:11,650
Speaker 3: over her, snakes, frogs, baby alligators. They're just all over

1432
01:12:11,689 --> 01:12:14,540
Speaker 3: the place. And then she gets a fatal snake bite

1433
01:12:14,620 --> 01:12:17,300
Speaker 3: and turns blue instantly, just instantly.

1434
01:12:17,700 --> 01:12:19,100
Speaker 1: Yeah, as the frogs watch on.

1435
01:12:19,520 --> 01:12:23,160
Speaker 3: And then with no weight at all, we get Cousin Stuart.

1436
01:12:23,180 --> 01:12:27,090
Speaker 3: I think this might be the Lee Van Cleef cousin. He,

1437
01:12:27,210 --> 01:12:29,710
Speaker 3: you know, he wanders in to see what's going on

1438
01:12:30,030 --> 01:12:32,130
Speaker 3: and he falls prey to a gator attack.

1439
01:12:32,470 --> 01:12:32,730
Speaker 4: Yep.

1440
01:12:32,770 --> 01:12:32,990
Speaker 3: Yep.

1441
01:12:33,010 --> 01:12:35,070
Speaker 1: We have a gator attack scene and yeah, it's, it's,

1442
01:12:35,330 --> 01:12:38,170
Speaker 1: it's pretty intimidating. Those are intimidating animals. You don't have to,

1443
01:12:38,590 --> 01:12:40,490
Speaker 1: you don't have to, to gussy them up any like

1444
01:12:40,530 --> 01:12:43,030
Speaker 1: the frogs. I mean, the, the gator is instantly intimidating.

1445
01:12:43,250 --> 01:12:45,530
Speaker 3: So I was wondering about this scene because there is

1446
01:12:45,570 --> 01:12:49,570
Speaker 3: a claim on the IMDB page for frogs. Don't know

1447
01:12:49,590 --> 01:12:52,769
Speaker 3: if it's true, but at least claims that some, some

1448
01:12:52,850 --> 01:12:56,990
Speaker 3: footage in this gator attack scene is, is originally from

1449
01:12:57,010 --> 01:13:01,090
Speaker 3: a Roger Corman movie from 1970 called Bloody Mama. But

1450
01:13:01,170 --> 01:13:05,030
Speaker 3: if that's true, it's integrated pretty well. I couldn't see

1451
01:13:05,290 --> 01:13:08,240
Speaker 3: anything that didn't look like it fit, though obviously you

1452
01:13:08,260 --> 01:13:10,340
Speaker 3: can't see the actor who's wrestling with the gator.

1453
01:13:10,360 --> 01:13:15,060
Speaker 1: Yeah, there's a website called CaliforniaHerps.com that has a great

1454
01:13:15,120 --> 01:13:19,500
Speaker 1: section of their website devoted to reptiles and amphibians in movies.

1455
01:13:20,000 --> 01:13:21,620
Speaker 1: And they have a write-up on frogs, and I'll get

1456
01:13:21,660 --> 01:13:24,280
Speaker 1: to some of what they have to share later. They

1457
01:13:24,300 --> 01:13:26,840
Speaker 1: highlighted this scene pointing out that it's a real gator.

1458
01:13:27,260 --> 01:13:30,820
Speaker 1: Somebody's wrestling with it, Stuntman. And you can see, if

1459
01:13:30,850 --> 01:13:33,129
Speaker 1: you look closely, that there's a band around the gator's

1460
01:13:33,229 --> 01:13:36,229
Speaker 1: mouth to keep it from actually biting. But they don't

1461
01:13:36,270 --> 01:13:40,170
Speaker 1: mention any connection here with another film, so I don't know.

1462
01:13:40,490 --> 01:13:42,809
Speaker 3: I don't know, but I'd imagine a lot of herpetologists

1463
01:13:42,870 --> 01:13:46,189
Speaker 3: are not in love with the idea of actually wrestling

1464
01:13:46,229 --> 01:13:48,110
Speaker 3: with a gator for a film production.

1465
01:13:48,510 --> 01:13:48,810
Speaker 1: Yeah.

1466
01:13:49,229 --> 01:13:52,050
Speaker 3: But I guess retroactive best wishes to that gator. I

1467
01:13:52,390 --> 01:13:55,900
Speaker 3: hope you were unscathed. But anyway, so back at the house,

1468
01:13:56,090 --> 01:13:58,530
Speaker 3: you've got Karen saying, you know, we've got to get

1469
01:13:58,590 --> 01:14:00,330
Speaker 3: out of here. I think it's clear that people are

1470
01:14:00,370 --> 01:14:04,890
Speaker 3: dying at this point. And she's like, we need to

1471
01:14:04,970 --> 01:14:07,939
Speaker 3: leave this island. And then Grandpa is just straight up.

1472
01:14:07,970 --> 01:14:10,170
Speaker 3: He's like, I'm not going to let one dead cousin

1473
01:14:10,250 --> 01:14:12,930
Speaker 3: spoil my party. We should carry on with the fun.

1474
01:14:13,350 --> 01:14:15,610
Speaker 3: Somebody make me a drink. We're going to eat our

1475
01:14:15,670 --> 01:14:16,770
Speaker 3: food and it's going to be great.

1476
01:14:17,180 --> 01:14:18,880
Speaker 1: Yeah, and this is where I think Sam Elliott has

1477
01:14:18,900 --> 01:14:21,479
Speaker 1: to remind him. It's two dead people. Remember the other

1478
01:14:21,520 --> 01:14:23,979
Speaker 1: dead guy, your frog executioner?

1479
01:14:24,020 --> 01:14:24,240
Speaker 4: Yes.

1480
01:14:24,640 --> 01:14:27,600
Speaker 1: It's like multiple dead people. And Grandpa's like, still, I'm

1481
01:14:27,640 --> 01:14:28,860
Speaker 1: not having this day ruined.

1482
01:14:28,920 --> 01:14:32,620
Speaker 3: Right. So Grandpa, he's even more ornery than he was before.

1483
01:14:32,720 --> 01:14:34,800
Speaker 3: And he's like, no, I want to have my birthday.

1484
01:14:35,640 --> 01:14:38,640
Speaker 3: So Sam Elliott and Judy Pace are the main voices

1485
01:14:38,680 --> 01:14:42,700
Speaker 3: of reason here. And then May Mercer and Lance Taylor Sr.

1486
01:14:42,860 --> 01:14:47,010
Speaker 3: join in. I think there is a scene where there's, again,

1487
01:14:47,030 --> 01:14:49,670
Speaker 3: some sort of implied racism on the part of Nasty

1488
01:14:49,710 --> 01:14:54,170
Speaker 3: Grandpa as he sort of demands that everybody else stay

1489
01:14:54,229 --> 01:14:58,420
Speaker 3: on the island. But he tells Bella Harrington, Mabel and Charles,

1490
01:14:58,460 --> 01:15:00,939
Speaker 3: who are all black, that they can leave whenever they want.

1491
01:15:01,460 --> 01:15:04,840
Speaker 3: So they do leave. And Clint has to powerboat them

1492
01:15:04,900 --> 01:15:09,160
Speaker 3: across the water to the other side. So I was thinking, OK,

1493
01:15:09,220 --> 01:15:12,540
Speaker 3: maybe the three of them successfully escape. I'm not sure.

1494
01:15:12,620 --> 01:15:16,370
Speaker 3: Later we see them being sort of menaced by birds

1495
01:15:16,470 --> 01:15:18,850
Speaker 3: as they are making their escape. And then later we

1496
01:15:18,890 --> 01:15:21,570
Speaker 3: see their abandoned luggage and stuff. So I think it

1497
01:15:21,610 --> 01:15:23,890
Speaker 3: does not bode well for them. But we don't ever

1498
01:15:24,010 --> 01:15:27,229
Speaker 3: see anything happen to them. I guess it's left unclear.

1499
01:15:27,650 --> 01:15:27,870
Speaker 4: Yeah.

1500
01:15:27,990 --> 01:15:30,420
Speaker 1: And ultimately I like that better than the movie simply

1501
01:15:30,479 --> 01:15:32,260
Speaker 1: sacrificing them all to the birds.

1502
01:15:32,380 --> 01:15:32,600
Speaker 4: Yeah.

1503
01:15:32,939 --> 01:15:35,140
Speaker 1: So, yeah. For what it's worth.

1504
01:15:35,160 --> 01:15:37,460
Speaker 3: I will say the abandoned luggage and stuff doesn't look good.

1505
01:15:37,479 --> 01:15:37,540
Speaker 2: No.

1506
01:15:38,180 --> 01:15:39,140
Speaker 1: No, it does not.

1507
01:15:39,479 --> 01:15:41,719
Speaker 3: But then also, Clint is out there driving the boat.

1508
01:15:42,020 --> 01:15:45,980
Speaker 3: I think somehow his boat becomes untied from the dock

1509
01:15:46,060 --> 01:15:49,900
Speaker 3: where he has tied it up while taking everybody across

1510
01:15:49,960 --> 01:15:52,390
Speaker 3: the water. So he has to swim back to his boat,

1511
01:15:52,570 --> 01:15:55,900
Speaker 3: but he's not swimming alone. Uh, something swims up on him.

1512
01:15:56,410 --> 01:15:58,070
Speaker 3: I've lost track of all the animals at this point.

1513
01:15:58,110 --> 01:15:59,950
Speaker 3: Is it a snake? Something swims at him.

1514
01:16:00,490 --> 01:16:02,030
Speaker 1: Uh, yeah, this may, there are a lot of, there's

1515
01:16:02,050 --> 01:16:04,670
Speaker 1: snakes in the water at this point. They're gators. Um,

1516
01:16:05,130 --> 01:16:07,630
Speaker 1: this is not the alligator snapping turtle scene though, right?

1517
01:16:07,729 --> 01:16:08,430
Speaker 1: That's coming up.

1518
01:16:08,510 --> 01:16:11,790
Speaker 3: That's on Lynn Borden, who is Clint's wife, who again,

1519
01:16:11,830 --> 01:16:14,330
Speaker 3: too many characters to keep track of. Uh, but she

1520
01:16:14,370 --> 01:16:18,490
Speaker 3: goes out to like watch her Clint being executed in

1521
01:16:18,530 --> 01:16:21,430
Speaker 3: the water by whatever animal it is. And she starts

1522
01:16:21,470 --> 01:16:24,530
Speaker 3: screaming and then she's crawling in the water. And then

1523
01:16:24,570 --> 01:16:27,410
Speaker 3: you see an alligator snapping turtle going after her.

1524
01:16:27,750 --> 01:16:28,229
Speaker 4: Yeah. Yeah.

1525
01:16:28,310 --> 01:16:31,430
Speaker 1: And which, of course, is also ridiculous because as neat

1526
01:16:31,450 --> 01:16:35,469
Speaker 1: as alligator snapping turtles are. These are harmless critters. They're

1527
01:16:35,479 --> 01:16:38,210
Speaker 1: not going to come hunt you for sport, certainly in

1528
01:16:38,250 --> 01:16:38,890
Speaker 1: the shallows.

1529
01:16:38,950 --> 01:16:39,170
Speaker 4: Right.

1530
01:16:39,550 --> 01:16:42,070
Speaker 3: And then also you see crabs crawling on her butt

1531
01:16:42,130 --> 01:16:44,210
Speaker 3: after she's dead. So maybe the crabs are pitching in

1532
01:16:44,350 --> 01:16:44,670
Speaker 3: as well.

1533
01:16:45,010 --> 01:16:46,610
Speaker 1: I don't know. I had a question about that because

1534
01:16:46,650 --> 01:16:49,009
Speaker 1: I'm like, this is just crabs doing what crabs do.

1535
01:16:49,340 --> 01:16:51,479
Speaker 1: Like crabs might not have gotten the memo. Like the

1536
01:16:51,520 --> 01:16:53,800
Speaker 1: frogs could be like, thank you, crabs, for joining in

1537
01:16:53,820 --> 01:16:56,580
Speaker 1: the uprising. And the crabs are like, what uprising? We

1538
01:16:56,620 --> 01:16:58,180
Speaker 1: just saw a dead person and we're going to eat

1539
01:16:58,200 --> 01:16:59,300
Speaker 1: them because that's our thing.

1540
01:16:59,340 --> 01:16:59,480
Speaker 4: Yum.

1541
01:16:59,500 --> 01:17:02,059
Speaker 3: Yum. But as with earlier, even after all of this

1542
01:17:02,080 --> 01:17:05,180
Speaker 3: death and mayhem, Grandpa Crockett just wants everybody else to

1543
01:17:05,240 --> 01:17:08,860
Speaker 3: stay and keep partying. He's very angry. He's very angry.

1544
01:17:08,900 --> 01:17:12,260
Speaker 3: He's angry about frogs. He's inconvenienced by the deaths of

1545
01:17:12,300 --> 01:17:15,700
Speaker 3: his family members. He demands an old fashioned and Karen

1546
01:17:15,760 --> 01:17:18,469
Speaker 3: makes it for him, which, again, I laughed out loud at.

1547
01:17:18,930 --> 01:17:20,689
Speaker 1: It's a solid cocktail. So, I mean, if you've got

1548
01:17:20,710 --> 01:17:22,510
Speaker 1: to ride out the end of the world, why not?

1549
01:17:22,590 --> 01:17:25,290
Speaker 3: But then there's a final escape where Sam Elliott and

1550
01:17:25,330 --> 01:17:27,809
Speaker 3: Joan Van Ark and then the two kids who are

1551
01:17:27,850 --> 01:17:30,780
Speaker 3: not their kids, they're I think Clint and Jenny's kids,

1552
01:17:31,260 --> 01:17:33,620
Speaker 3: they paddle away on a canoe to escape the island.

1553
01:17:33,660 --> 01:17:37,410
Speaker 3: And Grandpa stays behind Ray Milland. He's like, I'm going

1554
01:17:37,430 --> 01:17:39,710
Speaker 3: to party by myself. I'm not leaving.

1555
01:17:40,370 --> 01:17:43,590
Speaker 1: I will just bitterly drink my cocktails. And eventually he's

1556
01:17:43,610 --> 01:17:47,430
Speaker 1: not even drinking cocktails. He's just sloshing bourbon into a glass.

1557
01:17:47,470 --> 01:17:50,170
Speaker 1: But he's like, nothing can make me leave. I'm staying

1558
01:17:50,210 --> 01:17:51,410
Speaker 1: here to the bitter end. Yeah.

1559
01:17:51,490 --> 01:17:53,549
Speaker 3: Throughout the rest of the movie, whenever you see Ray Milland,

1560
01:17:53,570 --> 01:17:55,570
Speaker 3: he's just frantically getting more drunk.

1561
01:17:55,880 --> 01:17:56,020
Speaker 1: Yeah.

1562
01:17:56,640 --> 01:17:59,960
Speaker 3: But then Sam Elliott is paddling them away on a canoe,

1563
01:18:00,400 --> 01:18:02,099
Speaker 3: and there's a great part where Sam Elliott, you know,

1564
01:18:02,180 --> 01:18:03,860
Speaker 3: he might as well take your shirt off while you're

1565
01:18:03,880 --> 01:18:05,780
Speaker 3: battling some snakes in the water, which he does.

1566
01:18:06,100 --> 01:18:07,580
Speaker 1: Well, he's wearing all that denim. You don't want it

1567
01:18:07,620 --> 01:18:11,559
Speaker 1: to shrink up on you, I guess. Yeah, that's right.

1568
01:18:11,680 --> 01:18:11,920
Speaker 3: Okay.

1569
01:18:12,280 --> 01:18:12,420
Speaker 4: Yeah.

1570
01:18:12,479 --> 01:18:13,420
Speaker 1: Let the pants stay on.

1571
01:18:13,580 --> 01:18:15,839
Speaker 3: I guess that's true. I think he needs some equipment

1572
01:18:15,880 --> 01:18:16,920
Speaker 3: to get those jeans off.

1573
01:18:17,540 --> 01:18:20,620
Speaker 1: Yeah, certainly once they get wet. I'd be concerned it

1574
01:18:20,640 --> 01:18:23,020
Speaker 1: would just cut off all blood flow to his brain.

1575
01:18:23,040 --> 01:18:25,520
Speaker 3: Yeah, you need some, like a pry bar or something

1576
01:18:25,540 --> 01:18:28,889
Speaker 3: to remove them. But then so there's this final escape

1577
01:18:28,930 --> 01:18:30,809
Speaker 3: sequence where they're trying to get across the water and

1578
01:18:30,830 --> 01:18:32,590
Speaker 3: then get across the land once they get to the

1579
01:18:32,630 --> 01:18:33,110
Speaker 3: other side.

1580
01:18:33,689 --> 01:18:36,309
Speaker 1: It's pretty good, especially, again, for a movie in which

1581
01:18:36,390 --> 01:18:39,350
Speaker 1: you can't really have too much in terms of human

1582
01:18:39,890 --> 01:18:42,930
Speaker 1: on animal interaction. But it's still pretty good. He fights

1583
01:18:42,990 --> 01:18:45,910
Speaker 1: the fights off the water snakes with a paddle. They

1584
01:18:45,950 --> 01:18:48,570
Speaker 1: make it out to the highway and they're just trying

1585
01:18:48,590 --> 01:18:51,439
Speaker 1: to flag somebody, anybody down. down to get them out

1586
01:18:51,460 --> 01:18:51,600
Speaker 1: of here.

1587
01:18:51,640 --> 01:18:54,740
Speaker 3: Yeah, it's a Texas Chainsaw Massacre ending, right? It's like escaping,

1588
01:18:54,979 --> 01:18:57,040
Speaker 3: trying to flag down a car that will take them away.

1589
01:18:57,470 --> 01:19:00,110
Speaker 3: And the first car they see stops. This lady stops

1590
01:19:00,710 --> 01:19:05,189
Speaker 3: for the hitchhiker, which is, again, a wet, clean-shaven Sam

1591
01:19:05,250 --> 01:19:09,670
Speaker 3: Elliott carrying a shotgun. And she's like, yes, I'll pull over. Yep,

1592
01:19:09,950 --> 01:19:13,519
Speaker 3: get in the car. And so Sam Elliott and everybody

1593
01:19:13,530 --> 01:19:15,600
Speaker 3: else gets in the car, and then we get a

1594
01:19:15,620 --> 01:19:16,920
Speaker 3: wonderful twist ending here.

1595
01:19:17,300 --> 01:19:21,179
Speaker 1: That's right. There's a kid in the front seat because, again,

1596
01:19:21,380 --> 01:19:24,300
Speaker 1: this is the 70s. And the kid's like, I just

1597
01:19:24,340 --> 01:19:26,960
Speaker 1: came back from summer camp. Look at this here frog

1598
01:19:27,040 --> 01:19:29,620
Speaker 1: I got and holds this frog back for them to

1599
01:19:29,660 --> 01:19:32,620
Speaker 1: see in the back seat. And the camera zooms in

1600
01:19:32,660 --> 01:19:35,930
Speaker 1: on the frog's face. And we get this awesome freeze frame.

1601
01:19:35,950 --> 01:19:38,630
Speaker 1: And I think a little bit of that electronic musical zing.

1602
01:19:39,330 --> 01:19:41,800
Speaker 3: So, again, like with the other characters earlier, we do

1603
01:19:41,840 --> 01:19:44,080
Speaker 3: not see them die. But I think the implication is

1604
01:19:44,140 --> 01:19:46,780
Speaker 3: that even even all these characters are killed as well.

1605
01:19:47,400 --> 01:19:49,479
Speaker 1: Well, because I don't know why I don't think it's

1606
01:19:49,520 --> 01:19:52,300
Speaker 1: a situation where then that frog like laughs and the

1607
01:19:52,320 --> 01:19:52,910
Speaker 1: car blows up.

1608
01:19:53,360 --> 01:19:53,559
Speaker 4: But.

1609
01:19:54,180 --> 01:19:58,260
Speaker 1: It was briefly implied earlier and is definitely driven home

1610
01:19:58,340 --> 01:20:01,400
Speaker 1: here that this is not a regional uprising of nature.

1611
01:20:01,460 --> 01:20:05,090
Speaker 1: This is a global uprising. Like people are vanishing. The

1612
01:20:05,110 --> 01:20:07,610
Speaker 1: people in the car here haven't seen anybody else around

1613
01:20:07,930 --> 01:20:11,530
Speaker 1: like all morning or whatever on their drive. So they're doomed.

1614
01:20:11,550 --> 01:20:14,769
Speaker 1: This is like the end of Stephen King's The Mist,

1615
01:20:15,310 --> 01:20:18,060
Speaker 1: the original short story where the people have escaped the

1616
01:20:18,100 --> 01:20:21,519
Speaker 1: immediate danger, but they're setting off into a world in

1617
01:20:21,560 --> 01:20:23,650
Speaker 1: which there are no longer any safe harbors.

1618
01:20:23,710 --> 01:20:27,250
Speaker 3: Yes, that's right. You return from the underworld, but you

1619
01:20:27,310 --> 01:20:30,650
Speaker 3: find that the world you know has changed. Right. Yeah,

1620
01:20:30,710 --> 01:20:34,090
Speaker 3: so I think the implication probably is that no one survives.

1621
01:20:35,189 --> 01:20:39,170
Speaker 3: Nature takes back the earth and humanity is crushed below

1622
01:20:39,210 --> 01:20:40,189
Speaker 3: the flipper of the frog.

1623
01:20:40,590 --> 01:20:42,910
Speaker 1: Right, and this, I should say, this feels like it

1624
01:20:42,930 --> 01:20:45,130
Speaker 1: should have been the end of the film. Yes. But

1625
01:20:45,950 --> 01:20:50,880
Speaker 1: you have to realize that the whole time we've been promised...

1626
01:20:50,810 --> 01:20:54,389
Speaker 1: a scene in which frogs eat Ray Milland. And gosh

1627
01:20:54,430 --> 01:20:56,470
Speaker 1: darn it, this movie is going to give it to us. Yeah,

1628
01:20:56,490 --> 01:20:56,890
Speaker 1: of course.

1629
01:20:56,950 --> 01:20:59,430
Speaker 3: I mean, he's like he is there to be this

1630
01:20:59,510 --> 01:21:02,290
Speaker 3: nasty grump who will be punished by nature for all

1631
01:21:02,310 --> 01:21:05,150
Speaker 3: of his nastiness. And yeah, if the movie didn't show

1632
01:21:05,189 --> 01:21:07,310
Speaker 3: it to you, it would be a real bummer. So,

1633
01:21:07,350 --> 01:21:10,420
Speaker 3: of course, he's back home by himself, frantically getting more drunk.

1634
01:21:10,460 --> 01:21:14,800
Speaker 3: And then eventually the frogs penetrate his fortress. They're like

1635
01:21:14,840 --> 01:21:17,820
Speaker 3: hopping around in the room with him. The frogs don't

1636
01:21:17,840 --> 01:21:20,010
Speaker 3: really do anything to him. It looks like he dies

1637
01:21:20,050 --> 01:21:22,150
Speaker 3: of a heart attack or something. He just sort of

1638
01:21:22,189 --> 01:21:24,769
Speaker 3: freaks out and he's like, oh, he falls on the floor.

1639
01:21:25,130 --> 01:21:26,890
Speaker 3: And then there are frogs hopping all over him.

1640
01:21:27,350 --> 01:21:27,530
Speaker 4: Yep.

1641
01:21:28,250 --> 01:21:30,450
Speaker 1: And then that's that's the end of the picture. We

1642
01:21:30,490 --> 01:21:33,350
Speaker 1: roll some very brief credits and there's a fun little

1643
01:21:33,370 --> 01:21:36,430
Speaker 1: stinger there at the end. So you got to stay

1644
01:21:36,470 --> 01:21:41,519
Speaker 1: for basically a cartoon frog hops across the screen and

1645
01:21:41,540 --> 01:21:43,559
Speaker 1: he has a human hand sticking out of his mouth,

1646
01:21:44,240 --> 01:21:45,900
Speaker 1: which he then swallows and hops on.

1647
01:21:46,370 --> 01:21:49,530
Speaker 3: Jeremiah was a bullfrog. It's that kind of thing.

1648
01:21:49,720 --> 01:21:51,839
Speaker 1: It's kind of a reverse Pink Panther, I guess. Instead

1649
01:21:51,850 --> 01:21:53,490
Speaker 1: of having the cute cartoon at the beginning, you have

1650
01:21:53,520 --> 01:21:56,560
Speaker 1: it at the very end. And also, maybe it's there illegally.

1651
01:21:56,640 --> 01:21:59,740
Speaker 1: So if anybody's like, gosh darn it, this movie poster

1652
01:21:59,760 --> 01:22:03,040
Speaker 1: had a frog eating a person's arm. I didn't see

1653
01:22:03,060 --> 01:22:05,080
Speaker 1: it in the picture. They can say, well, technically, at

1654
01:22:05,120 --> 01:22:07,420
Speaker 1: the very end, if you stay through the credits, you'll

1655
01:22:07,439 --> 01:22:08,920
Speaker 1: get to see this in cartoon form.

1656
01:22:09,300 --> 01:22:11,100
Speaker 3: Tremendous nature strikes back film.

1657
01:22:11,840 --> 01:22:12,080
Speaker 4: Yes.

1658
01:22:12,320 --> 01:22:15,800
Speaker 1: Yeah, I really enjoyed it. Now, I want to touch

1659
01:22:16,080 --> 01:22:19,970
Speaker 1: on a little bit more about the frogs and the

1660
01:22:20,050 --> 01:22:23,090
Speaker 1: toads and the various reptiles and amphibians we see here. Again,

1661
01:22:23,150 --> 01:22:26,689
Speaker 1: CaliforniaHerps.com has a great section on their website devoted to

1662
01:22:26,729 --> 01:22:30,290
Speaker 1: herps and movies and indeed a write-up on frogs with photos.

1663
01:22:30,890 --> 01:22:31,799
Speaker 1: And I just want to touch on some of the

1664
01:22:31,810 --> 01:22:34,100
Speaker 1: things they point out. One of the big ones is

1665
01:22:34,120 --> 01:22:37,140
Speaker 1: that they say the animal photography in this film is

1666
01:22:37,200 --> 01:22:38,639
Speaker 1: actually quite good on the whole.

1667
01:22:38,740 --> 01:22:38,860
Speaker 4: Yeah.

1668
01:22:39,220 --> 01:22:41,600
Speaker 1: And most of them seem to have been filmed for

1669
01:22:41,640 --> 01:22:43,840
Speaker 1: the movie. So they didn't seem to rely on a

1670
01:22:43,860 --> 01:22:46,939
Speaker 1: lot of stock footage or anything like that. And again,

1671
01:22:46,979 --> 01:22:49,309
Speaker 1: they seem to have avoided the use of puppets and fakes.

1672
01:22:49,610 --> 01:22:52,769
Speaker 3: Oh, man. That's one of my favorite old things about

1673
01:22:52,890 --> 01:22:55,810
Speaker 3: Ed Wood movies and stuff is that like you'd have

1674
01:22:55,850 --> 01:22:58,720
Speaker 3: a character go into, quote, the jungle in an Ed

1675
01:22:58,760 --> 01:23:02,200
Speaker 3: Wood movie like Bride of the Monster, which is actually

1676
01:23:02,240 --> 01:23:05,220
Speaker 3: just looks like, you know, some trees beside a road. Uh,

1677
01:23:05,260 --> 01:23:07,200
Speaker 3: but so like they get out of their car in

1678
01:23:07,460 --> 01:23:10,200
Speaker 3: the jungle and then you see the actress look up

1679
01:23:10,320 --> 01:23:13,130
Speaker 3: and gasp and then it cuts to not even a,

1680
01:23:13,479 --> 01:23:16,220
Speaker 3: not even slightly a match, but stock footage of like

1681
01:23:16,240 --> 01:23:19,089
Speaker 3: an Eagle and a snake in, in from something else,

1682
01:23:19,150 --> 01:23:20,470
Speaker 3: nature documentary or something.

1683
01:23:20,830 --> 01:23:21,430
Speaker 4: Yeah. Yeah.

1684
01:23:21,770 --> 01:23:23,330
Speaker 1: So none of that in here, like I said, it all,

1685
01:23:23,390 --> 01:23:25,790
Speaker 1: it all matches the film quality really well. And yeah,

1686
01:23:25,830 --> 01:23:29,390
Speaker 1: if you, I enjoyed just watching animals in this film,

1687
01:23:29,430 --> 01:23:31,550
Speaker 1: it was weird. It was like going to the reptile house.

1688
01:23:31,729 --> 01:23:31,889
Speaker 4: Yeah.

1689
01:23:32,430 --> 01:23:36,160
Speaker 1: So, um, On CaliforniaHerbs.com, I want to read this section

1690
01:23:36,189 --> 01:23:39,590
Speaker 1: where they get into the frogs and the toads. Quote,

1691
01:23:39,950 --> 01:23:42,090
Speaker 1: to the credit of the filmmakers, the frogs and toads

1692
01:23:42,130 --> 01:23:44,230
Speaker 1: we see in the movie are all species that could

1693
01:23:44,270 --> 01:23:46,929
Speaker 1: be found in Florida. Most of them are cane toads,

1694
01:23:47,189 --> 01:23:49,290
Speaker 1: but there are a few leopard toads also thrown in

1695
01:23:49,330 --> 01:23:52,750
Speaker 1: at the end. Unfortunately, they all make the sounds of

1696
01:23:52,830 --> 01:23:56,480
Speaker 1: Pacific tree frogs because that's what frogs always sound like

1697
01:23:56,500 --> 01:24:00,559
Speaker 1: in the movies. Cane toads make a trilling sound and

1698
01:24:00,620 --> 01:24:03,790
Speaker 1: leopard frogs make a chuckling sound. But if the audience

1699
01:24:03,850 --> 01:24:07,530
Speaker 1: heard these sounds, sadly, they wouldn't understand what they are hearing.

1700
01:24:08,050 --> 01:24:10,469
Speaker 3: It's like how cows don't look like cows in movies.

1701
01:24:10,490 --> 01:24:11,509
Speaker 3: You got to use horses.

1702
01:24:11,910 --> 01:24:12,130
Speaker 1: Yeah.

1703
01:24:12,670 --> 01:24:14,930
Speaker 3: So here, this is the audio equivalent of taping a

1704
01:24:14,970 --> 01:24:17,350
Speaker 3: bunch of cats together to create a horse.

1705
01:24:17,890 --> 01:24:18,110
Speaker 4: Yeah.

1706
01:24:18,189 --> 01:24:21,969
Speaker 1: Or I think we've talked about this before. What was

1707
01:24:22,010 --> 01:24:25,010
Speaker 1: it we were talking about? You see this occasionally with

1708
01:24:25,070 --> 01:24:27,950
Speaker 1: animal sounds. Oh, I know what it was. It's rattlesnakes.

1709
01:24:28,850 --> 01:24:31,210
Speaker 1: Maybe we didn't talk. Maybe I'm talking about a conversation

1710
01:24:31,250 --> 01:24:34,810
Speaker 1: I had that wasn't on a podcast. But rattlesnakes all

1711
01:24:34,840 --> 01:24:38,240
Speaker 1: make a particular rattling sound when you encounter them in, say,

1712
01:24:38,260 --> 01:24:41,300
Speaker 1: an old Western movie. But if you've been around a rattlesnake,

1713
01:24:41,540 --> 01:24:43,160
Speaker 1: you know that, yeah, there is kind of like that

1714
01:24:43,280 --> 01:24:46,380
Speaker 1: height of the rattle. But there are like some other sounds,

1715
01:24:46,620 --> 01:24:48,960
Speaker 1: other rattling sounds as well that you just don't hear

1716
01:24:48,979 --> 01:24:51,730
Speaker 1: in the movies anymore. And so then having only encountered

1717
01:24:51,750 --> 01:24:55,410
Speaker 1: rattlesnakes in film, if you encounter one in real life,

1718
01:24:55,430 --> 01:24:57,110
Speaker 1: you might not recognize the sound immediately.

1719
01:24:57,490 --> 01:24:58,440
Speaker 3: Oh, yeah, that's a good point.

1720
01:24:58,479 --> 01:24:59,979
Speaker 1: What is this weird device I'm hearing?

1721
01:25:00,020 --> 01:25:00,780
Speaker 3: Yeah.

1722
01:25:00,960 --> 01:25:03,100
Speaker 1: Anyway, they also point out that cane toads are not

1723
01:25:03,180 --> 01:25:07,120
Speaker 1: native to Florida, but they've been abundant in the state

1724
01:25:08,040 --> 01:25:12,560
Speaker 1: for such a long time. So they're essentially natural residents.

1725
01:25:12,900 --> 01:25:15,469
Speaker 3: Oh, well, there's another major player in the film that

1726
01:25:15,689 --> 01:25:17,990
Speaker 3: is found in Florida, but it's not native to Florida.

1727
01:25:18,030 --> 01:25:21,850
Speaker 3: It's the tegu lizards or the tegu. That's right. They're

1728
01:25:21,910 --> 01:25:25,490
Speaker 3: like a non-indigenous species. I think they're originally from South America, right?

1729
01:25:26,110 --> 01:25:27,900
Speaker 1: Yeah. I want to say Argentina.

1730
01:25:27,910 --> 01:25:28,680
Speaker 3: Yeah, I think that's right.

1731
01:25:28,700 --> 01:25:31,420
Speaker 1: And yeah, they're quite invasive. And they've even made it

1732
01:25:31,500 --> 01:25:34,440
Speaker 1: up to Atlanta. This is fun. Friend of the show,

1733
01:25:34,720 --> 01:25:37,840
Speaker 1: Mark Mandica of the Amphibian Foundation said, He's been on

1734
01:25:37,860 --> 01:25:41,230
Speaker 1: the local news in the past year here in Atlanta

1735
01:25:41,520 --> 01:25:44,390
Speaker 1: talking about what to do if you see one. And

1736
01:25:44,430 --> 01:25:47,390
Speaker 1: in general, the advice is get somebody who knows what

1737
01:25:47,410 --> 01:25:51,010
Speaker 1: they're doing to come get this big lizard because they're

1738
01:25:51,050 --> 01:25:54,410
Speaker 1: tough critters. In this, Mark says, quote, I would not

1739
01:25:54,450 --> 01:25:57,300
Speaker 1: approach one without the gear that I would need to

1740
01:25:57,340 --> 01:26:00,580
Speaker 1: do so safely. And again, Mark Bandiga is an expert

1741
01:26:00,979 --> 01:26:06,910
Speaker 1: at approaching and in some cases handling critters. reptiles and amphibians.

1742
01:26:06,930 --> 01:26:09,570
Speaker 1: So he knows what he's talking about. This is not

1743
01:26:09,650 --> 01:26:11,950
Speaker 1: something that the average person needs to get anywhere near.

1744
01:26:12,170 --> 01:26:12,370
Speaker 4: Right.

1745
01:26:12,590 --> 01:26:14,030
Speaker 3: Don't go into battle with the tegu.

1746
01:26:14,310 --> 01:26:18,260
Speaker 1: Yeah. Anyway, go check out CaliforniaHerbs.com if you want more

1747
01:26:18,300 --> 01:26:20,610
Speaker 1: information about the various snakes and other creatures you see

1748
01:26:20,650 --> 01:26:24,220
Speaker 1: in this. I've looked at this website in the past

1749
01:26:24,280 --> 01:26:26,840
Speaker 1: as well. It's just a good place to go if

1750
01:26:26,880 --> 01:26:29,880
Speaker 1: you find some snakes and turtles, what have you, popping

1751
01:26:29,900 --> 01:26:31,240
Speaker 1: up in a film and you're like, I wonder what

1752
01:26:31,280 --> 01:26:34,570
Speaker 1: that is. I wonder if that is even remotely appropriate

1753
01:26:34,610 --> 01:26:36,550
Speaker 1: for the setting or the time period, et cetera.

1754
01:26:36,830 --> 01:26:41,530
Speaker 3: But so overall, it seems like this movie is unusually accurate, right?

1755
01:26:41,590 --> 01:26:45,070
Speaker 3: In terms of what animals it's portraying is found in Florida.

1756
01:26:45,330 --> 01:26:46,650
Speaker 1: Yeah, that seems to be the case.

1757
01:26:46,850 --> 01:26:47,090
Speaker 4: Yeah.

1758
01:26:47,390 --> 01:26:52,490
Speaker 1: Again, they're not all native creatures of Florida, but the

1759
01:26:52,530 --> 01:26:55,110
Speaker 1: invasive species are ones that were already invasive there at

1760
01:26:55,150 --> 01:26:59,260
Speaker 1: the time and remain invasive to this day. And yeah,

1761
01:26:59,300 --> 01:27:02,670
Speaker 1: so again, there is kind of a natural... quality to

1762
01:27:02,710 --> 01:27:08,890
Speaker 1: this film. Again, these are actual Florida denizens that you're

1763
01:27:09,410 --> 01:27:12,650
Speaker 1: observing as they crawl and hop around, climbing up under

1764
01:27:12,670 --> 01:27:13,990
Speaker 1: the birthday cake and everything.

1765
01:27:14,050 --> 01:27:16,810
Speaker 3: Amazing. So you will see all of these animals when

1766
01:27:16,850 --> 01:27:18,710
Speaker 3: you get married at this park in Florida.

1767
01:27:19,110 --> 01:27:19,400
Speaker 4: Yes.

1768
01:27:19,479 --> 01:27:23,800
Speaker 1: Go to Eden Gardens State Park and demand a swarm

1769
01:27:24,140 --> 01:27:27,439
Speaker 1: of toads and frogs at your wedding ceremony. All right. Well,

1770
01:27:27,520 --> 01:27:29,660
Speaker 1: this is a really fun picture. So some of you

1771
01:27:29,700 --> 01:27:32,730
Speaker 1: might be wondering, how can I see it as well? Well,

1772
01:27:33,640 --> 01:27:36,580
Speaker 1: you can find it on the normal digital sources are

1773
01:27:36,620 --> 01:27:39,340
Speaker 1: all in play here, places to buy or rent it digitally.

1774
01:27:39,360 --> 01:27:44,320
Speaker 1: I think it's also been illicitly uploaded at some very

1775
01:27:44,470 --> 01:27:48,230
Speaker 1: obvious places and has just for whatever reason been allowed

1776
01:27:48,270 --> 01:27:52,370
Speaker 1: to remain there for years. But I would say you can,

1777
01:27:52,490 --> 01:27:54,330
Speaker 1: I have to stress, you can buy a copy of

1778
01:27:54,370 --> 01:27:56,160
Speaker 1: this for yourself. And if you happen to own a

1779
01:27:56,240 --> 01:28:00,030
Speaker 1: Florida rental property, I demand that you do so. Buy

1780
01:28:00,070 --> 01:28:03,010
Speaker 1: it on DVD and or Blu-ray and stock your vacation

1781
01:28:03,090 --> 01:28:06,610
Speaker 1: rental with this film. Because 88 Films has an edition

1782
01:28:07,189 --> 01:28:11,590
Speaker 1: that even includes an interview featurette with the director. And

1783
01:28:11,689 --> 01:28:14,050
Speaker 1: if that's not good enough, Shout Factory put it out

1784
01:28:14,090 --> 01:28:21,810
Speaker 1: as a double feature with the 1976 Nature Strikes Back picture,

1785
01:28:21,850 --> 01:28:24,110
Speaker 1: The Food of the Gods, which is a Burt I.

1786
01:28:24,180 --> 01:28:25,910
Speaker 1: Gordon film about giant rats.

1787
01:28:25,939 --> 01:28:28,660
Speaker 3: Of course, the classic bigger than normal animal movie.

1788
01:28:28,920 --> 01:28:29,160
Speaker 4: Yes.

1789
01:28:30,600 --> 01:28:32,770
Speaker 1: So check those out. Those are good ways to pick

1790
01:28:32,810 --> 01:28:34,870
Speaker 1: it up physically. And again, if you want to get

1791
01:28:34,890 --> 01:28:37,630
Speaker 1: it digitally, there are several different ways to do so.

1792
01:28:37,930 --> 01:28:42,100
Speaker 1: It's out there. It's ready for you. It's worth seeing.

1793
01:28:42,140 --> 01:28:45,940
Speaker 1: It's a fun flick. It's definitely a great Florida movie.

1794
01:28:46,400 --> 01:28:46,719
Speaker 3: Agreed.

1795
01:28:47,410 --> 01:28:49,010
Speaker 1: All right. We're going to go ahead and close it

1796
01:28:49,130 --> 01:28:51,309
Speaker 1: out there then. But we'd love to hear from you.

1797
01:28:51,670 --> 01:28:54,070
Speaker 1: Have you seen Frogs? Did you see it back in

1798
01:28:54,090 --> 01:28:56,740
Speaker 1: the 70s? What was that like? Were you part of

1799
01:28:57,360 --> 01:29:01,400
Speaker 1: the uprising of Nature Strikes Back pictures? And either way,

1800
01:29:01,540 --> 01:29:06,240
Speaker 1: what's your favorite Nature Strikes Back movie? What kind of

1801
01:29:06,340 --> 01:29:10,720
Speaker 1: animals does it revolve around? We'd love to hear from you.

1802
01:29:11,280 --> 01:29:13,160
Speaker 1: And in the meantime, you can check out other episodes

1803
01:29:13,180 --> 01:29:15,809
Speaker 1: of Weird House Cinema every Friday in the Stuff to

1804
01:29:15,850 --> 01:29:17,110
Speaker 1: Blow Your Mind podcast feed.

1805
01:29:17,670 --> 01:29:20,290
Speaker 3: Huge thanks, as always, to our excellent audio producer, Seth

1806
01:29:20,370 --> 01:29:22,590
Speaker 3: Nicholas Johnson. If you would like to get in touch

1807
01:29:22,630 --> 01:29:25,410
Speaker 3: with us with feedback on this podcast or any other,

1808
01:29:26,020 --> 01:29:28,000
Speaker 3: to suggest a topic for the future, or just to

1809
01:29:28,040 --> 01:29:31,640
Speaker 3: say hi, you can email us at contact at stufftoblowyourmind.com.

1810
01:29:39,490 --> 01:29:41,939
Speaker 2: Stuff to Blow Your Mind is a production of iHeartRadio.

1811
01:29:42,300 --> 01:29:45,640
Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app. Apple

1812
01:29:45,660 --> 01:29:48,010
Speaker 2: Podcasts are wherever you listen to your favorite shows.