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Speaker 1: Welcome to Stuff to Blow your Mind, a 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'm Joe McCormick. In today's film is going to

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Speaker 3: be the nineteen eighty three adventure movie Treasure of the

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Speaker 3: Four Crowns, a film that ever since I saw the trailer,

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Speaker 3: and I would say the movie itself mostly delivers on this.

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Speaker 3: The concept to me has seemed to be Italian disco

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Speaker 3: Indiana Jones.

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Speaker 2: Yes, I mean it doesn't. It maybe doesn't deliver on

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Speaker 2: the Italian disco so much as in great music.

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Speaker 3: But I don't mean in terms of music. I mean

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Speaker 3: in terms of the look.

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Speaker 2: Oh yeah, and the look absolutely. I guess the thing

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Speaker 2: is that judgment of it being Italian disco Indiana Jones.

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Speaker 2: It doesn't bear a lot of close scrutiny, nor does

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Speaker 2: the movie itself, but that's one of its great charms.

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Speaker 3: So I should mention at the top that this movie

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Speaker 3: is actually a listener suggestion. It was sent to us

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Speaker 3: by Megan from Montreal, who wrote an email. This was

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Speaker 3: actually after our episode on Clash of the Titans. Meghan says,

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Speaker 3: I just listened to your weird House cinema episode on

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Speaker 3: Clash of the Titans, a film my family rented many

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Speaker 3: times for my sister and I when we were kids.

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Speaker 3: We loved it. It was fun to hear the Weird

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Speaker 3: House breakdown on this nostalgic classic. It brought to mind

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Speaker 3: another film my family watched when I was young and

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Speaker 3: that we have long held is the worst movie we

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Speaker 3: ever rented. But I just rewatched it and realized it

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Speaker 3: would be perfect for Weird House, called Treasure of the

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Speaker 3: Four Crowns. It is an Italian American Spanish co production

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Speaker 3: originally made as a three D film, and boy, oh boy,

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Speaker 3: does it make the most of that. I won't spoil

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Speaker 3: any thing else about it, but I would love to

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Speaker 3: hear your take on this, Hammy Jim and family legend. Meghan. Well, Meghan,

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Speaker 3: thank you for the suggestion. It was a real When

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Speaker 3: I went to watch the trailer for this, I just

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Speaker 3: knew we had to do it. So this movie is

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Speaker 3: a lot of things. As Meghan says, it is an

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Speaker 3: international collaboration, a joint production with American, Spanish, and Italian elements.

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Speaker 3: It's also an occult archaeological adventure movie. Another way of saying,

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Speaker 3: as many critics alleged, probably somewhat fairly, that it is

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Speaker 3: strongly derivative of Raiders of the Lost Arc, but at

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Speaker 3: the same time it's also an ensemble heist caper like

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Speaker 3: an episode of Mission Impossible or the A Team had

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Speaker 3: a lot of strong A Team vibes.

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Speaker 2: Oh yeah, definitely.

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Speaker 3: But on top of that, it's also a Canon Films distribution.

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Speaker 3: You can really tell if you look up the poster.

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Speaker 3: It has that classic Canon Films poster look where there's

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Speaker 3: like there's a machine gun it's blasting you know, the

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Speaker 3: car tuny visages of the heroes are coming right at you,

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Speaker 3: and in fact come and right at you. I would

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Speaker 3: call that the best way to describe the cinematic style

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Speaker 3: of this movie, because more than anything else, I would

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Speaker 3: say Treasure of the Four Crowns is three D. If

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Speaker 3: this makes any sense, It's not just a three D movie,

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Speaker 3: it's the most three D movie I have ever seen.

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Speaker 3: The jabbing of objects, both deadly and mundane into the

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Speaker 3: camera lens is relentless.

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Speaker 2: Absolutely, it's like not just one arrow coming at you,

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Speaker 2: it's multiple arrows in a row. And then also maybe

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Speaker 2: a flaming eyeball from a skull and maybe a spear,

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Speaker 2: maybe a snake, maybe somebody's butt. While they're repelling from

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Speaker 2: the ceiling. You never know what is going to be

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Speaker 2: thrown at the camera, but you get the impression that

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Speaker 2: if too much time passes in the film without something

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Speaker 2: coming directly at the camera, a lot of anxiety breaks

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Speaker 2: out at the filmmakers and they realize they've got to

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Speaker 2: get something up there.

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Speaker 3: Allow me to read from Roger Ebert's review at the

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Speaker 3: time this movie was released. Ebert said, it's fun to

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Speaker 3: find a three D movie that doesn't beat around the bush.

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Speaker 3: Within sixty seconds after Treasure of the Four Crowns begins,

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Speaker 3: the movie is throwing things at the audience. This is,

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Speaker 3: of course, in the great tradition of three D movies

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Speaker 3: that began in nineteen fifty three with Bwana Devil, a

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Speaker 3: horrible movie that made a lot of money by throwing stones, spears,

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Speaker 3: and elephants at the audience. You want to get your

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Speaker 3: money's worth. Here is my rough checklist of things thrown

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Speaker 3: at the audience in Treasure of the Four Crowns. Knives, spears, darts, bones,

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Speaker 3: jeweled daggers, balls of fire, laser beams, boulders, ropes, attack, dogs, bats,

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Speaker 3: shards of stained glass, a set of dishes, a large kettle,

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Speaker 3: a stove, a corpse, a python, snake, an empty glove, birds,

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Speaker 3: both real and artificial, arrows, unidentifiable glowing objects shot from guns, keys,

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Speaker 3: letter openers, several human heads, skeletons, large sections of an

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Speaker 3: exploding castle, and one bottle of booze, and assorted spoons.

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Speaker 2: Two and a half stars by the way.

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Speaker 3: By the way, there are definitely a few things I

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Speaker 3: caught that Ebert did not manage to mention. There the

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Speaker 3: stuff never stops coming at you. There's also like, there's

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Speaker 3: one great part where just like an antenna extends toward

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Speaker 3: the camera, there's another one where a broom handle pokes

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Speaker 3: in your face.

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Speaker 2: Yeah, a little technological hacking tool or something like. Any

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Speaker 2: and everything that can be jabbed at the camera will

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Speaker 2: be jabbed at the camera.

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Speaker 3: And because this is the most three D movie I

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Speaker 3: have ever seen, it really invited me to think a

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Speaker 3: bit about the nature of three D films, especially in

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Speaker 3: their afterlife, as after they have left the theater on

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Speaker 3: their initial run, when they are relics on home video

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Speaker 3: where very few people who watch them will see them

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Speaker 3: with the proper equipment to experience the three D effects intact.

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Speaker 3: So I was trying to think of an analogy, and

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Speaker 3: this isn't perfect, but it's sort of like going on

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Speaker 3: a haunted house ride at an amusement park where all

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Speaker 3: of the animatronics have been turned off, so the car

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Speaker 3: might be moving, like you go through the same course,

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Speaker 3: and you're traveling through the same plot, but something is

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Speaker 3: fundamentally wrong with the experience, like the core appeal of

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Speaker 3: it has been removed.

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Speaker 2: Yeah. Absolutely, I mean, because three D films are spectacle,

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Speaker 2: and we've been looking at a lot of them, you know,

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Speaker 2: I've certainly been looking at a huge list of them,

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Speaker 2: because part of the whole gimmick here is we're not

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Speaker 2: just doing one three D film. We have committed to

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Speaker 2: doing three three D films in a row, so we

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Speaker 2: have to pick two more after this that are enjoyable.

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Speaker 2: And there are a lot out there that don't really

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Speaker 2: invite viewing in the t in the two D format,

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Speaker 2: you know.

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Speaker 3: I think this is one of them.

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Speaker 2: Actually, Well, this one at least is stupendous enough that

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Speaker 2: it's a lot of fun. I think just a lot

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Speaker 2: of them are very very uninviting, and they're they're it's

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Speaker 2: very obvious that they were rushed to market with three

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Speaker 2: D at the forefront of anybody's intentions. And again that's

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Speaker 2: pretty much the case with this film as well. But

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Speaker 2: I think a lot of the things that make the

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Speaker 2: Treasure of the Four Crown so much fun is that

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Speaker 2: yet it stars three D. It's all about three D.

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Speaker 2: Three D is the reason for this film. But then

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Speaker 2: everything else behind that seems to have been very earnestly

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Speaker 2: constructed as well. Not well constructed, but at least played seriously.

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Speaker 2: Like this is not a film that's self aware. It

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Speaker 2: doesn't know that its hero looks dopey, or at least

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Speaker 2: it's not willing to admit that on screen or to

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Speaker 2: realize that on screen.

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Speaker 3: No, it's got the heart of Homer Simpson trying to

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Speaker 3: make the kids love Pouci. Yeah, And in that spirit also,

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Speaker 3: it's very much like three D is the main character

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Speaker 3: of this movie. And I think the intention was when

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Speaker 3: three D is not on screen, all the other characters

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Speaker 3: should be asking where's three D. It's true, so this

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Speaker 3: was not the only early eighties movie in three D.

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Speaker 3: You know, three D kind of comes in waves. There

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Speaker 3: was there was one in the fifties with like you know,

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Speaker 3: a House of Wax and all those things. I think

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Speaker 3: there was another craze in the sixties and then you know,

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Speaker 3: they come and it kind of bursts over the course

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Speaker 3: of a few years. It seems that around nineteen eighty

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Speaker 3: one to eighty three or so, there were a bunch

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Speaker 3: of three D movies, including Friday the Thirteenth Part three

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Speaker 3: three D that was nineteen eighty two. That one actually

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Speaker 3: does have great disco music in it. You get Jaws

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Speaker 3: three D in nineteen eighty three, Amityville three D in

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Speaker 3: nineteen eighty three. All of these are horror movies. By

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Speaker 3: the way, this one kind of distinguishes itself by being

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Speaker 3: like a PG rated, moderately family friendly, Indiana Jones style adventure.

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Speaker 3: I don't know there. I guess there is some kind

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Speaker 3: of gory melting right at the end, but.

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Speaker 2: Otherwise nobody, nobody's behind this melting right. But oh.

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Speaker 3: Another one is a movie we've covered on the show before,

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Speaker 3: the nineteen eighty three film Metal Storm, the Destruction of

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Speaker 3: Jared Sin.

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Speaker 2: And I remember when we were watching that one, there

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Speaker 2: were there were numerous shots where it's like, whoa, look

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Speaker 2: at this tree branch, you know, obvious three D effects,

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Speaker 2: and we had some fun commenting on that. But Metal

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Speaker 2: Storm it shows so much restraint compared to Treasure of

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Speaker 2: Four Crowns.

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Speaker 3: Well, yeah, and so, as I said, this is the

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Speaker 3: most three D movie I've ever seen, and so the

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Speaker 3: three D effects make up. Oh, I don't know, if

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Speaker 3: I timed it out, I would guess at least fifty

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Speaker 3: percent of the runtime is like three D effects shots,

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Speaker 3: and in most other movies it feels a little more

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Speaker 3: tacked on, you know, maybe like twenty percent of the

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Speaker 3: runtime or ten even is three D gags where you know,

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Speaker 3: it's mostly a normal movie and they've just fit a

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Speaker 3: few of them in Treasure of the Four Crowns is

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Speaker 3: built entirely around the gags. They are why the movie

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Speaker 3: is here.

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Speaker 2: Worth noting that, there, of course different ways of creating

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Speaker 2: three D effects in some of these different boom periods,

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Speaker 2: And then of course so many films have different patented

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Speaker 2: names for their three D effects. For instance, this film

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Speaker 2: is filmed in supervision three D.

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Speaker 3: It sounds like it's like you need adult supervision to

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Speaker 3: play with this toy.

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Speaker 2: Yeah, you also have films that came out at different times,

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Speaker 2: where maybe not everything was shot in three D. They

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Speaker 2: maybe have just certain scenes that are in three D.

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Speaker 2: And then it's amazing just how many genres ended up

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Speaker 2: being covered, like horror, science fiction, action makes sense, but

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Speaker 2: a lot of comedies were shot in three D. You

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Speaker 2: also have different erotic pictures that were shot in three D.

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Speaker 2: I think am Manuel four is a three D picture,

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Speaker 2: it's just And then of course even like educational fair

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Speaker 2: especially when you get into like the Imax era, they're

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Speaker 2: a number of those. Oh and then to say nothing

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Speaker 2: of like pure you talked about these being like amusement

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Speaker 2: park rides. You get into stuff like what is it?

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Speaker 2: T two three D? Which was like a basically a

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Speaker 2: three D ride film that came out after T two?

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Speaker 2: The What's the Michael Jackson video that Francis Ford Coppola

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Speaker 2: directed that Lucas was involved in that.

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Speaker 3: Was smooth criminal.

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Speaker 2: No, it was well, I just looked it up.

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Speaker 3: Is it Captain EO?

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Speaker 2: That's it? Yes, I only have.

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Speaker 3: The vaguest awareness of this in memory. I'm not sure.

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Speaker 3: Is this a ride like a ride at the theme park?

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Speaker 2: I believe so. I think it was at Disney and

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Speaker 2: I never saw it. I've never seen it. I think

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Speaker 2: you can watch it at streaming now on some of

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Speaker 2: the platforms. But it's like seventeen minutes long, which in

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Speaker 2: a way is more honest, Like, let's just get right

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Speaker 2: to it. Let's treat this like what it is. This

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Speaker 2: is just about three D spectacle for twenty minutes or less.

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Speaker 3: I'd agree with that. Yeah, I think there is some

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Speaker 3: confusion about how genres were doing feature length films that

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Speaker 3: rely this much on three D gags. I'm trying to

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Speaker 3: think of an analogy. It's almost like releasing like a

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Speaker 3: long novel length pop up book if you knew that

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Speaker 3: after the first month or so, the pop ups wouldn't

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Speaker 3: pop up anymore.

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Speaker 2: Now we mentioned Ebert's critique on the three D in

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Speaker 2: this film, it's worth noting well. First of all, of course,

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Speaker 2: though Roder Ebert died before he could see some of

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Speaker 2: the later three D pictures. But when Ridley Scott's Prometheus

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Speaker 2: came out in twenty twelve, Ebert gave it a very

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Speaker 2: glowing review, gave it four stars, and said that it

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Speaker 2: was the best use of three D that he'd ever seen.

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Speaker 3: I didn't even remember Prometheus was in.

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Speaker 2: Three D, and I think that's key because I'm not sure.

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Speaker 2: I don't think I saw it in three D because

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Speaker 2: I at some point I realized that three D pictures

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Speaker 2: tend to give me a headache and I would prefer

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Speaker 2: not to watch them in that format. But from what

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Speaker 2: I understand, the three D elements and Prometheus are kind

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Speaker 2: of kind of relegated to like, you know, sci fi

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Speaker 2: displays that are being utilized star maps and stuff like that.

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Speaker 2: So it's not it's I don't think there's any creature

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Speaker 2: jumps in your face sort of stuff. It's more subtle.

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Speaker 2: And anyway, Ebert praised it for going going at three

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Speaker 2: D in that fashion.

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Speaker 3: Well, whatever you have to say positive or negative about

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Speaker 3: that movie, it clearly was not defined entirely by the

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Speaker 3: presence of the three D gags like that's that was

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Speaker 3: just sort of a little flourish on it. Not the

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Speaker 3: not the reason for the season.

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Speaker 2: By the way, missed opportunity that we're not doing this

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Speaker 2: podcast in three D sound that has been that has

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Speaker 2: been pushed in the past.

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Speaker 3: That's the thing in the Yeah, okay, are we ready

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Speaker 3: for the elevator? Pitch on Treasure hit us four magical

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Speaker 3: crowns containing magical gold balls containing magical gems, at least

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Speaker 3: one of which contains a magical scroll, were created by

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Speaker 3: the Visigoths. An evil cult leader named Brother Jonas has

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Speaker 3: possession of approximately two of the four crowns. This is

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Speaker 3: bad for some reason. Your mission, should you choose to

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Speaker 3: accept it, is to dangle around on ropes for about

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Speaker 3: forty five minutes in the room where these crowns are

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Speaker 3: stored and hopefully steal them. In the process, this table

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Speaker 3: self destruct in five seconds.

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Speaker 2: Well, I think that is an excellent cell, but perhaps

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Speaker 2: we should allow the wizards at Canon Films to give

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Speaker 2: us a cell on this picture as well. Let's listen

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Speaker 2: to the audio from the trailer.

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Speaker 4: You've seen Raiders, Star Wars, Aliens, and Close Encounters, but

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Speaker 4: you are about to experience a totally new dimension in entertainment,

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Speaker 4: forged from the wealth of kings, source of the magical

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Speaker 4: powers of good and evil, unleashed in the hands of

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Speaker 4: a madman. Now five daring heroes dead by the odds

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Speaker 4: in a deadly question to capture the greatest prize of

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Speaker 4: them all.

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Speaker 2: You'll form some treasure of the war Crowns.

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Speaker 4: Share the ultimate modern adventure treasure of the Poor Crows

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Speaker 4: in Supervision three D and coming soon from Kennon releasing

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Speaker 4: to blesk you out of your seats.

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Speaker 3: The signature move of a Golden Globus film is massive

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Speaker 3: over promising. It's like, you know, you've seen Indiana Jones,

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Speaker 3: you've seen Star Wars trash compared to this so much better.

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Speaker 3: The posters over promise the trailers. They like they this

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Speaker 3: Canon Films was the king of writing checks the movie

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Speaker 3: could not cash.

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Speaker 2: Yeah, I mean and on some level too, they're like,

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Speaker 2: they're like, look, if you don't believe your movie is

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Speaker 2: the greatest film ever made. If you don't say it,

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Speaker 2: who else is going to say it. So you've got

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Speaker 2: to say it. Go ahead and put it in the trailer.

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Speaker 2: Let the people think that, and then once they're in

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Speaker 2: the theater, you know they're not going to get their

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Speaker 2: money back.

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Speaker 3: Now. One thing we should be fair about is that,

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Speaker 3: as I said, we, like most people who watch three

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Speaker 3: D movies on home video, we're watching it without the

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Speaker 3: three D glasses that you need in order to have

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Speaker 3: the real experience. I think there are at least some

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Speaker 3: re releases of this on disc that provide the glasses

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Speaker 3: for you, so you can have some version of the

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Speaker 3: three D experience. I don't know if it'd be quite

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Speaker 3: the same as it was in the theater.

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Speaker 2: Yeah, and I'm kind of kicking myself that I didn't

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Speaker 2: at least try this, But yeah, if you want to

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Speaker 2: try it out there, listeners, I recommend it. I mean,

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Speaker 2: this film is about the spectacle of three D, so

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Speaker 2: you might as well embrace it to whatever extent you can.

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Speaker 2: You can find this movie in some DVD packs. You

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Speaker 2: can find it on VHS tapes, but there's also a

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Speaker 2: three D special edition Blu Ray from Keno Labris Studio Classics.

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Speaker 2: It has some really cool extras, including both BD three

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Speaker 2: D polarized and anaglyphic red cy M three D versions.

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Speaker 2: It comes with one pair of anaglyphic three D glasses

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Speaker 2: as well, in case you don't have any like kicking

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Speaker 2: around the house to put on. So, I mean, really,

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Speaker 2: you might as well embrace three D and try and

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Speaker 2: watch it in that format, though I'm not sure what

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Speaker 2: else you need to watch a three D picture these

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Speaker 2: days on the Blu Ray, if you know special screens

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Speaker 2: and whatnot. It's just not my area of expertise.

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Speaker 3: Yeah, I've never gotten into the home three D thing.

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Speaker 3: As again, I think most people have not. It seems

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Speaker 3: like there was a time a while back where they

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Speaker 3: were trying to promote that, like the whole like three

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Speaker 3: D TVs at home and all that, and I never

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Speaker 3: really understood it seemed like a trend that did not

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Speaker 3: pick up.

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Speaker 2: I think it's just the curse of three D. It's

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Speaker 2: gonna always be this thing that pops up and it

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Speaker 2: becomes really popular for a while, and then people get

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Speaker 2: tired of it, and then it comes back again, and

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Speaker 2: then it goes away, but it'll never completely go away,

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Speaker 2: all right. Well, before we get back to the plot

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Speaker 2: of this film and start talking about all the things

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Speaker 2: that fly out your face, let's talk about the people

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Speaker 2: who made it, starting with the director. It was directed

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Speaker 2: by Ferdinando Baldi, who lived nineteen seventeen through two thousand

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Speaker 2: and seven, an Italian director mostly known for action films

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Speaker 2: and thrillers, and to the extent that I think he

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Speaker 2: maybe only directed one horror film Ajallo titled nine Guests

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Speaker 2: for a Crime from nineteen seventy seven. Everything else is

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Speaker 2: a lot more action and western e He's mostly known

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Speaker 2: for such action films as nineteen sixty eight's Django Prepare Coffin,

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Speaker 2: which has George Eastman in it. Oh, Yep, yep, nineteen

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Speaker 2: sixty six Texas Audios that one has Frank Nero in it,

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Speaker 2: though he's not in the other, not in the Django

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Speaker 2: film that he directed, nineteen seventy one's blind Man co

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Speaker 2: starring Ringo star What Yeah, and This is Key. The

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Speaker 2: nineteen eighty one three D picture Coming at youa a

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Speaker 2: three D spaghetti western that seems to largely be considered

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Speaker 2: the picture that kickstarted the eighties resurgence of three D cinema.

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Speaker 3: I love how the title that it might as well

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Speaker 3: have just been called three D the movie Coming at You.

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Speaker 3: It's like coming out of the screen.

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Speaker 2: Yeah, and with a name like that, and also the

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Speaker 2: posters kind of lean into this, it looks like Coming

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Speaker 2: Atcha is going to be kind of a wacky affair.

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Speaker 2: But I've read that it's basically just a straightforward, if

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Speaker 2: not kind of dark, spaghetti western. But moron coming at

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Speaker 2: you here in a bit, because multiple people involved in

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Speaker 2: this picture were involved in that. This is very much

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Speaker 2: the spiritual sequel to Coming at You. Baldy also directed

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Speaker 2: nineteen sixty eight's Hate Thy Neighbor with George Eastman in it,

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Speaker 2: and then also the Ultimate Mission, an outrageous nineteen eighty

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Speaker 2: eight action film with Mark Gregory in it.

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Speaker 3: Was George Eastman ever in a three D movie, because

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Speaker 3: that would be worth getting the glasses for to see

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Speaker 3: George Eastman's face coming out of the screen.

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Speaker 2: That's I think one of the things about this movie.

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Speaker 2: There are so many great genre actors that were active

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Speaker 2: during this time period in Italy and Spain, and why

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Speaker 2: are they not in this film? Why do we have

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Speaker 2: I mean not to shame the entire cast, but why

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Speaker 2: do we have the cast that we have here when

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Speaker 2: you had guys like George Eastman around?

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Speaker 3: Yeah? I don't want to be mean, but this is

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Speaker 3: one of the dullest casts of any movie we've ever covered,

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Speaker 3: to the point where it almost comes full circle and

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Speaker 3: becomes like entertaining in its dullness.

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Speaker 2: Yes, I agree, all right. The writing credits several individuals

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Speaker 2: credited here. One is Lloyd Battista born nineteen thirty seven,

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Speaker 2: American actor who wrote for an acted in various Tony

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Speaker 2: Anthony pictures. Tony Anthony is also the star of this

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Speaker 2: movie and coming at you more on him in just

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Speaker 2: a bit. But Lloyd Battista does not act in this

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Speaker 2: particular film, but he did a lot of American TV

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Speaker 2: as an actor in the late sixties and early seventies

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Speaker 2: and stayed active as an actor up until I think

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Speaker 2: two thousand and seven. We also have a writing credit

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Speaker 2: for someone named Jim Brice no additional information on this person,

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Speaker 2: but then starring in this playing JT. Striker, a soldier

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Speaker 2: of fortune. Also a producer. Also has a story credit

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Speaker 2: is Tony Anthony.

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Speaker 3: Now would you be shocked to learn that Tony Anthony

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Speaker 3: is not his real name? He was not born Anthony Anthony.

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Speaker 2: That's right. He's an American actor born Tony Roger Petito,

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Speaker 2: So he was a born nineteen thirty seven, still alive

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Speaker 2: as of this recording, A writer and producer who made

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Speaker 2: fourteen films between nineteen sixty one and nineteen eighty three,

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Speaker 2: with this being his final acting role, though he did

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Speaker 2: continue to produce until I think nineteen ninety eight. So basically,

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00:23:20,520 --> 00:23:23,240
Speaker 2: he and his collaborators experienced early success with a couple

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Speaker 2: of American pictures, then managed to jump in on the

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Speaker 2: spaghetti western craze right when it was kicking off. And

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Speaker 2: then with cumin Atcha and this picture he managed to

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Speaker 2: not only jump start the nineteen eighties three D boom

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Speaker 2: but also get in a second helping of the success

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Speaker 2: with this picture Treasurer of the Four Crowns, after which

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Speaker 2: credit where credits due. I like to think maybe he

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Speaker 2: watched his performance in this film and said, you know,

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Speaker 2: I think I'm good. I think I'm good. I think

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Speaker 2: maybe this is the last film I've acted that beings said,

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Speaker 2: I've seen plenty of films with less express actors than

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Speaker 2: Tony Anthony. Tony Anthony, he pulls a lot of interesting

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Speaker 2: faces in this film, and there's a lot of fun

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Speaker 2: to be had trying to figure out his approach to

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Speaker 2: this character. So he's certainly not boring.

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Speaker 3: No, but also I think not quite what the filmmakers

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Speaker 3: were hoping for.

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Speaker 2: Right, And he is one of the filmmakers, so you know,

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Speaker 2: he bears some of the responsibility. But one way I

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Speaker 2: was thinking about it is that he carries himself in

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Speaker 2: this movie like he thinks he's John Saxon, whereas really

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Speaker 2: he has his actual screen presence is maybe a little

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Speaker 2: more in the direction of Richard Lynch, but without the

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Speaker 2: actual acting chops of either.

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Speaker 3: Actor Richard Lynch, but without the creepiness or menace just yeah, yeah,

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Speaker 3: it just more Richard Lynch with a strong disgust reflex.

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Speaker 2: Yeah. But then again, it's kind of the pitfalls of

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Speaker 2: the leading man role because you could also imagine a

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Speaker 2: world in which Tony Anthony plays more villains or plays

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Speaker 2: supporting characters and maybe excels in that department. So I

435
00:25:06,480 --> 00:25:08,000
Speaker 2: don't know, there's a lot of ins and outs to

436
00:25:08,400 --> 00:25:11,719
Speaker 2: trying to figure out how all this works. But at

437
00:25:11,760 --> 00:25:16,639
Speaker 2: any rate, still Tony Anthony fun in this picture worth watching.

438
00:25:16,720 --> 00:25:20,680
Speaker 2: We're gonna come back to his performance, Yeah, all right.

439
00:25:20,760 --> 00:25:24,639
Speaker 2: On the poster, the Tony Anthony character has a woman

440
00:25:24,680 --> 00:25:27,240
Speaker 2: in his arms that he's like swinging through the air with,

441
00:25:27,840 --> 00:25:31,000
Speaker 2: so obviously we have to have some sort of It

442
00:25:31,000 --> 00:25:32,920
Speaker 2: turns out she's not really a damsel in distress. She's

443
00:25:32,920 --> 00:25:35,040
Speaker 2: a member of the heist crew, and this is the

444
00:25:35,119 --> 00:25:38,280
Speaker 2: character Liz played back Anna Obergone.

445
00:25:38,480 --> 00:25:41,119
Speaker 3: The poster also makes it look like they are like

446
00:25:41,240 --> 00:25:43,480
Speaker 3: in love, but I don't recall any kind of love

447
00:25:43,520 --> 00:25:45,760
Speaker 3: plot at all. Is there anything like that?

448
00:25:46,080 --> 00:25:48,320
Speaker 2: I don't think so, which I kept expecting them to

449
00:25:48,359 --> 00:25:50,600
Speaker 2: maybe decide they needed to have that and just sort

450
00:25:50,600 --> 00:25:53,640
Speaker 2: of tack it on, which is certainly something you see

451
00:25:53,640 --> 00:25:56,160
Speaker 2: in plenty of movies. So to their credit, they didn't

452
00:25:56,200 --> 00:25:58,879
Speaker 2: even try and make that happen in this film.

453
00:25:59,040 --> 00:26:01,640
Speaker 3: Yeah, so she's just a member of the impossible mission force.

454
00:26:01,720 --> 00:26:05,320
Speaker 3: I think the skill she brings is trapeze acrobatics.

455
00:26:05,640 --> 00:26:08,400
Speaker 2: Yeah, which normally you might not think that's very important,

456
00:26:08,400 --> 00:26:12,320
Speaker 2: but for this mission, as you teased out earlier, very important.

457
00:26:12,840 --> 00:26:15,400
Speaker 3: This is a dangling heavy mission.

458
00:26:15,600 --> 00:26:20,760
Speaker 2: Yes, so. Obergon born nineteen fifty five is a Spanish

459
00:26:20,840 --> 00:26:24,320
Speaker 2: actor who apparently has like long standing celebrity status in

460
00:26:24,400 --> 00:26:28,040
Speaker 2: Spain and you know, gets covered in celebrity publications a lot.

461
00:26:28,440 --> 00:26:33,560
Speaker 2: Probably is more known, more well known internationally in international

462
00:26:33,560 --> 00:26:37,320
Speaker 2: audiences for her roles in nineteen eighty four's Ballero and

463
00:26:37,440 --> 00:26:41,240
Speaker 2: nineteen eighty one's Mystery on Monster Island, a Jewles Vern

464
00:26:41,280 --> 00:26:44,919
Speaker 2: adaptation that had Terrence Stamp and Peter Cushing in it,

465
00:26:45,520 --> 00:26:49,160
Speaker 2: well as well as a co starring Spanish genre mainstays

466
00:26:49,280 --> 00:26:52,440
Speaker 2: Paul Nashi, Frank Brona and Lewis Barbou.

467
00:26:52,880 --> 00:26:58,880
Speaker 3: Whoa Whoa whoa whoa Whoa a Jewles Vern adaptation where

468
00:26:58,880 --> 00:27:02,560
Speaker 3: the title contains the frame Monster Island that has General

469
00:27:02,680 --> 00:27:07,639
Speaker 3: z Odd, Grandmov Tarkin, Paul Nashi, Frank Barana, and Louis Barbu.

470
00:27:07,800 --> 00:27:08,840
Speaker 3: Did did I get that right?

471
00:27:09,240 --> 00:27:09,400
Speaker 2: Yes?

472
00:27:10,040 --> 00:27:12,600
Speaker 3: Oh, okay, well this has got we got to cover this.

473
00:27:13,000 --> 00:27:15,520
Speaker 2: Yeah. I don't know much about it, but just just

474
00:27:15,600 --> 00:27:19,240
Speaker 2: on paper, the cast is very interesting. So Obergon also

475
00:27:19,280 --> 00:27:23,000
Speaker 2: did some Spanish, other Spanish films, some Spanish action films

476
00:27:23,000 --> 00:27:25,959
Speaker 2: I think mostly, And she pops up on American television

477
00:27:26,720 --> 00:27:29,720
Speaker 2: appearing on Days of Our Lives, the actual A team

478
00:27:30,000 --> 00:27:31,119
Speaker 2: and Who's the Boss?

479
00:27:31,400 --> 00:27:34,080
Speaker 3: Okay, so direct a team crossover.

480
00:27:33,680 --> 00:27:36,480
Speaker 2: Now, yes, all right. The next person to talk about

481
00:27:36,480 --> 00:27:39,480
Speaker 2: this is also a member of the heist team. This

482
00:27:39,520 --> 00:27:44,879
Speaker 2: is the character Edmund, played by Gene Quintano. Quintano also

483
00:27:45,000 --> 00:27:47,240
Speaker 2: has a story credit and guess what was one of

484
00:27:47,240 --> 00:27:51,520
Speaker 2: the producers. Just kind of a mustachioed guy. I can't

485
00:27:51,520 --> 00:27:53,160
Speaker 2: even remember if he's bald or not, but.

486
00:27:54,320 --> 00:27:55,720
Speaker 3: Yeah, I see he's bald on top.

487
00:27:55,880 --> 00:27:58,800
Speaker 2: Yeah, yeah, very much. Seems like he has the presence

488
00:27:58,800 --> 00:28:01,480
Speaker 2: of someone who should do nothing more than be in

489
00:28:01,520 --> 00:28:04,720
Speaker 2: the Q roll of the of the heist. That he

490
00:28:04,720 --> 00:28:06,720
Speaker 2: should be like, he should just say here's the plan,

491
00:28:06,840 --> 00:28:08,800
Speaker 2: here's the materials, But no, he comes on the heist

492
00:28:08,800 --> 00:28:09,960
Speaker 2: and he's there for the whole.

493
00:28:09,760 --> 00:28:13,680
Speaker 3: Thing baffling decision. He's introduced as Okay, this is the

494
00:28:13,760 --> 00:28:18,320
Speaker 3: dweeb who is the professor's assistant, you know, the professor's

495
00:28:18,720 --> 00:28:22,320
Speaker 3: professor exposition shows up to give some more you know,

496
00:28:22,320 --> 00:28:25,080
Speaker 3: about thirty minutes into the movie, and this guy's operating

497
00:28:25,119 --> 00:28:27,760
Speaker 3: the slide projector for him. And then it turns out,

498
00:28:27,760 --> 00:28:30,119
Speaker 3: oh yeah, okay, he's going to be along for the

499
00:28:30,160 --> 00:28:34,320
Speaker 3: whole ride. He's going to be there the whole darn time. Okay.

500
00:28:36,000 --> 00:28:39,720
Speaker 2: So Jeane here was. He was born in nineteen forty six.

501
00:28:39,760 --> 00:28:42,080
Speaker 2: He was a producer on both three D Tony Anthony

502
00:28:42,120 --> 00:28:45,480
Speaker 2: movies and acted in both of them and acted in

503
00:28:45,520 --> 00:28:48,680
Speaker 2: nothing else, So it's mostly a writer with some directing credits.

504
00:28:48,960 --> 00:28:52,080
Speaker 2: Some of the standout films from his filmography include nineteen

505
00:28:52,120 --> 00:28:54,840
Speaker 2: eighty five's King Solomon's Minds. He was a writer on that.

506
00:28:54,840 --> 00:28:58,080
Speaker 2: That was another canon film. Nineteen eighty six is Alan

507
00:28:58,160 --> 00:29:01,160
Speaker 2: Quatermain in the City of the Lost of Gold, another

508
00:29:01,200 --> 00:29:05,160
Speaker 2: canon film. He was a writer on Police Academies three, four,

509
00:29:05,200 --> 00:29:05,680
Speaker 2: and five.

510
00:29:06,040 --> 00:29:07,320
Speaker 3: Oh, those are the best ones.

511
00:29:09,120 --> 00:29:12,840
Speaker 2: He was. He was the writer and director of nineteen

512
00:29:12,920 --> 00:29:17,240
Speaker 2: ninety three's Loaded Weapon One. I seen it, okay, and

513
00:29:17,280 --> 00:29:20,400
Speaker 2: then he is He was a writer and I think

514
00:29:20,520 --> 00:29:24,320
Speaker 2: has a directing credit alongside another gentleman on two thousand

515
00:29:24,360 --> 00:29:30,320
Speaker 2: and four's Funky Monkey. This is a chimpanzee movie in

516
00:29:30,360 --> 00:29:34,760
Speaker 2: which I believe the chimpanzee actor allegedly bit Matthew Modine

517
00:29:34,760 --> 00:29:38,800
Speaker 2: on the hand. Matthew Modine essentially stars in it, but

518
00:29:38,840 --> 00:29:42,640
Speaker 2: you also have Gilbert Godfried, Fred Ward and Jeffrey Tambour

519
00:29:42,680 --> 00:29:46,800
Speaker 2: in it. Wow. Wow, can safely say I will never

520
00:29:46,880 --> 00:29:48,360
Speaker 2: watch this movie your net?

521
00:29:48,720 --> 00:29:48,760
Speaker 1: No?

522
00:29:49,000 --> 00:29:51,200
Speaker 3: Well, guess what I'm picking for next week?

523
00:29:52,040 --> 00:29:55,200
Speaker 2: It's not in three D. I'm safe. I'm safe Funky

524
00:29:55,240 --> 00:29:58,920
Speaker 2: Monkey for at least two weeks, all right. Also, we

525
00:29:59,000 --> 00:30:03,640
Speaker 2: have a character named refresh my memory is Rick, the.

526
00:30:04,280 --> 00:30:08,600
Speaker 3: Climber, mountain climber, the drinking guy, the guy who's his

527
00:30:08,960 --> 00:30:11,080
Speaker 3: he drinks any knows things well.

528
00:30:11,800 --> 00:30:15,640
Speaker 2: Rick is played by Jerry Lazarus. And guess what. He

529
00:30:15,720 --> 00:30:19,040
Speaker 2: was also a writer on this picture. Born nineteen forty seven,

530
00:30:19,280 --> 00:30:21,560
Speaker 2: another member of the crew, but he did a little

531
00:30:21,560 --> 00:30:23,880
Speaker 2: more acting. He acted in nineteen eighty six is The

532
00:30:23,920 --> 00:30:27,720
Speaker 2: Delta Force and nineteen eighty eight's Police Academy five for example.

533
00:30:28,240 --> 00:30:32,480
Speaker 2: Now there are also some more distinguished actors in this picture.

534
00:30:32,560 --> 00:30:35,080
Speaker 2: Believe it or not, we have a character by the

535
00:30:35,160 --> 00:30:39,880
Speaker 2: name of Socrates. Socrates is, of course the strong man.

536
00:30:40,400 --> 00:30:44,360
Speaker 2: That's right. Yes, well, there's probably a lot to unpack

537
00:30:44,400 --> 00:30:48,400
Speaker 2: about Socrates as we get into the picture. But Socrates

538
00:30:48,440 --> 00:30:54,640
Speaker 2: is played by Francisco Rabal, who was a prolific Spanish actor, director,

539
00:30:54,680 --> 00:30:57,800
Speaker 2: and screenwriter of both stage and screen live nineteen twenty

540
00:30:57,800 --> 00:30:59,560
Speaker 2: six to two thousand and one. He had a pretty

541
00:30:59,640 --> 00:31:02,600
Speaker 2: robust career going back to the early nineteen forties, spanning

542
00:31:02,680 --> 00:31:06,240
Speaker 2: multiple genres and involving quite a few notable international actors

543
00:31:06,240 --> 00:31:06,680
Speaker 2: of the day.

544
00:31:07,200 --> 00:31:09,360
Speaker 3: You know, I think this guy does have a bit

545
00:31:09,400 --> 00:31:13,680
Speaker 3: more screen charisma, but it's like his role is underwritten

546
00:31:13,760 --> 00:31:16,480
Speaker 3: and he's not given enough to do other than kind

547
00:31:16,480 --> 00:31:18,440
Speaker 3: of have heart problems and die.

548
00:31:19,000 --> 00:31:21,920
Speaker 2: Yeah that is about all that he does. But you

549
00:31:22,000 --> 00:31:26,240
Speaker 2: can he's more believable in his scenes, his few scenes

550
00:31:26,280 --> 00:31:27,720
Speaker 2: where he gets to do more than just sort of

551
00:31:27,760 --> 00:31:32,440
Speaker 2: hang upside down and so forth. So I kept wondering, like, well,

552
00:31:32,480 --> 00:31:35,000
Speaker 2: maybe this is the actor who really should have played

553
00:31:35,000 --> 00:31:37,320
Speaker 2: the villain. Maybe he could have made the villain role

554
00:31:38,120 --> 00:31:44,560
Speaker 2: more interesting. I'm not sure. Internationally, he's probably more recognizable

555
00:31:45,000 --> 00:31:48,680
Speaker 2: to audiences for his roles in nineteen seventy seven Sorcerer.

556
00:31:49,160 --> 00:31:52,880
Speaker 2: This is, of course the remake of Wages of Fear

557
00:31:53,120 --> 00:31:57,560
Speaker 2: that has the amazing Tangerine Dream score. He's also in

558
00:31:57,560 --> 00:32:01,680
Speaker 2: two thousand and one's Day Gone, a Stuart directed Spanish

559
00:32:01,680 --> 00:32:05,000
Speaker 2: production that's an adaptation of lovecraft shadow over in Smith.

560
00:32:05,360 --> 00:32:06,760
Speaker 3: Oh who is he in that?

561
00:32:07,320 --> 00:32:10,600
Speaker 2: He's the old man who gets tortured by fish people.

562
00:32:11,320 --> 00:32:13,480
Speaker 3: Oh, he's the one guy in the village who's not

563
00:32:13,560 --> 00:32:18,720
Speaker 3: a fish person. Yeah, yeah, okay, I remember him. He Oh,

564
00:32:18,760 --> 00:32:21,680
Speaker 3: he divulges the lore. He's like, here's he divulges the lore.

565
00:32:21,520 --> 00:32:23,200
Speaker 2: And then I think he gets his face torn off

566
00:32:23,240 --> 00:32:27,719
Speaker 2: or something. That's right, But he's definitely in it. His

567
00:32:27,760 --> 00:32:30,880
Speaker 2: other big credits, though, include nineteen eighty nine's Tie Me Up,

568
00:32:30,920 --> 00:32:32,959
Speaker 2: Timey Down. This is a film that of course had

569
00:32:32,960 --> 00:32:36,720
Speaker 2: Antonio Banderas in it, nineteen eighty four is The Holy Innocence.

570
00:32:36,920 --> 00:32:40,360
Speaker 2: In nineteen ninety nine's Goya and Bordeaux, he had the

571
00:32:40,400 --> 00:32:43,040
Speaker 2: title role in that. He'll also find him in various

572
00:32:43,040 --> 00:32:47,440
Speaker 2: European hearth and thrillers, including Umberto Lindsay's Nightmare City from

573
00:32:47,520 --> 00:32:51,040
Speaker 2: nineteen eighty, nineteen seventy eight's Hotel Fear, and he co

574
00:32:51,120 --> 00:32:54,160
Speaker 2: starred with John Saxon in nineteen seventy five's Fight to

575
00:32:54,200 --> 00:32:54,600
Speaker 2: the Death.

576
00:32:55,480 --> 00:32:58,440
Speaker 3: Okay, I've watched some other movies with Francisco rebal He

577
00:32:59,240 --> 00:33:01,880
Speaker 3: as I said, he's an underwhelming presence in this movie.

578
00:33:01,880 --> 00:33:03,720
Speaker 3: But I don't think that's his fault. I think it's

579
00:33:03,760 --> 00:33:07,480
Speaker 3: it's the writing of his character. He brings a really tough,

580
00:33:07,680 --> 00:33:12,360
Speaker 3: you know, kind of sandbag heavy Robert Dovey energy.

581
00:33:13,320 --> 00:33:16,640
Speaker 2: Yeah, he has. It's notable that later in his career,

582
00:33:16,680 --> 00:33:19,800
Speaker 2: certainly the period in which we find this film, he

583
00:33:19,840 --> 00:33:23,200
Speaker 2: has some pretty extensive, extensive facial scarring. Apparently he was

584
00:33:23,200 --> 00:33:25,200
Speaker 2: in a couple of really bad car crashes, I think

585
00:33:25,240 --> 00:33:28,040
Speaker 2: in sixty three and nineteen eighty according to his oh bit.

586
00:33:29,040 --> 00:33:31,040
Speaker 2: But if you go back, like in this film, he's

587
00:33:31,120 --> 00:33:32,800
Speaker 2: kind of he has, you know, kind of he's a

588
00:33:32,800 --> 00:33:37,080
Speaker 2: little heavier, balding on top, you know, the very rugged face.

589
00:33:37,280 --> 00:33:39,840
Speaker 2: You look at him in his prime though, and man,

590
00:33:39,880 --> 00:33:44,200
Speaker 2: he was quite the leading man, rather different kind of

591
00:33:44,200 --> 00:33:49,200
Speaker 2: screen presence. So again, very well regarded actor during the

592
00:33:51,080 --> 00:33:52,680
Speaker 2: decades during which he was active.

593
00:33:53,400 --> 00:33:56,000
Speaker 3: Okay, so in your dream casting, you were saying, maybe

594
00:33:56,040 --> 00:33:58,920
Speaker 3: we would have had Francisco Reball as the villain, but

595
00:33:59,040 --> 00:34:03,560
Speaker 3: instead as the villa, and we've got Emilio Redondo, who. Yeah,

596
00:34:03,600 --> 00:34:05,880
Speaker 3: I don't know, what would you scale of one to ten?

597
00:34:06,520 --> 00:34:09,360
Speaker 3: How well would you rate his pleas for worship?

598
00:34:10,920 --> 00:34:14,760
Speaker 2: Yeah, he's not. His whole cult leader thing is basically

599
00:34:14,840 --> 00:34:17,080
Speaker 2: to wear a bunch of bells in a hooded robe,

600
00:34:17,080 --> 00:34:20,480
Speaker 2: which is fine, that's a solid choice. But then there's

601
00:34:20,520 --> 00:34:23,839
Speaker 2: just kind of a lot of yelling and threatening of hell,

602
00:34:24,760 --> 00:34:28,040
Speaker 2: which again not out of the you know, not beyond

603
00:34:28,040 --> 00:34:31,000
Speaker 2: the realm of possibility for a cult leader. But I

604
00:34:31,040 --> 00:34:33,640
Speaker 2: don't know, there's just nothing charismatic about him. You know,

605
00:34:33,680 --> 00:34:35,759
Speaker 2: there's nothing where it's like I want to hear what

606
00:34:35,800 --> 00:34:37,040
Speaker 2: this guy has to say.

607
00:34:37,200 --> 00:34:40,640
Speaker 3: They don't really show how he wins converts. He's always

608
00:34:40,680 --> 00:34:43,600
Speaker 3: just screaming at people to worship him. And you know,

609
00:34:44,200 --> 00:34:46,719
Speaker 3: I am your God, believe it me.

610
00:34:48,000 --> 00:34:50,320
Speaker 2: Yeah. I mean, you think of some of the great

611
00:34:50,400 --> 00:34:55,200
Speaker 2: roles played by perhaps better actors and definitely better screenplays,

612
00:34:55,680 --> 00:34:57,880
Speaker 2: and they all get you get that scene where you

613
00:34:57,920 --> 00:35:01,240
Speaker 2: get to sort of taste the the cult leader charisma.

614
00:35:01,320 --> 00:35:03,920
Speaker 2: You know, you think of like Conan the Barbarian in

615
00:35:03,960 --> 00:35:07,800
Speaker 2: those scenes where you get to see see Thulsa Doom

616
00:35:08,040 --> 00:35:12,040
Speaker 2: just really you know, chew up the scenery and share

617
00:35:12,160 --> 00:35:16,080
Speaker 2: some of his theology and also just captivate the audience.

618
00:35:16,120 --> 00:35:17,680
Speaker 2: And we just don't get any kind of moments like

619
00:35:17,680 --> 00:35:20,120
Speaker 2: that from brother Jonas. No, there is no what is

620
00:35:20,160 --> 00:35:22,840
Speaker 2: the answer to the riddle of steel? He's just demanding

621
00:35:22,880 --> 00:35:28,879
Speaker 2: everyone love him. Yeah. So Redondo lived nineteen thirty seven

622
00:35:28,920 --> 00:35:32,520
Speaker 2: through twenty fourteen Spanish actor. He was also in Timey Up,

623
00:35:32,600 --> 00:35:36,600
Speaker 2: Timey Down. His other credits include seventy twos Anthony and Cleopatra.

624
00:35:36,760 --> 00:35:38,759
Speaker 2: This was the one that starred and was directed by

625
00:35:39,080 --> 00:35:42,960
Speaker 2: Charlton Heston. He was in nineteen seventy four's The Dead,

626
00:35:43,560 --> 00:35:46,160
Speaker 2: the Devil and the Flesh. He was in seventy six

627
00:35:46,280 --> 00:35:48,359
Speaker 2: is The People Who Own the Dark. That one has

628
00:35:48,400 --> 00:35:50,640
Speaker 2: a bit part by Paul Nashey. By the way. He

629
00:35:50,760 --> 00:35:55,600
Speaker 2: was in nineteen eighty two's Morte in Vodicano. So I

630
00:35:55,600 --> 00:35:58,720
Speaker 2: guess like Death in the Vatican, I think it's a thriller, Okay.

631
00:35:59,080 --> 00:36:01,360
Speaker 2: He was in nineteen eighty t three's Black Venus that

632
00:36:01,440 --> 00:36:04,440
Speaker 2: had hell Galline in it, who's a factored into I

633
00:36:04,440 --> 00:36:07,440
Speaker 2: think a couple of films we've watched German actor and

634
00:36:07,520 --> 00:36:10,680
Speaker 2: he was also a nineteen eighty eight Fist Fighter starring

635
00:36:11,000 --> 00:36:15,560
Speaker 2: Jorge Rivero and Matthias Who's This is a poster that

636
00:36:15,560 --> 00:36:17,640
Speaker 2: I've come across a few times. I had to share

637
00:36:17,640 --> 00:36:19,200
Speaker 2: it with you here, Joe, because I think it has

638
00:36:19,239 --> 00:36:23,920
Speaker 2: the most abs per movie poster ever, regardless of genre.

639
00:36:24,320 --> 00:36:26,840
Speaker 3: Yes, all of the abs looked like the plates on

640
00:36:26,920 --> 00:36:31,440
Speaker 3: the exoskeleton of like a deep ocean isopod or insect.

641
00:36:32,040 --> 00:36:33,879
Speaker 2: Yeah, they each seem to have like a ten pack,

642
00:36:33,960 --> 00:36:36,719
Speaker 2: And I would suspect that this was some sort of

643
00:36:36,800 --> 00:36:39,600
Speaker 2: AI generated image if I didn't know for certain that

644
00:36:39,680 --> 00:36:43,680
Speaker 2: this is the authentic poster from a previous decade.

645
00:36:43,440 --> 00:36:46,240
Speaker 3: Right, Like you can't get the number of fingers or teeth, right,

646
00:36:46,400 --> 00:36:48,800
Speaker 3: it's giving people fourteen abs.

647
00:36:50,080 --> 00:36:52,200
Speaker 2: All right. One other thing of note about this film

648
00:36:52,520 --> 00:36:54,840
Speaker 2: on the surface anyway, not so much notable once you

649
00:36:54,880 --> 00:36:57,800
Speaker 2: actually get into the film, But this is an a

650
00:36:57,840 --> 00:37:03,000
Speaker 2: Neo Morricone score. So this light the humanoid that we

651
00:37:03,080 --> 00:37:06,400
Speaker 2: watched in another episode from nineteen seventy nine has a

652
00:37:06,440 --> 00:37:12,400
Speaker 2: score by one of the most famous composers of really

653
00:37:12,440 --> 00:37:15,000
Speaker 2: the twentieth century. And beyond a little bit, but certainly

654
00:37:15,040 --> 00:37:15,960
Speaker 2: of the twentieth century.

655
00:37:16,120 --> 00:37:17,920
Speaker 3: I will say, first of all, this is not his

656
00:37:18,000 --> 00:37:21,719
Speaker 3: best work that I've heard, but it is better than

657
00:37:21,920 --> 00:37:28,080
Speaker 3: standard B movie score. A problem, though, is mismatch between

658
00:37:28,160 --> 00:37:31,520
Speaker 3: the score and what's happening on screen, Like there will

659
00:37:31,560 --> 00:37:35,480
Speaker 3: be scenes where suddenly a kind of a kind of

660
00:37:35,640 --> 00:37:40,319
Speaker 3: glorious romantic theme is playing well, like a skeleton that's

661
00:37:40,360 --> 00:37:43,239
Speaker 3: got rotten bits of flesh all over. It is like

662
00:37:43,320 --> 00:37:47,960
Speaker 3: emerging from the fog. It just doesn't the drama and

663
00:37:48,280 --> 00:37:50,120
Speaker 3: the soundtrack seem off.

664
00:37:50,680 --> 00:37:53,720
Speaker 2: Yeah, yeah, so I would agree not Morcone's best work,

665
00:37:54,520 --> 00:37:57,640
Speaker 2: but among his best scores, the good, the Bad, and

666
00:37:57,680 --> 00:38:01,160
Speaker 2: the Ugly from sixty six, the mission from eighty John

667
00:38:01,200 --> 00:38:03,759
Speaker 2: Carpenter is the thing from eighty two. So you know,

668
00:38:04,120 --> 00:38:05,839
Speaker 2: lots of great scores from this man. But he wrote

669
00:38:05,880 --> 00:38:07,920
Speaker 2: over four hundred scores for the big screen and the

670
00:38:07,920 --> 00:38:11,000
Speaker 2: small screens, so you know they can't all be zingers.

671
00:38:11,480 --> 00:38:15,160
Speaker 3: This was the David Pumpkins of Morconey scores.

672
00:38:15,480 --> 00:38:20,640
Speaker 2: Yeah, but uh yeah, again, it's it's kind of surprising

673
00:38:21,000 --> 00:38:23,960
Speaker 2: who's not in this film, like Frank Bronna, for example,

674
00:38:24,120 --> 00:38:25,960
Speaker 2: being the main one. I was thinking that that guy

675
00:38:26,000 --> 00:38:28,680
Speaker 2: would have been perfect for this film, just to be

676
00:38:29,120 --> 00:38:32,280
Speaker 2: one of the cult members standing in the background. But

677
00:38:32,440 --> 00:38:33,319
Speaker 2: he's not in it. Sad.

678
00:38:34,200 --> 00:38:37,040
Speaker 3: So I looked what was he busy with in nineteen

679
00:38:37,080 --> 00:38:40,040
Speaker 3: eighty two eighty three. Apparently he was making pod People

680
00:38:40,760 --> 00:38:46,280
Speaker 3: and Hundra Hondra the uh this looks like a Lady

681
00:38:46,360 --> 00:38:48,000
Speaker 3: Conan basically.

682
00:38:48,200 --> 00:38:52,080
Speaker 2: Oh wow, it does look look potentially interesting, but hey,

683
00:38:52,160 --> 00:38:54,480
Speaker 2: pod People, I wouldn't take that away from him. I

684
00:38:54,520 --> 00:38:58,120
Speaker 2: wouldn't want pod People to be threatened just to just

685
00:38:58,160 --> 00:39:00,640
Speaker 2: to make Treasure of the Four Crowns a little interesting.

686
00:39:00,680 --> 00:39:03,279
Speaker 3: On the cast side, though, I am surprised there's not

687
00:39:03,480 --> 00:39:07,360
Speaker 3: some cast overlap with pod People. It seems like seems

688
00:39:07,360 --> 00:39:08,040
Speaker 3: like it should be.

689
00:39:08,320 --> 00:39:10,360
Speaker 2: Yeah, Pod People have like a thousand people in it,

690
00:39:10,800 --> 00:39:17,120
Speaker 2: so there's plenty of people to go around.

691
00:39:20,800 --> 00:39:22,680
Speaker 3: All right, You ready to talk about the plot.

692
00:39:23,000 --> 00:39:24,960
Speaker 2: Yes, let's let's get into the plot.

693
00:39:25,120 --> 00:39:27,240
Speaker 3: How do you think this movie should open? Should Should

694
00:39:27,239 --> 00:39:30,400
Speaker 3: it have a Star Wars style text crawl?

695
00:39:31,000 --> 00:39:31,320
Speaker 2: Oh?

696
00:39:31,360 --> 00:39:35,080
Speaker 3: Absolutely, yeah, So I don't know why it chooses to do.

697
00:39:35,320 --> 00:39:37,680
Speaker 3: There's not like background we need, so it's not like,

698
00:39:37,719 --> 00:39:39,200
Speaker 3: you know, it is a ton It is a dark

699
00:39:39,239 --> 00:39:42,879
Speaker 3: time for the rebel alliance or whatever. It's just it's

700
00:39:42,920 --> 00:39:45,279
Speaker 3: just sort of telling us the themes stuff that will

701
00:39:45,320 --> 00:39:49,919
Speaker 3: be reiterated anyway. It says in the universe, there are

702
00:39:49,920 --> 00:39:54,600
Speaker 3: things man cannot hope to understand. Powers he cannot hope

703
00:39:54,640 --> 00:39:58,760
Speaker 3: to possess, forces he cannot hope to control. The Four

704
00:39:58,920 --> 00:40:03,319
Speaker 3: Crowns are such things. Yet the search has begun. A

705
00:40:03,360 --> 00:40:06,640
Speaker 3: soldier of fortune takes the first step. He seeks a

706
00:40:06,760 --> 00:40:10,400
Speaker 3: key that will unlock the power of the Four Crowns

707
00:40:10,480 --> 00:40:14,480
Speaker 3: and unleash a world where good and evil collide.

708
00:40:14,200 --> 00:40:17,440
Speaker 2: I love all of this because, I mean, there's a

709
00:40:17,440 --> 00:40:21,240
Speaker 2: lot of hope squashing, like things you can't hope to understand,

710
00:40:21,320 --> 00:40:23,640
Speaker 2: you can't hope to visit, possitz, you can't hope to control.

711
00:40:23,920 --> 00:40:25,839
Speaker 2: But then this whole thing about prepared to end real

712
00:40:25,960 --> 00:40:28,920
Speaker 2: world where good and evil collide. I was thinking, isn't

713
00:40:29,000 --> 00:40:31,080
Speaker 2: a world where good and evil collide? Isn't that just

714
00:40:31,160 --> 00:40:34,680
Speaker 2: the mundane world? Isn't that just every day that's already

715
00:40:34,719 --> 00:40:38,400
Speaker 2: the world? Yeah, maybe they'll collide more than ever before.

716
00:40:40,960 --> 00:40:43,560
Speaker 2: So the very opening of this movie is a temple raid,

717
00:40:43,760 --> 00:40:47,319
Speaker 2: obviously modeled on the prologue of Raiders of the Lost Dark,

718
00:40:47,480 --> 00:40:50,480
Speaker 2: where our hero must plunge into the bowels of a

719
00:40:50,520 --> 00:40:54,600
Speaker 2: forgotten catacomb full of deadly booby traps to retrieve a

720
00:40:54,640 --> 00:40:58,640
Speaker 2: sacred artifact. Yeah, it is very much like the temple

721
00:40:58,719 --> 00:41:02,200
Speaker 2: rate at the beginning of Raiders, except yeah, I guess,

722
00:41:02,239 --> 00:41:06,120
Speaker 2: like everything else in the films, it doesn't actually copy

723
00:41:06,160 --> 00:41:09,800
Speaker 2: anything that made that sequence so amazing.

724
00:41:09,680 --> 00:41:13,840
Speaker 3: Right, you know? Yeah? Yeah, So instead of an ancient

725
00:41:13,840 --> 00:41:16,640
Speaker 3: temple in the Peruvian rainforest, the setting is a big,

726
00:41:16,840 --> 00:41:20,040
Speaker 3: blocky castle in Spain with no trees anywhere in sight.

727
00:41:20,360 --> 00:41:24,040
Speaker 3: Somehow doesn't have quite the same charm. Also, instead of

728
00:41:24,080 --> 00:41:26,880
Speaker 3: a whip cracking Harrison Ford in a leather jacket and

729
00:41:26,920 --> 00:41:30,640
Speaker 3: a fedora, we've got Tony Anthony and he's he's in

730
00:41:30,680 --> 00:41:33,480
Speaker 3: a candy apple red leather jacket instead of you know,

731
00:41:33,520 --> 00:41:37,640
Speaker 3: your classic brown leather jacket. He's got perpetual ick face,

732
00:41:37,760 --> 00:41:41,960
Speaker 3: you know what I mean. Yeah, and he's smoking a cigarette.

733
00:41:41,960 --> 00:41:44,680
Speaker 3: When we first seen he's just added like a field,

734
00:41:45,200 --> 00:41:48,160
Speaker 3: smoking a cigarette and he's looking at the castle like

735
00:41:48,280 --> 00:41:49,919
Speaker 3: a god, I don't want to do this.

736
00:41:50,560 --> 00:41:53,839
Speaker 2: Yeah, and that watching the opening of this film, as

737
00:41:53,840 --> 00:41:57,520
Speaker 2: he's approaching, I really experienced strong vibes of this can't

738
00:41:57,560 --> 00:42:01,480
Speaker 2: possibly be our hero. Right, I'd seen like a still

739
00:42:01,640 --> 00:42:04,879
Speaker 2: of Tony Anthony before, but I wasn't sure. I wasn't

740
00:42:04,880 --> 00:42:06,920
Speaker 2: one hundred percent sure this was Tony Anthony. I was like,

741
00:42:07,000 --> 00:42:09,520
Speaker 2: this is a guy that dies in the first ten minutes, right,

742
00:42:09,560 --> 00:42:12,640
Speaker 2: we were not really up to the Tony Anthony scenes.

743
00:42:12,680 --> 00:42:15,560
Speaker 2: But no, this is Tony Anthony. This is your hero

744
00:42:15,760 --> 00:42:17,200
Speaker 2: for the duration of the picture.

745
00:42:17,520 --> 00:42:20,680
Speaker 3: It's a hard pill to swallow, but yeah, and we

746
00:42:20,760 --> 00:42:22,759
Speaker 3: will later find out the name of our hero. This

747
00:42:22,840 --> 00:42:29,120
Speaker 3: is JT. Striker, a soldier of Fortune, solid solid so Disco, Indiana.

748
00:42:29,200 --> 00:42:32,959
Speaker 3: Jones smokes a cigarette and then begins his descent into

749
00:42:33,040 --> 00:42:36,600
Speaker 3: the tomb and he you know, there are of course

750
00:42:36,680 --> 00:42:39,680
Speaker 3: traps awaiting him. The first twenty minutes of this movie

751
00:42:40,320 --> 00:42:45,760
Speaker 3: is an unbelievably drawn out, just series of traps during

752
00:42:45,800 --> 00:42:49,680
Speaker 3: the raid on the castle. And again, to reiterate, this

753
00:42:49,800 --> 00:42:52,120
Speaker 3: is the most three D movie I have ever seen,

754
00:42:52,440 --> 00:42:55,279
Speaker 3: and that was evident after the first several minutes. In

755
00:42:55,400 --> 00:42:58,160
Speaker 3: the three D gags in the opening are non stop,

756
00:42:58,280 --> 00:43:01,560
Speaker 3: and their logical relationship to the progression of the plot

757
00:43:01,600 --> 00:43:03,680
Speaker 3: here is often questionable.

758
00:43:04,239 --> 00:43:08,560
Speaker 2: Yeah, there's in Raiders. You you have a strong sense

759
00:43:08,840 --> 00:43:12,800
Speaker 2: of cause and effect with booby traps. There's no such

760
00:43:12,880 --> 00:43:15,319
Speaker 2: feeling in this picture. These are not traps that even

761
00:43:15,360 --> 00:43:20,319
Speaker 2: seem to have some unbelievable mechanical operation behind them, but

762
00:43:20,440 --> 00:43:22,880
Speaker 2: just sort of random, supernatural what have you.

763
00:43:23,480 --> 00:43:25,440
Speaker 3: That's right. So in Raiders, yeah, you've got like you

764
00:43:25,440 --> 00:43:27,880
Speaker 3: step on the floor tile the dart comes out, or

765
00:43:27,920 --> 00:43:31,040
Speaker 3: you you move into the light, the spikes shoot. This time,

766
00:43:31,200 --> 00:43:33,399
Speaker 3: I don't know, it's just you know, he's going through

767
00:43:33,440 --> 00:43:36,080
Speaker 3: and then there's like, oh, here are some spikes poking out,

768
00:43:36,360 --> 00:43:40,000
Speaker 3: and then a bunch of birds attack, and there's but

769
00:43:40,120 --> 00:43:44,280
Speaker 3: except it's three birds and one pterodactyl. It's a pterodactyl.

770
00:43:44,480 --> 00:43:46,879
Speaker 2: It's like a cute little puppetterodactyl.

771
00:43:48,080 --> 00:43:50,440
Speaker 3: Why is there a pterodactyl? And also, if this is

772
00:43:50,480 --> 00:43:53,759
Speaker 3: an ancient tomb, have there been living birds in there

773
00:43:53,840 --> 00:43:55,040
Speaker 3: for hundreds of years?

774
00:43:55,719 --> 00:43:58,279
Speaker 2: Yeah, it makes no sense. And and again it's not

775
00:43:58,360 --> 00:44:01,359
Speaker 2: like the traps in Raiders make a lot of sense

776
00:44:01,360 --> 00:44:03,520
Speaker 2: if you analyze him too much, Like that whole light trap,

777
00:44:03,640 --> 00:44:06,320
Speaker 2: How on earth was that supposed to work? Yeah?

778
00:44:06,400 --> 00:44:07,840
Speaker 3: Yeah, I mean it doesn't.

779
00:44:07,760 --> 00:44:10,800
Speaker 2: Hold up to close scrutiny. But this film, like tops

780
00:44:11,320 --> 00:44:16,680
Speaker 2: the insanity that raiders brings like by two or three scoops.

781
00:44:16,880 --> 00:44:20,320
Speaker 3: So it goes bird trap, no spike trap, bird trap,

782
00:44:20,400 --> 00:44:24,840
Speaker 3: tterodact featuring pterodactyl, and then snake trap. Just like a

783
00:44:24,880 --> 00:44:27,560
Speaker 3: snake attacks, well, it doesn't attack him, actually, a snake

784
00:44:27,640 --> 00:44:30,879
Speaker 3: just kind of slithers over him harmlessly and he freaks out.

785
00:44:31,760 --> 00:44:34,880
Speaker 2: Yeah, and I love the like the puky face that

786
00:44:34,920 --> 00:44:38,040
Speaker 2: he makes during contact with the snake, like it just

787
00:44:38,120 --> 00:44:40,560
Speaker 2: kind of like who kind of a face like he's

788
00:44:40,600 --> 00:44:43,080
Speaker 2: about to wretch. And I just couldn't help but imagine

789
00:44:43,080 --> 00:44:46,120
Speaker 2: what if Indiana Jones had made this face around the

790
00:44:46,200 --> 00:44:48,799
Speaker 2: snakes that he hated. You know what would that have

791
00:44:48,880 --> 00:44:49,600
Speaker 2: done to the picture?

792
00:44:49,920 --> 00:44:52,720
Speaker 3: Yeah, so instead of yelling about how he hates snakes,

793
00:44:52,760 --> 00:44:57,520
Speaker 3: he just like barfs or looks like he's gonna barf. Yeah,

794
00:44:57,600 --> 00:45:02,520
Speaker 3: so uh okay, So there's bird, there's spikes, then birds, pterodactyl, snake,

795
00:45:02,640 --> 00:45:06,560
Speaker 3: and then dogs dogs attack and just dogs chasing him

796
00:45:06,600 --> 00:45:09,200
Speaker 3: around while he runs up and down on ramps and

797
00:45:09,239 --> 00:45:12,040
Speaker 3: stuff trying to get away from him. He eventually gets

798
00:45:12,040 --> 00:45:14,960
Speaker 3: away from the dogs by falling through a hole in

799
00:45:15,040 --> 00:45:17,440
Speaker 3: the floor and then we see it like a three

800
00:45:17,520 --> 00:45:20,359
Speaker 3: D shot of him falling toward the camera, plunging down

801
00:45:20,400 --> 00:45:23,840
Speaker 3: the hole, and the hole is like a tunnel in

802
00:45:23,920 --> 00:45:27,760
Speaker 3: a spaceship full of the all these differently colored lights.

803
00:45:27,800 --> 00:45:30,520
Speaker 3: It doesn't look like it matches the setting at all.

804
00:45:31,320 --> 00:45:33,640
Speaker 2: Yeah, it looks like some sort of contraption that a

805
00:45:34,000 --> 00:45:37,360
Speaker 2: sixties Batman villain would have busted out on the Cape Crusader.

806
00:45:37,840 --> 00:45:41,200
Speaker 3: Yeah. But finally he gets to the treasure room, where

807
00:45:41,239 --> 00:45:43,800
Speaker 3: there are a bunch of skeletons and creepy suits of armor,

808
00:45:44,040 --> 00:45:45,880
Speaker 3: and every time he turns his back, they're kind of

809
00:45:45,920 --> 00:45:49,480
Speaker 3: like creeping around, like pointing swords at him, and I

810
00:45:49,520 --> 00:45:51,839
Speaker 3: think it's sort of played for comedy, like he'll turn

811
00:45:51,880 --> 00:45:55,000
Speaker 3: and look and then they stop moving. He eventually lays

812
00:45:55,040 --> 00:45:58,880
Speaker 3: down some explosives and blows up a coffin to get inside,

813
00:45:59,280 --> 00:46:02,120
Speaker 3: and then there's this majestic music from the more Coney

814
00:46:02,200 --> 00:46:05,520
Speaker 3: score as a withered corpse king is revealed.

815
00:46:05,400 --> 00:46:07,719
Speaker 2: And the corpse king looks pretty good. There's this kind

816
00:46:07,760 --> 00:46:13,920
Speaker 2: of what color is this like a.

817
00:46:11,920 --> 00:46:14,000
Speaker 3: Powder blue fog behind him.

818
00:46:14,200 --> 00:46:17,319
Speaker 2: Yeah, yeah, it's it's it's cool. It's prominently featured in

819
00:46:17,400 --> 00:46:20,080
Speaker 2: some of the promotional images for the picture, and I

820
00:46:20,120 --> 00:46:21,319
Speaker 2: think is in the trailer as well.

821
00:46:21,719 --> 00:46:24,799
Speaker 3: Then he gets some artifact off of the king. He

822
00:46:25,239 --> 00:46:28,960
Speaker 3: pulls like a scepter with a mechanism that somehow releases

823
00:46:29,000 --> 00:46:31,680
Speaker 3: a key, and so he's got this key. I think

824
00:46:31,719 --> 00:46:36,560
Speaker 3: that's what he's there for. But then ensues an excruciatingly

825
00:46:36,680 --> 00:46:42,120
Speaker 3: long battle with floating crossbows and ghost weapons, spiritual axes

826
00:46:42,160 --> 00:46:46,160
Speaker 3: that fly around, rolling spike wheel traps, and it just

827
00:46:46,200 --> 00:46:48,239
Speaker 3: goes on and on and on.

828
00:46:49,400 --> 00:46:52,000
Speaker 2: It does manage to reach that point where, like we've

829
00:46:52,040 --> 00:46:55,239
Speaker 2: discussed this before, where something is interesting and then it

830
00:46:55,280 --> 00:46:57,520
Speaker 2: becoes on so long it becomes tedious, but then circles

831
00:46:57,520 --> 00:47:00,760
Speaker 2: back around and becomes amazing again because you they're still

832
00:47:00,760 --> 00:47:04,400
Speaker 2: doing it, like Tony Anthony is still dodging spears and

833
00:47:04,520 --> 00:47:06,760
Speaker 2: arrows sometimes matrix style.

834
00:47:07,160 --> 00:47:09,279
Speaker 3: It's yes, it's like the melting at the end of

835
00:47:09,320 --> 00:47:11,960
Speaker 3: The Devil's Rain. It goes on so long that it

836
00:47:12,000 --> 00:47:15,160
Speaker 3: becomes kind of awe inspiring. And this is the scene

837
00:47:15,160 --> 00:47:18,239
Speaker 3: that infamously, for people who were accusing this movie of

838
00:47:18,320 --> 00:47:21,880
Speaker 3: ripping offeraidors, the thing they pointed out most often is

839
00:47:21,920 --> 00:47:24,680
Speaker 3: that the hero has to run from a boulder, just

840
00:47:24,719 --> 00:47:27,279
Speaker 3: like Indiana Jones, except they up the ante. They make

841
00:47:27,360 --> 00:47:29,440
Speaker 3: him flee a flaming boulder.

842
00:47:31,840 --> 00:47:34,319
Speaker 2: Yeah, and all of this is played again. It's played

843
00:47:34,440 --> 00:47:38,319
Speaker 2: very seriously and played very very cool, and that's one

844
00:47:38,360 --> 00:47:41,080
Speaker 2: of the reasons that these sequences are so delightful.

845
00:47:41,400 --> 00:47:46,000
Speaker 3: Agreed. But eventually Tony Tony escapes. He runs away from

846
00:47:46,080 --> 00:47:50,040
Speaker 3: the castle as the castle explodes behind him.

847
00:47:50,680 --> 00:47:54,279
Speaker 2: Strong vibes of tim they enchanter from Monty Python and

848
00:47:54,320 --> 00:47:56,800
Speaker 2: the Holy Grail with these explosions exactly.

849
00:47:56,880 --> 00:48:02,000
Speaker 3: Yeah, these little like point sources of explosions set against

850
00:48:02,000 --> 00:48:03,640
Speaker 3: the castle to try to make it look like the

851
00:48:03,640 --> 00:48:05,880
Speaker 3: whole thing's blowing up. But really it's just these like

852
00:48:06,160 --> 00:48:09,080
Speaker 3: I don't know, fireballs coming off of the stones.

853
00:48:09,520 --> 00:48:11,240
Speaker 2: I should have looked up to see who their pyro

854
00:48:11,320 --> 00:48:14,000
Speaker 2: guy on this film was, because whoever it was, assuming

855
00:48:14,080 --> 00:48:16,719
Speaker 2: nobody was injured, and I don't think I didn't read

856
00:48:16,719 --> 00:48:19,280
Speaker 2: anything about anybody being injured. There's a lot of fire

857
00:48:19,320 --> 00:48:21,200
Speaker 2: in this movie. They really bring the fire.

858
00:48:21,480 --> 00:48:23,400
Speaker 3: Okay, So he's got the key and now we're going

859
00:48:23,440 --> 00:48:26,280
Speaker 3: to go back to civilization. So back in the city,

860
00:48:26,280 --> 00:48:29,520
Speaker 3: we see Tony Tony walking around. He walks past like

861
00:48:29,560 --> 00:48:33,040
Speaker 3: a big fountain, and you know, it feels like we're

862
00:48:33,040 --> 00:48:35,000
Speaker 3: in for some exposition, and what do you know, my

863
00:48:35,040 --> 00:48:35,960
Speaker 3: instincts were right.

864
00:48:36,360 --> 00:48:38,279
Speaker 2: I also love how in this sequence, and there's one

865
00:48:38,280 --> 00:48:40,000
Speaker 2: you included us still for this in our notes where

866
00:48:40,040 --> 00:48:43,680
Speaker 2: he's walking underneath this fountain and this pretty cool little

867
00:48:43,719 --> 00:48:45,799
Speaker 2: shot here that I don't even think has any three

868
00:48:45,920 --> 00:48:48,280
Speaker 2: D in it, at least until he throws his cigarette

869
00:48:48,320 --> 00:48:50,680
Speaker 2: at the camera, and then that's the three D gag

870
00:48:50,719 --> 00:48:53,600
Speaker 2: that they couldn't go, you know, two minutes without having.

871
00:48:53,960 --> 00:48:58,239
Speaker 2: But in this sequence he's all coolness and jacket and smoking,

872
00:48:59,160 --> 00:49:01,319
Speaker 2: and it's almost you almost want to call him on

873
00:49:01,400 --> 00:49:03,680
Speaker 2: his bs and be like, we just saw you freaking

874
00:49:03,719 --> 00:49:07,560
Speaker 2: out for like twenty straight dialogue free minutes and pulling

875
00:49:07,560 --> 00:49:12,120
Speaker 2: all sorts of kooky faces. So don't pull this swab

876
00:49:12,200 --> 00:49:13,400
Speaker 2: hero stuff now, buddy.

877
00:49:13,600 --> 00:49:16,000
Speaker 3: That's right, you are not too cool for school. You

878
00:49:16,239 --> 00:49:20,960
Speaker 3: barf when you see a snake. So Tony eventually meets

879
00:49:21,040 --> 00:49:23,240
Speaker 3: up with his people and he gets into a car

880
00:49:23,280 --> 00:49:27,360
Speaker 3: with his handler Edmund Here or Ed. This was apparently

881
00:49:27,360 --> 00:49:29,960
Speaker 3: the guy who sent him on the mission to the castle.

882
00:49:30,320 --> 00:49:33,719
Speaker 3: Here is where we learned that Tony Tony's name is JT. Striker.

883
00:49:34,239 --> 00:49:38,200
Speaker 3: JT is unhappy because Ed apparently did not warn him

884
00:49:38,200 --> 00:49:40,600
Speaker 3: that the castle was going to be full of dogs

885
00:49:40,600 --> 00:49:44,359
Speaker 3: and killer birds and pterodactyls and snakes and spikes and

886
00:49:44,400 --> 00:49:48,000
Speaker 3: ghost weapons and flaming boulders. Oh, and I will say

887
00:49:48,040 --> 00:49:51,480
Speaker 3: screenshot here earlier I think I said Ed Ed was

888
00:49:51,520 --> 00:49:54,240
Speaker 3: bald on top. He's not. I just remembered that wrong.

889
00:49:54,520 --> 00:49:56,279
Speaker 3: Here we go, we get to see it. His hair

890
00:49:56,400 --> 00:49:58,440
Speaker 3: is longer in back than it is on top.

891
00:49:59,120 --> 00:50:02,920
Speaker 2: Yes, yeah, otherwise, yeah, we have to withdraw that statement.

892
00:50:03,400 --> 00:50:06,360
Speaker 2: Full head of glorious hair on Edmund So Tony.

893
00:50:06,400 --> 00:50:09,960
Speaker 3: Tony says, you almost got me killed, and Ed says, hey,

894
00:50:10,000 --> 00:50:12,400
Speaker 3: I told you. I told you there was a legend

895
00:50:12,520 --> 00:50:15,799
Speaker 3: surrounding the existence of the key. But no, no, you

896
00:50:15,840 --> 00:50:18,600
Speaker 3: didn't want to listen. You said you didn't believe in

897
00:50:18,680 --> 00:50:23,480
Speaker 3: ghosts and that legends were cow excrement. So we got

898
00:50:23,480 --> 00:50:27,280
Speaker 3: a hero who thinks legends are cow excrement. But JT.

899
00:50:27,320 --> 00:50:29,839
Speaker 3: Striker is over it. He just wants his money so

900
00:50:29,920 --> 00:50:32,440
Speaker 3: he can say goodbye to these guys and be on

901
00:50:32,520 --> 00:50:35,720
Speaker 3: his way. But Ed takes JT to meet his boss,

902
00:50:36,040 --> 00:50:38,880
Speaker 3: the Professor, who is hanging out in what looks like

903
00:50:39,040 --> 00:50:41,680
Speaker 3: like a big government building where it's full of suits

904
00:50:41,680 --> 00:50:46,600
Speaker 3: of armor. And Striker gives the professor the key, and

905
00:50:46,680 --> 00:50:51,080
Speaker 3: we are taken to this box on a table where

906
00:50:51,880 --> 00:50:54,320
Speaker 3: I guess he owes. The professor opens up the box

907
00:50:54,360 --> 00:50:57,760
Speaker 3: and then a crown like a gold jewel, encrusted crown

908
00:50:57,840 --> 00:51:02,760
Speaker 3: with a golden ball on top, extends toward the camera slowly,

909
00:51:02,880 --> 00:51:07,120
Speaker 3: so it's coming into our facial region, and the professor narrates.

910
00:51:07,120 --> 00:51:10,239
Speaker 3: He says, this is one of the four golden crowns

911
00:51:10,640 --> 00:51:14,680
Speaker 3: created by the Visigoths in the sixth century, sometime after

912
00:51:14,719 --> 00:51:19,520
Speaker 3: the conquest of Spain. Legend dictates the gold balls on

913
00:51:19,600 --> 00:51:23,319
Speaker 3: top of three of the four crowns contained secrets to

914
00:51:23,480 --> 00:51:28,319
Speaker 3: unleashing incredible powers of good and evil. After centuries, they

915
00:51:28,360 --> 00:51:31,440
Speaker 3: passed into the fabric of myth and legend when an

916
00:51:31,560 --> 00:51:36,520
Speaker 3: archaeologist discovered them in the mountains outside Toledo. But when

917
00:51:36,520 --> 00:51:40,759
Speaker 3: the Arabs invaded Spain, three of the four crowns disappeared.

918
00:51:41,280 --> 00:51:43,920
Speaker 3: I'm already confused on the timeline here.

919
00:51:44,760 --> 00:51:45,520
Speaker 2: It seems to be.

920
00:51:45,480 --> 00:51:47,520
Speaker 3: Going backward and forward in the past in a way

921
00:51:47,520 --> 00:51:50,080
Speaker 3: that doesn't make any sense, but anyway, to continue, he says,

922
00:51:50,400 --> 00:51:54,400
Speaker 3: the fourth fell into the Arab's hands attempting to unlock

923
00:51:54,520 --> 00:51:58,120
Speaker 3: its secrets without using the key. I think this is

924
00:51:58,120 --> 00:52:01,920
Speaker 3: the key Striker just brought. They destroyed the Golden Ball

925
00:52:02,440 --> 00:52:05,560
Speaker 3: three years ago I learned the location of the key,

926
00:52:05,920 --> 00:52:08,560
Speaker 3: there was no sense in recovering it because the crowns

927
00:52:08,600 --> 00:52:13,320
Speaker 3: were still missing until this crown, purportedly the one containing

928
00:52:13,400 --> 00:52:16,920
Speaker 3: the scroll, surfaced. I discovered it in the possession of

929
00:52:16,920 --> 00:52:20,360
Speaker 3: a Sherpa mountain climber in Nepal and convinced him to

930
00:52:20,400 --> 00:52:22,960
Speaker 3: sell it to me. But now we shall see.

931
00:52:23,520 --> 00:52:26,839
Speaker 2: Wow, there's so much, so much in all of that,

932
00:52:27,360 --> 00:52:30,719
Speaker 2: and some just total dead ends too, like why is

933
00:52:30,760 --> 00:52:32,960
Speaker 2: it just not the legend of the three crowns? Then

934
00:52:33,040 --> 00:52:35,520
Speaker 2: if the fourth crown, I guess they had to establish

935
00:52:35,760 --> 00:52:38,520
Speaker 2: that you cannot even attempt to open one of these

936
00:52:38,640 --> 00:52:42,080
Speaker 2: without the special key, otherwise you destroyed the content. That's right.

937
00:52:42,080 --> 00:52:44,600
Speaker 3: I thought the same thing. According to this exposition, by

938
00:52:44,680 --> 00:52:48,200
Speaker 3: the time the film begins, Treasure of the Four Crowns

939
00:52:48,400 --> 00:52:51,480
Speaker 3: is about three crowns that remain in existence.

940
00:52:52,360 --> 00:52:55,239
Speaker 2: Yeah, I mean you almost wonder if maybe there was

941
00:52:55,280 --> 00:52:57,760
Speaker 2: a supposed to be a whole additional sequence or something

942
00:52:57,800 --> 00:53:00,640
Speaker 2: and they just didn't film it or it had to

943
00:53:00,680 --> 00:53:03,080
Speaker 2: be cut. I don't know, but yeah, it's very confusing

944
00:53:03,120 --> 00:53:05,680
Speaker 2: all of this. But what we're looking then at three crowns.

945
00:53:06,000 --> 00:53:08,000
Speaker 2: This is one of them, and they have a key

946
00:53:08,120 --> 00:53:10,840
Speaker 2: to unlock the ball on the crown.

947
00:53:11,080 --> 00:53:14,640
Speaker 3: The ball on the crown, which this one contains a scroll,

948
00:53:14,760 --> 00:53:17,160
Speaker 3: But I think the other two contain the secrets of

949
00:53:17,239 --> 00:53:18,400
Speaker 3: unimaginable power.

950
00:53:18,920 --> 00:53:21,880
Speaker 2: So how they end up with the least interesting crown then.

951
00:53:21,920 --> 00:53:24,279
Speaker 3: I don't know. Very good question. Oh, by the way,

952
00:53:24,400 --> 00:53:29,480
Speaker 3: during this whole exposition, just like tweezers and magnifying glasses

953
00:53:29,520 --> 00:53:34,000
Speaker 3: and other objects are being inserted into our facial space. Yeah,

954
00:53:34,080 --> 00:53:36,520
Speaker 3: but anyway, Professor, he gets the scroll out, you know,

955
00:53:36,600 --> 00:53:39,520
Speaker 3: he unlocks the box, gets the scroll out, and he

956
00:53:39,600 --> 00:53:43,000
Speaker 3: is ecstatic. He says, the very existence of this scroll

957
00:53:43,120 --> 00:53:44,280
Speaker 3: supports the legend.

958
00:53:44,680 --> 00:53:46,040
Speaker 2: Okay, okay, fair enough.

959
00:53:46,480 --> 00:53:49,320
Speaker 3: I don't remember do they ever read what the scroll says?

960
00:53:49,640 --> 00:53:51,919
Speaker 3: Maybe if they do, I don't recall that part.

961
00:53:52,000 --> 00:53:53,839
Speaker 2: I don't recall it either. I think I was very

962
00:53:53,840 --> 00:53:56,440
Speaker 2: distracted by this part because I was kept thinking, like,

963
00:53:56,480 --> 00:53:58,239
Speaker 2: didn't well, couldn't they have done an X ray and

964
00:53:58,320 --> 00:54:00,759
Speaker 2: just figured out what was in there? Like it wasn't

965
00:54:00,800 --> 00:54:03,080
Speaker 2: there some sort of technique they could have used, or

966
00:54:03,320 --> 00:54:05,319
Speaker 2: maybe even just taken a crowbar to the thing. But

967
00:54:05,719 --> 00:54:06,200
Speaker 2: I guess not.

968
00:54:06,560 --> 00:54:09,360
Speaker 3: No, you need the key. Well you learn that because

969
00:54:10,160 --> 00:54:12,640
Speaker 3: they tried to open the key open it without the

970
00:54:12,680 --> 00:54:16,360
Speaker 3: key before and it led to untold destruction. That's right, okay,

971
00:54:16,400 --> 00:54:19,680
Speaker 3: But anyway, so JT. Striker, I don't know, maybe he's

972
00:54:19,680 --> 00:54:22,280
Speaker 3: sort of interested. He says, where are the other crowns?

973
00:54:22,840 --> 00:54:26,480
Speaker 3: And ed the professor's assistant, remember, he says, we know.

974
00:54:26,719 --> 00:54:29,880
Speaker 3: And then for some reason, they have a slide show

975
00:54:30,000 --> 00:54:33,720
Speaker 3: introduction prepared and waiting to teach us about the villain

976
00:54:33,760 --> 00:54:36,840
Speaker 3: of today's film. So, almost as if by magic, like

977
00:54:36,880 --> 00:54:40,080
Speaker 3: all these things start automatically happening, like the lights go down,

978
00:54:40,160 --> 00:54:44,600
Speaker 3: and these curtains on the wall drawback, revealing a projector screen,

979
00:54:44,960 --> 00:54:49,080
Speaker 3: and the slide projector clicks on and somehow quite hilariously,

980
00:54:49,320 --> 00:54:53,200
Speaker 3: audio starts playing. So it shows a picture of this

981
00:54:53,360 --> 00:54:56,239
Speaker 3: guy in a like a hooded robe, like a red

982
00:54:56,360 --> 00:54:59,200
Speaker 3: robe with a cloak, and all these bells attached to him,

983
00:54:59,360 --> 00:55:02,560
Speaker 3: and we hear I want you to taste what I taste.

984
00:55:02,880 --> 00:55:05,759
Speaker 3: I want you to hear what I hear. I want

985
00:55:05,800 --> 00:55:08,399
Speaker 3: you to see what I see. Do you get the theme?

986
00:55:08,680 --> 00:55:11,560
Speaker 3: I want you to feel what I feel. I want

987
00:55:11,600 --> 00:55:14,920
Speaker 3: you to be what I am and if you won't,

988
00:55:15,000 --> 00:55:22,160
Speaker 3: then go to hell. And then a crowd starts chanting Jonas, Jonas, Jonas,

989
00:55:22,719 --> 00:55:28,520
Speaker 3: and we get various shots. They're like portraits of Jonas here,

990
00:55:28,560 --> 00:55:34,160
Speaker 3: just looking menacing and quite crazed, with his arms outstretched,

991
00:55:34,520 --> 00:55:39,799
Speaker 3: making angry faces, anguished faces, clutching at his bells. He

992
00:55:39,840 --> 00:55:42,319
Speaker 3: seems like a guy who's maybe up to no good.

993
00:55:42,920 --> 00:55:47,560
Speaker 2: Yeah, and again already it's very difficult to see what

994
00:55:47,760 --> 00:55:51,879
Speaker 2: his apparently thousands upon thousands of international followers see in him.

995
00:55:51,920 --> 00:55:54,800
Speaker 2: What they're taking away from this message, How this message

996
00:55:54,880 --> 00:55:59,120
Speaker 2: gives them some level of hope or improves their perceived

997
00:55:59,160 --> 00:56:02,239
Speaker 2: status in the world. We don't know. They just like

998
00:56:02,320 --> 00:56:03,640
Speaker 2: what's he's dishing out?

999
00:56:03,840 --> 00:56:06,160
Speaker 3: Oh, I meant to look up what is the relationship

1000
00:56:06,239 --> 00:56:09,520
Speaker 3: of this film to the legend of Zelda the very

1001
00:56:09,560 --> 00:56:12,000
Speaker 3: first game? Because he's got a tri force painted on

1002
00:56:12,040 --> 00:56:12,719
Speaker 3: his forehead.

1003
00:56:13,760 --> 00:56:14,480
Speaker 2: No, I don't know.

1004
00:56:14,840 --> 00:56:17,279
Speaker 3: This is before the first tri force in Zelda. Maybe

1005
00:56:17,280 --> 00:56:18,520
Speaker 3: that's I've never researched the.

1006
00:56:20,000 --> 00:56:24,440
Speaker 2: Symbol to see how far back it goes the inverse

1007
00:56:24,480 --> 00:56:26,320
Speaker 2: triangle within a larger triangle.

1008
00:56:27,680 --> 00:56:30,840
Speaker 3: Just glancing at Wikipedia quickly it looks like it's saying

1009
00:56:31,680 --> 00:56:34,799
Speaker 3: that maybe this was used as a symbol in like

1010
00:56:34,920 --> 00:56:39,440
Speaker 3: some Japanese publishing before, before the legend of Zelda. But

1011
00:56:39,520 --> 00:56:42,840
Speaker 3: definitely the first video game didn't come until eighty six.

1012
00:56:43,480 --> 00:56:47,280
Speaker 2: Okay, so this is not Jonas Dorf or Gannon Jonas

1013
00:56:47,360 --> 00:56:47,760
Speaker 2: or anything.

1014
00:56:48,800 --> 00:56:53,160
Speaker 3: No, but so evil brother Zelda. Here we learn about him.

1015
00:56:53,400 --> 00:56:58,400
Speaker 3: Ed narrates the slideshow. Ed says Neil Green born in Brooklyn,

1016
00:56:58,440 --> 00:57:02,200
Speaker 3: New York, served seven years a sing sing for armed robbery,

1017
00:57:02,480 --> 00:57:05,879
Speaker 3: where he claims to have experienced a religious vision. When

1018
00:57:05,880 --> 00:57:08,520
Speaker 3: he got out, he borrowed a hundred bucks and became

1019
00:57:08,560 --> 00:57:12,560
Speaker 3: one of those male order ministers. Huh what was that?

1020
00:57:13,680 --> 00:57:15,399
Speaker 2: I don't know. I guess it's like nowadays it would

1021
00:57:15,440 --> 00:57:17,120
Speaker 2: be like you went to a website and became an

1022
00:57:17,200 --> 00:57:17,840
Speaker 2: ordained minister.

1023
00:57:18,320 --> 00:57:23,080
Speaker 3: I guess. So then he ordained himself, brother Jonas. When

1024
00:57:23,080 --> 00:57:27,320
Speaker 3: his small storefront cult following began to grow, he complained

1025
00:57:27,360 --> 00:57:32,520
Speaker 3: of political harassment, the government, claimed tax fraud. He's got

1026
00:57:32,560 --> 00:57:36,000
Speaker 3: the crowns, and then ed Ed starts to kind of

1027
00:57:36,080 --> 00:57:39,560
Speaker 3: so that's the main speech, and then he starts to editorialize,

1028
00:57:39,640 --> 00:57:43,200
Speaker 3: this guy's an animal. He's got to be stopped. He's

1029
00:57:43,240 --> 00:57:46,240
Speaker 3: not just some nut. He wants power.

1030
00:57:46,320 --> 00:57:47,960
Speaker 2: And he's got the crowns. I love how they did,

1031
00:57:48,160 --> 00:57:51,800
Speaker 2: like in describing this guy's origin story really skipped a

1032
00:57:51,800 --> 00:57:55,360
Speaker 2: lot into how he has essentially, you know, acquires the

1033
00:57:56,240 --> 00:57:58,360
Speaker 2: power on the level of the Ark of the Covenant.

1034
00:57:58,880 --> 00:58:02,200
Speaker 3: Yeah. Yeah, so they do explain he's got a fortress.

1035
00:58:02,640 --> 00:58:06,840
Speaker 3: He's got a fortress where he attracts. He has his

1036
00:58:07,000 --> 00:58:09,600
Speaker 3: followers go out and round up the sick, the desperate,

1037
00:58:09,640 --> 00:58:12,320
Speaker 3: and the lonely and bring them to his private mountain

1038
00:58:12,360 --> 00:58:15,840
Speaker 3: fortress for the ninety day indoctrination period.

1039
00:58:17,320 --> 00:58:19,640
Speaker 2: We later get to see some of these folks and

1040
00:58:19,880 --> 00:58:22,640
Speaker 2: they just look they look like tourists. They look, yeah,

1041
00:58:22,800 --> 00:58:25,880
Speaker 2: like people going to a theater. They don't look particularly

1042
00:58:26,360 --> 00:58:28,760
Speaker 2: sick or desperate or lonely. But I don't know.

1043
00:58:29,000 --> 00:58:31,000
Speaker 3: They're just sitting there while he yells at them to

1044
00:58:31,040 --> 00:58:35,840
Speaker 3: believe in him. And there's another you know, there are

1045
00:58:35,840 --> 00:58:38,200
Speaker 3: all these slides in the slideshow of the bad Guy's lair,

1046
00:58:38,280 --> 00:58:40,320
Speaker 3: so it's another castle on a hilltop for all I know,

1047
00:58:40,400 --> 00:58:43,120
Speaker 3: the same one that blew up at the beginning, and

1048
00:58:43,160 --> 00:58:47,120
Speaker 3: then armed guards, German shepherds. They say there are cells

1049
00:58:47,160 --> 00:58:49,800
Speaker 3: for cult members who try to escape or who disobey

1050
00:58:49,880 --> 00:58:53,280
Speaker 3: Brother Jonas, and then some audio of Brother Jonas plays again.

1051
00:58:53,360 --> 00:58:56,520
Speaker 3: He says, welcome my children to the City of Love

1052
00:58:56,600 --> 00:58:59,520
Speaker 3: and Unity. I have prayed for the day when I

1053
00:58:59,560 --> 00:59:04,040
Speaker 3: would see your face before me. And then Ed he

1054
00:59:04,120 --> 00:59:06,520
Speaker 3: goes on to say, you know, he fills them up

1055
00:59:06,560 --> 00:59:09,360
Speaker 3: with all this. Here you are loved, here, you are needed.

1056
00:59:09,520 --> 00:59:13,440
Speaker 3: Bull this is his indoctrination squad. And they show these

1057
00:59:13,480 --> 00:59:16,280
Speaker 3: guys who are also dressed in red robes but wearing

1058
00:59:16,480 --> 00:59:20,000
Speaker 3: pig masks. Okay, that's starting to be kind of creepy.

1059
00:59:20,840 --> 00:59:24,080
Speaker 3: But then as funny as the second time, Ed brings

1060
00:59:24,160 --> 00:59:26,760
Speaker 3: up the issue of taxes. He says, Brother Jonas has

1061
00:59:26,840 --> 00:59:31,240
Speaker 3: thousands of disciples and hundreds of millions of dollars quote

1062
00:59:31,520 --> 00:59:32,400
Speaker 3: tax free.

1063
00:59:33,800 --> 00:59:35,960
Speaker 2: Well, I mean, I mean, it is a new religious movement.

1064
00:59:37,320 --> 00:59:39,840
Speaker 2: Shouldn't it be up for some sort of tax exemption?

1065
00:59:39,920 --> 00:59:42,240
Speaker 2: I don't know, I don't know.

1066
00:59:43,280 --> 00:59:46,160
Speaker 3: So the professor says, you know, he must be stopped,

1067
00:59:46,200 --> 00:59:49,760
Speaker 3: mister Striker. For Brother Jonas, those crowns are weapons of

1068
00:59:49,880 --> 00:59:53,320
Speaker 3: power and fear. But I want to preserve that power

1069
00:59:53,360 --> 00:59:56,680
Speaker 3: for the future of mankind. It's an incredible legacy. I

1070
00:59:56,800 --> 01:00:00,240
Speaker 3: must have them, and for some reason, Strikers response to

1071
01:00:00,240 --> 01:00:02,600
Speaker 3: this is to ask why do all those people have

1072
01:00:02,640 --> 01:00:07,200
Speaker 3: Halloween masks on? And Ed explains that everybody in the

1073
01:00:07,200 --> 01:00:10,600
Speaker 3: cult has to wear a mask because the individual's identity

1074
01:00:10,680 --> 01:00:14,120
Speaker 3: doesn't matter. Only Brother Jonas is important.

1075
01:00:14,320 --> 01:00:17,200
Speaker 2: Okay, so they're like the band Ghost, Oh do they

1076
01:00:17,200 --> 01:00:21,480
Speaker 2: have a Brother Jonas or well, there's the lead singer

1077
01:00:21,600 --> 01:00:24,680
Speaker 2: of Ghost and then everyone else is just a nameless

1078
01:00:24,680 --> 01:00:25,880
Speaker 2: ghoul that wears a mask.

1079
01:00:26,320 --> 01:00:30,720
Speaker 3: Nice, Okay, it's the Brother Jonas principle. Okay, yeah, anyway,

1080
01:00:30,760 --> 01:00:33,160
Speaker 3: Striker wants out. You know, you can tell this guy

1081
01:00:33,240 --> 01:00:36,360
Speaker 3: he's just a workaday soldier of fortune. He's not interested

1082
01:00:36,400 --> 01:00:39,520
Speaker 3: in getting involved in Brother Jonas Shenanigan, so he just

1083
01:00:39,560 --> 01:00:41,479
Speaker 3: wants to get his money and be on his way.

1084
01:00:41,840 --> 01:00:44,720
Speaker 3: But then Ed implores him. He says, do something good

1085
01:00:44,800 --> 01:00:48,200
Speaker 3: for once in your life. Help us get the crowns,

1086
01:00:49,160 --> 01:00:55,240
Speaker 3: and Striker gives him a very just unimpressed face and

1087
01:00:55,280 --> 01:00:58,080
Speaker 3: he tries to walk out. He says, you guys sitting

1088
01:00:58,080 --> 01:01:00,760
Speaker 3: in this big room, you're just believing in fair fairy tales,

1089
01:01:01,120 --> 01:01:04,240
Speaker 3: and Ed says, we've got plans, equipment, diagrams. All we

1090
01:01:04,360 --> 01:01:06,920
Speaker 3: need is a few good people, and then there's a

1091
01:01:06,960 --> 01:01:09,160
Speaker 3: transition I didn't get it all. Maybe you caught something

1092
01:01:09,200 --> 01:01:11,600
Speaker 3: I didn't. The Striker walks out and it looks like

1093
01:01:12,040 --> 01:01:14,880
Speaker 3: he's fully refusing the call and we're gonna have to

1094
01:01:14,960 --> 01:01:19,440
Speaker 3: go to another scene where he's becomes convinced somehow to participate.

1095
01:01:19,800 --> 01:01:22,520
Speaker 3: But instead, in the next scene, Ed and Striker are

1096
01:01:22,560 --> 01:01:26,080
Speaker 3: just suddenly together on a snowy mountaintop, proceeding with the mission.

1097
01:01:26,480 --> 01:01:29,600
Speaker 3: So what happened? Why did he come back and do it?

1098
01:01:29,760 --> 01:01:31,920
Speaker 2: Yeah? I feel like we needed some sort of scene

1099
01:01:32,040 --> 01:01:36,120
Speaker 2: or in there where he observes something or has some

1100
01:01:36,160 --> 01:01:39,280
Speaker 2: sort of breakthrough where he realizes, no, I really should

1101
01:01:40,400 --> 01:01:43,480
Speaker 2: help steal these crowns from this cult leader. But now

1102
01:01:43,480 --> 01:01:45,080
Speaker 2: it's just like, oh, yeah, I'm doing it. I know

1103
01:01:45,120 --> 01:01:47,320
Speaker 2: I said I wasn't doing it, but I'm actually doing it.

1104
01:01:55,800 --> 01:01:58,880
Speaker 3: So the middle portion of the movie is the getting

1105
01:01:58,920 --> 01:02:03,400
Speaker 3: the team together montage that well, not quite a montage.

1106
01:02:03,440 --> 01:02:05,000
Speaker 3: It's a series of scenes.

1107
01:02:04,880 --> 01:02:11,000
Speaker 2: Yes, recruiting the least convincing heist crew imaginable to carry

1108
01:02:11,000 --> 01:02:11,720
Speaker 2: out this heist.

1109
01:02:12,400 --> 01:02:16,240
Speaker 3: Yeah, so the team, I guess in order is JT. Striker.

1110
01:02:16,280 --> 01:02:19,680
Speaker 3: We know his deal. Then there's Ed Actually, as we said,

1111
01:02:19,720 --> 01:02:22,040
Speaker 3: he turns out to be a member of the team.

1112
01:02:22,520 --> 01:02:24,560
Speaker 3: You might be wondering what does he actually bring to

1113
01:02:24,600 --> 01:02:27,120
Speaker 3: the table in terms of being like on the ground

1114
01:02:27,200 --> 01:02:29,880
Speaker 3: for a heist. Seems like he's a tech guy. He

1115
01:02:30,040 --> 01:02:34,400
Speaker 3: unlocks electronic doors and disarms bombs and traps and stuff.

1116
01:02:34,480 --> 01:02:35,960
Speaker 2: All Right, I mean, if this is an Unders and

1117
01:02:36,000 --> 01:02:38,240
Speaker 2: Dragons crew, then this is your rogue. This is the

1118
01:02:38,280 --> 01:02:40,640
Speaker 2: guy that's gonna pick those locks and disarm those traps.

1119
01:02:40,680 --> 01:02:43,960
Speaker 2: Fair enough, He's not very rogueish, He's not. He does

1120
01:02:44,000 --> 01:02:46,640
Speaker 2: not have any stealth attacks up his sleeve, that's for sure.

1121
01:02:47,160 --> 01:02:50,720
Speaker 3: Also, I would say he has the most unroguelike alignment

1122
01:02:50,760 --> 01:02:53,720
Speaker 3: because I would say ed is lawful neutral.

1123
01:02:55,040 --> 01:02:55,480
Speaker 2: Yeah.

1124
01:02:55,520 --> 01:02:58,160
Speaker 3: But okay, so those two are on the mission. The

1125
01:02:58,160 --> 01:03:01,560
Speaker 3: first guy they're going to recruit is Rick. This is

1126
01:03:02,040 --> 01:03:04,520
Speaker 3: I think he's supposed to be a mountain climber. They

1127
01:03:04,560 --> 01:03:08,080
Speaker 3: find him at a secluded mountain cabin on a snowy

1128
01:03:08,160 --> 01:03:13,200
Speaker 3: peak where where he reveals that he has a drinking problem.

1129
01:03:13,240 --> 01:03:15,240
Speaker 3: I think what they meet like a lady at a

1130
01:03:15,280 --> 01:03:17,840
Speaker 3: bar and they were like, where's Rick, And they're like, Oh,

1131
01:03:17,880 --> 01:03:20,439
Speaker 3: he's staggered off to his cabin and ed just keeps

1132
01:03:20,480 --> 01:03:22,720
Speaker 3: going staggered. You want to get a guy who staggers?

1133
01:03:23,240 --> 01:03:26,720
Speaker 2: Yeah, this character has one of those cinematic drinking problems

1134
01:03:27,720 --> 01:03:31,040
Speaker 2: where it's at once it's played with a wink, but

1135
01:03:31,120 --> 01:03:35,960
Speaker 2: it's also firmly established as being completely debilitated and life wrecking.

1136
01:03:36,000 --> 01:03:38,480
Speaker 2: You know, like this is a guy who whose life

1137
01:03:38,520 --> 01:03:41,200
Speaker 2: is all but destroyed by his drinking. But he ends

1138
01:03:41,240 --> 01:03:43,240
Speaker 2: up saying, Okay, I'll come along, I'll stop drinking for

1139
01:03:43,240 --> 01:03:45,800
Speaker 2: the highst but then he's actually drinking from a flask

1140
01:03:45,960 --> 01:03:49,439
Speaker 2: on the heist Antony. Anthony just kind of laughs it off,

1141
01:03:49,520 --> 01:03:51,200
Speaker 2: like it's kind of like, oh Rick.

1142
01:03:51,640 --> 01:03:56,240
Speaker 3: Yeah, oh haha, that yeah, that's silly guy. Yeah. There's

1143
01:03:56,360 --> 01:03:58,919
Speaker 3: so in the scene where he's trying to recruit him,

1144
01:03:58,920 --> 01:04:00,640
Speaker 3: he's like, you know, I got a mission for you.

1145
01:04:00,720 --> 01:04:02,760
Speaker 3: I just need you to sober up for three weeks

1146
01:04:02,760 --> 01:04:04,880
Speaker 3: and we can do it. And Rick says, do I

1147
01:04:04,920 --> 01:04:06,760
Speaker 3: have to spell it out for you? If it doesn't

1148
01:04:06,760 --> 01:04:11,400
Speaker 3: come in a bottle, I'm not interested. But I think

1149
01:04:11,960 --> 01:04:15,840
Speaker 3: Rick becomes convinced because of a bizarre battle with a

1150
01:04:15,880 --> 01:04:17,840
Speaker 3: flying magic key in his cabin.

1151
01:04:18,560 --> 01:04:21,560
Speaker 2: Oh yeah, they do some trump. He does magic things

1152
01:04:21,560 --> 01:04:23,960
Speaker 2: in his cabin. For a little bit, and he's like,

1153
01:04:24,000 --> 01:04:26,320
Speaker 2: all right, I need to sober up a little bit. Clearly,

1154
01:04:26,400 --> 01:04:27,000
Speaker 2: I'm on board.

1155
01:04:27,320 --> 01:04:30,080
Speaker 3: Do you remember why does the key start doing magic

1156
01:04:30,120 --> 01:04:32,600
Speaker 3: things here? I guess Striker gets it out. He's like,

1157
01:04:32,640 --> 01:04:35,640
Speaker 3: here's a key. We need to I don't know, get

1158
01:04:35,680 --> 01:04:38,560
Speaker 3: some crowns from brother Jonas because he shouldn't have them.

1159
01:04:39,160 --> 01:04:41,480
Speaker 3: And then the key floats up in the air and

1160
01:04:41,520 --> 01:04:45,000
Speaker 3: starts flying around, and then there's just like like bananas

1161
01:04:45,040 --> 01:04:48,880
Speaker 3: poltergeist activity for several minutes while they're chasing the key

1162
01:04:48,960 --> 01:04:50,120
Speaker 3: around trying to catch it.

1163
01:04:50,440 --> 01:04:52,560
Speaker 2: Yeah, and there's like he's trying to sort of channel

1164
01:04:52,600 --> 01:04:56,120
Speaker 2: the energy of the key but failing, and it's yeah,

1165
01:04:56,200 --> 01:04:57,960
Speaker 2: it's it's a mess, and you think it's going to

1166
01:04:58,000 --> 01:05:00,320
Speaker 2: be more important later on, and to a certain agree

1167
01:05:00,360 --> 01:05:02,080
Speaker 2: it is. But it's also not as much of a

1168
01:05:02,080 --> 01:05:03,360
Speaker 2: plot point as I thought it would be.

1169
01:05:03,720 --> 01:05:07,480
Speaker 3: Yeah, all right, so Rick's on board. Next, we got

1170
01:05:07,520 --> 01:05:10,280
Speaker 3: to recruit our strong man, who we meet in the

1171
01:05:10,320 --> 01:05:12,840
Speaker 3: form of a blue hulk. This is Socrates.

1172
01:05:13,480 --> 01:05:16,240
Speaker 2: Yeah, he's doing some sort of a circus show with

1173
01:05:16,360 --> 01:05:20,680
Speaker 2: his skin painted blue, and it's very alarming. But I

1174
01:05:20,680 --> 01:05:22,960
Speaker 2: did like the scene where he comes backstage and there's

1175
01:05:23,000 --> 01:05:25,640
Speaker 2: this skinny clown, a guy in clown makeup standing in

1176
01:05:25,680 --> 01:05:29,320
Speaker 2: the background, and then Socrates is wiping his blue paint

1177
01:05:29,320 --> 01:05:32,360
Speaker 2: off and Tony Anthony's like a striker's like, hey, how

1178
01:05:32,400 --> 01:05:34,360
Speaker 2: you doing. He's like, how does it look like I'm doing?

1179
01:05:34,800 --> 01:05:37,080
Speaker 2: And I thought that was pretty good?

1180
01:05:37,600 --> 01:05:37,800
Speaker 3: Yeah.

1181
01:05:37,920 --> 01:05:40,720
Speaker 2: Yeah, so yeah, he's your strong man for the heightst

1182
01:05:40,760 --> 01:05:43,480
Speaker 2: is going to be this old guy with heart problems,

1183
01:05:44,280 --> 01:05:47,440
Speaker 2: but it's also still somehow a legit strong man who

1184
01:05:47,640 --> 01:05:51,080
Speaker 2: can and should be going on dangerous missions into enemy

1185
01:05:51,120 --> 01:05:51,920
Speaker 2: cult territory.

1186
01:05:52,040 --> 01:05:55,320
Speaker 3: Yeah, there's a little bit confusing there, but also okay,

1187
01:05:55,360 --> 01:05:59,240
Speaker 3: so what is the relationship between him and the trapeze artist?

1188
01:05:59,360 --> 01:06:01,560
Speaker 3: Liz was his daughter? Is that right?

1189
01:06:02,080 --> 01:06:07,600
Speaker 2: Unknown daughter lover coworker. I mean, it's so underdeveloped, it

1190
01:06:07,600 --> 01:06:09,000
Speaker 2: could be anything I could.

1191
01:06:09,240 --> 01:06:11,000
Speaker 3: They may have said, but I didn't catch it. For

1192
01:06:11,040 --> 01:06:13,440
Speaker 3: some reason. He was like, I'll do it for Liz.

1193
01:06:13,520 --> 01:06:15,400
Speaker 3: You know, It's like he would go on this mission

1194
01:06:16,160 --> 01:06:17,479
Speaker 3: because I think if.

1195
01:06:17,680 --> 01:06:21,600
Speaker 2: The bluestone man Socrates, Yes, sorry what I thought you meant?

1196
01:06:21,640 --> 01:06:25,640
Speaker 2: What's his relationship to too? What's what's Liz's relationship to

1197
01:06:25,640 --> 01:06:28,400
Speaker 2: Tony Anthony? But you know what Liz's relationship to Socrates

1198
01:06:28,520 --> 01:06:32,840
Speaker 2: is Socrates? Is she his daughter? No idea, I think

1199
01:06:32,880 --> 01:06:33,480
Speaker 2: she will, so.

1200
01:06:33,560 --> 01:06:36,480
Speaker 3: Like she he goes on the mission because he's like, uh,

1201
01:06:36,680 --> 01:06:39,400
Speaker 3: if I get the money from this mission, even if

1202
01:06:39,440 --> 01:06:41,600
Speaker 3: I die, Liz will get the money. And I'm doing

1203
01:06:41,600 --> 01:06:43,880
Speaker 3: it all for Liz. And then we meet Liz and

1204
01:06:43,920 --> 01:06:46,960
Speaker 3: she's doing a trapeze act in three D. And then

1205
01:06:47,000 --> 01:06:49,400
Speaker 3: they're standing there together and it's like, okay, we're in

1206
01:06:50,200 --> 01:06:53,680
Speaker 3: I think she's his daughter. Okay, that's all, yeah.

1207
01:06:53,600 --> 01:06:59,280
Speaker 2: Yeah, fair enough. There's a once they get the crew together,

1208
01:06:59,320 --> 01:07:01,080
Speaker 2: there is that great scene where they go through the

1209
01:07:01,120 --> 01:07:04,800
Speaker 2: planning and they have an epic model prepared of the

1210
01:07:05,280 --> 01:07:08,920
Speaker 2: castle and the inside of the castle and the room.

1211
01:07:09,440 --> 01:07:10,880
Speaker 2: I don't know if you want to get into that yet,

1212
01:07:10,880 --> 01:07:12,920
Speaker 2: but that's a pretty amazing sequence it is.

1213
01:07:12,960 --> 01:07:15,920
Speaker 3: It's a long scene explaining the plant, like Ed and

1214
01:07:15,960 --> 01:07:20,120
Speaker 3: the Professor explained the heist plan. Basically, we learned that

1215
01:07:20,280 --> 01:07:24,120
Speaker 3: the room in which brother Jonah stores the crowns is

1216
01:07:24,280 --> 01:07:27,840
Speaker 3: Scrooge McDuck's vault, complete with like nine different kinds of

1217
01:07:27,840 --> 01:07:31,600
Speaker 3: security systems. They got lasers, they got touched sensitive floor.

1218
01:07:31,840 --> 01:07:36,680
Speaker 3: It's very much the from De Palma's mission Impossible movie,

1219
01:07:36,680 --> 01:07:39,240
Speaker 3: The First Mission Impossible movie with Tom Cruise. You remember

1220
01:07:39,280 --> 01:07:42,120
Speaker 3: the scene with the air gap CIA terminal where they

1221
01:07:42,120 --> 01:07:45,720
Speaker 3: have to go in on the wires. So they're doing

1222
01:07:45,760 --> 01:07:49,320
Speaker 3: something like that here. But somehow in this scene while

1223
01:07:49,320 --> 01:07:53,560
Speaker 3: they're doing the plan it devolves into psychedelic visions from

1224
01:07:53,560 --> 01:07:56,200
Speaker 3: the key, like the keys flying around again, and there's

1225
01:07:56,280 --> 01:08:00,439
Speaker 3: wind and fire and lightning, and everybody's like seeing mods

1226
01:08:00,520 --> 01:08:03,720
Speaker 3: and like goat heads with snakes and stuff and uh.

1227
01:08:03,920 --> 01:08:06,640
Speaker 3: And then Liz after it's all over, goes what happened?

1228
01:08:06,760 --> 01:08:09,640
Speaker 3: And JT. Striker says it was nothing unless you believe

1229
01:08:09,720 --> 01:08:10,680
Speaker 3: in ghosts.

1230
01:08:12,000 --> 01:08:15,040
Speaker 2: Yeah, says the man who began the picture being tormented

1231
01:08:15,080 --> 01:08:17,599
Speaker 2: by ghosts and wild animals for like twenty minutes.

1232
01:08:17,800 --> 01:08:18,600
Speaker 3: Yeah.

1233
01:08:18,640 --> 01:08:21,000
Speaker 2: There's also a scene in the planning sequence where they're like,

1234
01:08:21,080 --> 01:08:22,600
Speaker 2: how are we going to get in with the you know,

1235
01:08:22,640 --> 01:08:25,880
Speaker 2: the electric gate and the floor and so forth, And

1236
01:08:25,920 --> 01:08:29,600
Speaker 2: then Tony Anthony strolls up and he like throws some

1237
01:08:29,640 --> 01:08:31,920
Speaker 2: sort of toys been messing around with on the table

1238
01:08:31,920 --> 01:08:34,960
Speaker 2: and he says we'll fly in, And I was thinking, oh,

1239
01:08:35,120 --> 01:08:37,160
Speaker 2: maybe he means they're going to use that weird key

1240
01:08:37,240 --> 01:08:39,559
Speaker 2: that was making stuff fly over all over the place

1241
01:08:39,560 --> 01:08:41,519
Speaker 2: and they're going to use that. No, he's just talking

1242
01:08:41,520 --> 01:08:43,040
Speaker 2: about using trapeze equipment.

1243
01:08:43,520 --> 01:08:48,439
Speaker 3: Oh yeah, yeah, uh so. Oh man, So let's get

1244
01:08:48,479 --> 01:08:50,719
Speaker 3: into the heist. They sneak into the castle. The action

1245
01:08:50,920 --> 01:08:54,720
Speaker 3: part of the heist is after some general sneaking and

1246
01:08:54,960 --> 01:08:58,920
Speaker 3: like a lock disarming and stuff, the action part of

1247
01:08:58,920 --> 01:09:02,880
Speaker 3: the heist is I thought interminable, just infinite rope dangling.

1248
01:09:03,920 --> 01:09:07,640
Speaker 2: Yeah, they start setting this up and they spare you

1249
01:09:07,880 --> 01:09:11,519
Speaker 2: none of it. You want to see each character get

1250
01:09:11,560 --> 01:09:14,160
Speaker 2: into their harness, you know, and secure their harness around

1251
01:09:14,160 --> 01:09:17,280
Speaker 2: their crotch. Then that's exactly what we're gonna watch. We

1252
01:09:17,320 --> 01:09:19,760
Speaker 2: get to what we watch so much of that, and

1253
01:09:19,800 --> 01:09:22,519
Speaker 2: then we start hoisting everyone up one by one to

1254
01:09:22,680 --> 01:09:26,000
Speaker 2: the ceiling of this large you know, sort of basketball

1255
01:09:26,479 --> 01:09:31,280
Speaker 2: arena size or you know, cathedral size space, and start

1256
01:09:31,880 --> 01:09:35,680
Speaker 2: hoisting everyone across the ceiling. And there are lots They

1257
01:09:35,720 --> 01:09:37,960
Speaker 2: managed to fit in some three D shots there as well.

1258
01:09:38,040 --> 01:09:40,040
Speaker 2: There are people that, you know, the rope slips and

1259
01:09:40,040 --> 01:09:42,240
Speaker 2: they plummet a little bit towards the camera, or they're

1260
01:09:42,240 --> 01:09:45,960
Speaker 2: just repelling their crotch towards the camera a bit. There's

1261
01:09:46,040 --> 01:09:48,439
Speaker 2: a lot of that during the sequence. It feels like

1262
01:09:48,479 --> 01:09:54,120
Speaker 2: the the longest climbing sequence ever committed to cinema, even

1263
01:09:54,160 --> 01:09:56,800
Speaker 2: though it's only a portion of the film and not

1264
01:09:56,960 --> 01:09:58,759
Speaker 2: like it's not a mountain climbing movie.

1265
01:09:59,080 --> 01:10:02,559
Speaker 3: And there's there's comedy moments where Ed is supposed to

1266
01:10:02,600 --> 01:10:04,840
Speaker 3: like zip down a rope line and he's like, no,

1267
01:10:04,960 --> 01:10:07,160
Speaker 3: but I'm a nerd, and you know, he gets to

1268
01:10:07,200 --> 01:10:08,120
Speaker 3: the end and he's.

1269
01:10:07,960 --> 01:10:11,639
Speaker 2: Like, oh wow, yeah, he winds up upside down.

1270
01:10:12,200 --> 01:10:15,200
Speaker 3: Yeah. Meanwhile, oh, brother Jonas is doing a whole ritual,

1271
01:10:15,280 --> 01:10:18,200
Speaker 3: like he's invited all these people to the fortress for

1272
01:10:18,240 --> 01:10:20,960
Speaker 3: the ninety days indoctrination. I guess they just wanted to

1273
01:10:21,240 --> 01:10:24,559
Speaker 3: try it out, try it out for ninety days free

1274
01:10:24,600 --> 01:10:28,559
Speaker 3: of indoctrination. And so, you know, he's doing these weird

1275
01:10:28,560 --> 01:10:31,120
Speaker 3: things where he has all his cultists in their red

1276
01:10:31,200 --> 01:10:34,760
Speaker 3: robes walking around in this cathedral room while people in

1277
01:10:34,880 --> 01:10:37,519
Speaker 3: regular clothes are seated on the floor in the middle

1278
01:10:37,560 --> 01:10:40,639
Speaker 3: and he's preaching at them. And then at one point

1279
01:10:40,680 --> 01:10:44,040
Speaker 3: he has all his goons cut locks of hair from

1280
01:10:44,120 --> 01:10:47,040
Speaker 3: the women who are visiting there, and then he places

1281
01:10:47,080 --> 01:10:50,120
Speaker 3: all the hair in like a baptismal font and then

1282
01:10:50,200 --> 01:10:52,600
Speaker 3: lights the hair on fire and the hair explodes.

1283
01:10:53,479 --> 01:10:57,000
Speaker 2: Yeah, yeah, solid at least it's involving everybody, Okay.

1284
01:10:56,960 --> 01:11:01,240
Speaker 3: Uh huh. And he at one point he does staged healing.

1285
01:11:01,400 --> 01:11:04,840
Speaker 3: There's a woman who's we learned, pretending to be diseased,

1286
01:11:04,880 --> 01:11:08,200
Speaker 3: and he leans over her, holds a gleaming, heated knife

1287
01:11:08,200 --> 01:11:12,320
Speaker 3: to her face, and all the cultists are like rattling

1288
01:11:12,400 --> 01:11:14,960
Speaker 3: these strange objects. I don't know exactly what they're, like

1289
01:11:15,040 --> 01:11:17,760
Speaker 3: tubes with sticks in them or something, and they're rattling them.

1290
01:11:18,120 --> 01:11:20,679
Speaker 3: And brother Jonas places the hot knife on the sick

1291
01:11:20,720 --> 01:11:23,639
Speaker 3: woman's forehead and it leaves an X and he says,

1292
01:11:23,760 --> 01:11:28,840
Speaker 3: heal this girl, take away her pain. Meanwhile, aggressive tambourine

1293
01:11:28,920 --> 01:11:33,120
Speaker 3: men charge into the congregation, like jabbing bells and jingle

1294
01:11:33,200 --> 01:11:34,719
Speaker 3: jangles in everybody's faces.

1295
01:11:35,200 --> 01:11:38,760
Speaker 2: Yeah, and then the sequence goes nowhere because we get

1296
01:11:38,760 --> 01:11:41,440
Speaker 2: the wink and the nod that it's a fake exorcism

1297
01:11:41,640 --> 01:11:46,639
Speaker 2: or a fake healing whatever at the end, which seems

1298
01:11:46,720 --> 01:11:49,400
Speaker 2: like a missed opportunity because isn't again, the whole situation

1299
01:11:49,560 --> 01:11:52,840
Speaker 2: supposed to be that this cult leader has access to

1300
01:11:53,240 --> 01:11:56,799
Speaker 2: super powerful artifacts that make him a danger to the world,

1301
01:11:57,120 --> 01:11:59,800
Speaker 2: Like shouldn't he be doing something a little more elaborate

1302
01:11:59,840 --> 01:12:01,080
Speaker 2: to pull in the believers.

1303
01:12:01,280 --> 01:12:03,080
Speaker 3: Yeah, you would think so. You would think that the

1304
01:12:03,120 --> 01:12:05,560
Speaker 3: crowns would be giving him real magic power and he

1305
01:12:05,600 --> 01:12:08,760
Speaker 3: would be using that. Yeah, okay, But meanwhile, back in

1306
01:12:08,800 --> 01:12:11,679
Speaker 3: the crown room, so that the getting across the room

1307
01:12:11,720 --> 01:12:14,680
Speaker 3: on the ropes takes forever. But when you finally get

1308
01:12:14,720 --> 01:12:17,400
Speaker 3: to the end where they're getting up to the statue

1309
01:12:17,760 --> 01:12:21,200
Speaker 3: that's holding the crown, so like the crowns are settled

1310
01:12:21,280 --> 01:12:24,680
Speaker 3: on top of this large statue at the at the

1311
01:12:24,760 --> 01:12:27,200
Speaker 3: end of the hall. I would describe it as a

1312
01:12:27,280 --> 01:12:31,719
Speaker 3: seated crusader goro with two heads. One of the goro

1313
01:12:31,800 --> 01:12:34,880
Speaker 3: because it's got four arms, it's wearing kind of I

1314
01:12:34,920 --> 01:12:38,640
Speaker 3: don't know, medieval clothes. One of the heads is a

1315
01:12:38,680 --> 01:12:42,320
Speaker 3: hornet goat and the other is also a horned goat,

1316
01:12:42,680 --> 01:12:46,040
Speaker 3: and snakes shoot out from behind the goatthead. Goro thrown

1317
01:12:46,240 --> 01:12:48,920
Speaker 3: in the shape of a star, and each goat head

1318
01:12:48,920 --> 01:12:50,320
Speaker 3: has one of the crowns.

1319
01:12:51,479 --> 01:12:54,120
Speaker 2: I love this two headed, four armed goat idol. I

1320
01:12:54,120 --> 01:12:56,840
Speaker 2: think it's probably my favorite actor in the film. I

1321
01:12:56,880 --> 01:12:59,599
Speaker 2: think this basic design would look great on any heavy

1322
01:12:59,640 --> 01:13:02,040
Speaker 2: metal metal album cover or T shirt out there.

1323
01:13:02,360 --> 01:13:04,800
Speaker 3: I agree it looks cool, but there's still just a

1324
01:13:04,800 --> 01:13:07,200
Speaker 3: lot of hanging from straps and doodling around while they're

1325
01:13:07,200 --> 01:13:10,479
Speaker 3: getting up to it. Eventually they do approach the crowns.

1326
01:13:11,160 --> 01:13:15,519
Speaker 3: JT lands on the statue pedestal. This trigger This is

1327
01:13:15,520 --> 01:13:18,360
Speaker 3: where things go go really wrong. This triggers a spike

1328
01:13:18,479 --> 01:13:20,680
Speaker 3: trap that shoots spikes out of the floor. One of

1329
01:13:20,680 --> 01:13:24,559
Speaker 3: them hits Rick and kills Rick. Then JT gets shot

1330
01:13:24,600 --> 01:13:28,240
Speaker 3: in the face by steam and then the alarm goes

1331
01:13:28,280 --> 01:13:32,760
Speaker 3: off and Brother Jonas in the middle of the indoctrination ceremony,

1332
01:13:33,080 --> 01:13:36,760
Speaker 3: he cries out the crowns. The crowns and all occultists

1333
01:13:36,920 --> 01:13:37,760
Speaker 3: rushed to the room.

1334
01:13:38,400 --> 01:13:41,799
Speaker 2: Now, did Socrates dive a heart attack? Yet? That also happens?

1335
01:13:42,000 --> 01:13:43,679
Speaker 3: Oh, that does have I don't know if that happened

1336
01:13:43,720 --> 01:13:46,000
Speaker 3: before this or after. Maybe before Yeah, I think he

1337
01:13:46,120 --> 01:13:49,160
Speaker 3: falls down. He's like dangling from a rope and then

1338
01:13:49,200 --> 01:13:51,960
Speaker 3: he's like ah, and Liz is very sad.

1339
01:13:52,439 --> 01:13:54,600
Speaker 2: So we're down to just Striker and Liz. Really at

1340
01:13:54,640 --> 01:13:57,439
Speaker 2: this point, I know there's still Ed oh, Ed still

1341
01:13:57,439 --> 01:13:59,680
Speaker 2: on the game, that's right. But then Ed goes down

1342
01:13:59,720 --> 01:14:02,960
Speaker 2: to the statue I think to help Striker maybe, but

1343
01:14:03,040 --> 01:14:05,280
Speaker 2: he gets killed by a deadly snake hug Like the

1344
01:14:05,360 --> 01:14:09,559
Speaker 2: snake things jutting out from behind the statue curl around

1345
01:14:09,800 --> 01:14:13,120
Speaker 2: and grab him, and then one of them bites him.

1346
01:14:13,520 --> 01:14:15,920
Speaker 2: Oh yeah, yeah, this this thing is loaded with all

1347
01:14:15,960 --> 01:14:21,719
Speaker 2: sorts of crazy illogical traps and triggers that of course

1348
01:14:21,760 --> 01:14:25,639
Speaker 2: are gonna cause sharp things and poiny things and tooth

1349
01:14:25,840 --> 01:14:28,240
Speaker 2: things to come flying at the camera.

1350
01:14:28,760 --> 01:14:33,479
Speaker 3: But here's where things start going really unbelievably weird. So

1351
01:14:33,560 --> 01:14:36,200
Speaker 3: Striker gets back up to he like opens up the

1352
01:14:36,200 --> 01:14:40,519
Speaker 3: two crowns and the gyms are exposed from the golden balls,

1353
01:14:40,880 --> 01:14:43,719
Speaker 3: and he grabs the two gems at the same time,

1354
01:14:44,320 --> 01:14:46,320
Speaker 3: and at first it looks like he's gonna barf, but

1355
01:14:46,479 --> 01:14:51,160
Speaker 3: instead his head starts spinning fully, spinning around about fifty times.

1356
01:14:51,680 --> 01:14:56,400
Speaker 2: Yeah, like a bad Exorcist ripoff gag, but done just yeah,

1357
01:14:56,479 --> 01:14:59,040
Speaker 2: multiple times. We don't just see it once, we get

1358
01:14:59,080 --> 01:15:01,439
Speaker 2: to watch it. Oh we're over again. Just take it

1359
01:15:01,439 --> 01:15:01,720
Speaker 2: all in.

1360
01:15:02,040 --> 01:15:04,439
Speaker 3: And he turns around. So the cultists are like running

1361
01:15:04,439 --> 01:15:07,120
Speaker 3: into the room. They're there to, I guess, kill him

1362
01:15:07,120 --> 01:15:11,280
Speaker 3: and Liz for invading their compound. And then JT turns

1363
01:15:11,320 --> 01:15:13,400
Speaker 3: around and he's two face now, like half of his

1364
01:15:13,520 --> 01:15:15,120
Speaker 3: face is monsterfied.

1365
01:15:15,520 --> 01:15:17,479
Speaker 2: I guess the idea is that he's supposed to be

1366
01:15:17,520 --> 01:15:22,120
Speaker 2: half good and half evil. Now, so one side his

1367
01:15:22,240 --> 01:15:24,960
Speaker 2: monster one side's not. Reminds me a little bit of

1368
01:15:25,000 --> 01:15:29,800
Speaker 2: the half female, half male asymmetry in the Bathomet statue.

1369
01:15:29,880 --> 01:15:33,160
Speaker 2: You know, the goat creature that we've talked about on

1370
01:15:33,200 --> 01:15:33,840
Speaker 2: the show before.

1371
01:15:34,120 --> 01:15:38,040
Speaker 3: Hmm, okay, well, whatever it is. He's growning like igor

1372
01:15:38,080 --> 01:15:40,679
Speaker 3: in the monster mash, and then he gets flamethrower hands.

1373
01:15:40,680 --> 01:15:43,280
Speaker 3: Apparently that's what the Gems do, is they give you

1374
01:15:43,320 --> 01:15:47,000
Speaker 3: flamethrower hands, and he's just like squirting jets of flame

1375
01:15:47,520 --> 01:15:51,520
Speaker 3: at the cultists and Brother Jonas. All of their guns explode,

1376
01:15:52,240 --> 01:15:56,120
Speaker 3: flaming boulders fly out of nowhere, and Brother Jonas is

1377
01:15:56,160 --> 01:15:58,679
Speaker 3: he melting? Yes, that's right, he is melting.

1378
01:15:59,520 --> 01:16:03,880
Speaker 2: Yeah. It's definitely one of those moments where you really

1379
01:16:03,920 --> 01:16:07,519
Speaker 2: respect the melting scenes and Raiders and Devil's Rain because

1380
01:16:07,760 --> 01:16:10,960
Speaker 2: they make it look easy. This film really shows you

1381
01:16:11,000 --> 01:16:13,400
Speaker 2: how hard it is to make it at all believable,

1382
01:16:14,200 --> 01:16:18,840
Speaker 2: because yeah, it's this obvious Brother Jonas sculpture that's like

1383
01:16:19,120 --> 01:16:21,720
Speaker 2: not even fully melting. We just kind of like slowly crumbling,

1384
01:16:21,760 --> 01:16:23,479
Speaker 2: and you get the feeling there might be somebody jabbing

1385
01:16:23,520 --> 01:16:25,479
Speaker 2: a stick up in there to make things fall apart.

1386
01:16:25,920 --> 01:16:28,200
Speaker 3: Yeah, there are chunks falling out of him, the paint's

1387
01:16:28,240 --> 01:16:31,680
Speaker 3: peeling a little bit, and he's got lasers coming out

1388
01:16:31,680 --> 01:16:33,720
Speaker 3: of his face or maybe going into his face. That

1389
01:16:33,840 --> 01:16:34,680
Speaker 3: wasn't clear to me.

1390
01:16:35,360 --> 01:16:38,200
Speaker 2: Yeah, Like they couldn't decide on what method of destruction

1391
01:16:38,320 --> 01:16:39,960
Speaker 2: made sense, so they just went with all of them.

1392
01:16:40,200 --> 01:16:43,120
Speaker 3: But so I think the cultists are defeated, and then

1393
01:16:43,160 --> 01:16:47,720
Speaker 3: there's fire everywhere and triumphant music. But then there's like, uh, oh,

1394
01:16:47,960 --> 01:16:50,400
Speaker 3: so Liz is still there, hanging from the ropes, and

1395
01:16:50,880 --> 01:16:53,439
Speaker 3: it's like, is JT. Striker now going to turn his

1396
01:16:53,479 --> 01:16:56,080
Speaker 3: flamethrower hands on Liz? And it looks for a second

1397
01:16:56,120 --> 01:16:58,840
Speaker 3: like he is, But no he, I guess, like the

1398
01:16:58,840 --> 01:17:01,880
Speaker 3: good part of him wins and he resists and he

1399
01:17:02,320 --> 01:17:05,960
Speaker 3: grabs the two balls from the crowns and collapses screaming.

1400
01:17:06,240 --> 01:17:08,320
Speaker 2: I couldn't help but think a lot about Raiders again,

1401
01:17:08,360 --> 01:17:10,520
Speaker 2: and all of this because, of course, in the climax

1402
01:17:10,520 --> 01:17:15,599
Speaker 2: of Raiders of the Lost Dark, Indiana Jones and Oh

1403
01:17:15,760 --> 01:17:19,840
Speaker 2: what'sh what's your name? Marion are are captive. They're held

1404
01:17:19,840 --> 01:17:22,760
Speaker 2: captive by the Nazis. The Nazis then make a big

1405
01:17:22,800 --> 01:17:25,559
Speaker 2: show of opening up the Arc on this island, and

1406
01:17:25,600 --> 01:17:29,840
Speaker 2: then the Wrath of God destroys all of the Nazis.

1407
01:17:30,880 --> 01:17:32,800
Speaker 2: This film is kind of like they're like, well, what

1408
01:17:32,840 --> 01:17:35,640
Speaker 2: if Indiana Jones had opened had beat the Nazis to

1409
01:17:35,720 --> 01:17:38,240
Speaker 2: it and opened the arc and then like the power

1410
01:17:38,240 --> 01:17:41,679
Speaker 2: of the Arc turned Indiana Jones into a flamethrower monster

1411
01:17:42,040 --> 01:17:43,599
Speaker 2: that then destroyed all the Nazis.

1412
01:17:43,680 --> 01:17:46,439
Speaker 3: What if he becomes the flamethrower Angel of Death?

1413
01:17:46,520 --> 01:17:49,519
Speaker 2: Yeah, yeah, which would have been a terrible choice, don't

1414
01:17:49,560 --> 01:17:51,920
Speaker 2: I don't even think Spielberg and Lucas could have made

1415
01:17:51,960 --> 01:17:55,880
Speaker 2: that work. They made the absolute perfect choice in Raiders

1416
01:17:55,880 --> 01:17:58,599
Speaker 2: of the Lost Ark. They go in a different direction

1417
01:17:58,680 --> 01:17:59,280
Speaker 2: in this film.

1418
01:17:59,520 --> 01:18:02,840
Speaker 3: Yeah yeah, yeah, but he's not, like, so he's not

1419
01:18:03,120 --> 01:18:06,760
Speaker 3: flamethrower hands forever. He stops doing that, and he like

1420
01:18:06,840 --> 01:18:09,559
Speaker 3: wakes up and he is now d two faced. He's

1421
01:18:09,640 --> 01:18:13,800
Speaker 3: back to normal, and Striker and Liz hug and they're like, oh,

1422
01:18:13,880 --> 01:18:16,960
Speaker 3: we made it, We're all right. Of course, Liz mourns

1423
01:18:18,200 --> 01:18:21,080
Speaker 3: the Socrates, I guess her father. She mourns him, and

1424
01:18:21,120 --> 01:18:25,080
Speaker 3: then they ate the radio's beeping and they call the chopper,

1425
01:18:25,120 --> 01:18:29,479
Speaker 3: they're ready for extraction. And then this genuinely made me

1426
01:18:29,560 --> 01:18:33,400
Speaker 3: laugh out loud, this gentle kind of music that lets

1427
01:18:33,439 --> 01:18:35,439
Speaker 3: you know the conflict is over the kind that we

1428
01:18:35,600 --> 01:18:38,040
Speaker 3: be playing, and you know, as the heroes like right

1429
01:18:38,120 --> 01:18:41,599
Speaker 3: off into the sunset and in slow motion instead it's

1430
01:18:41,640 --> 01:18:44,040
Speaker 3: over a three D shot that's a close up of

1431
01:18:44,080 --> 01:18:49,120
Speaker 3: like the gun barrel for a grappling line. Yeah, so

1432
01:18:49,160 --> 01:18:51,320
Speaker 3: they go up to the roof and it's like, did

1433
01:18:51,360 --> 01:18:54,679
Speaker 3: you get the crowns? And can you imagine the magic,

1434
01:18:54,760 --> 01:18:58,280
Speaker 3: the power, the potential benefit to mankind. But then I

1435
01:18:58,320 --> 01:19:01,000
Speaker 3: think Striker, like what does he to see? Like throw

1436
01:19:01,160 --> 01:19:03,360
Speaker 3: the gems and back in the fire.

1437
01:19:04,479 --> 01:19:07,519
Speaker 2: It's like there's the flaming bones of Brother Jonas and

1438
01:19:07,560 --> 01:19:09,840
Speaker 2: he just kind of like throws them next to the fire,

1439
01:19:10,320 --> 01:19:11,920
Speaker 2: Like he kind of throws them into the fire, but

1440
01:19:11,960 --> 01:19:14,920
Speaker 2: not in a very convincing way like like oh like

1441
01:19:14,960 --> 01:19:17,160
Speaker 2: not in like we must destroy these so nobody can

1442
01:19:17,240 --> 01:19:19,040
Speaker 2: use their power. He's just kind of like, so I

1443
01:19:19,040 --> 01:19:21,679
Speaker 2: don't want these, and then yeah, tosses them over there.

1444
01:19:22,040 --> 01:19:25,080
Speaker 3: So they get to the choppa. But then we zoom

1445
01:19:25,080 --> 01:19:28,080
Speaker 3: in on the Brother Jonah's skeleton and it's still smoking

1446
01:19:28,520 --> 01:19:31,160
Speaker 3: and then we hear a heartbeat and then there is

1447
01:19:31,200 --> 01:19:34,719
Speaker 3: the most out of nowhere stinger. Could you make sense

1448
01:19:34,760 --> 01:19:37,320
Speaker 3: of this ending to me? So there's like we're somewhere

1449
01:19:37,320 --> 01:19:41,640
Speaker 3: else now there's this throbbing wad coming up out of

1450
01:19:41,640 --> 01:19:45,280
Speaker 3: the water in a swamp, and then it's got pharyngeal

1451
01:19:45,439 --> 01:19:48,160
Speaker 3: jaws that jab out at the camera and then that's

1452
01:19:48,200 --> 01:19:48,599
Speaker 3: the end.

1453
01:19:49,000 --> 01:19:52,400
Speaker 2: Yeah, it's like as best I could piece it together,

1454
01:19:52,600 --> 01:19:57,040
Speaker 2: like suddenly in a swamp somewhere else, brother Jonas is

1455
01:19:57,120 --> 01:20:00,760
Speaker 2: resurrected as some sort of like a rotten dea or

1456
01:20:00,840 --> 01:20:04,480
Speaker 2: a swamp thing due to the I guess, to the treasures.

1457
01:20:05,240 --> 01:20:06,880
Speaker 2: I don't know. It's like they're setting up I love

1458
01:20:06,920 --> 01:20:09,200
Speaker 2: it when they set up a sequel that never comes

1459
01:20:09,240 --> 01:20:11,800
Speaker 2: to fruition with just kind of a you know, a

1460
01:20:11,840 --> 01:20:15,840
Speaker 2: wacky tease like this, but I'm not even quite sure

1461
01:20:15,880 --> 01:20:17,680
Speaker 2: what to make of it all. It gives us one

1462
01:20:17,800 --> 01:20:21,280
Speaker 2: last zoom at the camera three D jump scare, I.

1463
01:20:21,200 --> 01:20:23,120
Speaker 3: Guess meanwhile in klid.

1464
01:20:23,760 --> 01:20:26,439
Speaker 2: Yeah, but it's a great note to end this film

1465
01:20:26,439 --> 01:20:30,639
Speaker 2: on because you get this insane ending anyway, and then

1466
01:20:30,760 --> 01:20:34,080
Speaker 2: just this extra little scoop of the of the weird

1467
01:20:34,680 --> 01:20:37,200
Speaker 2: right on the end, just to leave you, send you

1468
01:20:37,240 --> 01:20:41,200
Speaker 2: out into the world, out into the daylight, with just

1469
01:20:41,240 --> 01:20:43,600
Speaker 2: one more thing to try and figure out about the plot.

1470
01:20:44,200 --> 01:20:45,959
Speaker 3: Do you think they were trying to set up a sequel?

1471
01:20:46,720 --> 01:20:50,240
Speaker 2: Sort of maybe, But also I think as simple as

1472
01:20:50,360 --> 01:20:53,280
Speaker 2: just like we need one more thing, isn't there something

1473
01:20:53,280 --> 01:20:55,240
Speaker 2: else we could do to jab the audience in the

1474
01:20:55,280 --> 01:20:57,920
Speaker 2: eye one more time to send them home happy?

1475
01:20:58,520 --> 01:21:01,120
Speaker 3: What if we showed a pot of popcorn popping and

1476
01:21:01,160 --> 01:21:04,160
Speaker 3: the popcorn was popping up into the camera lens. Oh,

1477
01:21:04,240 --> 01:21:06,240
Speaker 3: that reminds me one last thing. I don't know if

1478
01:21:06,240 --> 01:21:09,160
Speaker 3: you noticed the same thing I did. I have never

1479
01:21:09,320 --> 01:21:12,479
Speaker 3: seen a movie where there was so much crud stuck

1480
01:21:12,520 --> 01:21:16,559
Speaker 3: to the camera lens. While yeah, nearly every scene, there

1481
01:21:16,720 --> 01:21:19,760
Speaker 3: is something that is consistent across shots, like stuck. You

1482
01:21:19,760 --> 01:21:22,640
Speaker 3: can telt stuck to the lens, And I think, I

1483
01:21:22,680 --> 01:21:25,160
Speaker 3: don't know, this must have been because they were constantly

1484
01:21:25,200 --> 01:21:28,040
Speaker 3: throwing stuff at the camera for these three D shots.

1485
01:21:28,560 --> 01:21:29,040
Speaker 3: I don't know.

1486
01:21:30,080 --> 01:21:32,559
Speaker 2: I will drive home again that we did not have

1487
01:21:32,640 --> 01:21:35,640
Speaker 2: access to the Blu Ray, so I don't know if

1488
01:21:35,640 --> 01:21:38,280
Speaker 2: this is the case on that new Blu Ray edition

1489
01:21:38,320 --> 01:21:40,080
Speaker 2: that's out there. But I don't know. I mean I

1490
01:21:40,160 --> 01:21:42,400
Speaker 2: like a little bit of grime on the camera, camera lens,

1491
01:21:42,479 --> 01:21:46,040
Speaker 2: or some you know, some decay on the footage and

1492
01:21:46,080 --> 01:21:49,200
Speaker 2: so forth sometimes, So it didn't really bother me, but

1493
01:21:49,240 --> 01:21:50,080
Speaker 2: it was noticeable.

1494
01:21:50,640 --> 01:21:57,599
Speaker 3: This movie belongs in a museum.

1495
01:21:55,360 --> 01:21:58,519
Speaker 2: Or put into a crate and sent into a big

1496
01:21:58,560 --> 01:22:03,080
Speaker 2: giant space with a bunch of other big warehouse. Yeah, yeah, yeah,

1497
01:22:03,400 --> 01:22:06,040
Speaker 2: one of the two. But it's a lot of fun.

1498
01:22:06,160 --> 01:22:10,240
Speaker 2: Like like I said, this film is a real head scratcher.

1499
01:22:10,720 --> 01:22:14,599
Speaker 2: So if you're if you're into the B cinema and uh,

1500
01:22:14,640 --> 01:22:17,760
Speaker 2: you know, quote unquote so bad it's good films or

1501
01:22:17,880 --> 01:22:21,719
Speaker 2: just sort of cannon excess, then I think the Treasure

1502
01:22:21,760 --> 01:22:23,479
Speaker 2: of the Four Crowns is up your alley.

1503
01:22:24,000 --> 01:22:26,559
Speaker 3: Yeah, fortune and glory.

1504
01:22:27,800 --> 01:22:30,519
Speaker 2: All right. So that's the the first of three three

1505
01:22:30,600 --> 01:22:32,280
Speaker 2: D pictures we're gonna be doing. What are we What

1506
01:22:32,320 --> 01:22:34,720
Speaker 2: are we going to do next time? Will it? Will

1507
01:22:34,720 --> 01:22:38,000
Speaker 2: it be Prometheus? Will it be Emmanuel four? I don't know.

1508
01:22:38,000 --> 01:22:40,040
Speaker 2: You're just gonna have to have to wait around and

1509
01:22:40,040 --> 01:22:42,840
Speaker 2: find out or or you know, we'll probably make up

1510
01:22:42,880 --> 01:22:45,880
Speaker 2: our mind and have a hint about it on our

1511
01:22:45,960 --> 01:22:49,599
Speaker 2: profile on our list at letterboxed. Uh, let's U L E. T.

1512
01:22:49,600 --> 01:22:52,320
Speaker 2: T E R B O x D dot com. We

1513
01:22:52,400 --> 01:22:54,280
Speaker 2: have a profile there. We have a list of all

1514
01:22:54,280 --> 01:22:56,240
Speaker 2: the films that we've covered on Weird House Cinema, and

1515
01:22:56,439 --> 01:22:58,519
Speaker 2: sometimes we'll have a peak ahead what we're going to

1516
01:22:58,600 --> 01:23:01,520
Speaker 2: cover next. I also block about these movies at simmutomusic

1517
01:23:01,560 --> 01:23:05,600
Speaker 2: dot com. Reminder that we're primarily a science podcast, with

1518
01:23:05,720 --> 01:23:09,719
Speaker 2: episodes on Tuesdays and Thursdays core episodes, but on Fridays

1519
01:23:09,760 --> 01:23:12,080
Speaker 2: we set aside most serious concerns and just talk about

1520
01:23:12,080 --> 01:23:14,400
Speaker 2: a weird film here on Weird House Cinema.

1521
01:23:14,520 --> 01:23:18,000
Speaker 3: Huge thanks to our audio producer Jjposway. If you would

1522
01:23:18,040 --> 01:23:19,920
Speaker 3: like to get in touch with us with feedback on

1523
01:23:20,000 --> 01:23:22,160
Speaker 3: this episode or any other, to suggest a topic for

1524
01:23:22,200 --> 01:23:24,880
Speaker 3: the future, or just to say hello, you can email

1525
01:23:25,000 --> 01:23:34,800
Speaker 3: us at contact at stuff to Blow your Mind dot com.

1526
01:23:34,880 --> 01:23:37,840
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1527
01:23:37,920 --> 01:23:40,719
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1528
01:23:40,840 --> 01:23:44,120
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.