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

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I am Joe McCormick.

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Speaker 2: And this week on Weird House Cinema, we're continuing some

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Speaker 2: of our alien related explorations with a film that is

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Speaker 2: frequently cited as one of the b movie influences on

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Speaker 2: alienscribe Dan O'Bannon, along with the likes of Mario Bob

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Speaker 2: as Planning the Vampires, which we've discussed in the show before,

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Speaker 2: but this week we're talking about it The Terror from

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Speaker 2: Beyond Space.

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Speaker 3: If you couldn't tell from the way Rob said it,

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Speaker 3: there is an exclamation point in the middle of the title.

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Speaker 3: I love midline punctuation other than a colon in a

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Speaker 3: title like it's this is two sentences.

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Speaker 2: Yes, I think we could have fit a question mark

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Speaker 2: in there as well, though, like it the Terror from

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Speaker 2: Beyond Space, we don't know.

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Speaker 3: I really liked this movie, but I feel like the

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Speaker 3: title is misleading. In what way is the Terror from

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Speaker 3: Beyond Space? It's just like a thing somewhere out there

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Speaker 3: in space. It's from another planet, a known planet.

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Speaker 2: Actually, well, I guess you know. At this point, maybe

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Speaker 2: people had seen enough movies where the terror is from

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Speaker 2: space and they're like, well, can we get beyond that?

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Speaker 2: What's the next logical step?

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Speaker 3: It suggests some kind of like interdimensional love crafty and

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Speaker 3: sort of origin. It's not there. This is the Terror

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Speaker 3: is from Mars.

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Speaker 2: Yes. I really like some of the posters for this

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Speaker 2: particular movie. One of them that I pulled up and

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Speaker 2: included in our notes here is the nice horizontal poster

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Speaker 2: we see some version of the monster holding a woman.

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Speaker 2: Of course, one of the classic staples of the old

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Speaker 2: Monster movie is one that I love, and I love

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Speaker 2: some of the promises on this particular poster. It says

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Speaker 2: it reaches through space. It scoops up men and women.

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Speaker 2: It gorgeous on blood.

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Speaker 3: Now is there any way to reach other than through space?

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Speaker 3: I guess one could reach through time, possibly with one's

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Speaker 3: mind or something.

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Speaker 2: Yeah, yeah, I guess I'll reached through space. Is it

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Speaker 2: reached through time? I'm not sure.

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Speaker 3: But it scoops up men and women, It scoops them.

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Speaker 2: Here's the thing. It definitely scoops up men. Does it

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Speaker 2: ever scoop up a woman?

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Speaker 3: I don't recall it scooping. No, it's gonna get men

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Speaker 3: multiple times.

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Speaker 2: Yeah. Another case where the monster holding a woman is

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Speaker 2: a complete lie on the poster.

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Speaker 3: Yeah, I was trying to think, what's the name of

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Speaker 3: the wrestling move that it does with the guy where

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Speaker 3: it just like fully like you know, presses a guy

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Speaker 3: above above its head.

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Speaker 2: That is fitting least, I believe, sometimes called a gorilla press,

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Speaker 2: which is fitting because, as we'll discuss, we have a

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Speaker 2: veteran gorilla suit actor playing our monster.

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Speaker 3: It the Terror from Beyond Space aka Mars, has a

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Speaker 3: sort of a gorilla esque silhouette, especially in some shots.

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Speaker 2: Absolutely, and the silhouettes work really well. This is a

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Speaker 2: movie that has a i think, especially for the time,

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Speaker 2: a pretty great monster costume. There's some flaws, as we'll discuss,

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Speaker 2: that weren't necessarily within the control of the monster suit maker,

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Speaker 2: but more importantly, one of I mean, the most important

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Speaker 2: thing about a monster suit is you've got to you

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Speaker 2: got to shoot it right, you gotta light it correctly,

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Speaker 2: you gotta know what to show and what not to show.

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Speaker 2: And they don't do that perfectly in this film either,

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Speaker 2: but there are moments where it works really well.

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Speaker 3: I agree. The movie has a pretty good understanding of

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Speaker 3: how to use how to use shadows, and how to

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Speaker 3: obscure the monster so as to heighten the suspense, and

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Speaker 3: to use what looks good about the monster performance and

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Speaker 3: try to avoid what doesn't look so good about it.

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Speaker 3: And in fact, you may recall the director of this movie,

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Speaker 3: Edward L. Kahn, also directed another movie we did on

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Speaker 3: Weird House, the Creature with the Adam Brain, and that

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Speaker 3: that was a hoot. Of course, that one I think

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Speaker 3: was much funnier than this movie. This one I think

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Speaker 3: overall works better on its own terms when taken more seriously,

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Speaker 3: But in both cases the director was good at using

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Speaker 3: like shadows of the creature instead of a direct shot

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Speaker 3: of the creature.

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Speaker 2: Yeah, yeah, it's you know, it's obviously a lower budget

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Speaker 2: late fifties affair, but still it's a fun and an

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Speaker 2: effective ride. Like not everything is great, but everything comes

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Speaker 2: together enough that it has this kind of structural integrity,

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Speaker 2: the structural completeness that is very enjoyable, especially when you

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Speaker 2: consider that this film was shot in well as many

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Speaker 2: as two weeks. I've seen two weeks sighted, but I've

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Speaker 2: also seen six days sided as the shooting period for

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Speaker 2: this picture I.

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Speaker 3: Think isn't that what John Carpenter said about it in

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Speaker 3: the interview we watched.

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Speaker 2: Yeah, Carpenter in let's see what was this? A twenty

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Speaker 2: fifteen appearance on Turner Classic Movies. He says it was

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Speaker 2: shot in six days, which does not seem unreasonable given

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Speaker 2: what we know about the director and productions of this

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Speaker 2: time period.

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Speaker 3: It's a fun interview Carpenter does about the movie because

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Speaker 3: he clearly has great affection for it. This is something

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Speaker 3: he saw as a child, and it's stuck with him, like,

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Speaker 3: you know, you can tell he's still even as an

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Speaker 3: adult going back and watching it, sees it with a

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Speaker 3: little kid brain and appreciates it in that way. And

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Speaker 3: you know, that's something I always enjoy when I'm able

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Speaker 3: to do it, when I'm able to like turn off

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Speaker 3: adult brain and become a child again watching a movie

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Speaker 3: maybe on the sillier end of the spectrum. And Yeah,

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Speaker 3: but he says another thing about the movie, which is that, Okay,

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Speaker 3: it does have some pretty large technical flaws, and we

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Speaker 3: can talk about some of those as we go on,

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Speaker 3: but considering the how small the budget was, how fast

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Speaker 3: it was made, it's actually a pretty impressively effective picture.

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Speaker 3: He says, a quote about it, it's something like it

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Speaker 3: has a great little engine that runs it or something

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Speaker 3: like that, And I totally agree. There is a There

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Speaker 3: is a strong sort of mechanical tactile feeling to the

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Speaker 3: plot and a lot of the scenes, and it works

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Speaker 3: really well. It just kind of pushes you through.

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Speaker 2: Yeah, Yeah, it's kind of I guess it's like thinking

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Speaker 2: about what is the car supposed to do? Is supposed

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Speaker 2: to drive you from point A to point B. What's

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Speaker 2: a movie's supposed to do? Well, answer is a little

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Speaker 2: more complicated, but essentially entertain us and tell us a

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Speaker 2: story and allow us to be immersed in that story.

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Speaker 2: And this film does all of those things. Even if

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Speaker 2: you were to be picky about it, you could be like, well,

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Speaker 2: look at that hubcap, look at that tail light, you know,

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Speaker 2: but hey, it all comes together and you make it

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Speaker 2: to your destination.

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Speaker 3: Look at that whatever chin or something poking out of

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Speaker 3: the monster's mouth.

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Speaker 2: Yeah, and in the end too, you know, it's like,

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Speaker 2: we have some pretty pretty solid performances in here. We

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Speaker 2: have some effective scenes, some that are I think actually

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Speaker 2: quite scary, that still hold up and have a certain

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Speaker 2: amount of tension and terror to them. Michael Weldon and

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Speaker 2: the Psychotronic Film Guide praised it as a quote pretty

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Speaker 2: scary space ar And you know, I think it depends

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Speaker 2: what you compare it to. You know, obviously it's a

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Speaker 2: very interesting exercise to compare this to Alien, but it's

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Speaker 2: also a little unfair to hold it to that, to

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Speaker 2: that level, you know. But on its own terms, it

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Speaker 2: has some some scares, some jump scares, some creepy atmospheric moments.

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Speaker 2: I really liked it.

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Speaker 3: I agree, And I also agree that as far as

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Speaker 3: the sort of set pieces, the horror set pieces go,

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Speaker 3: I think O'Bannon correctly selected the best elements to lift.

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Speaker 3: Like some of the best stuff in the movie is

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Speaker 3: the stuff that gets copied over into the alien plot.

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Speaker 2: Yeah. So we'll have more to say about all this

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Speaker 2: as we proceed, but elevator pitcher this film, I think

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Speaker 2: all you have to say is alien stow away.

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Speaker 3: I'd add another element. I'd say there's like two parallel

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Speaker 3: elevator pitches. One is alien stow away, the other is

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Speaker 3: murder on Mars question.

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Speaker 2: Mok, that's true. I would say that's the beat plot

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Speaker 2: that's sad, kind of gets shuffled aside. But it's a

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Speaker 2: nice what if, like, what if they had really been

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Speaker 2: able to deliver both in equal volumes, or if someone

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Speaker 2: were to re explore it.

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Speaker 3: Today intriguing idea.

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Speaker 2: Yeah, well, if you want to watch it The Terror

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Speaker 2: from Beyond Space before proceeding here. This one is pretty

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Speaker 2: widely available in digital and physical formats, including a twenty

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Speaker 2: twenty three KL Studio Classics Blu Ray release that has

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Speaker 2: a new HD master, a FEATURETTE, and I think three

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Speaker 2: different commentary tracks. I ended up not being able to

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Speaker 2: pick this one up. I think they do have it

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Speaker 2: at Video Drone, but I ended up watching a quality

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Speaker 2: stream of it that I think must be the HD master,

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Speaker 2: and it looks it looks pretty darn good.

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Speaker 3: The stream I watched also looked pretty sharp.

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Speaker 2: All right, let's get into the people here. So we

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Speaker 2: mentioned the director already, and again we have talked about

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Speaker 2: this director before because it is the One Week Wonder.

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Speaker 2: It is Edward L. Cohn, who lived eighteen ninety nine

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Speaker 2: through nineteen sixty three, who also directed The Creature with

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Speaker 2: the Adam Brain that was released in fifty five.

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Speaker 3: So I've really enjoyed both of the movies of his

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Speaker 3: we watched, but I recall Creature with the Adam Brain

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Speaker 3: being more silly, being more very fun, but a more ludicrous,

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Speaker 3: goofy low budget monster movie, and this one being surprisingly

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Speaker 3: tight by comparison.

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Speaker 2: Yeah yeah. Creature with the Adam Brain had kind of

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Speaker 2: a serial energy to it, like an old old action

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Speaker 2: serial kind of vibe, and this one is, you know,

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Speaker 2: it's very identifiable as as space horror proto space horror

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Speaker 2: in many ways, and you can see why it was

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Speaker 2: such an influence.

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Speaker 3: Creature with the Adam Brain was the movie that had

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Speaker 3: the news broadcasts by Dick Cutting.

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Speaker 2: Yes, oh, good old Dick Cutting. Yes.

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Speaker 3: Yeah.

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Speaker 2: So. Con was a highly prolific low budget director for

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Speaker 2: three decades, directing one hundred and twenty eight films. Many

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Speaker 2: of you may be familiar with. Some of his nineteen

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Speaker 2: fifties horror and sci fi films is fifty seven's Invasion

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Speaker 2: of the Saucermen and the Zombies of Maritau nineteen fifty six,

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Speaker 2: Is The She Creature, nineteen fifty nine's Invisible Invaders, and

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Speaker 2: The Four Skulls of Jonathan Drake. He also did a

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Speaker 2: lot of westerns action films, biker films, and various social

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Speaker 2: exploitation films of the thirties, forties, fifties, and early sixties.

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Speaker 2: So it just to give you an idea of like

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Speaker 2: how fast he was pumping these out, how fast the

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Speaker 2: one week wonder was getting these done. It. The Terror

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Speaker 2: from Beyond Space is one of five con films released

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Speaker 2: in the year nineteen fifty eight.

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Speaker 3: Even Roger Corman only did five movies in nineteen fifty eight,

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Speaker 3: Oh wow, but he did do eight in nineteen fifty seven.

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Speaker 2: I mean there are some years where Corman was pumping

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Speaker 2: him out in such quantity that he's unequaled.

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Speaker 3: Yeah, whenever you're feeling a little too proud of yourself,

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Speaker 3: you think, have I made eight movies this year, three

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Speaker 3: of which are about atomic radiation, and two of which

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Speaker 3: have the word naked and the title.

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Speaker 2: Now getting to the screenplay. The screenplay is by Jerome Bixby,

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Speaker 2: who lived nineteen twenty three through nineteen ninety eight American

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Speaker 2: writer and composer, a graduate of the Juilliard School of Music,

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Speaker 2: who also wrote various short stories and two novels, Call

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Speaker 2: for an Exorcist and Space by the Tale, both published

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Speaker 2: in sixty four. His nineteen fifty three story It's a

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Speaker 2: Good Life was adapted as an episode of the Twilight

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Speaker 2: Zone in nineteen sixty one, and also revisited in Twilight Zone.

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Speaker 2: The movie this is the one about the six year

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Speaker 2: old boy with godlike powers that can wish you into

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Speaker 2: the cornfield and so yeah, now it The Terraform Beyond

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Speaker 2: Space was only his second produced screenplay, following CON's Curse

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Speaker 2: of the Faceless Man from the same year. He also

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Speaker 2: has a story credit on nineteen sixty six Is Fantastic Voyage.

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Speaker 2: We often think about Isaac Asimov in relation to that picture,

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Speaker 2: but we have to remember he only wrote the novelization,

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Speaker 2: he was not involved in the screenplay, and also Bixby

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Speaker 2: wrote four episodes of the original Star Trek series.

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Speaker 3: I'd say the screenplay, like some of the other things

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Speaker 3: we've been talking about, you could look at from multiple angles.

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Speaker 3: Is it high art? No? Is it super smart?

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Speaker 2: No?

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Speaker 3: I mean it's it's got some kind of gaps and

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Speaker 3: flaws in it and some failed characterization, but it's for

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Speaker 3: what it is and for the level of movie this is.

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Speaker 3: I feel like it's a pretty tight plot.

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Speaker 2: Yeah, yeah, it's it's it's it's efficient, it's economic, there's

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Speaker 2: not really a dull moment, and it's got some nice

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Speaker 2: little splashes of dialogue here and there, which of course

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Speaker 2: are helped along by a really solid cast of character

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Speaker 2: actors and some leading act Yes, I agree. And speaking

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Speaker 2: of starting at the top, we have Marshall Thompson playing

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Speaker 2: the character Colonel Edward Carruthers. Thompson lived nineteen twenty five

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Speaker 2: through nineteen ninety two, all American actor who we've talked

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Speaker 2: about on the show before because he was in a

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Speaker 2: little film from nineteen fifty eight titled Fiend Without a Face.

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Speaker 3: Ah. This is the Brain Attack movie, the one that

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Speaker 3: takes place at I think it's a research installation up

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Speaker 3: in Canada or in Alaska. It's some or sort of

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Speaker 3: arctic location, and the idea is that a remote military

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Speaker 3: base that's doing experimental I don't know whether something or

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Speaker 3: other gets attacked by invisible brains and spinal columns.

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Speaker 2: Yeah. A film that's mostly notable for really incredible stop

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Speaker 2: motion brain monsters and some very squishy sound effects to

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Speaker 2: go along with them. Generally not notable for the acting.

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Speaker 2: In fact, I remember it's just kind of commenting that

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Speaker 2: Marshall Thompson was kind of like a square joed, you know,

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Speaker 2: kind of boring actor like they're just you know, very

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Speaker 2: lukewarm performance.

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Speaker 3: That is what I thought of him in that movie.

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Speaker 3: I'd say he's a good bit better in this actually.

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Speaker 2: Yeah, this film gives him a lot more to work with.

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Speaker 2: He has a more complex character. So on one level,

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Speaker 2: he is the square jod chick magnet hero per usual,

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Speaker 2: but especially early on in the picture, he's also the

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Speaker 2: lone survivor of a terrifying encounter on an alien world

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Speaker 2: who has subsequently been condemned to the firing squad you know,

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Speaker 2: all but officially for the murder of his crew. And

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Speaker 2: so he is able to work with that, and you

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Speaker 2: do see that in his performance. He has like kind

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Speaker 2: of a nice haunted look, especially throughout the first you know,

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Speaker 2: third of the.

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Speaker 3: Picture, framed for homicide by a star beast.

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Speaker 2: Yeah.

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Speaker 3: Yeah, it's an unusual type of character, but it's good.

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Speaker 2: Yeah. So I set out to be kind of again

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Speaker 2: bored by his performance, as one often is I think

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Speaker 2: with leading man performances from genre pictures of this time

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Speaker 2: period for various reasons we've discussed in the show before.

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Speaker 2: But I ended up enjoying his performance.

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Speaker 3: Somewhat totally agree better than average.

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Speaker 2: Yeah, yeah, I'm not gonna go through everything we said

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Speaker 2: about him last time, but basically, he's a guy who

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Speaker 2: kind of has like two prongs to his filmography. They're

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Speaker 2: the cult films and then they're like the good natured

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Speaker 2: animal films. So he did like a horse movie called

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Speaker 2: Gallant Bess in forty six, and then sixty five's Clearance

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Speaker 2: The Cross Eyed Lion, and so forth. His final film

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Speaker 2: role was a supporting role in nineteen ninety one's mc bain,

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Speaker 2: an action movie starring Christopher Walken, Michael Ironside and also

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Speaker 2: featuring Louise Gouzman in a supporting role. But I don't

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Speaker 2: think I was familiar with mc bain outside of the

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Speaker 2: yelling McBain on The Simpsons and having the fictional action

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Speaker 2: hero McBain, which when I looked into it a little

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Speaker 2: bit more. Apparently this movie, the ninety one movie McBain,

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Speaker 2: came out after the Simpsons jokes, and because of it,

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Speaker 2: the Simpsons had to stop making McBain jokes. I don't

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Speaker 2: know if that's completely true, but that's the argument I've heard.

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Speaker 3: I don't think they stopped doing mc bain jokes. I

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Speaker 3: remember mc bain jokes going well into the last seasons

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Speaker 3: I saw, at least like season seven and eight.

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Speaker 2: Maybe they came back after a while and they had

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Speaker 2: to like just hush it for a bit. I don't know.

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Speaker 2: But then again I thought I was familiar with Christopher

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Speaker 2: Walken's filmography, and then mc bain feels like one that

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Speaker 2: just came out of nowhere, that did not previously exist,

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Speaker 2: And just suddenly I jumped onto a different timeline.

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Speaker 3: Which episode is it where McBain is delivering a palette

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Speaker 3: of UNICEF pennies out of an airplane and then he

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Speaker 3: gets attacked by COMMI Nazi fighter jets.

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Speaker 2: I don't remember that one.

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Speaker 3: He has to jump down and punch through the cockpit.

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Speaker 2: Anyway, if anyone out there has seen mc bain from

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Speaker 2: nineteen ninety one, well right in and we would like

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Speaker 2: to hear from you, all right, continuing on with the

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Speaker 2: rest of the cast here, We're not going to do

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Speaker 2: the whole cast because this is still one of those

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Speaker 2: films where there are just a lot of at least

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Speaker 2: on the surface, interchangeable guys.

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Speaker 3: But I really lost track of the guys multiple times

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Speaker 3: in this.

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Speaker 2: Yeah, though I did find it easier to keep track

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Speaker 2: of them on the whole compared to a lot of movies,

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Speaker 2: because on the whole, the cast is pretty good, and

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Speaker 2: you know, we got some nice character actors in there,

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Speaker 2: and the screenplay also seems to be doing a little

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Speaker 2: extra work to keep us from getting too confused.

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Speaker 3: Well yeah, but I am going to ding it for

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Speaker 3: one thing, which is that they do a role call

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Speaker 3: of the cast early on, where you're like, oh great, Fortunately,

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Speaker 3: like all the cast members sound off, they call in

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Speaker 3: on the radio, they say their name and it shows

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Speaker 3: you their face. I'm like, this is a good way

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Speaker 3: to just familiarize you quickly with all the characters and

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Speaker 3: what their names are. But there are characters who don't

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Speaker 3: participate in the role call. Later you think you know

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Speaker 3: them all, and then just random other people are in

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Speaker 3: the mix. It's like, wait, I don't remember that guy.

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Speaker 2: Yeah, some sort of cast system in play here.

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Speaker 3: Did not say present.

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Speaker 2: All right. So Marshall Thompson is playing our doomed guy,

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Speaker 2: or seemingly doomed guy who needs to be picked up

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Speaker 2: from Mars because his mission to Mars ended in terror

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Speaker 2: and death. Yeah, we have this rescue crew coming in

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Speaker 2: to pick him up, and that's where we get into

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Speaker 2: the rest of the cast, and this mission is headed

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Speaker 2: up by Colonel Van Heusen played by him Spalding, who

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Speaker 2: lived nineteen fifteen through the year two thousand. American stage,

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Speaker 2: screen and TV actor the forties, fifties, and sixties, I

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Speaker 2: think best known for this film. He worked in various westerns.

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Speaker 2: I think, sometimes played a villain, sometimes played a hero.

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Speaker 2: He has that kind of gaunt, stern look that I

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Speaker 2: think allowed him to jump back and forth between the two.

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Speaker 3: Yeah, he played The character he plays in this movie

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Speaker 3: is relatively stoic. You can imagine he's used well as

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Speaker 3: kind of like a moderately threatening man with dark moods.

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Speaker 2: Yeah. Yeah. I was reading on a classic film board

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Speaker 2: about some of his roles, and apparently he played Doc

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Speaker 2: Holiday in a nineteen fifty four TV western series called

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Speaker 2: Stories of the Century, And apparently he played a villainous

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Speaker 2: Doc Holiday in this. So Doc Holliday is like using

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Speaker 2: his dentistry to torture people or something.

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Speaker 3: WHOA.

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Speaker 2: So that's the kind of range he had here. But

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Speaker 2: in this he's essentially one of the heroes. But there's

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Speaker 2: there's some misunderstandings involved as well. All Right, we also

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Speaker 2: have the character Anne Anderson, one of the scientists aboard

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Speaker 2: the vessel, played by Shirley Patterson. I believe she's credited

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Speaker 2: on this as Sean Smith. This is She lived nineteen

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Speaker 2: twenty two through nineteen ninety five, Canadian actress of the

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Speaker 2: forties and fifties, best known for her roles in fifty

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Speaker 2: six is World Without End, fifty seven's The Land Unknown,

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Speaker 2: and the nineteen forty three Batman serial, which I've seen

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Speaker 2: parts of. It's very hard to watch because it's just

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Speaker 2: it's boring. But in this yeah, she's a scientist, I

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Speaker 2: think a geologist, but she's also the captain's girlfriend.

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Speaker 3: Apparently this movie's approach to gender is not one of

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Speaker 3: its most sort of future anticipating moves. So like, there

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Speaker 3: are two women aboard the ship as members of the crew,

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Speaker 3: and they are both scientists, but they are also the

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Speaker 3: significant others of other crew members, and they have to

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Speaker 3: do all the cooking and the serving of coffee.

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Speaker 2: So yeah, multiple.

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Speaker 3: Reviewers have pointed that out, and it's not the only

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Speaker 3: movie of the time like that, by the way, where

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Speaker 3: there's like, oh, you know, there's one woman on this crew.

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Speaker 3: She is a scientist. We are going to the dinosaur planet.

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Speaker 3: She's also the ship's cook.

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Speaker 2: Yeah. Yeah, it's not one of the best aspects of

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Speaker 2: the picture. There's no Ripley on this crew. Ripley would

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Speaker 2: never Yeah, she would tell you to get your own

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Speaker 2: darn coffee. And you know, even if it is and

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Speaker 2: it's the best thing on the ship, so of course

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Speaker 2: you should get your own coffee. The other female that

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Speaker 2: you just alluded to on board the ship is the

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Speaker 2: character Mary Royce. She's essentially the mom of the ship.

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Speaker 2: That's the way. She's supposed to be a scientist as well,

404
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Speaker 2: but she's everyone's mom. I guess she seems to fulfill

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Speaker 2: that role for all of these these men that are

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Speaker 2: serving aboard the spaceship.

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Speaker 3: Yeah, she sort of scolds them for making crass jokes

408
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Speaker 3: and stuff.

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Speaker 2: Yeah. Played by Anne Doran, who lived nineteen eleven through

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Speaker 2: the year two thousand. Doran appeared to be in more

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Speaker 2: than five hundred movies and a thousand TV shows from

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Speaker 2: nineteen twenty two through nineteen eighty eight. She apparently started

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Speaker 2: as a child actress, which of course helps if you're

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Speaker 2: going to rack up these kind of numbers. But her

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Speaker 2: mini credits include the nineteen fifty four giant ant movie

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Speaker 2: them nineteen fifty five's Rebel Without a Cause in nineteen

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Speaker 2: thirty nine's Mister Smith Goes to Washington.

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Speaker 3: She was in two exclamation point movies.

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Speaker 2: They don't do enough exclamation point movies anymore.

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Speaker 3: Wait, I just had to check. I thought them has

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Speaker 3: an exclamation point.

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Speaker 2: It does, Yeah, but I can't have that in the

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Speaker 2: notes exclamation points followed by commas that I just start

424
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Speaker 2: feeling crazy if I do that, I do hold it

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Speaker 2: against you, all right. So that's Mary Royce, that's grandma

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Speaker 2: or mom. Who's the dad character of the ship, Well,

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Speaker 2: that's Eric Royce played by Dabs Greer, who was honestly,

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Speaker 2: like really good in this, Like he doesn't really have

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Speaker 2: that much to do, but sometimes in the ensemble cast

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Speaker 2: of a particular film, you know you have that you

431
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Speaker 2: know obviously, you know, veteran character actor who can really

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Speaker 2: just infuse anything he has to say or any scene

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Speaker 2: where he's just present with a certain amount of dignity

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Speaker 2: and seriousness. And that's where Dad's Greer comes in.

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Speaker 3: He absolutely is the dad. Wait is this the guy

436
00:22:15,080 --> 00:22:18,120
Speaker 3: who's playing chess and is he smoking a pipe or something?

437
00:22:18,119 --> 00:22:20,560
Speaker 2: Oh? Yeah, yeah, there's a lot of smoking on from

438
00:22:20,560 --> 00:22:23,240
Speaker 2: board the ship. That's something John Carpenter pointed out as well.

439
00:22:23,240 --> 00:22:26,960
Speaker 2: It's like everybody's smoking like constantly. Yeah, if you listen

440
00:22:26,960 --> 00:22:29,680
Speaker 2: to our most recent stuff to Blow your Mind Core episode,

441
00:22:29,680 --> 00:22:32,439
Speaker 2: this is also funny because we were talking about like

442
00:22:32,520 --> 00:22:37,000
Speaker 2: oxygen levels on actual space flights. Yeah, some of the risks,

443
00:22:37,040 --> 00:22:40,280
Speaker 2: and this movie is just completely alarming in light of

444
00:22:40,320 --> 00:22:42,520
Speaker 2: all of that, not only because of the smoking, but

445
00:22:42,520 --> 00:22:43,680
Speaker 2: because of other things as well.

446
00:22:44,280 --> 00:22:47,960
Speaker 3: I would say this movie's general understanding of like pressurized

447
00:22:47,960 --> 00:22:52,159
Speaker 3: exploration environments is a little fuzzy. So not only is

448
00:22:52,200 --> 00:22:56,840
Speaker 3: everybody constantly smoking and and shooting firearms inside of a

449
00:22:57,119 --> 00:23:00,560
Speaker 3: interplanetary spaceship, they also just leave the door open on

450
00:23:00,600 --> 00:23:01,680
Speaker 3: the surface of Mars.

451
00:23:03,040 --> 00:23:04,760
Speaker 2: I mean they didn't think anything would come in. That's

452
00:23:04,760 --> 00:23:07,800
Speaker 2: the I mean, that's the fatal flaw. But they didn't

453
00:23:07,800 --> 00:23:10,600
Speaker 2: think there was anything that could crawl aboard. But anyway, Yeah,

454
00:23:10,680 --> 00:23:13,760
Speaker 2: Dab's Greer here is terrific. I think Carpenter also singled

455
00:23:13,840 --> 00:23:17,120
Speaker 2: him out as being a fine presence in the film.

456
00:23:17,440 --> 00:23:20,600
Speaker 2: Longtime American character actor whose credits include everything from fifty

457
00:23:20,600 --> 00:23:23,119
Speaker 2: three's House of Wax. I don't think we mentioned him

458
00:23:23,160 --> 00:23:25,480
Speaker 2: in that one, he's somewhere in the supporting cast. He's

459
00:23:25,520 --> 00:23:28,080
Speaker 2: in fifty six is Invasion of the Body Snatchers, which

460
00:23:28,480 --> 00:23:30,960
Speaker 2: is another film that absolutely holds up, and then you

461
00:23:31,040 --> 00:23:33,800
Speaker 2: also find him in nineteen ninety seven's con Air in

462
00:23:33,880 --> 00:23:35,399
Speaker 2: nineteen ninety nine is The Green Mile.

463
00:23:35,920 --> 00:23:38,000
Speaker 3: I don't remember what he was in either of those.

464
00:23:38,240 --> 00:23:40,760
Speaker 2: Well, I think looking at his dates, I mean, think

465
00:23:40,800 --> 00:23:44,480
Speaker 2: of the oldest person remember in either movie, and it

466
00:23:44,560 --> 00:23:45,520
Speaker 2: might have been Dab's Greer.

467
00:23:45,840 --> 00:23:48,240
Speaker 3: He should have. Okay, so he's like smoking a pipe

468
00:23:48,320 --> 00:23:51,800
Speaker 3: or whatever. Playing chess got extreme dad vibes, but they

469
00:23:51,840 --> 00:23:53,800
Speaker 3: should have gone all in. They should have given him

470
00:23:53,840 --> 00:23:56,600
Speaker 3: like a high backed chair to sit in and give

471
00:23:56,680 --> 00:23:57,719
Speaker 3: him a basset hound.

472
00:23:58,040 --> 00:24:00,240
Speaker 2: That would have been good. Yeah, every ship. I mean,

473
00:24:00,480 --> 00:24:03,200
Speaker 2: if the Nostromo gets a cat, why shouldn't this ship

474
00:24:03,560 --> 00:24:05,439
Speaker 2: the name of which he ludes me, it does have

475
00:24:05,480 --> 00:24:07,920
Speaker 2: a name, but why does it not have a basset hunt?

476
00:24:08,160 --> 00:24:11,159
Speaker 3: Are you taking notes, jer Own Bixby, We're giving you

477
00:24:11,200 --> 00:24:12,440
Speaker 3: good notes here. All right.

478
00:24:12,480 --> 00:24:14,440
Speaker 2: I'm going to skip over the rest of the human

479
00:24:14,520 --> 00:24:16,639
Speaker 2: crew here, but we may refer back to one or

480
00:24:16,640 --> 00:24:18,560
Speaker 2: two as when we get into the plot later on.

481
00:24:19,160 --> 00:24:21,720
Speaker 2: But again, like top to bottom. Everybody's good in this

482
00:24:21,800 --> 00:24:24,360
Speaker 2: There's nobody that comes on screen and you're like, why

483
00:24:24,359 --> 00:24:27,040
Speaker 2: did they cast this person? Where did this person just

484
00:24:27,080 --> 00:24:29,280
Speaker 2: walk in off the street, Like, No, they all seem

485
00:24:29,320 --> 00:24:33,680
Speaker 2: to be experienced actors, solid cast. And then our monster suit.

486
00:24:33,720 --> 00:24:37,480
Speaker 2: I'm always interested who's inside the creature's suit. And this

487
00:24:37,520 --> 00:24:40,359
Speaker 2: one's kind of a treat because we have Ray Crash Corrigan,

488
00:24:40,640 --> 00:24:43,840
Speaker 2: who lived nineteen oh two through nineteen seventy six playing

489
00:24:43,920 --> 00:24:47,960
Speaker 2: The Beast. He was a Hollywood physical fitness trainer turned

490
00:24:48,040 --> 00:24:53,119
Speaker 2: actor and creature suit specialist. So this is a guy who,

491
00:24:53,400 --> 00:24:55,360
Speaker 2: like some of these other gorilla actors, had his own

492
00:24:55,400 --> 00:24:59,439
Speaker 2: gorilla costume, had his own suit, and war said suit

493
00:24:59,840 --> 00:25:02,439
Speaker 2: or I guess, sometimes supplied suits if there's something specific

494
00:25:02,520 --> 00:25:04,520
Speaker 2: they were going for that he could not provide. And

495
00:25:04,600 --> 00:25:08,680
Speaker 2: I believe more than thirty different films from nineteen thirty

496
00:25:08,680 --> 00:25:11,560
Speaker 2: two through nineteen fifty eight just going through IMDb and

497
00:25:11,600 --> 00:25:13,760
Speaker 2: looking for roles that he had that are called like

498
00:25:13,800 --> 00:25:17,520
Speaker 2: gorilla or ape or something to that effect. This guy

499
00:25:17,800 --> 00:25:19,600
Speaker 2: played a lot of gorillas.

500
00:25:19,840 --> 00:25:23,240
Speaker 3: We've talked before on the show about like ape suit specialists,

501
00:25:23,320 --> 00:25:27,360
Speaker 3: these creature performers who just do gorilla roles over and over,

502
00:25:27,480 --> 00:25:30,879
Speaker 3: Like I guess they formed a relationship with a particular

503
00:25:30,960 --> 00:25:34,440
Speaker 3: suit or style of performance and they're like, does your

504
00:25:34,480 --> 00:25:37,840
Speaker 3: movie need a large ape? And I will play it. Yeah.

505
00:25:37,880 --> 00:25:40,200
Speaker 2: I think it's one of those things where people don't

506
00:25:40,240 --> 00:25:44,760
Speaker 2: necessarily realize how demanding such a performance is until they

507
00:25:44,800 --> 00:25:46,200
Speaker 2: either try to do it, or they try and just

508
00:25:46,240 --> 00:25:48,840
Speaker 2: get some rando to do it, and then they realize that, no,

509
00:25:48,920 --> 00:25:52,240
Speaker 2: this is grueling. You know, it's gonna be hot work,

510
00:25:52,240 --> 00:25:54,760
Speaker 2: it's gonna be sweaty work, and you're gonna have to

511
00:25:54,800 --> 00:25:58,520
Speaker 2: like change your the natural positioning of your body, move

512
00:25:58,600 --> 00:26:01,000
Speaker 2: in different ways that can act to actually actually just

513
00:26:01,040 --> 00:26:03,159
Speaker 2: you know, carry you down if you're not ready for it.

514
00:26:03,400 --> 00:26:04,800
Speaker 3: Yeah.

515
00:26:04,960 --> 00:26:07,440
Speaker 2: So you know, this is something that I'm always delighted

516
00:26:07,480 --> 00:26:09,479
Speaker 2: to see that it still continues to this day. We

517
00:26:09,520 --> 00:26:13,159
Speaker 2: still have actors active in film who have kind of

518
00:26:13,160 --> 00:26:17,000
Speaker 2: made it there specialty to portray the physicality of gorillas

519
00:26:17,000 --> 00:26:19,560
Speaker 2: and apes, even if they're not necessarily wearing a suit.

520
00:26:20,119 --> 00:26:22,160
Speaker 2: They may just be doing mo cap, but they're still

521
00:26:22,240 --> 00:26:27,040
Speaker 2: keeping the tradition alive. So anyway, Yeah, Crash Corgan did

522
00:26:27,040 --> 00:26:28,959
Speaker 2: a lot of this. He also did some like westerns

523
00:26:29,000 --> 00:26:32,639
Speaker 2: as well. He started, you know, playing cowboys, not gorillas.

524
00:26:33,280 --> 00:26:36,560
Speaker 2: But he started the Corriganville movie ranch for Western films,

525
00:26:36,600 --> 00:26:38,879
Speaker 2: and it was something that I think was open for

526
00:26:38,960 --> 00:26:41,720
Speaker 2: tourism on the weekends and holidays for a long stretch

527
00:26:41,760 --> 00:26:45,439
Speaker 2: as well. They would shoot westerns here. And then he

528
00:26:45,520 --> 00:26:48,440
Speaker 2: eventually sold it to Bob Hope, I believe in sixty six,

529
00:26:49,000 --> 00:26:50,760
Speaker 2: and you can still find it. It's out there. It's

530
00:26:50,960 --> 00:26:55,040
Speaker 2: in California. It's called Corriganville Park and it's in Semi Valley, California.

531
00:26:55,160 --> 00:26:56,960
Speaker 2: So if we have any Californians who want to check

532
00:26:56,960 --> 00:26:59,439
Speaker 2: in on that location for us and report back, we

533
00:26:59,440 --> 00:27:02,440
Speaker 2: would luck to hear from you. All Right, So that's

534
00:27:02,480 --> 00:27:06,040
Speaker 2: the guy in the creature costume. But we also have

535
00:27:06,160 --> 00:27:10,280
Speaker 2: to talk briefly about the guy who built the creature costume.

536
00:27:10,800 --> 00:27:15,320
Speaker 2: This is Paul Blasdell born nineteen twenty seven died nineteen

537
00:27:15,320 --> 00:27:19,399
Speaker 2: eighty three, uncredited, but he is the suit designer and

538
00:27:19,520 --> 00:27:20,200
Speaker 2: builder here.

539
00:27:21,320 --> 00:27:26,520
Speaker 3: So this alien design is not morphologically all that interesting.

540
00:27:26,600 --> 00:27:29,800
Speaker 3: It is basically humanoid in shape. It's like a big

541
00:27:30,400 --> 00:27:34,240
Speaker 3: sort of reptilian humanoid with a scary kind of batface.

542
00:27:34,640 --> 00:27:37,439
Speaker 2: Would you say, yeah, I mean it's it's not a

543
00:27:37,440 --> 00:27:40,159
Speaker 2: gorilla costume, but it's a gorilla actor in a suit

544
00:27:40,359 --> 00:27:42,440
Speaker 2: essentially doing gorilla costume stuff.

545
00:27:42,760 --> 00:27:48,199
Speaker 3: Yeah, it's like a like a muscly humanoid reptilian with

546
00:27:48,440 --> 00:27:49,399
Speaker 3: kind of a bat face.

547
00:27:49,800 --> 00:27:53,679
Speaker 2: Yeah. Yeah, though is Girma del Toro. As has pointed

548
00:27:53,680 --> 00:27:56,280
Speaker 2: out before, like the gorilla costume is a great place

549
00:27:56,280 --> 00:27:58,919
Speaker 2: to start with any monster. You know, it's like it's

550
00:27:58,960 --> 00:28:04,520
Speaker 2: it's it's a for a reason. Yeah, the creature, the

551
00:28:04,560 --> 00:28:07,880
Speaker 2: claws look really good, the basic outline looks really good,

552
00:28:08,520 --> 00:28:11,480
Speaker 2: and the face really isn't bad. I mean there's a

553
00:28:11,520 --> 00:28:14,399
Speaker 2: lot you can compare this monsitor to in the you know,

554
00:28:14,440 --> 00:28:17,600
Speaker 2: the fifties and sixties, and it's this is above average.

555
00:28:17,640 --> 00:28:20,760
Speaker 3: I would say, Yeah, I think how good the costume

556
00:28:20,840 --> 00:28:23,720
Speaker 3: is depends on the shot. In some shots it looks

557
00:28:23,800 --> 00:28:27,400
Speaker 3: quite good, especially in shots where you're not seeing the

558
00:28:27,440 --> 00:28:31,639
Speaker 3: whole suit moving at once. They are like some scenes

559
00:28:31,680 --> 00:28:34,480
Speaker 3: where you say the creature is reaching up through a

560
00:28:35,359 --> 00:28:37,800
Speaker 3: you know, hole in a hatch that it has clawed,

561
00:28:37,880 --> 00:28:40,680
Speaker 3: or is sort of busting through a door and you

562
00:28:40,720 --> 00:28:43,840
Speaker 3: only see part of its body where the suit looks great.

563
00:28:43,920 --> 00:28:47,400
Speaker 3: There are places where it looks less good, where like

564
00:28:47,440 --> 00:28:50,920
Speaker 3: you're seeing the whole creature suit, the whole performer in

565
00:28:50,960 --> 00:28:53,760
Speaker 3: the whole suit, moving around in a space that's fairly

566
00:28:53,800 --> 00:28:57,240
Speaker 3: well lit, in which case my feeling was both the

567
00:28:57,280 --> 00:29:00,360
Speaker 3: mask and the suit. Something looks kind of odd about

568
00:29:00,400 --> 00:29:03,440
Speaker 3: the fit of it, Like the material is kind of thin,

569
00:29:03,720 --> 00:29:05,480
Speaker 3: and it's less impressive that way.

570
00:29:05,840 --> 00:29:07,880
Speaker 2: Yeah, and that is part of the story here. According

571
00:29:07,880 --> 00:29:09,680
Speaker 2: to some of the sources I was looking at, is

572
00:29:09,720 --> 00:29:13,200
Speaker 2: that they couldn't get Core again in for a proper

573
00:29:13,320 --> 00:29:17,600
Speaker 2: fitting for the suit ahead of time for some various reasons,

574
00:29:18,120 --> 00:29:20,640
Speaker 2: and so it doesn't quite fit him all the way.

575
00:29:21,840 --> 00:29:24,040
Speaker 2: And most notably Alrea alluded to this, but he's like

576
00:29:24,160 --> 00:29:27,040
Speaker 2: chin is sticking out of the mask a bit, and

577
00:29:27,120 --> 00:29:28,920
Speaker 2: they ultimately just you know, did what they could to

578
00:29:28,960 --> 00:29:31,120
Speaker 2: incorporate that end of the design.

579
00:29:31,520 --> 00:29:33,880
Speaker 3: But like I said, there are some shots where it

580
00:29:33,920 --> 00:29:36,800
Speaker 3: looks quite good and is used very effectively, especially the

581
00:29:36,800 --> 00:29:37,680
Speaker 3: shadowy ones.

582
00:29:38,400 --> 00:29:42,120
Speaker 2: Yeah, I'm reminded a bit of the Thing from Another World,

583
00:29:42,640 --> 00:29:45,160
Speaker 2: a film that does not have I mean, it has

584
00:29:45,160 --> 00:29:48,000
Speaker 2: a classic monster design, but it's not one of my favorites.

585
00:29:48,440 --> 00:29:50,880
Speaker 2: But if you just look at stills of the monster,

586
00:29:52,200 --> 00:29:54,080
Speaker 2: you're probably not going to be that impressed. But if

587
00:29:54,120 --> 00:29:57,160
Speaker 2: you watch the film. There are some terrifying sequences with

588
00:29:57,200 --> 00:30:03,040
Speaker 2: that monster. Again, the the filmmaking doesn't involve just you know,

589
00:30:03,080 --> 00:30:04,960
Speaker 2: putting a monster in front of a camera and shooting it.

590
00:30:05,000 --> 00:30:09,520
Speaker 2: There's so many additional elements that go into creating the

591
00:30:09,520 --> 00:30:11,040
Speaker 2: illusion of terror.

592
00:30:11,360 --> 00:30:12,000
Speaker 3: Yeah, that's right.

593
00:30:13,000 --> 00:30:17,160
Speaker 2: So still on its own, I would say, pretty great

594
00:30:17,160 --> 00:30:19,960
Speaker 2: monster suit. You know that they they were working with

595
00:30:20,280 --> 00:30:24,320
Speaker 2: a limited budget with some additional constraints such as getting

596
00:30:24,320 --> 00:30:27,280
Speaker 2: the actor in for measurements. And there are also some

597
00:30:27,360 --> 00:30:31,360
Speaker 2: alleged performance issues with Corgan for this one. You know,

598
00:30:31,360 --> 00:30:34,160
Speaker 2: I don't want to get into the old movie dirt,

599
00:30:34,240 --> 00:30:37,160
Speaker 2: but there's some allegations that maybe he wasn't in the

600
00:30:37,200 --> 00:30:41,320
Speaker 2: best condition to perform for this one, and maybe there

601
00:30:41,400 --> 00:30:46,320
Speaker 2: was some communication breakdowns between Corgan and the director. So

602
00:30:46,440 --> 00:30:49,880
Speaker 2: all that taken into account, looks pretty good. And yeah,

603
00:30:49,880 --> 00:30:53,360
Speaker 2: Blasdell himself was responsible for a number of classic nineteen

604
00:30:53,400 --> 00:30:57,440
Speaker 2: fifties monster costumes, everything from the creature effects from nineteen

605
00:30:57,480 --> 00:31:00,200
Speaker 2: fifty five's The Beast with a Million Eyes and The

606
00:31:00,240 --> 00:31:04,320
Speaker 2: Day the World Ended to nineteen fifty six Is It

607
00:31:04,400 --> 00:31:05,280
Speaker 2: Conquered the World?

608
00:31:05,960 --> 00:31:08,440
Speaker 3: Ah, that's a Roger Korman movie. That's the one where

609
00:31:08,520 --> 00:31:11,360
Speaker 3: Earth is conquered by a psychic space or to choke.

610
00:31:11,720 --> 00:31:16,640
Speaker 2: Yeah, those are not Those are maybe not believable looking monsters.

611
00:31:16,640 --> 00:31:19,920
Speaker 2: They are very laughable, but they also are unique. They

612
00:31:19,960 --> 00:31:20,520
Speaker 2: stand out.

613
00:31:21,240 --> 00:31:21,760
Speaker 3: They're great.

614
00:31:21,960 --> 00:31:23,280
Speaker 2: They're pretty great in that respect.

615
00:31:23,520 --> 00:31:25,320
Speaker 3: I've got a big poster if It Conquered the World

616
00:31:25,440 --> 00:31:26,360
Speaker 3: up on my wall here.

617
00:31:26,760 --> 00:31:28,920
Speaker 2: Yeah, that's a fun film. We may have to come

618
00:31:28,920 --> 00:31:31,520
Speaker 2: back to that one. He also worked on the little

619
00:31:31,840 --> 00:31:35,760
Speaker 2: alien flying creatures in Not of This Earth from nineteen

620
00:31:35,760 --> 00:31:38,200
Speaker 2: fifty seven that we talked about on the show. He

621
00:31:38,280 --> 00:31:40,640
Speaker 2: worked on Invasion of the Saucermen from the same year,

622
00:31:40,760 --> 00:31:43,320
Speaker 2: and he also worked on nineteen fifty nine Teenagers from

623
00:31:43,360 --> 00:31:46,120
Speaker 2: Outer Space, which I don't know if that one has

624
00:31:46,120 --> 00:31:48,720
Speaker 2: creatures or not, but if I'm remembering correctly, that one

625
00:31:48,760 --> 00:31:50,880
Speaker 2: is the one that has a great dog zapping scene

626
00:31:50,920 --> 00:31:53,440
Speaker 2: where somebody shoots a dog with a ray gun and

627
00:31:53,480 --> 00:31:55,760
Speaker 2: turns it into a pile of smoking bones. I know

628
00:31:55,800 --> 00:31:57,760
Speaker 2: a lot of people don't like it when the dog dies,

629
00:31:57,800 --> 00:32:00,560
Speaker 2: but the dog dies well in this picture worth it.

630
00:32:01,440 --> 00:32:04,880
Speaker 2: Paul also wore the Monstra suit in several films, including

631
00:32:04,920 --> 00:32:07,520
Speaker 2: The Day the World Ended It Conquered the World nineteen

632
00:32:07,520 --> 00:32:10,720
Speaker 2: fifty six is the She Creature and fifty seven's Invasion

633
00:32:10,720 --> 00:32:13,320
Speaker 2: of the Saucer Men. He also helped make that giant

634
00:32:13,400 --> 00:32:16,800
Speaker 2: hypodermic needle in nineteen fifty seven's The Amazing Colossal Man,

635
00:32:16,920 --> 00:32:18,640
Speaker 2: which I hope will come back to on the show

636
00:32:18,640 --> 00:32:20,920
Speaker 2: if they ever put it out on a proper Blu

637
00:32:21,000 --> 00:32:24,080
Speaker 2: Ray release. And he was a special designer on Attack

638
00:32:24,120 --> 00:32:26,280
Speaker 2: of the Puppet People from fifty eight, which we also

639
00:32:26,320 --> 00:32:28,320
Speaker 2: talked about on Weird House. That one did have a

640
00:32:28,320 --> 00:32:30,720
Speaker 2: lot of you know, little people in a big world

641
00:32:31,840 --> 00:32:34,000
Speaker 2: gimmicks and props. So I'm not sure what he worked

642
00:32:34,000 --> 00:32:36,480
Speaker 2: on there, but that I'm sure it was something spectacular.

643
00:32:36,760 --> 00:32:37,160
Speaker 2: Mm hmm.

644
00:32:37,680 --> 00:32:40,680
Speaker 3: Okay, So we have crossed paths many times.

645
00:32:40,600 --> 00:32:51,160
Speaker 2: Yes, yeah, and we'll and we'll undoubtedly come back to him.

646
00:32:51,640 --> 00:32:54,239
Speaker 2: Now on the music end of the spectrum, there are

647
00:32:54,240 --> 00:32:56,120
Speaker 2: three different individuals. I'm not going to spend a lot

648
00:32:56,120 --> 00:32:59,560
Speaker 2: of time on them. We have Paul Sautel or Sawtel

649
00:33:00,280 --> 00:33:02,240
Speaker 2: entirely sure on that one, and then we also have

650
00:33:02,360 --> 00:33:06,840
Speaker 2: bert A. Schefter. Sautel was born nineteen oh six died

651
00:33:06,960 --> 00:33:11,240
Speaker 2: nineteen seventy one. Schefter nineteen oh four through nineteen ninety nine.

652
00:33:12,680 --> 00:33:15,840
Speaker 2: The former Polish born film score composer, the latter Russian

653
00:33:15,840 --> 00:33:19,000
Speaker 2: born pianist and film composer. They worked together on a

654
00:33:19,000 --> 00:33:22,360
Speaker 2: lot of different pictures, especially a string of low budget

655
00:33:22,400 --> 00:33:26,440
Speaker 2: sci fi films. They also did various other genres, westerns

656
00:33:26,440 --> 00:33:31,200
Speaker 2: and so forth. In fact, Sautel worked on the at

657
00:33:31,280 --> 00:33:34,440
Speaker 2: least via stock music. His music was used, shall we say,

658
00:33:34,680 --> 00:33:36,920
Speaker 2: in the US release of nineteen sixty three's King Kong

659
00:33:37,040 --> 00:33:40,719
Speaker 2: Versus Godzilla, And he actually has a composer music themes

660
00:33:40,720 --> 00:33:44,360
Speaker 2: credit on nineteen sixty five's Faster Pussycat, Kill Kill, which

661
00:33:44,360 --> 00:33:48,080
Speaker 2: I don't think we mentioned in our episode on that movie.

662
00:33:48,240 --> 00:33:51,160
Speaker 2: So we have those two, and then we also have

663
00:33:51,520 --> 00:33:55,640
Speaker 2: Jack Cookerly who lived nineteen twenty six through twenty seventeen,

664
00:33:56,800 --> 00:34:02,040
Speaker 2: uncredited composer electronic music on this one. So. Cokerley was

665
00:34:02,080 --> 00:34:05,960
Speaker 2: a pioneering electronic musician who contributed electronic sci fi sounds

666
00:34:05,960 --> 00:34:09,840
Speaker 2: to various pictures. He often worked with the aforementioned gentlemen

667
00:34:10,239 --> 00:34:13,839
Speaker 2: on their scores and their sound work. He developed many

668
00:34:13,840 --> 00:34:17,239
Speaker 2: of his own instruments and contributed sound effects to such

669
00:34:17,320 --> 00:34:20,480
Speaker 2: titles as The Black Scorpion for fifty seven Space Children

670
00:34:20,520 --> 00:34:23,080
Speaker 2: in fifty eight, The Colossus of New York in fifty eight,

671
00:34:23,360 --> 00:34:26,280
Speaker 2: Invisible Invaders in fifty nine, and Robinson Crusoe and Mars

672
00:34:26,280 --> 00:34:28,600
Speaker 2: in sixty four. He also did some work on the

673
00:34:28,600 --> 00:34:30,720
Speaker 2: original Twilight Zone and Star Trek series.

674
00:34:31,960 --> 00:34:35,880
Speaker 3: This movie didn't really have amazing music themes that stood

675
00:34:35,880 --> 00:34:38,600
Speaker 3: out to me, but there are some nice sort of

676
00:34:38,640 --> 00:34:42,400
Speaker 3: ambience score moments that are very on the quiet side,

677
00:34:42,400 --> 00:34:46,080
Speaker 3: but they're effective, like when there's the spacewalk scene. I

678
00:34:46,120 --> 00:34:50,040
Speaker 3: remember thinking the sound in that scene mostly by actually

679
00:34:50,239 --> 00:34:53,319
Speaker 3: by having a lack of sound in a very compelling way,

680
00:34:53,360 --> 00:34:56,000
Speaker 3: and what was there was minimal but effective.

681
00:34:56,520 --> 00:35:00,840
Speaker 2: Yeah. Yeah, we have a wonderfully tense, atmospheric, believable space

682
00:35:00,880 --> 00:35:04,880
Speaker 2: walk sequence like that, you know, totally suspended my disbelief.

683
00:35:05,719 --> 00:35:10,080
Speaker 2: And it has this wonderful, yeah, ambient, electronic, minimalist score

684
00:35:10,120 --> 00:35:13,200
Speaker 2: going on that sounds nice and spacey, and I think

685
00:35:13,200 --> 00:35:15,040
Speaker 2: we get a little splash of that towards the beginning

686
00:35:15,080 --> 00:35:17,920
Speaker 2: of the picture as well. Yeah, and speaking of that,

687
00:35:18,160 --> 00:35:20,239
Speaker 2: let's get into the beginning of the picture. Let's jump

688
00:35:20,239 --> 00:35:20,840
Speaker 2: into the plot.

689
00:35:21,080 --> 00:35:22,920
Speaker 3: They hit you right at the beginning with something that

690
00:35:23,000 --> 00:35:26,359
Speaker 3: looks great, which is a I don't know exactly how

691
00:35:26,400 --> 00:35:29,759
Speaker 3: they composed this shot. I think what we're looking at

692
00:35:29,960 --> 00:35:33,919
Speaker 3: is a is a miniature model set in the foreground

693
00:35:33,960 --> 00:35:37,960
Speaker 3: with a painting in the background, but it is supposed

694
00:35:38,040 --> 00:35:41,920
Speaker 3: to be a I guess the surface of Mars, but

695
00:35:42,000 --> 00:35:46,200
Speaker 3: it has these very steep, jagged knife like mountains reaching

696
00:35:46,239 --> 00:35:48,960
Speaker 3: up above a desert plain. And then the sky in

697
00:35:49,000 --> 00:35:51,719
Speaker 3: the background is a night sky, deep black, with a

698
00:35:51,920 --> 00:35:55,799
Speaker 3: transparent view of the stars and the constellations, and it

699
00:35:56,000 --> 00:35:58,960
Speaker 3: looks quite beautiful. It's a great opening shot. And in

700
00:35:58,960 --> 00:36:02,520
Speaker 3: the foreground we see crashed spaceship of some kind.

701
00:36:02,920 --> 00:36:04,920
Speaker 2: Now, this is a black and white movie. I don't

702
00:36:04,960 --> 00:36:08,000
Speaker 2: think we mentioned that up front, but yeah, it's black

703
00:36:08,000 --> 00:36:10,640
Speaker 2: and white, but it looks great, and really, given the

704
00:36:10,680 --> 00:36:14,120
Speaker 2: tone of the picture and the space hor the red

705
00:36:14,120 --> 00:36:16,160
Speaker 2: planet looks great in black and white. Here, you know

706
00:36:16,239 --> 00:36:18,040
Speaker 2: it is it is a planet that is supposed to

707
00:36:18,040 --> 00:36:22,040
Speaker 2: be full of terror and death, and so this very

708
00:36:22,080 --> 00:36:24,000
Speaker 2: inky black appearance to it looks.

709
00:36:23,840 --> 00:36:26,279
Speaker 3: Nice and it hits you right with the title. It's

710
00:36:26,520 --> 00:36:31,480
Speaker 3: it exclamation point in these giant animated block letters that

711
00:36:31,520 --> 00:36:33,480
Speaker 3: are I don't know, they're supposed to look like the

712
00:36:34,280 --> 00:36:37,200
Speaker 3: wall outside, you know, the fortifications of a medieval city

713
00:36:37,320 --> 00:36:37,760
Speaker 3: or something.

714
00:36:38,000 --> 00:36:40,000
Speaker 2: Yeah, it's like made out of little blocks or something.

715
00:36:40,040 --> 00:36:42,640
Speaker 2: It looks great. I do love it, and it's right

716
00:36:42,680 --> 00:36:45,359
Speaker 2: in your face. Whatever it is, it's gonna be big.

717
00:36:46,120 --> 00:36:48,520
Speaker 3: So while looking at this, we get an opening voiceover

718
00:36:48,719 --> 00:36:52,600
Speaker 3: which says, this was the planet Mars as my crew

719
00:36:52,600 --> 00:36:57,480
Speaker 3: and I first saw it, dangerous, treacherous, alive, with something

720
00:36:57,520 --> 00:37:00,960
Speaker 3: we came to know only as death. This was what

721
00:37:01,040 --> 00:37:03,920
Speaker 3: we faced when our spaceship cracked up in landing just

722
00:37:04,080 --> 00:37:08,320
Speaker 3: six months ago, in January of this year, nineteen hundred

723
00:37:08,360 --> 00:37:12,640
Speaker 3: and seventy three. Woo, But it seems as if six

724
00:37:12,719 --> 00:37:16,680
Speaker 3: centuries passed before a rescue ship arrived. For today, of

725
00:37:16,719 --> 00:37:20,400
Speaker 3: all my crew, I, Colonel Edward Carruthers of the United

726
00:37:20,440 --> 00:37:24,520
Speaker 3: States Space Command, have the only one alive. Now I

727
00:37:24,560 --> 00:37:27,320
Speaker 3: will be going back to face my superiors on Earth

728
00:37:27,800 --> 00:37:31,800
Speaker 3: in Washington, and perhaps there too, I will find another

729
00:37:31,920 --> 00:37:32,840
Speaker 3: kind of death.

730
00:37:33,239 --> 00:37:36,200
Speaker 2: Oh man, absolutely solid, just a great start.

731
00:37:36,560 --> 00:37:39,080
Speaker 3: And I don't know how metaphorical he's being there, because

732
00:37:39,080 --> 00:37:41,120
Speaker 3: they do end up talking about how he's going to

733
00:37:41,160 --> 00:37:44,200
Speaker 3: face a court martial and potentially a firing squad because

734
00:37:44,440 --> 00:37:50,200
Speaker 3: he's suspected of murdering his crew. But you could could

735
00:37:50,280 --> 00:37:52,840
Speaker 3: also read that as just like, oh, man, going back

736
00:37:52,880 --> 00:37:55,560
Speaker 3: to Earth after what I have seen is is like

737
00:37:55,600 --> 00:37:57,200
Speaker 3: a metaphorical kind of death.

738
00:37:57,520 --> 00:37:59,560
Speaker 2: Yeah, Like, I'm just I'm not at all going to

739
00:37:59,560 --> 00:38:02,680
Speaker 2: be the same person I was, and so forth. Now,

740
00:38:03,239 --> 00:38:06,520
Speaker 2: this is again a film from the late fifties set

741
00:38:06,719 --> 00:38:09,879
Speaker 2: in the future of nineteen seventy three. I just want

742
00:38:09,880 --> 00:38:13,440
Speaker 2: to remind everybody about this cinematic setting. This is the

743
00:38:13,480 --> 00:38:16,840
Speaker 2: same setting year for the events of the Texas Chainsaw Massacre.

744
00:38:17,440 --> 00:38:20,600
Speaker 2: We get that in the intro. This is also the

745
00:38:20,680 --> 00:38:23,200
Speaker 2: setting for the opening sequence of the nineteen ninety three

746
00:38:23,239 --> 00:38:24,840
Speaker 2: Super Mario Brothers film.

747
00:38:25,040 --> 00:38:29,520
Speaker 3: What what was the opening sequence? Oh that there were

748
00:38:29,560 --> 00:38:31,400
Speaker 3: many dinosaurs or something.

749
00:38:31,600 --> 00:38:34,920
Speaker 2: Yeah, when the eggs and the dinosaurs the cross dimensional

750
00:38:36,040 --> 00:38:37,600
Speaker 2: cross crossing there.

751
00:38:37,960 --> 00:38:40,440
Speaker 3: Oh yeah, that's when the lady leaves the egg at

752
00:38:40,480 --> 00:38:41,720
Speaker 3: the convent or whatever.

753
00:38:42,000 --> 00:38:44,319
Speaker 2: Yeah, that's seventy three, So that's taking place in the

754
00:38:44,320 --> 00:38:46,880
Speaker 2: same world. This is in the same world, same cinematic universe.

755
00:38:46,960 --> 00:38:51,160
Speaker 2: Perfect also nineteen seventy three, this is the year of

756
00:38:51,200 --> 00:38:54,880
Speaker 2: the opening flashback sequence. In nineteen ninety six is space Jam,

757
00:38:55,080 --> 00:38:57,880
Speaker 2: in which a young Michael Jordan decides to take up

758
00:38:57,920 --> 00:39:00,000
Speaker 2: basketball to prevent alien invasion.

759
00:39:00,480 --> 00:39:03,640
Speaker 3: I remember that opening sequence. It tugs at the heart strings.

760
00:39:04,040 --> 00:39:06,720
Speaker 3: There's like a single overhead light and he's out shooting hoops.

761
00:39:07,000 --> 00:39:09,960
Speaker 2: Yeah yeah, to protect the planet. So that's that's seventy three.

762
00:39:10,080 --> 00:39:11,880
Speaker 3: I think he talks to his dad or something.

763
00:39:12,040 --> 00:39:12,320
Speaker 2: Yeah.

764
00:39:12,640 --> 00:39:15,759
Speaker 3: Yeah, but in this nineteen seventy three everybody still has

765
00:39:15,800 --> 00:39:18,520
Speaker 3: that same flat top haircut then yeah.

766
00:39:18,120 --> 00:39:21,920
Speaker 2: Yeah, everything is still fifties to the max. Yeah.

767
00:39:22,160 --> 00:39:23,960
Speaker 3: Oh, this is a principle we've talked about on the

768
00:39:23,960 --> 00:39:30,880
Speaker 3: show before about how every every time period's science fiction

769
00:39:31,600 --> 00:39:36,240
Speaker 3: just imagines that the future will take whatever fashion trends

770
00:39:36,400 --> 00:39:39,279
Speaker 3: are currently hot at the time the movie was made

771
00:39:39,680 --> 00:39:43,719
Speaker 3: and exaggerate them. So just like more like so the

772
00:39:43,760 --> 00:39:47,279
Speaker 3: future and it's imagined by the fifties is super fifties,

773
00:39:47,800 --> 00:39:51,680
Speaker 3: and the future as imagined by the seventies is super seventies.

774
00:39:52,000 --> 00:39:54,640
Speaker 2: Yeah, like you know, it's if shoulder pads are in well,

775
00:39:54,920 --> 00:39:57,880
Speaker 2: future is going to be such shoulder pads you've never seen.

776
00:39:58,360 --> 00:40:00,440
Speaker 3: So anyway, we're here on the surface of and we

777
00:40:00,480 --> 00:40:03,839
Speaker 3: see the second ship, the ship that came that came

778
00:40:03,840 --> 00:40:06,759
Speaker 3: to get cor others here, and it's one of these

779
00:40:06,960 --> 00:40:09,960
Speaker 3: fifties movie rocket ships that's got the fin the three

780
00:40:09,960 --> 00:40:13,920
Speaker 3: fins on the bottom and it's got we see basically

781
00:40:14,200 --> 00:40:17,120
Speaker 3: the whole length of it is inhabited. So it's like

782
00:40:17,239 --> 00:40:20,000
Speaker 3: where for movie rockets like this, where is the fuel stored?

783
00:40:20,680 --> 00:40:23,840
Speaker 2: I don't know. Maybe they got like a central stem

784
00:40:23,920 --> 00:40:26,000
Speaker 2: in the middle or something that's pumping it down.

785
00:40:26,040 --> 00:40:26,360
Speaker 3: I don't know.

786
00:40:26,400 --> 00:40:28,719
Speaker 2: We don't really get a good handle on that, and

787
00:40:28,760 --> 00:40:31,360
Speaker 2: we but but we otherwise do get a good handle

788
00:40:31,400 --> 00:40:33,560
Speaker 2: of the layout of the ship, just not maybe where

789
00:40:33,719 --> 00:40:35,240
Speaker 2: all the propulsion is handled.

790
00:40:35,400 --> 00:40:37,279
Speaker 3: Yeah, we'll come back to that. And then I love

791
00:40:37,320 --> 00:40:40,600
Speaker 3: they cut straight from this spaceship to the US Capitol Building.

792
00:40:40,480 --> 00:40:43,840
Speaker 2: An alarmingly mundane cut after such a nice opening. But

793
00:40:43,920 --> 00:40:46,520
Speaker 2: thank goodness they teased us with all this this fun

794
00:40:46,640 --> 00:40:48,880
Speaker 2: and off world stuff before we go to what like

795
00:40:48,920 --> 00:40:51,759
Speaker 2: it's like a press briefing at the White House.

796
00:40:52,040 --> 00:40:54,560
Speaker 3: Yeah, but I'm sorry, build it's at the Capitol. Yeah,

797
00:40:54,680 --> 00:40:59,200
Speaker 3: it's like the Science Advisory Committee, Division of Interplanetary Exploration

798
00:40:59,719 --> 00:41:02,640
Speaker 3: of Fortunately, we will spend very little time here on Earth.

799
00:41:02,680 --> 00:41:06,040
Speaker 3: It's just an exposition thing. A guy comes in, a

800
00:41:06,080 --> 00:41:09,200
Speaker 3: guy who looks rather grizzled. Actually he's kind of like

801
00:41:10,080 --> 00:41:13,400
Speaker 3: mad to be there, and he gives an opening narration

802
00:41:13,600 --> 00:41:16,480
Speaker 3: that sort of sets everything up for the plot, so

803
00:41:16,600 --> 00:41:18,520
Speaker 3: I might as well read a transcription of it, so

804
00:41:18,920 --> 00:41:22,840
Speaker 3: you know what we're dealing with here, spokes guy says,

805
00:41:23,239 --> 00:41:25,440
Speaker 3: ladies and gentlemen of the press. As you know, the

806
00:41:25,480 --> 00:41:27,920
Speaker 3: first attempt to send a space ship to the planet

807
00:41:28,080 --> 00:41:31,640
Speaker 3: Mars was made six months ago. We knew that that ship,

808
00:41:31,719 --> 00:41:35,040
Speaker 3: the Challenge one for one, had reached its destination, but

809
00:41:35,120 --> 00:41:39,680
Speaker 3: that's all we knew. Teleradio communication with Mars ceased immediately,

810
00:41:39,960 --> 00:41:42,120
Speaker 3: and we were forced to assume that the ship and

811
00:41:42,200 --> 00:41:44,719
Speaker 3: crew had been lost. The man in charge of this

812
00:41:44,800 --> 00:41:46,960
Speaker 3: expedition was a man who had become known to the

813
00:41:47,000 --> 00:41:50,120
Speaker 3: world as the first man to be shot into space,

814
00:41:50,640 --> 00:41:55,520
Speaker 3: the man who pioneered interplanetary space travel, Colonel Edward Carruthers.

815
00:41:56,080 --> 00:41:58,920
Speaker 3: Two months ago, we sent a second ship to Mars

816
00:41:58,920 --> 00:42:01,840
Speaker 3: to learn the fate of Colonel Correthers and his crew.

817
00:42:02,560 --> 00:42:04,719
Speaker 3: The President has asked me to pass on to you

818
00:42:04,880 --> 00:42:09,040
Speaker 3: this significant news. Colonel Edward Carruthers has been found alive

819
00:42:09,160 --> 00:42:12,600
Speaker 3: on Mars. But there's a tragic side to this history

820
00:42:12,640 --> 00:42:16,319
Speaker 3: making event. Colonel Caruthers was the sole survivor of this

821
00:42:16,360 --> 00:42:20,879
Speaker 3: first expedition. One hour ago, we received a teleradio communication

822
00:42:21,000 --> 00:42:24,680
Speaker 3: from Colonel Van Hewson, the commander of the second spaceship.

823
00:42:25,040 --> 00:42:27,399
Speaker 3: This ship is now ready to take off for its

824
00:42:27,480 --> 00:42:31,279
Speaker 3: return trip to Earth from Mars, and Colonel Carrethers is

825
00:42:31,320 --> 00:42:34,800
Speaker 3: being brought back for a court martial to face trial

826
00:42:34,920 --> 00:42:37,719
Speaker 3: for the murders of the rest of the crew. That's

827
00:42:37,760 --> 00:42:39,600
Speaker 3: a good setup. I think it is.

828
00:42:39,560 --> 00:42:43,600
Speaker 2: A great setup. Now, presumably the second mission here is

829
00:42:43,600 --> 00:42:46,640
Speaker 2: also doing some science, right, I mean, they take scientists

830
00:42:46,719 --> 00:42:50,560
Speaker 2: with them. It surely is not just a rescue slash

831
00:42:50,640 --> 00:42:53,800
Speaker 2: arrest mission. But we don't really see any of the

832
00:42:53,920 --> 00:42:54,920
Speaker 2: science that's going on.

833
00:42:55,080 --> 00:42:57,320
Speaker 3: I mean, the only science that's really done is once

834
00:42:57,360 --> 00:43:01,080
Speaker 3: the creature pops up, they do science about it. But yeah, well,

835
00:43:01,080 --> 00:43:03,600
Speaker 3: I don't know what their original research project is. There

836
00:43:03,719 --> 00:43:07,560
Speaker 3: is a geologist, there is a they specify a cold

837
00:43:07,680 --> 00:43:12,239
Speaker 3: temperature physicist. And is what is Mary supposed to be?

838
00:43:12,320 --> 00:43:15,400
Speaker 3: She like a doctor, basically physician of some kind.

839
00:43:15,600 --> 00:43:17,600
Speaker 2: Yeah, yeah, some sort of doctor. So, I mean, I

840
00:43:17,600 --> 00:43:20,120
Speaker 2: guess they have all these scientists in case they need

841
00:43:20,120 --> 00:43:23,239
Speaker 2: to tackle some problems on the way or you know,

842
00:43:23,280 --> 00:43:25,240
Speaker 2: on the way back, or on the surface of Mars.

843
00:43:25,280 --> 00:43:27,239
Speaker 2: But presumably I'm just gonna assume there were some other

844
00:43:27,280 --> 00:43:30,359
Speaker 2: science projects that also were handled in addition to our

845
00:43:30,400 --> 00:43:31,240
Speaker 2: main plot points.

846
00:43:31,440 --> 00:43:34,279
Speaker 3: So after this monologue, the press corps immediately bolt for

847
00:43:34,320 --> 00:43:37,359
Speaker 3: the exit. They're practically climbing over each other to get

848
00:43:37,400 --> 00:43:40,719
Speaker 3: out and file their stories because in reality, I think

849
00:43:40,800 --> 00:43:43,560
Speaker 3: this would be a really big news story. Murder on Mars,

850
00:43:43,719 --> 00:43:44,919
Speaker 3: suspect apprehended.

851
00:43:45,320 --> 00:43:48,480
Speaker 2: I can't remember did they give us any newspaper shots,

852
00:43:48,520 --> 00:43:49,399
Speaker 2: any clipping song?

853
00:43:49,600 --> 00:43:51,120
Speaker 3: Oh we don't see any of the kerning.

854
00:43:51,480 --> 00:43:53,560
Speaker 2: Yeah, murder on Mars, I can see it.

855
00:43:53,880 --> 00:43:56,359
Speaker 3: So we go back to Mars and the voiceover by

856
00:43:56,360 --> 00:43:59,520
Speaker 3: Colonel Carruthers continues as we zoom in on the rocket ship.

857
00:43:59,840 --> 00:44:02,400
Speaker 3: He tells us basically, you know, they're making preparations to

858
00:44:02,440 --> 00:44:04,759
Speaker 3: return to Earth. The return journey is going to be

859
00:44:04,760 --> 00:44:07,680
Speaker 3: four months long, and the crew of the ship are

860
00:44:07,719 --> 00:44:10,520
Speaker 3: dedicated to making him face a court martial and a

861
00:44:10,520 --> 00:44:14,200
Speaker 3: military firing squad. And then we go inside the ship

862
00:44:14,239 --> 00:44:16,520
Speaker 3: and meet the crew. Now, the first person we meet,

863
00:44:16,560 --> 00:44:19,800
Speaker 3: I believe is Kim Spaulding as Colonel van Heusen.

864
00:44:20,800 --> 00:44:21,520
Speaker 2: He is.

865
00:44:22,800 --> 00:44:25,759
Speaker 3: He's sitting at sort of a command seat and he

866
00:44:25,840 --> 00:44:28,000
Speaker 3: sees a flashing light on the wall and sends an

867
00:44:28,040 --> 00:44:32,080
Speaker 3: intercom announcement that the emergency air lock in sea compartment

868
00:44:32,360 --> 00:44:35,239
Speaker 3: has been left open, and he's mad about this. He's like,

869
00:44:35,280 --> 00:44:38,560
Speaker 3: who left it open? And then another character comes in.

870
00:44:38,640 --> 00:44:42,279
Speaker 3: This is Paul Langton as Lieutenant James Calder. He's sort

871
00:44:42,320 --> 00:44:45,000
Speaker 3: of the number two around here. He says, Oh, yeah,

872
00:44:45,080 --> 00:44:47,560
Speaker 3: I left it open. Sorry, I was dumping trash outside

873
00:44:47,640 --> 00:44:48,200
Speaker 3: on Mars.

874
00:44:48,719 --> 00:44:51,200
Speaker 2: Langton, by the way, lived nineteen thirteenth through nineteen eighty

875
00:44:51,239 --> 00:44:54,240
Speaker 2: another solid American character actor in this picture, whose credits

876
00:44:54,239 --> 00:44:57,360
Speaker 2: include a couple of classic Twilight Zone episodes in addition

877
00:44:57,360 --> 00:44:58,160
Speaker 2: to some other stuff.

878
00:44:58,480 --> 00:45:01,520
Speaker 3: Yeah, he looks like a man would be dumping crates.

879
00:45:02,200 --> 00:45:03,879
Speaker 2: Well, they brought a lot of crates. This is a

880
00:45:03,880 --> 00:45:05,480
Speaker 2: cargo heavy craft man.

881
00:45:05,480 --> 00:45:07,680
Speaker 3: They've got so many crates you wouldn't believe.

882
00:45:08,200 --> 00:45:10,880
Speaker 2: I will say that. On the whole though, the sets

883
00:45:10,880 --> 00:45:13,840
Speaker 2: look really good, like it's it's definitely of the time,

884
00:45:13,960 --> 00:45:17,400
Speaker 2: you know. That's you know, all of the all of

885
00:45:17,440 --> 00:45:20,400
Speaker 2: the electronics and dials and all. It looks very archaic

886
00:45:20,440 --> 00:45:22,960
Speaker 2: and all, but in that lovable way, like you want

887
00:45:22,960 --> 00:45:26,160
Speaker 2: to see this in a nineteen fifties sci fi and

888
00:45:26,280 --> 00:45:28,520
Speaker 2: I feel like they put together a very believable set.

889
00:45:29,080 --> 00:45:32,400
Speaker 3: If you normally tell me it's a movie set entirely

890
00:45:32,440 --> 00:45:35,960
Speaker 3: within a nineteen fifty spaceship set, I'm like, oh, this

891
00:45:36,040 --> 00:45:38,280
Speaker 3: is going to look boring, but no, it's it. Actually,

892
00:45:38,400 --> 00:45:42,600
Speaker 3: it's it's relatively interesting to the eyes for a bottle

893
00:45:42,640 --> 00:45:43,720
Speaker 3: episode of this sort.

894
00:45:43,960 --> 00:45:46,600
Speaker 2: Yeah, I never got a hint of cardboard off of anything.

895
00:45:46,640 --> 00:45:50,040
Speaker 2: Everything feels like it is. It is just hard steel.

896
00:45:50,440 --> 00:45:53,080
Speaker 3: But the other thing about this plot moment is like,

897
00:45:53,160 --> 00:45:56,440
Speaker 3: wait a minute, he left the air lock open. Now.

898
00:45:56,480 --> 00:45:58,560
Speaker 3: At first I was thinking, Okay, maybe he only meant

899
00:45:58,640 --> 00:46:01,880
Speaker 3: one of the two doors. Nope. Then we see it

900
00:46:01,920 --> 00:46:05,040
Speaker 3: and both the inner and outer doors of the air

901
00:46:05,080 --> 00:46:07,680
Speaker 3: lock are hanging wide open to the surface of the

902
00:46:07,680 --> 00:46:11,480
Speaker 3: planet Mars. So Colonel Vin Hugheson presses a button and

903
00:46:11,520 --> 00:46:14,839
Speaker 3: then they both begin to swing closed. And this is

904
00:46:14,960 --> 00:46:18,000
Speaker 3: one of many things in the movie that you know,

905
00:46:18,120 --> 00:46:20,520
Speaker 3: doesn't really detract from enjoyment at all, but it's just

906
00:46:20,600 --> 00:46:23,600
Speaker 3: kind of amusing, like how far off of the scientific

907
00:46:23,680 --> 00:46:25,959
Speaker 3: reality it is you can just leave the door open

908
00:46:26,040 --> 00:46:26,600
Speaker 3: to Mars.

909
00:46:26,960 --> 00:46:29,520
Speaker 2: My brain was extremely forgiving of this moment, I think

910
00:46:29,560 --> 00:46:32,640
Speaker 2: because it's like they're talking about what's happening with the airlock,

911
00:46:33,040 --> 00:46:35,879
Speaker 2: and not only did I assume that only one door

912
00:46:35,960 --> 00:46:38,319
Speaker 2: was opened, but my brain just went in and filled it,

913
00:46:38,320 --> 00:46:41,680
Speaker 2: filled in the rest and just made it be so

914
00:46:41,800 --> 00:46:43,200
Speaker 2: I didn't even really notice.

915
00:46:42,960 --> 00:46:45,760
Speaker 3: This air anyway. So we pan away from the doors

916
00:46:45,840 --> 00:46:49,680
Speaker 3: as they closed to see a dark storage room filled

917
00:46:49,719 --> 00:46:52,799
Speaker 3: with crates and steel drums, and in the background, a

918
00:46:52,960 --> 00:46:56,400
Speaker 3: shadow falls over the wall, and it's a shadow of

919
00:46:56,719 --> 00:47:00,800
Speaker 3: a very broad shouldered, very muscly looking human annoid figure,

920
00:47:01,160 --> 00:47:07,279
Speaker 3: not quite human but close to human, just bulky, big, threatening, imposing.

921
00:47:07,800 --> 00:47:10,520
Speaker 3: And then we see a foot fall across the floor.

922
00:47:10,880 --> 00:47:14,080
Speaker 3: It's a close up of this three toed reptilian foot,

923
00:47:14,320 --> 00:47:18,319
Speaker 3: and these feet move along as something is stalking through

924
00:47:18,320 --> 00:47:21,320
Speaker 3: the cargo hold, and we hear a deep, rasping breath,

925
00:47:21,360 --> 00:47:23,880
Speaker 3: almost like the growl of a crocodilian.

926
00:47:24,440 --> 00:47:27,160
Speaker 2: The feet are not the best feature of the costumes.

927
00:47:27,840 --> 00:47:29,920
Speaker 2: The claws are great, because of course the claws are

928
00:47:29,920 --> 00:47:33,399
Speaker 2: fully articulated. The feet are not so they the feet

929
00:47:33,480 --> 00:47:36,360
Speaker 2: kind of feel like big rubber monster feet. But I

930
00:47:36,400 --> 00:47:38,520
Speaker 2: don't know, it's not too bad. At least, they're not

931
00:47:38,600 --> 00:47:42,520
Speaker 2: showing the whole monster yet. They're they're they're sparsing it

932
00:47:42,560 --> 00:47:43,160
Speaker 2: out a little bit.

933
00:47:44,520 --> 00:47:46,960
Speaker 3: So the colonel calls up for a name check on

934
00:47:47,000 --> 00:47:48,799
Speaker 3: the radio. This is the thing I was talking about.

935
00:47:48,880 --> 00:47:51,040
Speaker 3: It's like a convenient way for all of the characters

936
00:47:51,080 --> 00:47:53,440
Speaker 3: to announce their names as it shows their face to

937
00:47:53,480 --> 00:47:59,640
Speaker 3: the audience. So we meet Eric Royce, ship dad, very

938
00:47:59,840 --> 00:48:01,440
Speaker 3: very very much the dad. Yeah, this is the guy

939
00:48:01,480 --> 00:48:03,239
Speaker 3: who we said she'd have like a high backed chair

940
00:48:03,280 --> 00:48:07,480
Speaker 3: and a dog. We meet Mary Royce yep, ship mom.

941
00:48:08,080 --> 00:48:11,439
Speaker 3: She is the I think we're saying physician she does

942
00:48:11,760 --> 00:48:15,040
Speaker 3: later in the movie. She does medical research and autopsies,

943
00:48:16,400 --> 00:48:19,279
Speaker 3: but she's also the mom. Yeah, she like scolds you

944
00:48:19,360 --> 00:48:23,560
Speaker 3: for dirty jokes and uh and brings you coffee. There

945
00:48:23,680 --> 00:48:29,120
Speaker 3: is Anne Anderson yep, ship wife. Yes there is Major

946
00:48:29,239 --> 00:48:30,120
Speaker 3: John Purdue.

947
00:48:30,640 --> 00:48:32,000
Speaker 2: Yeah, I don't know ship uncle.

948
00:48:32,040 --> 00:48:35,640
Speaker 3: I guess ship uncle I think is very correct. Yeah,

949
00:48:35,680 --> 00:48:38,080
Speaker 3: this guy needs a he needs a Coors light in

950
00:48:38,120 --> 00:48:42,919
Speaker 3: his hand. Then we got Bob Finelli. He's I don't

951
00:48:42,920 --> 00:48:44,560
Speaker 3: know ship something.

952
00:48:44,320 --> 00:48:46,520
Speaker 2: So yeah, I don't he doesn't really last long enough

953
00:48:46,560 --> 00:48:48,640
Speaker 2: to get proper classification.

954
00:48:49,600 --> 00:48:53,280
Speaker 3: And Lieutenant James called her Yeah, other uncle. I guess

955
00:48:53,440 --> 00:48:56,520
Speaker 3: it is a ship of many uncles. But as I

956
00:48:56,520 --> 00:48:58,879
Speaker 3: said earlier, for some reason, it's not the entire crew.

957
00:48:58,880 --> 00:49:02,160
Speaker 3: There are at least two guys who do not sign

958
00:49:02,200 --> 00:49:04,360
Speaker 3: off on this role call. We got Geno and we

959
00:49:04,480 --> 00:49:06,680
Speaker 3: got kind Holts, and we'll meet them later.

960
00:49:06,840 --> 00:49:08,360
Speaker 2: They're both Red Shirts though, right.

961
00:49:08,480 --> 00:49:10,240
Speaker 3: Yeah, they are the first two to get killed.

962
00:49:10,280 --> 00:49:10,680
Speaker 2: Yeaheah.

963
00:49:12,000 --> 00:49:14,680
Speaker 3: So there's a takeoff and they leave the planet Mars.

964
00:49:14,840 --> 00:49:17,040
Speaker 3: The ship leaves the atmosphere and we see the planet

965
00:49:17,040 --> 00:49:19,680
Speaker 3: retreating into space on a view screen. And then finally

966
00:49:19,719 --> 00:49:24,279
Speaker 3: we meet Carruthers, our main character, the prisoner and murder suspect,

967
00:49:24,719 --> 00:49:28,359
Speaker 3: on one of the middle decks of the ship. Now

968
00:49:28,400 --> 00:49:31,200
Speaker 3: I want to talk for a minute here about the

969
00:49:31,400 --> 00:49:34,239
Speaker 3: set of the movie. We've already talked about how as

970
00:49:34,239 --> 00:49:39,799
Speaker 3: far as nineteen fifties spaceship sets go, it looks pretty good.

971
00:49:40,200 --> 00:49:42,520
Speaker 3: But there's another thing about the setting that I think

972
00:49:42,600 --> 00:49:46,160
Speaker 3: works quite well, and it's that there is a sort

973
00:49:46,200 --> 00:49:50,560
Speaker 3: of comprehensible geography to the ship that you don't get

974
00:49:50,600 --> 00:49:53,320
Speaker 3: in a lot of sci fi movies from any period.

975
00:49:53,400 --> 00:49:57,240
Speaker 3: Really basical lay out of the ship is a vertical

976
00:49:57,320 --> 00:50:01,080
Speaker 3: stack of different decks that are accessed by the these ladders,

977
00:50:01,280 --> 00:50:05,280
Speaker 3: the steep staircase ladders. So you have a command deck

978
00:50:05,320 --> 00:50:08,320
Speaker 3: on top, and then below that you have living quarters,

979
00:50:08,400 --> 00:50:10,120
Speaker 3: and then you have a laboratory, and then you have

980
00:50:10,160 --> 00:50:12,600
Speaker 3: a couple of storage decks, and then you have the

981
00:50:12,680 --> 00:50:17,960
Speaker 3: engine down below. And something about the arrangement of these

982
00:50:18,040 --> 00:50:20,640
Speaker 3: decks in a way that feels like you can really

983
00:50:20,719 --> 00:50:24,120
Speaker 3: understand where things are happening in the film. It's kind

984
00:50:24,120 --> 00:50:27,400
Speaker 3: of unique. Spaceship layout is often vague in movies. It

985
00:50:27,400 --> 00:50:29,839
Speaker 3: feels like it changes to serve the needs of the

986
00:50:29,840 --> 00:50:33,239
Speaker 3: plot or for convenience of shooting, and this is a

987
00:50:33,320 --> 00:50:35,919
Speaker 3: rare exception. It feels like you can understand where things

988
00:50:35,920 --> 00:50:38,320
Speaker 3: are and what's going on. I think in part because

989
00:50:38,360 --> 00:50:41,760
Speaker 3: of the linear vertical arrangement of the decks as opposed

990
00:50:41,760 --> 00:50:45,400
Speaker 3: to the normal horizontal arrangement of like hallways and doors.

991
00:50:46,520 --> 00:50:50,399
Speaker 2: Yeah, yeah, this is a great point because you do

992
00:50:50,480 --> 00:50:52,520
Speaker 2: have a good sense of where everything is in this ship.

993
00:50:52,560 --> 00:50:55,960
Speaker 2: We get to see some maps, and yeah, it's not

994
00:50:56,000 --> 00:50:58,000
Speaker 2: the case in other examples. We can turn to. The

995
00:50:58,040 --> 00:51:00,840
Speaker 2: one of course that I instantly thought about was Alien

996
00:51:01,160 --> 00:51:04,799
Speaker 2: and then Nostromo. And you know, I've seen Alien so

997
00:51:04,880 --> 00:51:06,719
Speaker 2: many times over the years, but I don't know if

998
00:51:06,760 --> 00:51:09,480
Speaker 2: that I've ever had a great understanding of the Nostromo's

999
00:51:09,520 --> 00:51:12,759
Speaker 2: inner layout. But then again, the Nostromo is supposed to

1000
00:51:12,840 --> 00:51:15,960
Speaker 2: essentially be a haunted house, right, So as long as

1001
00:51:15,960 --> 00:51:18,520
Speaker 2: you have some vague idea of the house, the basement

1002
00:51:18,560 --> 00:51:21,880
Speaker 2: and the attic and classify those however you will within Nostromo,

1003
00:51:21,960 --> 00:51:25,480
Speaker 2: you're good to go. I guess you know there are

1004
00:51:25,520 --> 00:51:28,880
Speaker 2: going to be other sci fi films where it pays

1005
00:51:28,920 --> 00:51:30,680
Speaker 2: to understand where everything is a bit more.

1006
00:51:31,160 --> 00:51:33,360
Speaker 3: Yeah, I agree that it's not always a drawback. I

1007
00:51:33,640 --> 00:51:37,160
Speaker 3: think that the confusing, maze like nature of the Nostromo

1008
00:51:37,480 --> 00:51:40,560
Speaker 3: makes the movie more effective because it's, you know it

1009
00:51:40,760 --> 00:51:43,600
Speaker 3: to the audience. At least, it's it's confusing where you are.

1010
00:51:43,680 --> 00:51:47,880
Speaker 3: It feels it feels more claustrophobic that way. But in

1011
00:51:47,920 --> 00:51:50,840
Speaker 3: this movie, I think it works really well that you

1012
00:51:50,960 --> 00:51:53,600
Speaker 3: have such a grounded sense of place. I think it

1013
00:51:53,680 --> 00:51:56,560
Speaker 3: contributes to what John Carpenter said about that feeling that

1014
00:51:56,600 --> 00:51:59,880
Speaker 3: there's really this this little engine driving the movie. Some

1015
00:52:00,040 --> 00:52:03,680
Speaker 3: think about the movie works in a very tactle physical sense,

1016
00:52:03,719 --> 00:52:06,800
Speaker 3: and the good understanding of the space I think helps

1017
00:52:06,960 --> 00:52:07,319
Speaker 3: with that.

1018
00:52:07,840 --> 00:52:14,000
Speaker 2: Yeah, I would agree.

1019
00:52:17,000 --> 00:52:21,799
Speaker 3: Anyway, Carruthers is sitting here looking melancholy as they drive

1020
00:52:21,840 --> 00:52:24,520
Speaker 3: into space, and then Colonel van Heusen, the commander of

1021
00:52:24,560 --> 00:52:27,320
Speaker 3: the mission, he comes down the ladder from the deck above.

1022
00:52:27,680 --> 00:52:30,279
Speaker 3: He comes up to him and he says, what are

1023
00:52:30,280 --> 00:52:34,759
Speaker 3: you thinking about? He says, then you thinking about those

1024
00:52:34,840 --> 00:52:38,839
Speaker 3: nine bodies you left down there, and Carrother says, yes,

1025
00:52:39,000 --> 00:52:41,799
Speaker 3: that is what he's thinking about. But he protests again.

1026
00:52:41,840 --> 00:52:44,720
Speaker 3: He says, I didn't kill them, and then Van Heusen,

1027
00:52:44,880 --> 00:52:48,200
Speaker 3: shaking his head, says, still sticking to your story about

1028
00:52:48,200 --> 00:52:53,000
Speaker 3: a mysterious creature. And from this conversation we learned that

1029
00:52:53,040 --> 00:52:56,040
Speaker 3: they never found the bodies of the rest of Carrether's crew,

1030
00:52:56,520 --> 00:52:59,520
Speaker 3: but Van Heuson thinks there is still enough evidence to

1031
00:52:59,560 --> 00:53:03,839
Speaker 3: convict him. Van Houston starts acting like a prosecutor. He's

1032
00:53:03,960 --> 00:53:07,920
Speaker 3: articulating a theory of motive. He says, okay. When the

1033
00:53:08,000 --> 00:53:12,520
Speaker 3: challenge one for one broke up. Upon landing, Carruthers realized

1034
00:53:12,640 --> 00:53:16,280
Speaker 3: that their limited food rations would not allow them all

1035
00:53:16,400 --> 00:53:20,239
Speaker 3: to survive until rescue showed up, so he killed all

1036
00:53:20,280 --> 00:53:23,719
Speaker 3: of his crew in order to extend his chances of

1037
00:53:23,760 --> 00:53:28,640
Speaker 3: survival until rescue to make more rations for himself and Carrothers.

1038
00:53:28,680 --> 00:53:31,879
Speaker 3: Of course, maintains that his crew was killed by some thing,

1039
00:53:32,320 --> 00:53:32,719
Speaker 3: not me.

1040
00:53:33,520 --> 00:53:37,080
Speaker 2: I love this conflict. I think it's it's it's a

1041
00:53:37,120 --> 00:53:39,560
Speaker 2: minor tragedy that they don't do as much with it,

1042
00:53:39,920 --> 00:53:42,960
Speaker 2: and that we know from the get go that Caruthers

1043
00:53:43,160 --> 00:53:46,600
Speaker 2: is probably correct. You know that we've seen the monster.

1044
00:53:46,680 --> 00:53:50,080
Speaker 2: We know there's a monster, so we we believe him.

1045
00:53:50,200 --> 00:53:53,719
Speaker 2: We're never we never really doubt him, even though the

1046
00:53:53,800 --> 00:53:56,480
Speaker 2: performance is such that we could read that into it,

1047
00:53:56,520 --> 00:53:59,239
Speaker 2: we could read guilt into it and so forth. So

1048
00:53:59,640 --> 00:54:02,640
Speaker 2: they don't. They don't really explore this possibility as much

1049
00:54:02,640 --> 00:54:05,600
Speaker 2: as they could, and they don't really explore another possibility

1050
00:54:05,600 --> 00:54:06,960
Speaker 2: that came to mind while I was watching it, and

1051
00:54:07,440 --> 00:54:09,960
Speaker 2: that is that you could have both, right, You could

1052
00:54:10,000 --> 00:54:13,360
Speaker 2: have a situation where it's at least some members of

1053
00:54:13,360 --> 00:54:17,560
Speaker 2: the crew were killed by a creature, and perhaps you decide, well,

1054
00:54:18,600 --> 00:54:21,359
Speaker 2: my chances to survival were better if there are fewer

1055
00:54:21,440 --> 00:54:24,799
Speaker 2: people to consume the remaining rations, and so forth. Like

1056
00:54:26,600 --> 00:54:29,360
Speaker 2: I feel like I wanted more of I wanted this

1057
00:54:29,400 --> 00:54:33,840
Speaker 2: to be milked more, and the film ultimately has to

1058
00:54:33,880 --> 00:54:36,240
Speaker 2: move past it and get to the main plot concerning

1059
00:54:36,280 --> 00:54:38,240
Speaker 2: what to do about the monster on the ship.

1060
00:54:38,640 --> 00:54:40,319
Speaker 3: Yeah, I agree with all that, but I think a

1061
00:54:40,400 --> 00:54:44,400
Speaker 3: very strong setup. Yeah. So then Van Houston takes Carrothers

1062
00:54:44,440 --> 00:54:47,200
Speaker 3: to his cabin to show him something, which is a

1063
00:54:47,440 --> 00:54:51,200
Speaker 3: human skull, clean and polished with a hole in the

1064
00:54:51,239 --> 00:54:54,439
Speaker 3: top of the head. And he says, there's only one

1065
00:54:54,560 --> 00:54:57,840
Speaker 3: kind of monster that uses bullets. So he says, you know,

1066
00:54:57,920 --> 00:55:00,799
Speaker 3: we found this near the ship. At first he says

1067
00:55:00,960 --> 00:55:03,200
Speaker 3: they didn't find any bodies, but he did find a

1068
00:55:03,280 --> 00:55:07,480
Speaker 3: human skull. I guess that's part of a body. And

1069
00:55:07,640 --> 00:55:09,880
Speaker 3: it's like, look, you know, we know you did it,

1070
00:55:09,960 --> 00:55:12,520
Speaker 3: not some monster, because look this is this is a

1071
00:55:12,520 --> 00:55:13,840
Speaker 3: wound inflicted by a human.

1072
00:55:14,920 --> 00:55:18,359
Speaker 2: I mean, I assume they found a head and they

1073
00:55:18,400 --> 00:55:21,799
Speaker 2: had Mary boil it down to that skull. That was

1074
00:55:21,800 --> 00:55:23,759
Speaker 2: some of the science that was taking place before they

1075
00:55:23,880 --> 00:55:26,479
Speaker 2: left Mars. Can't bring a whole head back boil it down.

1076
00:55:26,840 --> 00:55:28,640
Speaker 3: The stew that night was so good.

1077
00:55:29,680 --> 00:55:30,520
Speaker 2: It's a harsh planet.

1078
00:55:31,080 --> 00:55:34,200
Speaker 3: Yeah. By the way, I just we started noticing I

1079
00:55:34,239 --> 00:55:36,520
Speaker 3: think around the scene. I watched it with Rachel and

1080
00:55:36,520 --> 00:55:39,000
Speaker 3: she was really struck by all of the shiny zippers

1081
00:55:39,040 --> 00:55:42,520
Speaker 3: on their jumpsuits there. They got a lot of pockets.

1082
00:55:42,680 --> 00:55:44,600
Speaker 2: It's a great point. I didn't give this film a

1083
00:55:44,640 --> 00:55:48,080
Speaker 2: lot of a lot of points for its spacesuits and

1084
00:55:48,120 --> 00:55:51,720
Speaker 2: its jumpsuits, but those those zippers are really shiny.

1085
00:55:51,960 --> 00:55:53,880
Speaker 3: So then we got another thing that's a little bit

1086
00:55:53,920 --> 00:55:57,000
Speaker 3: similar to Alien. There's like a mess hall dinner scene

1087
00:55:57,000 --> 00:56:00,200
Speaker 3: where everybody's sort of ribbing each other and having little

1088
00:56:00,239 --> 00:56:03,920
Speaker 3: bits of banter and jokes. They're talking about being excited

1089
00:56:03,960 --> 00:56:05,799
Speaker 3: to get back to Earth. One guy's like, I'm going

1090
00:56:05,880 --> 00:56:08,000
Speaker 3: to jump out of the airlock and roll around in

1091
00:56:08,040 --> 00:56:11,520
Speaker 3: the grass. Now this is where we get to the

1092
00:56:11,560 --> 00:56:15,240
Speaker 3: thing we mentioned earlier, the thing that many reviewers have noticed,

1093
00:56:15,640 --> 00:56:18,319
Speaker 3: which is that the two women of the crew are

1094
00:56:18,320 --> 00:56:21,960
Speaker 3: just going around serving everyone coffee and almost like taking

1095
00:56:22,000 --> 00:56:22,720
Speaker 3: their orders.

1096
00:56:23,719 --> 00:56:26,960
Speaker 2: Yeah. Yeah, so if it is comparable to the messof

1097
00:56:26,960 --> 00:56:29,480
Speaker 2: scene an Alien, it's like eighty percent more sexist.

1098
00:56:29,880 --> 00:56:34,440
Speaker 3: Yeah. The crew members are commenting on how every time

1099
00:56:34,760 --> 00:56:38,719
Speaker 3: Van Heuston sees ann Anderson, the geologist, which must be

1100
00:56:38,840 --> 00:56:42,520
Speaker 3: often because they're occupying a small spaceship together. They say,

1101
00:56:42,600 --> 00:56:45,360
Speaker 3: every time he sees her, he floats, even though this

1102
00:56:45,480 --> 00:56:50,480
Speaker 3: ship is equipped with artificial gravity. Yuck, yuck, and then

1103
00:56:50,560 --> 00:56:53,920
Speaker 3: Ann Anderson replies, these days he seems more concerned with

1104
00:56:54,000 --> 00:56:56,200
Speaker 3: a man hunt than a woman hunt.

1105
00:56:57,760 --> 00:57:00,320
Speaker 2: You know. Speaking of artificial gravity, though, one thing I

1106
00:57:00,320 --> 00:57:02,120
Speaker 2: wanted to mention about the layout of the ship is

1107
00:57:02,160 --> 00:57:05,880
Speaker 2: that this is a case where the artificial gravity is

1108
00:57:06,080 --> 00:57:09,200
Speaker 2: somewhat believable because I guess given the way it's laid

1109
00:57:09,200 --> 00:57:11,640
Speaker 2: out with the decks, it would be propulsion based.

1110
00:57:11,920 --> 00:57:13,600
Speaker 3: Yeah, linear acceleration.

1111
00:57:13,200 --> 00:57:16,120
Speaker 2: Yeah, yeah. Now it doesn't work throughout the entire picture

1112
00:57:16,440 --> 00:57:18,280
Speaker 2: because they also walk on the sides of the ship,

1113
00:57:18,680 --> 00:57:21,600
Speaker 2: and I'm not sure how they're doing that, but at

1114
00:57:21,680 --> 00:57:24,560
Speaker 2: least in small doses you can say this works.

1115
00:57:24,800 --> 00:57:28,240
Speaker 3: Now, there are at least two established couples within the

1116
00:57:28,320 --> 00:57:32,479
Speaker 3: crew of this Mars rescue slash cop mission. So Eric

1117
00:57:32,680 --> 00:57:37,520
Speaker 3: and Mary Royce are married again. Eric is the ship

1118
00:57:37,640 --> 00:57:40,840
Speaker 3: dad and Mary is the ship mom. And then Van

1119
00:57:40,960 --> 00:57:45,080
Speaker 3: Heuson and Anderson are I guess dating, but possibly their

1120
00:57:45,120 --> 00:57:48,640
Speaker 3: relationship is on the rocks because Van Heuston cares more

1121
00:57:48,640 --> 00:57:51,080
Speaker 3: about murder on Mars than he does about romance.

1122
00:57:51,960 --> 00:57:52,720
Speaker 2: It is his job.

1123
00:57:53,080 --> 00:57:57,120
Speaker 3: Yeah, he does seem extremely focused, like he announces at

1124
00:57:57,160 --> 00:58:00,200
Speaker 3: dinner quote, by the time we reach Earth, I'll have

1125
00:58:00,280 --> 00:58:02,880
Speaker 3: his confession on tape, and.

1126
00:58:03,040 --> 00:58:05,560
Speaker 2: Den Carruthers come down the stairs, like right, After that,

1127
00:58:05,840 --> 00:58:07,800
Speaker 2: he's kind of he's still looking for Lauren, and he's

1128
00:58:07,840 --> 00:58:09,200
Speaker 2: kind of like, oh man, I'm right here.

1129
00:58:10,280 --> 00:58:14,960
Speaker 3: Yeah, that's right. I guess this is an unusual circumstance

1130
00:58:15,040 --> 00:58:17,720
Speaker 3: for relationship troubles in storytelling. I mean, I guess in

1131
00:58:18,240 --> 00:58:21,440
Speaker 3: one in the generic sense, it's not because people often

1132
00:58:21,440 --> 00:58:23,840
Speaker 3: have the issue of like work coming between them and

1133
00:58:23,880 --> 00:58:27,360
Speaker 3: a relationship, just not this kind of work. Anyway, we

1134
00:58:27,400 --> 00:58:31,880
Speaker 3: see Anderson showing some tenderness for Carrothers, the prisoner, like

1135
00:58:31,920 --> 00:58:35,200
Speaker 3: she brings him a sandwich, and she says, such a cold,

1136
00:58:35,360 --> 00:58:38,400
Speaker 3: desolate world. We saw so little of it. I guess

1137
00:58:38,440 --> 00:58:41,400
Speaker 3: she's talking about Mars, and they start kind of chatting,

1138
00:58:41,480 --> 00:58:43,760
Speaker 3: and she makes clear that she wants to hear his

1139
00:58:43,880 --> 00:58:45,760
Speaker 3: side of the story, so he tells it.

1140
00:58:45,960 --> 00:58:46,080
Speaker 2: Here.

1141
00:58:46,120 --> 00:58:49,160
Speaker 3: We're going to get a monologue that explains what happened

1142
00:58:49,200 --> 00:58:52,760
Speaker 3: from Carother's point of view. He says, we were all

1143
00:58:52,800 --> 00:58:56,160
Speaker 3: outside the ship exploring the southern tip of Curtis Major.

1144
00:58:56,640 --> 00:59:00,400
Speaker 3: Suddenly a sandstorm came up and we started back. I

1145
00:59:00,560 --> 00:59:04,640
Speaker 3: was driving the jeep, so it was a jeep. Sand

1146
00:59:04,840 --> 00:59:07,760
Speaker 3: was so thick we could barely see. We were almost

1147
00:59:07,800 --> 00:59:11,480
Speaker 3: back to the ship when Cartwright just disappeared. One minute

1148
00:59:11,480 --> 00:59:13,920
Speaker 3: he was there, and the next minute he was gone,

1149
00:59:14,280 --> 00:59:16,520
Speaker 3: as if something had plucked him out of the jeep

1150
00:59:16,720 --> 00:59:19,720
Speaker 3: like candy out of a box. We heard a weird

1151
00:59:19,880 --> 00:59:22,720
Speaker 3: sort of sound. We thought we saw a dark shape

1152
00:59:22,800 --> 00:59:25,640
Speaker 3: running near the jeep and started shooting at it. A

1153
00:59:25,640 --> 00:59:28,880
Speaker 3: few moments later, Kinner and the rest were all gone.

1154
00:59:28,960 --> 00:59:31,520
Speaker 3: By the way, Kenner was the guy the skull belonged to.

1155
00:59:32,040 --> 00:59:34,520
Speaker 3: We learned that I was the only one who made

1156
00:59:34,520 --> 00:59:37,280
Speaker 3: it back to the ship when the sandstorm quit. I

1157
00:59:37,360 --> 00:59:39,919
Speaker 3: went out and searched all over. There wasn't a sign

1158
00:59:40,000 --> 00:59:41,120
Speaker 3: of them.

1159
00:59:41,440 --> 00:59:44,120
Speaker 2: Curtis Major, by the way, is indeed a massive shield

1160
00:59:44,200 --> 00:59:47,720
Speaker 2: volcano in the eastern hemisphere of Mars. It was first

1161
00:59:47,840 --> 00:59:51,280
Speaker 2: the first documented surface feature of another planet, discovered by

1162
00:59:51,560 --> 00:59:53,960
Speaker 2: Christian Hugens in sixteen fifty nine.

1163
00:59:54,360 --> 00:59:56,960
Speaker 3: Ah, so that part is very real. But wait, I

1164
00:59:57,000 --> 00:59:59,760
Speaker 3: would have assumed that this creature was picking them off

1165
00:59:59,800 --> 01:00:02,080
Speaker 3: one at a time. And it sounds like his entire

1166
01:00:02,200 --> 01:00:05,360
Speaker 3: crew was killed all in one event, right at the

1167
01:00:05,440 --> 01:00:06,880
Speaker 3: very beginning of the time he was there.

1168
01:00:07,240 --> 01:00:09,320
Speaker 2: You know, I mean, it's not out of keeping with

1169
01:00:09,360 --> 01:00:11,480
Speaker 2: what we know of natural world organisms. You know, it's

1170
01:00:11,520 --> 01:00:14,200
Speaker 2: like like a fox in the hen house. What's called

1171
01:00:14,360 --> 01:00:17,760
Speaker 2: surplus killing or I think in house syndrome sometimes.

1172
01:00:18,400 --> 01:00:20,560
Speaker 3: Oh yeah, So the Mars beast got excited in the

1173
01:00:20,560 --> 01:00:25,280
Speaker 3: presence of all this food, this human biomass, and was like, yum, yum,

1174
01:00:25,280 --> 01:00:27,120
Speaker 3: I'm gonna eat, I'm gonna I'm gonna get them all.

1175
01:00:27,440 --> 01:00:27,840
Speaker 2: Yeah.

1176
01:00:27,920 --> 01:00:30,520
Speaker 3: So Anderson, she listens to the story and she's like,

1177
01:00:30,920 --> 01:00:33,439
Speaker 3: I don't know, I don't believe you, but I also

1178
01:00:33,480 --> 01:00:36,760
Speaker 3: don't disbelieve you. And we can see she's softening on

1179
01:00:36,840 --> 01:00:39,240
Speaker 3: him because she and Van have an argument about it.

1180
01:00:39,360 --> 01:00:41,440
Speaker 3: Van is a he's a hardliner and he wants to

1181
01:00:41,440 --> 01:00:44,919
Speaker 3: crack him, and Anderson thinks it is not for them

1182
01:00:44,960 --> 01:00:47,600
Speaker 3: to judge his guilt. Oh and then after this he

1183
01:00:48,120 --> 01:00:52,280
Speaker 3: Van calls Anderson chicken, and he goes, okay, Chicken, I'll

1184
01:00:52,360 --> 01:00:54,840
Speaker 3: let up on the third degree. And then they ask

1185
01:00:55,120 --> 01:00:57,880
Speaker 3: what about everybody else? Do they believe her others? And

1186
01:00:58,200 --> 01:01:01,560
Speaker 3: Lieutenant Calder says, Mars is almost as big as Texas.

1187
01:01:01,640 --> 01:01:02,880
Speaker 3: Maybe it's got monsters.

1188
01:01:03,800 --> 01:01:07,440
Speaker 2: This is a great line and the actor delivers it perfectly.

1189
01:01:08,160 --> 01:01:09,040
Speaker 2: I really liked it.

1190
01:01:09,320 --> 01:01:12,840
Speaker 3: So time passes, ship drifts through space, but eventually we

1191
01:01:12,920 --> 01:01:16,200
Speaker 3: get to the first attack and it occurs late at

1192
01:01:16,280 --> 01:01:18,720
Speaker 3: night when a crew member named Kine Holtz is sitting

1193
01:01:18,840 --> 01:01:22,880
Speaker 3: up he's looking at what looks like architectural drafts or something.

1194
01:01:22,960 --> 01:01:25,360
Speaker 3: He's sitting at a table looking at these big sheets,

1195
01:01:26,120 --> 01:01:29,200
Speaker 3: and we hear some crashing and growling in the lower

1196
01:01:29,280 --> 01:01:32,200
Speaker 3: decks and see a claw reach out from behind something

1197
01:01:32,240 --> 01:01:35,800
Speaker 3: and scrape across the top of a table and good

1198
01:01:35,840 --> 01:01:39,360
Speaker 3: looking clause as you mentioned earlier, Rob, but kind Holtz

1199
01:01:39,400 --> 01:01:42,240
Speaker 3: goes down to investigate the strange sounds in the cargo

1200
01:01:42,360 --> 01:01:49,720
Speaker 3: deck and here begins a sedate, slow, quiet, suspenseful investigation

1201
01:01:49,880 --> 01:01:52,800
Speaker 3: process as kind Holtz goes down the decks one by

1202
01:01:52,840 --> 01:01:56,000
Speaker 3: one looking for the source of the sound. And I

1203
01:01:56,040 --> 01:01:57,960
Speaker 3: really like the pace here. This is one of these

1204
01:01:57,960 --> 01:02:00,720
Speaker 3: scenes that's just mechanically quite a fit. We have a

1205
01:02:00,720 --> 01:02:03,480
Speaker 3: good idea of what's going to happen, but I just

1206
01:02:03,640 --> 01:02:07,720
Speaker 3: like watching the investigation. It's it's kind of calm but

1207
01:02:07,880 --> 01:02:10,480
Speaker 3: suspenseful at the same time, and it reminds me of

1208
01:02:10,560 --> 01:02:13,320
Speaker 3: scenes an Alien like when Harry Dean Stanton is looking

1209
01:02:13,320 --> 01:02:15,120
Speaker 3: for the cat in the cargo area.

1210
01:02:15,560 --> 01:02:19,200
Speaker 2: Yeah. Yeah, solid reference point. Yeah, because it's it is

1211
01:02:19,240 --> 01:02:22,240
Speaker 2: it is laid back. This guy's not like super concerned.

1212
01:02:22,240 --> 01:02:25,840
Speaker 2: He's not expecting to find anything, but we know what's

1213
01:02:25,880 --> 01:02:28,400
Speaker 2: down there for him. We know that this guy's gonna

1214
01:02:28,400 --> 01:02:32,800
Speaker 2: get it any moment, but that moment is delayed, and

1215
01:02:32,880 --> 01:02:34,480
Speaker 2: so there are several moments where we think it's going

1216
01:02:34,520 --> 01:02:36,200
Speaker 2: to jump out and get him and it doesn't. And

1217
01:02:36,240 --> 01:02:39,240
Speaker 2: then when it finally occurs, it's it's satisfying.

1218
01:02:39,400 --> 01:02:41,360
Speaker 3: It ends with a really good jump scare. I thought

1219
01:02:41,360 --> 01:02:43,840
Speaker 3: where the cree is like, there's a scream, and we

1220
01:02:44,000 --> 01:02:46,520
Speaker 3: don't see it. We see the shadow of the creature

1221
01:02:46,600 --> 01:02:48,840
Speaker 3: grabbing him and doing that wrestling move you called it

1222
01:02:48,880 --> 01:02:51,160
Speaker 3: a gorilla press where he lifts the guy up above

1223
01:02:51,200 --> 01:02:51,520
Speaker 3: his head.

1224
01:02:51,720 --> 01:02:56,880
Speaker 2: Yep, yeap, smashes him down, breaks him. Yeah, very well done. Now.

1225
01:02:56,960 --> 01:03:00,520
Speaker 3: Meanwhile, Carruthers is playing a game of chess with ship

1226
01:03:00,640 --> 01:03:03,760
Speaker 3: Dad Royce and he hears the scream and the crash

1227
01:03:03,800 --> 01:03:07,680
Speaker 3: when no one else in the room does, and he

1228
01:03:07,800 --> 01:03:09,520
Speaker 3: know He's like, did you hear that? And they're all

1229
01:03:09,560 --> 01:03:11,320
Speaker 3: like no, and he says, I learned to hear all

1230
01:03:11,360 --> 01:03:14,680
Speaker 3: over again on Mars. So he gave him superhering and

1231
01:03:14,720 --> 01:03:18,919
Speaker 3: the men go to investigate. Initially, all the other crew,

1232
01:03:19,120 --> 01:03:23,640
Speaker 3: they're very skeptical of Correthers looking into this, but things

1233
01:03:23,720 --> 01:03:26,560
Speaker 3: do start to appear. It starts to appear that something

1234
01:03:26,640 --> 01:03:29,000
Speaker 3: is wrong. Kind of Holtz is not at his post.

1235
01:03:29,320 --> 01:03:31,680
Speaker 3: They look for him in his cabin. He's not there either.

1236
01:03:32,160 --> 01:03:34,800
Speaker 3: Coro others checks for him across the intercom and there's

1237
01:03:34,840 --> 01:03:37,680
Speaker 3: no response. After a while, I think it becomes clear

1238
01:03:37,720 --> 01:03:40,480
Speaker 3: to all the characters that really something is wrong, and

1239
01:03:40,520 --> 01:03:42,640
Speaker 3: the whole crew wakes up and as symbols to look

1240
01:03:42,640 --> 01:03:45,400
Speaker 3: for kind Holts, They're like, let's split up, so they,

1241
01:03:45,480 --> 01:03:48,960
Speaker 3: you know, look in different places. And while isolated in

1242
01:03:49,000 --> 01:03:52,200
Speaker 3: the cargo area, another crew member named it Gino Finelli

1243
01:03:52,400 --> 01:03:55,840
Speaker 3: is attacked and the cigarette drops right out of his mouth.

1244
01:03:56,120 --> 01:03:58,240
Speaker 2: And he's he going in to get more cigarettes.

1245
01:03:58,560 --> 01:03:59,400
Speaker 3: That's what it looks like.

1246
01:03:59,560 --> 01:04:04,120
Speaker 2: Yeah, and there you know their their strategic supply of

1247
01:04:04,360 --> 01:04:07,680
Speaker 2: various tobacco products because there's also pipes being smoked on

1248
01:04:07,760 --> 01:04:10,680
Speaker 2: board very smoky spaceship.

1249
01:04:11,280 --> 01:04:15,080
Speaker 3: So after the crew or after Geno disappears, the crew

1250
01:04:15,200 --> 01:04:18,040
Speaker 3: run around looking for him as well. Vans like, it

1251
01:04:18,040 --> 01:04:20,360
Speaker 3: doesn't make any sense. There's nowhere on this ship for

1252
01:04:20,400 --> 01:04:24,600
Speaker 3: a man to hide. But we see Corruthers walk past

1253
01:04:24,640 --> 01:04:27,959
Speaker 3: a metal grate in front of an opening that says

1254
01:04:28,040 --> 01:04:31,000
Speaker 3: air generation and moisture recovery section, so it's like an

1255
01:04:31,040 --> 01:04:34,360
Speaker 3: air duct access and he's standing there and then suddenly

1256
01:04:34,400 --> 01:04:38,160
Speaker 3: we see behind him a limp hand drops down on

1257
01:04:38,200 --> 01:04:40,440
Speaker 3: the other side of the grate. Another good jump scare,

1258
01:04:41,160 --> 01:04:44,200
Speaker 3: and they recover kind Holtz's body from the air duct

1259
01:04:44,240 --> 01:04:48,160
Speaker 3: and it has a very creepy appearance. It's zombie like

1260
01:04:48,240 --> 01:04:51,320
Speaker 3: with pale skin and dark sunken eyes. I love the

1261
01:04:51,520 --> 01:04:54,160
Speaker 3: makeup on the victims. The monster here.

1262
01:04:54,600 --> 01:04:57,320
Speaker 2: Yeah, this has been some sort of unnatural death has

1263
01:04:57,360 --> 01:05:00,800
Speaker 2: occurred here. And I guess this is another area where

1264
01:05:00,840 --> 01:05:02,720
Speaker 2: I kind of wondered, like, why didn't they try and

1265
01:05:02,800 --> 01:05:06,920
Speaker 2: keep the heat on Carruthers by saying by casting some

1266
01:05:06,920 --> 01:05:09,320
Speaker 2: suspicion on him for this murder. But I guess at

1267
01:05:09,320 --> 01:05:10,600
Speaker 2: the end of the day, we have to remember this

1268
01:05:10,640 --> 01:05:13,720
Speaker 2: is a short film and it's it's it has deadline,

1269
01:05:13,880 --> 01:05:16,160
Speaker 2: so we don't have we don't have room for for

1270
01:05:16,240 --> 01:05:19,360
Speaker 2: too much more additional plot. Sinanigains we've got to we've

1271
01:05:19,360 --> 01:05:20,360
Speaker 2: got to get to the goods.

1272
01:05:20,640 --> 01:05:23,520
Speaker 3: So they conclude that Geno may also be somewhere in

1273
01:05:23,560 --> 01:05:25,840
Speaker 3: the air ducks, so they move a bunch of crates

1274
01:05:25,880 --> 01:05:27,959
Speaker 3: out of the way and get to an access event

1275
01:05:27,960 --> 01:05:30,880
Speaker 3: and Lieutenant Calder crawls in with he's got a pistol

1276
01:05:30,960 --> 01:05:33,680
Speaker 3: on his on his belt. And here we got another

1277
01:05:33,720 --> 01:05:38,440
Speaker 3: big similarity with Alien, these scenes of a leader of

1278
01:05:38,480 --> 01:05:42,479
Speaker 3: the crew crawling into these large air ducks to look

1279
01:05:42,640 --> 01:05:45,200
Speaker 3: for uh, to look for a victim and look for

1280
01:05:45,240 --> 01:05:48,320
Speaker 3: a creature. And this scene I thought was also great

1281
01:05:48,360 --> 01:05:52,080
Speaker 3: because he crawls through the ducks and then finds Gino

1282
01:05:52,200 --> 01:05:56,040
Speaker 3: in there, also with this incredibly creepy makeup the war

1283
01:05:56,120 --> 01:05:57,280
Speaker 3: boy zombie look.

1284
01:05:57,720 --> 01:06:00,960
Speaker 2: Yeah, yeah, this indeed a great sequel. You can definitely

1285
01:06:00,960 --> 01:06:03,400
Speaker 2: see this as having an influence on the duct scenes

1286
01:06:03,400 --> 01:06:07,400
Speaker 2: an Alien, and on deleted scenes that they ended up

1287
01:06:07,400 --> 01:06:11,400
Speaker 2: not using in the theatrical cut, involving finding like cocooned

1288
01:06:11,520 --> 01:06:15,360
Speaker 2: members of the Nostromo crew that are being slowly transformed

1289
01:06:15,400 --> 01:06:18,760
Speaker 2: into eggs. Again not a part of the theatrical cut

1290
01:06:18,760 --> 01:06:21,080
Speaker 2: of the picture, but you know, available and like an

1291
01:06:21,080 --> 01:06:24,280
Speaker 2: extended cut, they came out years later and in deleted sequences.

1292
01:06:24,600 --> 01:06:28,320
Speaker 3: Yeah yeah, so there's a creature jump here the lieutenants

1293
01:06:28,480 --> 01:06:32,560
Speaker 3: trying to get Gino, but the like the alien pops

1294
01:06:32,560 --> 01:06:34,960
Speaker 3: out and it slashes at him with his claws and

1295
01:06:35,000 --> 01:06:37,480
Speaker 3: he ends up shooting at it, so he crawls back out.

1296
01:06:37,560 --> 01:06:39,640
Speaker 3: They seal up the entrance to the air duct and

1297
01:06:39,720 --> 01:06:45,040
Speaker 3: then in a hilarious move, they trap the air duct

1298
01:06:45,120 --> 01:06:48,680
Speaker 3: opening with a bunch of grenades. Why do they have grenades?

1299
01:06:48,760 --> 01:06:50,400
Speaker 2: Oh my god. So this is, of course, is a

1300
01:06:50,480 --> 01:06:53,840
Speaker 2: huge difference between alien and you have the tear from

1301
01:06:53,880 --> 01:06:57,160
Speaker 2: beyond space because an alien they have very few, almost

1302
01:06:57,200 --> 01:07:00,800
Speaker 2: no weapons. It's basically improvised. Improvised, like they have to

1303
01:07:00,800 --> 01:07:04,960
Speaker 2: make their own flamers. You know, they have a harpoon gun.

1304
01:07:05,040 --> 01:07:06,880
Speaker 2: Course it gets used later, but for the most part

1305
01:07:06,880 --> 01:07:08,360
Speaker 2: they having to make it up as they go, make

1306
01:07:08,400 --> 01:07:12,080
Speaker 2: a like a cattle prod type device. Here they are

1307
01:07:12,240 --> 01:07:13,960
Speaker 2: armed to the teeth, and this is the you know,

1308
01:07:13,960 --> 01:07:16,520
Speaker 2: we saw the pistol earlier and you're like, okay, I

1309
01:07:16,520 --> 01:07:18,520
Speaker 2: guess they have one pistol on board. They were going

1310
01:07:18,560 --> 01:07:21,120
Speaker 2: to make an arrest, fair enough, But this is where

1311
01:07:21,120 --> 01:07:23,360
Speaker 2: we find out, Oh, they have an entire like you know,

1312
01:07:23,680 --> 01:07:28,160
Speaker 2: like small like wooden crate of grenades, like military grenades.

1313
01:07:28,520 --> 01:07:31,280
Speaker 2: And yeah, they have they like string up a bandolier

1314
01:07:31,280 --> 01:07:34,200
Speaker 2: of like eight of these things. For the entrance to

1315
01:07:34,240 --> 01:07:35,000
Speaker 2: the air ducks.

1316
01:07:35,160 --> 01:07:37,919
Speaker 3: Why do they need that minial? We would would at

1317
01:07:37,920 --> 01:07:40,720
Speaker 3: that point would eight be any better than one?

1318
01:07:41,480 --> 01:07:44,600
Speaker 2: And to say nothing of the whole of this ship. This,

1319
01:07:44,600 --> 01:07:49,120
Speaker 2: this ship's hull is just absolutely impregnable. There's and this

1320
01:07:49,240 --> 01:07:50,920
Speaker 2: is just the first sign of it. We will have

1321
01:07:51,040 --> 01:07:53,440
Speaker 2: even more evidence of this as we move forward.

1322
01:07:53,720 --> 01:07:55,800
Speaker 3: So the humans fall back to the upper deck and

1323
01:07:55,840 --> 01:07:59,360
Speaker 3: begin to review their arsenal once again, talking about all

1324
01:07:59,360 --> 01:08:02,000
Speaker 3: the weapons they have. What we see this table with

1325
01:08:02,200 --> 01:08:05,000
Speaker 3: just its guns, guns, guns everywhere.

1326
01:08:05,480 --> 01:08:09,240
Speaker 2: They have so many weapons, like it's pistols, it's high

1327
01:08:09,280 --> 01:08:12,160
Speaker 2: caliber rifles. Like why did they bring all this stuff?

1328
01:08:12,400 --> 01:08:14,920
Speaker 3: I don't know, A bunch of Yeah, and they've got

1329
01:08:14,920 --> 01:08:15,640
Speaker 3: a Bazuka.

1330
01:08:15,760 --> 01:08:19,479
Speaker 2: Also, they legit have a Bazuka. Like the Bazuka made

1331
01:08:19,479 --> 01:08:21,600
Speaker 2: me laugh out loud because I was already thinking this

1332
01:08:21,760 --> 01:08:24,080
Speaker 2: is too much. And then they have a Bazuka and

1333
01:08:24,120 --> 01:08:26,639
Speaker 2: they're gonna they're gonna load it up and potentially use

1334
01:08:26,680 --> 01:08:33,599
Speaker 2: it on board the spacecraft with computer equipment right behind it. Yeah, yeah,

1335
01:08:34,400 --> 01:08:35,800
Speaker 2: not that it matters at that point.

1336
01:08:36,000 --> 01:08:40,360
Speaker 3: Well perfect. Meanwhile, Mary and Anne are checking out the

1337
01:08:40,360 --> 01:08:42,960
Speaker 3: body of kind Holts. They're like, what happened to him.

1338
01:08:43,360 --> 01:08:46,200
Speaker 3: He looks very desiccated, he looks in bad shape. He

1339
01:08:46,240 --> 01:08:50,639
Speaker 3: looks shiny and chrome. Uh and uh. Mary says, every

1340
01:08:50,760 --> 01:08:53,240
Speaker 3: bone in his body must be broken, but I'm not

1341
01:08:53,360 --> 01:08:57,360
Speaker 3: sure that's what killed him. The shriveled up effect it it.

1342
01:08:57,800 --> 01:09:00,439
Speaker 3: I'll have to do an autopsy. So she's going to

1343
01:09:00,439 --> 01:09:04,880
Speaker 3: do an autopsy. Meanwhile, Van Houghton asks Carrothers, Okay, He's like,

1344
01:09:05,360 --> 01:09:07,439
Speaker 3: clearly you were right. Do you know what it is?

1345
01:09:08,080 --> 01:09:10,799
Speaker 3: And carr other says no, he may have faced it before,

1346
01:09:10,840 --> 01:09:13,400
Speaker 3: but he doesn't know how to beat it. And then

1347
01:09:13,560 --> 01:09:17,040
Speaker 3: Dad comes in with some thoughts. So Dad's like, you say,

1348
01:09:17,040 --> 01:09:21,799
Speaker 3: it's man shaped humanoid. Here's his explanation. He says, perhaps

1349
01:09:21,880 --> 01:09:27,040
Speaker 3: there was once a civilization on Mars. It ended disease war,

1350
01:09:27,360 --> 01:09:31,400
Speaker 3: something terrible. The Martians that were left went back to barbarism,

1351
01:09:31,880 --> 01:09:34,920
Speaker 3: savage murders. Maybe that's what we've got on board.

1352
01:09:35,240 --> 01:09:38,680
Speaker 2: I mean, he delivers it perfectly here, though. I mean,

1353
01:09:38,720 --> 01:09:42,720
Speaker 2: it's like the performance is solid enough that I'm like, yeah, yeah,

1354
01:09:42,760 --> 01:09:44,720
Speaker 2: I think that might be it. And again this is

1355
01:09:44,800 --> 01:09:49,000
Speaker 2: Dad's greer, so you know, solid actor here. It makes

1356
01:09:49,040 --> 01:09:49,600
Speaker 2: you believe it.

1357
01:09:50,000 --> 01:09:53,120
Speaker 3: They also reason out that the alien must be intelligent

1358
01:09:53,200 --> 01:09:56,000
Speaker 3: and not just an animal, because it's able to open

1359
01:09:56,040 --> 01:10:00,400
Speaker 3: doors and close and travel between compartments, and they a

1360
01:10:00,479 --> 01:10:03,920
Speaker 3: motive for the attacks. They say, it's hungry. It's eating us,

1361
01:10:04,200 --> 01:10:08,160
Speaker 3: all right. So some time passes and there's a scene

1362
01:10:08,200 --> 01:10:10,880
Speaker 3: where the monster trips the traps. It's crawling through the

1363
01:10:10,920 --> 01:10:13,120
Speaker 3: air ducts and it tries to crawl out and the

1364
01:10:13,160 --> 01:10:17,280
Speaker 3: grenades blow up in its face, but it is not killed. Instead,

1365
01:10:17,320 --> 01:10:20,719
Speaker 3: it seems just really annoyed and it starts running around

1366
01:10:20,800 --> 01:10:24,160
Speaker 3: smashing boxes in a rage. So at this point the

1367
01:10:24,200 --> 01:10:26,960
Speaker 3: crew go down to meet it with pistols drawn, and

1368
01:10:27,000 --> 01:10:30,679
Speaker 3: there it is, right there. It grabs a rifle from

1369
01:10:30,720 --> 01:10:33,280
Speaker 3: one of them and just bends it in half, basically

1370
01:10:33,320 --> 01:10:36,400
Speaker 3: ties it in a bow. That's a great scene. They

1371
01:10:36,520 --> 01:10:40,280
Speaker 3: retreat blasting the monster. There's a really well staged shot

1372
01:10:40,320 --> 01:10:42,799
Speaker 3: here that looks great where the monster is like clawing

1373
01:10:42,840 --> 01:10:46,760
Speaker 3: its way through a closed door from like it's lit

1374
01:10:46,840 --> 01:10:49,600
Speaker 3: very brightly from behind, but clawing its way into a

1375
01:10:49,680 --> 01:10:52,520
Speaker 3: darkened room with the smoke coming out as beautiful.

1376
01:10:52,800 --> 01:10:55,000
Speaker 2: Yeah, this is a great shot. I love this one.

1377
01:10:55,240 --> 01:10:59,080
Speaker 3: Yeah, really cool. And Carrothers shows bravery here as there.

1378
01:10:59,160 --> 01:11:01,280
Speaker 3: You know, he covers retreat. As they go back up

1379
01:11:01,320 --> 01:11:04,000
Speaker 3: the ladder and they close the hatch. It's like, okay,

1380
01:11:04,040 --> 01:11:07,719
Speaker 3: so that didn't work at all. Next, Mary suggests an idea.

1381
01:11:08,040 --> 01:11:11,240
Speaker 3: He says, we've got gas grenades. Gino made them. He

1382
01:11:11,280 --> 01:11:14,040
Speaker 3: says he made them in case they ran into any

1383
01:11:14,160 --> 01:11:16,599
Speaker 3: dinosaurs on Mars.

1384
01:11:15,920 --> 01:11:20,000
Speaker 2: Time to bust out the chemical weapons aboard the spaceship.

1385
01:11:20,280 --> 01:11:22,800
Speaker 3: So they put on gas masks and they open the

1386
01:11:22,840 --> 01:11:25,400
Speaker 3: hatch and chuck the gas grenades down. But the creature

1387
01:11:25,439 --> 01:11:27,599
Speaker 3: is like right there, and so when they open the hatch,

1388
01:11:27,640 --> 01:11:30,839
Speaker 3: it starts reaching through and it gets some good swipes

1389
01:11:30,840 --> 01:11:34,280
Speaker 3: in on Van Heusen's foot. It's like the claws up

1390
01:11:34,280 --> 01:11:35,280
Speaker 3: his boot really bad.

1391
01:11:35,560 --> 01:11:37,240
Speaker 2: Yeah, this is one of those moments where it's not

1392
01:11:37,280 --> 01:11:40,719
Speaker 2: a bloody film obviously, like you know, but these moments

1393
01:11:40,760 --> 01:11:43,439
Speaker 2: where stuff does happen, Like I kind of felt like

1394
01:11:43,479 --> 01:11:46,719
Speaker 2: it like totally flate his foot even though you see

1395
01:11:46,720 --> 01:11:48,960
Speaker 2: nothing graphic, like your mind fills in the rest and

1396
01:11:48,960 --> 01:11:50,000
Speaker 2: it's it's horrifying.

1397
01:11:50,160 --> 01:11:53,120
Speaker 3: Yeah, yeah, totally. But they do manage to get the

1398
01:11:53,479 --> 01:11:56,360
Speaker 3: door closed again. But the gas grenades obviously did not

1399
01:11:56,840 --> 01:11:59,760
Speaker 3: affect it. It did not subdue it. So we get

1400
01:11:59,800 --> 01:12:02,840
Speaker 3: all topsy results, and Mary Royce tells us there is

1401
01:12:02,880 --> 01:12:05,960
Speaker 3: not a molecule of oxygen or a drop of water

1402
01:12:06,080 --> 01:12:09,439
Speaker 3: left in kind Holtz This body. Every ounce of edible

1403
01:12:09,479 --> 01:12:12,479
Speaker 3: fluid in his body is gone, in which case I

1404
01:12:12,479 --> 01:12:15,479
Speaker 3: would think it would be more significantly reduced in volume

1405
01:12:15,560 --> 01:12:16,320
Speaker 3: than it appears.

1406
01:12:16,880 --> 01:12:20,240
Speaker 2: Yeah, I think it would. It would look more like Yeah,

1407
01:12:20,240 --> 01:12:21,880
Speaker 2: it would look more like a zombie husk. It's what

1408
01:12:21,920 --> 01:12:25,519
Speaker 2: it would look like. Yeah, But limitations fair enough.

1409
01:12:25,600 --> 01:12:29,080
Speaker 3: Yeah, so they they reason, They start thinking about this,

1410
01:12:29,400 --> 01:12:32,759
Speaker 3: all right, Mars is a world without oxygen or water.

1411
01:12:32,920 --> 01:12:36,559
Speaker 3: That's what they believe. So this creature's entire being is

1412
01:12:36,600 --> 01:12:39,960
Speaker 3: designed to feed on the oxygen and water contents of

1413
01:12:40,000 --> 01:12:43,519
Speaker 3: smaller creatures. So that's what it's doing. It's trying to

1414
01:12:43,600 --> 01:12:46,160
Speaker 3: get them so it can suck out all of their

1415
01:12:46,200 --> 01:12:49,840
Speaker 3: oxygen and water. Meanwhile, there's some stuff going on with

1416
01:12:49,840 --> 01:12:52,559
Speaker 3: the monster. It's like sort of laying siege to them,

1417
01:12:52,960 --> 01:12:54,880
Speaker 3: to the crew members that are hold up on the

1418
01:12:54,960 --> 01:12:57,360
Speaker 3: upper decks. It's trying to claw its way through the hatches,

1419
01:12:57,800 --> 01:13:01,000
Speaker 3: and we learn from Mary that the slashes on Van's

1420
01:13:01,040 --> 01:13:05,160
Speaker 3: foot are infected with an alien bacterium of some kind.

1421
01:13:05,200 --> 01:13:08,519
Speaker 3: And it's making him sick, and I gotta say there

1422
01:13:08,600 --> 01:13:13,280
Speaker 3: is something. The romantic subplot of this movie is shockingly

1423
01:13:13,560 --> 01:13:18,320
Speaker 3: cold and weird. Like, basically, the moment we find out

1424
01:13:18,439 --> 01:13:22,840
Speaker 3: Van Heuson is infected with the alien pathogen, his girlfriend

1425
01:13:22,920 --> 01:13:26,320
Speaker 3: Anderson starts moving in on Corruthers. She like goes up

1426
01:13:26,320 --> 01:13:28,200
Speaker 3: to him and she's like, you were right, we were wrong,

1427
01:13:28,280 --> 01:13:31,040
Speaker 3: and she's grabbing his hands right in front of Van

1428
01:13:31,160 --> 01:13:31,799
Speaker 3: on the cot.

1429
01:13:32,040 --> 01:13:35,160
Speaker 2: Yeah, it's an it's an icky love triangle that I

1430
01:13:35,200 --> 01:13:36,360
Speaker 2: don't think we really needed.

1431
01:13:37,000 --> 01:13:40,000
Speaker 3: I think it seems especially cold because it's like she

1432
01:13:40,160 --> 01:13:44,479
Speaker 3: turns to Carruthers as soon as Van becomes weakened. I

1433
01:13:44,479 --> 01:13:46,000
Speaker 3: don't know, it feels sad.

1434
01:13:46,120 --> 01:13:49,200
Speaker 2: Yeah, like yeah, like she like she can't exist without

1435
01:13:49,200 --> 01:13:51,680
Speaker 2: a strong man around her, and so she has to

1436
01:13:51,720 --> 01:13:54,439
Speaker 2: just jump ship to gorothers now like I don't know,

1437
01:13:54,520 --> 01:13:57,719
Speaker 2: it just did. Yeah, I guess it. It doesn't really work.

1438
01:13:58,240 --> 01:14:01,320
Speaker 2: It's not like completely believable and feels if it is believable,

1439
01:14:01,320 --> 01:14:03,840
Speaker 2: it's cold. So it's like, what how am I supposed

1440
01:14:03,840 --> 01:14:04,439
Speaker 2: to feel about this?

1441
01:14:04,800 --> 01:14:06,800
Speaker 3: Yeah? So I think the romantic subplot, I mean I

1442
01:14:06,840 --> 01:14:10,639
Speaker 3: would say it's kind of unique for this sort of movie.

1443
01:14:10,720 --> 01:14:12,559
Speaker 3: But I don't know if it really works as like

1444
01:14:12,680 --> 01:14:16,280
Speaker 3: generating any like romantic feelings other than like, oh, that's

1445
01:14:16,360 --> 01:14:17,960
Speaker 3: weird and kind of kind of dark.

1446
01:14:18,000 --> 01:14:21,160
Speaker 2: But yeah, the kids were making out to this apparently,

1447
01:14:21,600 --> 01:14:24,600
Speaker 2: like how did how they feel about it?

1448
01:14:24,680 --> 01:14:29,000
Speaker 3: Yeah? Okay, next plot development, space Dad Dad has a

1449
01:14:29,000 --> 01:14:33,320
Speaker 3: plan again. They can get in behind the creature by

1450
01:14:33,400 --> 01:14:36,320
Speaker 3: putting on EVA suits and doing a space walk on

1451
01:14:36,360 --> 01:14:38,800
Speaker 3: the outside hull of the ship down to the deck

1452
01:14:38,880 --> 01:14:42,040
Speaker 3: below it. Uh, And I really like this set piece.

1453
01:14:42,120 --> 01:14:46,200
Speaker 3: So it's Corruthers and I think Lieutenant Oh, it's Lieutenant

1454
01:14:46,200 --> 01:14:49,479
Speaker 3: Calder also. So they suit up, they put their suits on,

1455
01:14:49,560 --> 01:14:51,400
Speaker 3: and they go out on the outside of the ship

1456
01:14:51,400 --> 01:14:54,800
Speaker 3: and walk down the hull. I thought this this scene

1457
01:14:54,880 --> 01:14:58,240
Speaker 3: looked great. It sounded great. I love the atmosphere. It's creepy,

1458
01:14:58,360 --> 01:15:00,920
Speaker 3: quiet and really compelling. Way very strong.

1459
01:15:01,160 --> 01:15:04,120
Speaker 2: Yeah, firing on all cylinders, and we're really not even

1460
01:15:04,160 --> 01:15:06,839
Speaker 2: seeing the monster for the most part during this this sequence.

1461
01:15:07,280 --> 01:15:09,960
Speaker 2: I mean we get some we get some hints of them, because,

1462
01:15:10,080 --> 01:15:13,080
Speaker 2: as we'll discuss there's they're having to distract the monster

1463
01:15:13,280 --> 01:15:14,960
Speaker 2: in order to try and pull this off.

1464
01:15:15,280 --> 01:15:17,840
Speaker 3: That's right. So the plan is that the people left

1465
01:15:17,880 --> 01:15:21,519
Speaker 3: inside the ship distracted the beast while making a They're

1466
01:15:21,560 --> 01:15:24,360
Speaker 3: making noise up above while the strike team gets in

1467
01:15:24,439 --> 01:15:26,640
Speaker 3: behind the beast to set a trap. They're going to

1468
01:15:26,840 --> 01:15:30,400
Speaker 3: electrocute it by rigging wires to the metal stairs. So

1469
01:15:30,520 --> 01:15:33,240
Speaker 3: this is basically the plan from the Thing from Another World.

1470
01:15:33,320 --> 01:15:35,479
Speaker 3: They're gonna You're gonna shock it from below.

1471
01:15:35,680 --> 01:15:37,639
Speaker 2: Yeah. Yeah, They're gonna pull a thing from another world

1472
01:15:37,680 --> 01:15:40,080
Speaker 2: on it. Yeah. I was really concerned that it was

1473
01:15:40,120 --> 01:15:43,400
Speaker 2: gonna work because because I mean, they also did this

1474
01:15:43,479 --> 01:15:45,760
Speaker 2: in Creature, which we watched a couple of weeks ago.

1475
01:15:45,920 --> 01:15:48,960
Speaker 3: Oh yeah, yeah, uh, and it's sort of worked in Creature,

1476
01:15:48,960 --> 01:15:51,880
Speaker 3: but only temporarily. It doesn't even doesn't even appear to

1477
01:15:51,920 --> 01:15:54,639
Speaker 3: work at all in this, like the crawls down under

1478
01:15:54,640 --> 01:15:57,439
Speaker 3: the stairs. They've got the wires rigged up, they zap

1479
01:15:57,479 --> 01:16:01,080
Speaker 3: it and it's just like, oh no, I'm I'm not happy,

1480
01:16:01,320 --> 01:16:05,200
Speaker 3: so it attacks them. Lieutenant Calder gets his leg broken

1481
01:16:05,560 --> 01:16:09,400
Speaker 3: and is trapped behind a large metal cylinder. He's got

1482
01:16:09,400 --> 01:16:11,439
Speaker 3: a blow torch in his hand that he can use

1483
01:16:11,479 --> 01:16:14,880
Speaker 3: to protect himself from the beast while Carruthers escapes to

1484
01:16:14,920 --> 01:16:17,360
Speaker 3: the outside and I think he makes it back up

1485
01:16:17,439 --> 01:16:19,719
Speaker 3: the outside of the ship hull to everybody else.

1486
01:16:20,000 --> 01:16:22,200
Speaker 2: Yeah, I don't know how long he's supposed to be

1487
01:16:22,200 --> 01:16:24,880
Speaker 2: stuck down there, but it seems like he's probably down

1488
01:16:24,880 --> 01:16:28,400
Speaker 2: there for hours, the monster lunging at him like every

1489
01:16:28,400 --> 01:16:31,519
Speaker 2: few seconds, and having to like hold a blow torch

1490
01:16:31,600 --> 01:16:33,200
Speaker 2: up to protect himself. Yeah.

1491
01:16:33,240 --> 01:16:36,080
Speaker 3: He's talking to the rest of the crew via radio

1492
01:16:36,479 --> 01:16:38,240
Speaker 3: and he's like, Yeah, I'm stuck down here. I can

1493
01:16:38,280 --> 01:16:40,320
Speaker 3: see it. It's looking at me, and every time it

1494
01:16:40,400 --> 01:16:42,920
Speaker 3: comes for me, I hold the blow torch in its eyes.

1495
01:16:43,439 --> 01:16:45,960
Speaker 3: It's a predicament. He's in a tight spot. He's in

1496
01:16:46,000 --> 01:16:50,920
Speaker 3: a pickle. Yeah. So later we learn that Van's infection

1497
01:16:51,120 --> 01:16:53,480
Speaker 3: is taking a turn for the worse. He is delirious

1498
01:16:54,000 --> 01:16:57,880
Speaker 3: and the bacteria are they're attacking his bone marrow. They

1499
01:16:57,880 --> 01:17:01,240
Speaker 3: say it gives him a condition similar to lukemia, and

1500
01:17:01,280 --> 01:17:04,920
Speaker 3: the romance between Anderson and Corruthers really picks up. But

1501
01:17:05,120 --> 01:17:08,400
Speaker 3: they the crew decide, okay, Van, he needs blood, so

1502
01:17:08,439 --> 01:17:10,599
Speaker 3: we got to go down to storage to get blood

1503
01:17:10,680 --> 01:17:15,479
Speaker 3: out of the blood blood box. He needs blood. So

1504
01:17:15,720 --> 01:17:19,960
Speaker 3: Calder witnesses the creature going into the reactor room, and

1505
01:17:20,360 --> 01:17:23,600
Speaker 3: here Carrother sees a chance to act so they remotely

1506
01:17:23,680 --> 01:17:27,240
Speaker 3: close the door to the reactor and seal the creature inside,

1507
01:17:27,520 --> 01:17:29,559
Speaker 3: and then a team of men goes down to get

1508
01:17:29,600 --> 01:17:33,439
Speaker 3: the blood. So they're blood jacking and they've only got

1509
01:17:33,439 --> 01:17:35,600
Speaker 3: a tight window to get the blood in. But in

1510
01:17:35,640 --> 01:17:39,080
Speaker 3: the middle of all this, a delirious Van gets the

1511
01:17:39,160 --> 01:17:42,799
Speaker 3: idea to open up the reactor core with the creature

1512
01:17:42,840 --> 01:17:46,120
Speaker 3: in the reactor room, saying, okay, the radiation will kill it.

1513
01:17:46,439 --> 01:17:51,000
Speaker 3: We couldn't kill it with grenades, with gunfire, with gas, grenades,

1514
01:17:51,320 --> 01:17:56,080
Speaker 3: with electricity, but we can try radiation, and so the

1515
01:17:56,120 --> 01:17:59,720
Speaker 3: he does this. Unfortunately, while the blood jacking team are

1516
01:18:00,240 --> 01:18:03,720
Speaker 3: there right next to it, and this of course just

1517
01:18:03,800 --> 01:18:06,840
Speaker 3: makes the beast furious. The radiation does not kill it,

1518
01:18:06,960 --> 01:18:09,599
Speaker 3: drives it out of the reactor room, where it meets

1519
01:18:09,640 --> 01:18:12,759
Speaker 3: the blood jacking team and kills a crew member named Bob.

1520
01:18:13,280 --> 01:18:15,960
Speaker 3: So the remaining the surviving crew members retreat to the

1521
01:18:16,040 --> 01:18:18,960
Speaker 3: upper deck. They're up in the command deck and here

1522
01:18:19,000 --> 01:18:22,280
Speaker 3: we're sort of approaching the final showdown. Somewhere around here,

1523
01:18:22,360 --> 01:18:25,320
Speaker 3: Van really catches on what's happening with Anderson and Cruthers.

1524
01:18:25,760 --> 01:18:28,600
Speaker 3: He's like, are you going to him now? Are you

1525
01:18:28,680 --> 01:18:31,160
Speaker 3: leaving me for him? And she's just like, let's talk

1526
01:18:31,160 --> 01:18:35,120
Speaker 3: about it later. And this goes up to a final

1527
01:18:35,160 --> 01:18:38,120
Speaker 3: showdown where they are sort of like they're dug in.

1528
01:18:38,280 --> 01:18:40,519
Speaker 3: They've all got their weapons aimed at the hatch coming

1529
01:18:40,600 --> 01:18:43,559
Speaker 3: up from the floor below where the creature is. And

1530
01:18:43,640 --> 01:18:47,320
Speaker 3: finally the creature starts busting through the hatch, tearing through

1531
01:18:47,360 --> 01:18:51,799
Speaker 3: the metal, coming up into the room, and they literally

1532
01:18:51,840 --> 01:18:53,040
Speaker 3: blast it with a bazooka.

1533
01:18:53,200 --> 01:18:55,679
Speaker 2: They even fire the bazuki and I think Mary fires

1534
01:18:55,720 --> 01:18:58,320
Speaker 2: it right, Like that sounds right. Yeah, she may have

1535
01:18:58,360 --> 01:19:00,160
Speaker 2: to fetch coffee for everyone else, but she gets to

1536
01:19:00,240 --> 01:19:04,559
Speaker 2: fire the Bazuka's right, and it doesn't kill everyone, yeah,

1537
01:19:04,720 --> 01:19:06,080
Speaker 2: or even the monster or the.

1538
01:19:06,040 --> 01:19:09,040
Speaker 3: Monster, but they've already tried explosives, why would this work.

1539
01:19:09,960 --> 01:19:14,200
Speaker 3: But finally they get the idea, Hey, everybody, put on

1540
01:19:14,320 --> 01:19:17,280
Speaker 3: your EVA suits. We're gonna vent the air out the

1541
01:19:17,360 --> 01:19:21,679
Speaker 3: air lock. And here we have another comparison with alien. Right,

1542
01:19:21,840 --> 01:19:24,280
Speaker 3: how do they defeat the alien? How does Ripley, the

1543
01:19:24,280 --> 01:19:26,920
Speaker 3: only one left, defeat the alien? At the end, she

1544
01:19:27,160 --> 01:19:30,320
Speaker 3: vents the atmosphere in the escape pod to the to

1545
01:19:30,360 --> 01:19:33,800
Speaker 3: the outside and the creature is blown out of the airlock. Now,

1546
01:19:33,800 --> 01:19:36,760
Speaker 3: in this case, the alien is not blown out of

1547
01:19:36,800 --> 01:19:40,599
Speaker 3: the airlock, but venting the atmosphere out of the command

1548
01:19:40,720 --> 01:19:45,200
Speaker 3: deck causes the creature to not have the air it

1549
01:19:45,240 --> 01:19:48,120
Speaker 3: needs to breathe, and it dies by I guess suffocation.

1550
01:19:49,080 --> 01:19:51,080
Speaker 2: Yeah, it's it's still satisfying in a way. It's even

1551
01:19:51,120 --> 01:19:53,240
Speaker 2: more satisfying because I thought, oh, they're gonna blast it

1552
01:19:53,240 --> 01:19:58,280
Speaker 2: out the airlock. I've seen this before, granted from a

1553
01:19:58,880 --> 01:20:01,960
Speaker 2: film that comes decades, but it was still it was

1554
01:20:02,000 --> 01:20:04,559
Speaker 2: refreshing that it wasn't quite that solution. It was this

1555
01:20:04,640 --> 01:20:07,559
Speaker 2: alternate solution, even if it's also a solution that if

1556
01:20:07,560 --> 01:20:09,519
Speaker 2: you think about it too much, you might ask, well,

1557
01:20:09,560 --> 01:20:13,040
Speaker 2: why didn't they try this earlier? But that can often

1558
01:20:13,080 --> 01:20:16,960
Speaker 2: be the case with films where they try multiple solutions

1559
01:20:16,960 --> 01:20:19,240
Speaker 2: to a given problem. It's always the last one you

1560
01:20:19,280 --> 01:20:19,880
Speaker 2: try anyway.

1561
01:20:20,360 --> 01:20:24,520
Speaker 3: So finally we go back to Earth to the spokesman

1562
01:20:24,560 --> 01:20:26,560
Speaker 3: at the you know, he's doing a press conference of

1563
01:20:26,600 --> 01:20:29,760
Speaker 3: the Capitol building, and he says, you've been called here

1564
01:20:29,840 --> 01:20:32,559
Speaker 3: again to receive further information about the story, which you

1565
01:20:32,680 --> 01:20:35,559
Speaker 3: didn't hear last night. I will read you the text

1566
01:20:35,560 --> 01:20:38,800
Speaker 3: of a teleradio message received from the challenge one forty

1567
01:20:38,880 --> 01:20:42,280
Speaker 3: two less than an hour ago. This is Eric Royce

1568
01:20:42,360 --> 01:20:45,040
Speaker 3: talking of the nineteen men and women who have set

1569
01:20:45,080 --> 01:20:48,439
Speaker 3: foot on the planet Mars six will return. There's no

1570
01:20:48,520 --> 01:20:51,479
Speaker 3: longer a question of murder, but of an alien, an

1571
01:20:51,520 --> 01:20:55,720
Speaker 3: elemental life force, a planet so cruel, so hostile, that

1572
01:20:55,880 --> 01:20:58,559
Speaker 3: man may find it necessary to bypass it in his

1573
01:20:58,760 --> 01:21:02,680
Speaker 3: endeavor to explore an understand the universe. Another name for

1574
01:21:02,840 --> 01:21:06,080
Speaker 3: Mars is death. And then it just goes straight to

1575
01:21:06,120 --> 01:21:09,000
Speaker 3: the end. I love that the last the words the

1576
01:21:09,040 --> 01:21:11,800
Speaker 3: movie has to say, or not about like the the

1577
01:21:12,000 --> 01:21:15,760
Speaker 3: indomitable spirit of humankind, or or about the courage of

1578
01:21:15,800 --> 01:21:18,240
Speaker 3: the you know, the people who gave their lives fighting

1579
01:21:18,280 --> 01:21:22,479
Speaker 3: against this beast. It's like, Mars is terrible. Don't ever

1580
01:21:22,600 --> 01:21:24,120
Speaker 3: go there. It's just trash.

1581
01:21:24,439 --> 01:21:27,040
Speaker 2: Mars is death. Mars is dead to us. We're just

1582
01:21:27,040 --> 01:21:29,120
Speaker 2: gonna skip over that. What's next, what's the next one,

1583
01:21:29,160 --> 01:21:31,880
Speaker 2: because we're gonna go there instead. Nothing on Mars for us.

1584
01:21:32,160 --> 01:21:33,920
Speaker 3: Jupiter is life.

1585
01:21:34,200 --> 01:21:37,320
Speaker 2: Maybe maybe, but yeah, but you know, it is kind

1586
01:21:37,320 --> 01:21:39,800
Speaker 2: of a hint of some of the I don't know,

1587
01:21:40,280 --> 01:21:44,080
Speaker 2: partially cosmic horror inspired stuff to come, including alien like

1588
01:21:44,120 --> 01:21:47,240
Speaker 2: this idea that, yeah, humans should never have left Earth,

1589
01:21:47,560 --> 01:21:50,480
Speaker 2: and of course they're going to encounter, you know, unspeakable

1590
01:21:50,520 --> 01:21:53,360
Speaker 2: horrors out there because we were not meant to know

1591
01:21:53,400 --> 01:21:54,479
Speaker 2: of it. Mm hmm.

1592
01:21:55,320 --> 01:21:58,040
Speaker 3: So, as we said earlier, it the Terror from Beyond Space.

1593
01:21:58,080 --> 01:22:01,000
Speaker 3: I feel like a pretty strong thumb for what it is.

1594
01:22:01,040 --> 01:22:03,960
Speaker 3: It is a modest science fiction movie. It's kind of

1595
01:22:03,960 --> 01:22:08,000
Speaker 3: it has bottle episode vibes, but given all that, quite strong.

1596
01:22:08,680 --> 01:22:11,200
Speaker 2: Yeah, yeah, absolutely, I was really impressed with it. I

1597
01:22:11,240 --> 01:22:12,840
Speaker 2: think this one would have scared me a bit if

1598
01:22:12,880 --> 01:22:14,360
Speaker 2: I'd seen it when I was when I was a

1599
01:22:14,360 --> 01:22:17,800
Speaker 2: lot younger, and I would love to hear from folks

1600
01:22:17,840 --> 01:22:20,880
Speaker 2: out there who saw it in on the big screen

1601
01:22:20,920 --> 01:22:23,600
Speaker 2: at some point in a drive in in environment. That

1602
01:22:23,640 --> 01:22:27,559
Speaker 2: would have been neat. Again, the performances are solid. The

1603
01:22:27,600 --> 01:22:30,040
Speaker 2: monster costume, for the most part, looks really good. I

1604
01:22:30,320 --> 01:22:33,240
Speaker 2: neglected to mention that there are some shots where, at

1605
01:22:33,320 --> 01:22:35,800
Speaker 2: least in silhouette, it reminds me a bit of the

1606
01:22:35,880 --> 01:22:40,200
Speaker 2: aliens from Earth. Girls are easy, but you know, because

1607
01:22:40,200 --> 01:22:42,160
Speaker 2: something about the head shape kind of reminds me of

1608
01:22:42,240 --> 01:22:45,040
Speaker 2: the helmets that those aliens have. But again, for the

1609
01:22:45,040 --> 01:22:47,720
Speaker 2: most part, I love the monster here all right. There

1610
01:22:47,720 --> 01:22:51,840
Speaker 2: you have it, it the Terror from Beyond Space. We're

1611
01:22:51,840 --> 01:22:54,920
Speaker 2: going to remind everybody here that Stuff to Blow Your

1612
01:22:54,960 --> 01:22:58,160
Speaker 2: Mind is primarily a science podcast with core episodes and

1613
01:22:58,160 --> 01:23:00,400
Speaker 2: the Stuff to Blow Your Mind podcast feed on Tuesdays

1614
01:23:00,439 --> 01:23:03,879
Speaker 2: and Thursdays, short form episodes on Wednesdays and on Fridays.

1615
01:23:03,880 --> 01:23:06,120
Speaker 2: We set aside most serious concerns to just talk about

1616
01:23:06,120 --> 01:23:09,000
Speaker 2: a weird film on Weird House Cinema. If you want

1617
01:23:09,040 --> 01:23:11,000
Speaker 2: to see a full list of the films we've watched

1618
01:23:11,000 --> 01:23:13,360
Speaker 2: over the years, go to letterbox dot com. It's l

1619
01:23:13,400 --> 01:23:15,559
Speaker 2: E T T E R B o x D dot com.

1620
01:23:15,840 --> 01:23:17,800
Speaker 2: Our username there is weird House and that's where you'll

1621
01:23:17,800 --> 01:23:20,920
Speaker 2: find the list. Hey, and if you're on Instagram, follow

1622
01:23:20,960 --> 01:23:24,080
Speaker 2: Stuff to Blow your Mind at st b ym podcast.

1623
01:23:24,280 --> 01:23:26,800
Speaker 2: That's our handle. And you know, even if you're only

1624
01:23:26,840 --> 01:23:29,800
Speaker 2: in it for the Weird House, we've got some We

1625
01:23:30,160 --> 01:23:32,160
Speaker 2: generally have some little videos that go out to give

1626
01:23:32,160 --> 01:23:34,360
Speaker 2: you just like a taste of the trailers on there,

1627
01:23:34,400 --> 01:23:37,240
Speaker 2: as well as well as reminders of what the core

1628
01:23:37,280 --> 01:23:38,840
Speaker 2: episodes are as they're coming out.

1629
01:23:39,400 --> 01:23:43,040
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1630
01:23:43,439 --> 01:23:45,120
Speaker 3: If you would like to get in touch with us

1631
01:23:45,120 --> 01:23:47,679
Speaker 3: with feedback on this episode or any other to suggest

1632
01:23:47,720 --> 01:23:49,759
Speaker 3: a topic, for the future, or just to say hello.

1633
01:23:49,880 --> 01:23:52,439
Speaker 3: You can email us at contact at stuff to Blow

1634
01:23:52,439 --> 01:24:00,000
Speaker 3: your Mind dot com.

1635
01:24:00,479 --> 01:24:03,439
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1636
01:24:03,520 --> 01:24:07,360
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1637
01:24:07,439 --> 01:24:09,240
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